About the Maestro 4 Letter from the Maestro 5 History of the Brevard Philharmonic 6 Letter from the President 7 SEPTEMBER 29, 2019 9 AN AFTERNOON AT THE OPERA NOVEMBER 3, 2019 17 DUOS DECEMBER 15, 2019 25 CHRISTMASTIME IN BREVARD MARCH 15, 2020 27 SENSATIONAL STRINGS mission statement APRIL 5, 2020 33 The Mission of the Brevard BEETHOVEN, BOTTESINI, AND BASS Philharmonic is to inspire, educate, MAY 17, 2020 37 and enrich our audiences through POPS: STAGE, PAGE, AND SCREEN exceptional, professional musical Brevard Philharmonic Personnel 39 2019 Contributors 40 performances and community outreach. Sponsorships 42 Board of Directors 43 Music In the Schools 44 C Notes 46 Donate Your Instrument 47 House Concert 48

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www.brevardphilharmonic.org | brevard philharmonic 3 about the maestro JAMES FELLENBAUM

ames Fellenbaum is in his second season as Artistic Director of the Brevard Philharmonic, and is truly excited to continue sharing this J musical journey with the Brevard community. He enjoys an extraordinarily diverse career as a conductor, equally at home with Symphonic music, Chamber Orchestra repertoire, Pops, Ballet, Opera, Choral-Orchestral, and Film with Live Orchestra.

James is the Resident Conductor of the Knoxville Symphony Orchestra (KSO) having completed his 13th season with the organization. He conducts a variety of concerts with the KSO and has led the orchestra in a wide array of repertoire, ranging from the complete Brandenburg Concerti to orchestral music from Wagner’s The Ring Cycle. His performances on the Masterworks and Chamber Classics series have garnered such praise as “… a remarkable performance, one that was clean, focused, and razor-sharp in its control, yet passionate and warm in its display,” and “…it was one of the most compelling performances of a Orchestra was selected to compete in the Beethoven symphony I have yet heard in Knoxville.” National Orchestra Festival in Atlanta, sponsored As a frequent conductor on the Knoxville News- by the American String Teachers Association, Sentinel Pops series, he has collaborated with where they won 1st Prize in the Youth Orchestra such renowned artists as Kenny G, Chris Botti, Division. The Youth Orchestra was also Blood, Sweat & Tears, Jim Witter, Ann Hampton awarded 3rd Prize in The American Prize Calloway, Steve Lippia, The Indigo Girls, and competition–Youth Orchestra division, for The Midtown Men, along with tributes to Bob their 2017-2018 season. James has been a guest Denver, The Beatles, Elvis, as well as the popular Music Director of the Symphony of the Cirque de la Symphonie. He also excels in Film Mountains Youth Orchestra and was previously with Live Orchestra concerts, including recent the Music Director of the Suburban Youth presentations of The Wizard of Oz, Casablanca, Symphony in Illinois. He has conducted the and Raiders of the Lost Ark. As part of the American Youth Philharmonic, Texas Honors KSO’s Education and Community Partnership Orchestra, and has led many regional and Program, James conducts performances all-state orchestras, as well as hundreds of throughout the city of Knoxville, as well as workshops and clinics. regional communities in east Tennessee and southwest Virginia. He also conducts the James is the Director of Orchestras at the educational programs, including Side-by- University of Tennessee (UT), a position he Side concerts with local high school orchestra has held since 2003. He oversees and conducts programs, and the KSO’s annual Young the Orchestra Program, which includes the People’s Concerts, which are seen by 10,000 Symphony Orchestra—the most prominent elementary students each year. collegiate ensemble in the state—the Chamber Orchestra founded in 2004, the Contemporary Since 2010, James is also the Music Director Music Ensemble founded in 2006 and of the Knoxville Symphony Youth Orchestra dedicated to music written since 1950, and Association. The KSYOA consists of sixUT Opera Theater where he oversees orchestral orchestras, led by the Youth Orchestra, which administration, and has conducted past he conducts. In March 2018, the Youth productions such as Don Giovanni, La Traviata,

4 brevard philharmonic | www.brevardphilharmonic.org about the maestro

Il Barbiere di Siviglia, The Turn of the Screw, Orchestra, Orange County Symphony (CA), Sweeney Todd, Susannah, Cosi fan tutte, Little American Youth Philharmonic, the Symphony Women, and more. Orchestral performances of the Mountains (TN), the Satu-Mare State at UT have grown in both size and quality Philharmonic and Sinfonia Bucharest Orchestra of performances, resulting in invitations to of Romania, and the Russe Philharmonic perform in state-wide and regional concerts and Vidin Philharmonic of Bulgaria. He was and receiving critical acclaim such as, “With invited to the 2006 First International Gennady the arrival of James Fellenbaum… the UT Rozhdestvensky Conductors Competition, where Symphony has developed at an amazing pace into he was one of 20 conductors chosen to compete an ensemble that rivals the professional orchestras out of 112 applicants from 26 countries around in many communities.” Additionally, the the world, and finished as a finalist—the only Orchestra Program has been chosen for two American to reach that round. different PBS recording projects, performing as the classical soundtrack for Appalachia: A History James Fellenbaum holds a Bachelor of Music of Mountains and People narrated by Sissy Spacek degree in violoncello performance from James and the coming The Truth about Trees. Madison University and holds a double Masters degree in violoncello performance and orchestral James has conducted orchestras nationally conducting from Northwestern University. His and internationally, including recent guest primary conducting teachers were Victor Yampolsky conducting engagements with the Amarillo and Cliff Colnot in Chicago, David Zinman and Symphony (TX), Brevard Philharmonic (NC), Murry Sidlin at the Aspen Summer Music Festival, Erie Philharmonic (PA), Springfield Symphony and Pinchas Zukerman and Jorma Panula as part Orchestra (MA), Asheville Symphony Orchestra of the Conductors Programme with the National (NC), the Portland Columbia Symphony Arts Centre Orchestra in Ottawa, Canada. Orchestra (OR), Indianapolis Chamber

letter from the maestro Dear Friends, Again, I hope you will enjoy the variety of our concerts as it is my endeavor to present Welcome back to the concert hall, as the Brevard performances that are a little bit different than Philharmonic presents its 43rd season—my you are used to hearing and seeing. However, all second as Artistic Director. I immensely enjoyed of the aspects you’ve come to expect from the BP my first year with this wonderful organization, are still here: the outstanding musicians on stage, and I’m excited to share with you our next the thrilling music we enjoy playing, and truly chapter in music making. world-class solo artists. Thank you for coming this afternoon. I invite you to sit back, relax, and enjoy what you are about to hear on stage from your own orchestra, the Brevard Philharmonic.

www.brevardphilharmonic.org | brevard philharmonic 5 history of the brevard philharmonic After Tillotson’s retirement in 2001, Vance Reese was named conductor and the orchestra became Brevard College’s Orchestra-in- Residence. However, the Board of Directors and Dr. Emerson Head joined resources to revive an independent orchestra in 2005, changing its name to the Brevard he predecessor of what is now the Philharmonic. Following Dr. Head, Maestro Brevard Philharmonic was founded Donald Portnoy led the Brevard Philharmonic in 1976 by Jackson Parkhurst. In for 10 years, transitioning it from a local Tcreating the Brevard Chamber Orchestra, volunteer ensemble to a regional professional Parkhurst gave outstanding local musicians orchestra drawing musicians from upstate the opportunity to make music together, South Carolina, eastern Tennessee, and at the same time further enhancing the western North Carolina—including many reputation of Brevard as a place known for its from Transylvania County. music-making. Entering its 43rd season, the Brevard Philharmonic has become a vital part The 2018–2019 season saw the beginning of of Transylvania County’s musical identity. a new chapter for the Brevard Philharmonic as Maestro James Fellenbaum ascended When Parkhurst left Brevard to join the the podium as our new Artistic Director/ North Carolina Symphony in 1980, Virginia Conductor. Jim’s energy and excitement are Tillotson, Chair of the Music Department at contagious, and he has been enthusiastically Brevard College, took over the leadership of welcomed by audiences and musicians. the orchestra. During her 21-year tenure as conductor, what began as a chamber ensemble The Brevard Philharmonic has the distinction playing in various community venues several of performing in Scott Concert Hall of times a year became a full orchestra presenting the Porter Center for the Performing Arts an annual series of concerts at Brevard College at Brevard College, which has earned a to a loyal community following. reputation as one of the finest performance halls in the South.

6 brevard philharmonic | www.brevardphilharmonic.org letter from the president ots of new and exciting things have been happening around the Brevard Philharmonic: a new and enthusiastic ArtisticL Director/Conductor, house concerts, chamber orchestra, duo violin soloists, opera, expanded Music in the Schools programming, and new concert venues.

As I assume the leadership of the Board of Directors, I see ahead a stimulating year of growth in programming, ticket sales, donations, and community outreach. Growth inevitably brings with it change. But one thing will never change, our commitment to the Brevard Philharmonic’s mission “to inspire, educate, and enrich our audiences through exceptional, professional musical performances and community outreach.”

Our Board consists of community members Another way to become engaged on a deeper just like you—we are your neighbors and level is through a sponsorship. Sponsorships friends, we shop where you do, we see you are available for concerts, guest artists, at festivals downtown, we eat at the same music (yes, the printed music costs money), restaurants. You can find a list of our Board and special events. A sponsorship is a Members on page 53 of this program book, great way to be a lead donor and to show and you can spot us with our gold name tags your commitment to the vitality of the in the lobby before and during intermission Brevard Philharmonic. of concerts. We strive to offer the best possible concert experience for YOU. Talk My goal as I lead the Board this season is to with us. Let us know how we are doing. keep us focused on our mission to inspire, educate, and enrich our audiences. Working You and your fellow audience members have together with Jim Fellenbaum, our musicians, shown tremendous support for the Brevard our staff, and YOU, we can accomplish Philharmonic through concert attendance this mission. and financial contributions. I would like to invite you, however, to become even more engaged with your orchestra by joining C Notes. C Notes meetings allow you to socialize with other patrons while learning Glenn Cockerham about some of the backstage and behind- Board President the-scenes work that goes into preparing a concert. You will also learn about volunteer opportunities that can put you in the middle of the action. See page 46 for more information on C Notes membership.

www.brevardphilharmonic.org | brevard philharmonic 7 8 brevard philharmonic | www.brevardphilharmonic.org AN AFTERNOON AT THE OPERA

James C. Fellenbaum, SEPTEMBER 29, 2019, AT 3:00 PM conductor

PORTER CENTER, Susannah Biller, soprano BREVARD COLLEGE John Bellemer, tenor

GIUSEPPE VERDI Overture to La Forza del Destino (1813–1901)

CHARLES GOUNOD Je veux vivre from Roméo et Juliet (1818–1893) Susannah Biller, soprano

FRANZ LEHAR Dein ist mein ganzes Herz from Land of Smiles (1870–1948) John Bellemer, tenor

WOLFGANG A. MOZART Ach ich fühl’s from Die Zauberflöte (1756–1791) Ms. Biller

GIACOMO PUCCINI Nessun Dorma from Turandot (1858–1924) Mr. Bellemer

GIUSEPPE VERDI Un di felice from La Traviata

GAETANO DONIZETTI Verrano a te from Lucia di Lammermoor (1797–1848) Ms. Biller, Mr. Bellemer

INTERMISSION

Continued onto the next page…

www.brevardphilharmonic.org | brevard philharmonic 9 AN AFTERNOON AT THE OPERA

James C. Fellenbaum, SEPTEMBER 29, 2019, AT 3:00 PM conductor

PORTER CENTER, Susannah Biller, soprano BREVARD COLLEGE John Bellemer, tenor

continued

GEORGES BIZET Music from Carmen Suite No. 1 (1838–1875) Aragonaise Intermezzo Les Dragons d’Alcala Les Toréadors

GIACOMO PUCCINI Finale of Act I from La bohème Ms. Biller, Mr. Bellemer

TODAY’S GUEST ARTISTS ARE SPONSORED BY BECKY AND LAWRENCE LOHR

Please silence and refrain from using cellular phones during this performance. The use of cameras, audio or video recorders at any Brevard Philharmonic event without authorization from Philharmonic management is strictly prohibited.

10 brevard philharmonic | www.brevardphilharmonic.org about the artists SUSANNAH BILLER, soprano

raised by the San Francisco Chronicle as an “artist ready for the big time,” soprano Susannah Biller was a member of the prestigiousP Adler Fellowship Program with San Francisco Opera. While in San Francisco, she was seen as Frasquita in Carmen, Lolita in the world premiere of John Harbison’s Heart of a Soldier, Kristina in The Makropoulos Case and Madame Herz in Der Schauspieldirektor. Additional productions with San Francisco Opera include Der Ring des Nibelungen, Serse and Werther. Last season included Norina in Don Pasquale with Minnesota Opera, Lieschen in Der Ring des Polykrates with The Dallas Opera, Nanetta in Falstaff with Opera Colorado, and her role debut as Rosalinde in Die Fledermaus with Des Moines Metro Opera. Engagements for 2018–2019 included the revival of her Kitty Packard in Dinner at Eight in her Wexford Festival debut as well as the title role in Madame White Snake on tour with Beth Morrison Projects for the Hong Kong Arts Festival, Musetta in La bohème with Austin Opera, and a return to Opera Theatre of St. Louis as the Countess in Le nozze di Figaro. perfectly suggested the young woman, but then In the 2016–2017 season, Ms. Biller joined Beth assumed a hint of steel when she matures into the Morrison Projects as the title role in Madame bitter twenty-something who hates her mother.” White Snake, San Diego Opera as Clorinda in Additional engagements for the 2013–2014 season La Cenerentola, Minnesota Opera as Kitty Packard in included Garcias in Don Quichotte with San Diego the world premiere of Dinner at Eight, and returned Opera and Adina in L’elisir d’amore with Opera to Opera Theatre of St. Louis as Fraulein Burstner/ Theater of St. Louis. Leni in The Trial by Philip Glass. The 2015–2016 season included her debut with the Louisiana Other notable performances include her company Philharmonic for Mahler’s 2nd Symphony, her and role debut with Portland Opera as Nanetta return to Arizona Opera as Rosalba in Florencia en in Falstaff, her role debut as Despina in San el Amazonas, and debuts with Lyric Opera of Kansas Francisco Opera's production of Così fan tutte for City as Adina in L’elisir d’amore, Des Moines Metro which ARThound hailed her as one of the “clear Opera as Eurydice in Orphée et Eurydice, and the stand-outs” who “literally glows on stage and Knoxville Symphony Orchestra. The 2014–2015 managed to grab the limelight through the entire season saw Ms. Biller as Adele in Die Fledermaus performance,” Eritea in Cavalli’s Eliogabalo with with Portland Opera, Mica in Carly Simon’s Gotham Chamber Opera, her New York Debut as Romulus Hunt with Nashville Opera, Marie in Fortuna in Christopher Alden's new production La fille du régimentwith Arizona Opera and Costanza of Il sogno di scipione with Gotham Chamber in Riccardo Primo with Opera Theater of St. Louis. Opera, and productions of Nixon in China and To open the 2013–2014 season, Ms. Biller portrayed Die Zauberflöte with San Francisco Opera. Ms. Biller the role of Selena in the world premiere of Dolores debuted with Ensemble Parallele as Eurydice in the Claiborne with San Francisco Opera. She received award-winning production of Philip Glass’ Orphée, multiple accolades for her work in this role including and also with Opera Santa Barbara as Serpina in from the San Francisco Chronicle, which hailed that La serva padrona. She celebrated major success she “was a bright toned, poignant Selena; her aria in the 2009 San Francisco Opera Merola Program during the eclipse garnered a well-earned explosion performing in the Schwabacher Scenes Concert as of applause” and Opera Now, who acclaimed that Musetta in La bohème, Euridice in Orfeo, Monica in she “was hugely impressive as the abused daughter. The Medium, and Elvira in L’italiana in Algeri. Her crystalline soprano and limpid tonal production

www.brevardphilharmonic.org | brevard philharmonic 11 about the artists JOHN BELLEMER, tenor

merican tenor John Bellemer has gained a reputation for his strong portrayals in a very wide repertoire. Possessed of a voice the NewA York Times calls “clarion-toned,” he continues to appear in leading roles at opera houses across North America and Europe. He is featured in the Academy Award- nominated film “Lincoln” as Gounod’s Faust. Engagements in the 2018–19 season included soloist in works by Schubert, Gardel, Ventadorn, and Dowlandat the Salt Bay Chamberfest, and soloist in Hours of Freedom: The Story of the Terezín Composer with the Defiant Requiem Foundation at Zankel Hall in New York’s Carnegie Hall.

In the 2017–18 season, Mr. Bellemer’s highlights included the Duke of Mantua in Rigoletto with Michigan Opera Theatre, following his return to Berkshire Chorale Festival in the summer of 2017 as soloist in Verdi’s Requiem. In the 2016–17 season, Mr. Bellemer returned to Austin Lyric Opera as Der Steuermann in Der fliegende Holländer, Pacific Symphony Orchestra as soloist in Messiah, and debuted with North Carolina Opera as Nadir in Les pêcheurs de perles. His engagements in the 2015–16 season included his return to Hawaii Opera Theatre as Stadttheater Giessen, Opéra Royal de Wallonie, Lysander in A Midsummer Night’s Dream, Rodolfo in Estonian National Opera, and Teatro Arriaga La bohème with Bangor Symphony Orchestra, soloist among others. in Bach Cantatas with Toledo Symphony Orchestra, Hours of Freedom with Defiant Requiem Foundation Mr. Bellemer’s extensive North American credits at Czech Center New York, Carmina Burana with also include performances with New York City Teatro Regio di Torino, and Beethoven’s Symphony Opera, San Diego Opera, Michigan Opera Theater, No. 9 with Pacific Symphony Orchestra with a repeat Madison Opera, Cleveland Opera, Opera Theatre performance in the summer. of Saint Louis, Hawaii Opera, Arizona Opera, Calgary Opera, Minnesota Opera, Palm Beach Recent engagements include Don Ottavio in Don Opera, Dayton Opera, Opera Omaha, Austin Opera, Giovanni and Sandy/Officer One in Davies’ The Vancouver Opera, Opera Grand Rapids, Opera Lighthouse with Boston Lyric Opera; Gabriele in Ontario, Opera Birmingham, Opera San José, and the Foroni’s Cristina, regina di Svezia and Sali in Delius’ Berkshire Opera. A Village Romeo and Juliet with Wexford Festival Opera; Elgar’s The Dream of Gerontiusand Britten’s As concert artist, Mr. Bellemer has appeared with the Spring Symphony with Berkshire Choral Festival; Toni Columbus Symphony, Baltimore Symphony, New in Henze’s Elegy for Young Lovers at Venice’s Teatro la York Choral Society, Calgary Philharmonic, American Fenice; works by Schubert, Schumann and Brahms Symphony Orchestra, Berkeley Symphony Orchestra, Chamber Music Society of Lincoln Center; Male Pacific Symphony, Choral Arts Society of Washington Chorus in The Rape of Lucretiawith Florence’s Maggio DC, Oratorio Society of New York, and concerts in Musicale; Alfredo in La Traviata with Florida Grand Paris and New York City sponsored by UNESCO. Opera; and Nebuchadnezzar in Britten’s The Burning Fiery Furnace and as Grassl’s Tassilo with Festival Mr. Bellemer toured with pianist John Wustman Mattseer Diabelli Sommer (Austria). from 1992 to 1998, performing a program titled “The Songs of Franz Schubert.” He made his European Other international appearances include Opéra recital debut at the Estonian National Opera. National de Bordeaux, Opéra National de Lorraine, Opéra de Rouen, Teatro San Carlo di Napoli, Teatro Mr. Bellemer holds a bachelor’s degree from James Lirico di Cagliari, Teatro delle Muse, Spoleto Festival Madison University and a master’s from the University dei Due Mondi, Opéra de Rennes, Theater Erfurt, of Illinois. He lives in New York with his wife, Sarah Blaze and their Parson Russell Terrier, Bandit.

12 brevard philharmonic | www.brevardphilharmonic.org program notes About the Music… and contentment, even one from an opera by Alan M. Rothenberg based on tragedy. French composer Charles Gounod (1818–1893) scored a major success An Afternoon at the Opera in 1859 with the opera Faust, which led to the commission of Roméo et Juliette in 1867. Early “This curious, expensive relic of the past, so in the opera, Juliette’s nurse reminds her she is to absurd in its conventional demand that people enter an arranged marriage. Juliette sings of her should sing when offering each other a whiskey desire to live in a dreamworld of eternal, youthful or lamenting that they have dropped their door spring rather than assume the yoke of marriage to key, refuses to fade away. Instead it acquires an undesired suitor in “Je Veux Vivre” (“I want new converts every year.” Although literature to live”). scholar Peter Conrad wrote this statement over twenty years ago, it describes the current state A more typical love song—although part of of opera appreciation. Opera can even be found a story of failed love—can be found in The at the movie theater, where live transmissions of Land of Smiles, a 1929 operetta by Hungarian opera performances bring this complex art form composer Franz Lehár (1870–1948). It was not to more people than ever before. In opera, the one of his most successful shows, but it yielded performing, literary, and visual arts join to create one of his most beloved arias, “Dein ist mein a consummate, often overwhelming experience ganzes Herz” (“You are my hearts delight”). rivaling the latest action movie thriller. In this bittersweet story, a Viennese countess marries a Chinese prince and moves to China. Despite its occasional absurdities and the She becomes disenchanted with the relationship, expense of production, opera’s popularity persists especially when the prince, in keeping with local because it deals with real human emotions and tradition, begins taking other wives. While trying situations. Even operas about gods, such as the to win back her affection, he sings this aria to those in Richard Wagner’s Ring cycle, deal with her, but she returns to Vienna and he remains in very human issues and emotions—jealousy, China, heartbroken. happiness, ambition, uncertainty, family conflict, death, and especially love. We move from happiness, or the hope for happiness, to the despair of lost love with an One of Giuseppe Verdi’s (1813–1901) final aria from Die Zauberflöte (“The Magic Flute”), operas, La Forza del Destino (“The Force of the final opera byWolfgang Amadeus Mozart Destiny”) is a story of familial revenge amid (1756–1791). The brilliance and popularity hidden identities. At its premiere in November of this opera helped start the development of a 1862 in St. Petersburg, Russia, the opera began German operatic style, one markedly different with just a short prelude. After numerous from the prevalent Italian style then considered performances throughout the world, Verdi made the proper form for opera. The story is centered substantial revisions to the opera, including around Tamino, a young man being primed to replacing the prelude with this now-famous become a leader in a Masonic-like brotherhood, overture and its sense of drama and suspense. who has been promised the hand of the beautiful This version of the opera was first performed at Pamina. But first he must endure a series of tests. Milan’s La Scala Theater in 1869 and has since “Ach ich füls” (“Ah, I feel it”), Pamina’s only become one of Verdi’s most popular operas, and aria, describes her despair at Tamino’s apparent the overture makes frequent appearances on rejection, unaware of the vow of silence required concert programs. by his trial.

Typically, dialogue and recitatives (accompanied, Another view of love unrequited is found in sung dialogue) are used to advance an opera’s Turandot, the last, unfinished opera by Giacomo plot. Operatic characters express their feelings Puccini (1858–1924). The cold Chinese Princess and inner dialogue through arias. Frequently, Turandot challenges all suitors to answer three an aria becomes more popular than the opera riddles. All fail, until the mysterious prince from which it came. This is especially true Calaf succeeds, and she recoils at the thought with arias that express feelings of happiness of marriage. He then gives her a challenge:

www.brevardphilharmonic.org | brevard philharmonic 13 program notes if she cannot guess his name by dawn, she must Carmen by George Bizet (1838–1875) at Paris’ marry him. She accepts the challenge and decrees Opéra-Comique was not well received, partially all her subjects not sleep until his name has because the theater’s audiences were used to seeing been determined. In the famous aria “Nessun lighter entertainments, not the dark, emotional Dorma” (“None shall sleep”), Calaf expresses drama of a gypsy woman and the soldier she his confidence he will win her hand. He does, woos and discards. Three months later, Bizet died but not before the daughter of a deposed king, believing Carmen was a failure. Over the next Calaf’s sister, is brutally tortured and then dies ten years Carmen would become a cornerstone for not revealing her brother’s name. of the dramatic repertoire, and its colorful and tuneful music would become ubiquitous. In the Naturally, duets are about relationships, and the 1880s, the composer’s friend Ernest Guiraud two heard today are from doomed ones. In Verdi’s (1837–1892) assembled two suites of orchestral La Traviata (“The Woman Gone Astray”), the excerpts from the opera. young nobleman Alfredo is in love with Violetta, a courtesan. Although attracted to him, she at Reaction to the February 1896 first performance first rejects him, and in the duet “Un di, felice” of La bohème by Giacomo Puccini (1858–1924), (“One day, happily”) he expresses his love while conducted by Arturo Toscanini, was lukewarm she tries to dissuade him. By the end of the opera, at best, possibly because the well-heeled Turin through a series of truly operatic plot twists, they audience disliked this story about lower-class, have blissfully lived together, separated, then free-spirited bohemians in Paris. Two months reunited. But the reunion is short-lived; at the later, at a performance in Palermo, the audience end of the opera Violetta dies of tuberculosis in loved it so much they demanded the repetition Alfredo’s arms. of the last act. The opera has since become a fixture of the mainstream repertoire. Based on Lucia di Lammermoor, the most popular opera by a collection of short stories by Henri Murger, Gaetano Donizetti (1797–1848), was based on Puccini’s opera focuses on two couples and their a novel by Sir Walter Scott, which was based on on-again/off-again relationships. In the first act, the true story of Janet Dalrymple, the daughter three residents of an attic apartment go out to of a Scottish nobleman. In the opera, Enrico, celebrate Christmas, leaving the writer Rudolfo head of the Aston family, is intent on breaking alone to finish an article. Mimi, a seamstress up the surreptitious relationship of his sister who lives in the building, asks for assistance with Lucia with Edgardo, from the rival Ravenswood her extinguished candle. In one of opera’s most family. Lucia convinces Edgardo to keep their beloved sequences, the two introduce themselves relationship secret. They exchange rings to seal through Rudolfo’s aria “Che gelida manina” their pledge to each other in the duet “Verrano (“What a cold little hand”) and Mimi’s “Sì, mi a te” (“They will come to you”). To save the chiamano Mimì” (“Yes, my name is Mimi”). The family’s reputation, Enrico forces Lucia to marry two fall instantly in love (as often happens in Lord Arturo after showing her a forged letter opera), expressing their feelings in the duet “O documenting Edgardo’s infidelity. Still in love soave fanciulla” (“Oh lovely girl”) and go to join with Edgardo, Lucia goes mad and dies. Edgardo Rudolfo’s friends. kills himself so he and Lucia can be finally joined in heaven. Program Notes © 2019 by Alan M. Rothenberg The second half of today’s concert focuses on two www.noteperfectnotes.com operas that initially struggled to find an audience but now are probably the most performed operas in the repertoire. The March 1875 premiere of

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16 brevard philharmonic | www.brevardphilharmonic.org DUOS

James C. Fellenbaum, NOVEMBER 3, 2019, AT 3:00 PM conductor

PORTER CENTER, Paul Huang, violin BREVARD COLLEGE Danbi Um, violin

MIKHAIL GLINKA Overture to Ruslan und Ludmilla (1804–1857)

MORITZ MOSZKOWSKI/ Suite in G minor, Op. 71 ARR. CARL TOPILOW I. Allegro energico (1854–1925) II. Allegro moderato III. Lento assai IV. Molto vivace Paul Huang, violin Danbi Um, violin

INTERMISSION

PETER ILYICH TCHAIKOVSKY Romeo and Juliet Fantasy-Overture (1840–1893)

PABLO DE SARASATE Navarra, Op. 33 (1844–1908) Mr. Huang, Ms. Um

TODAY’S CONCERT IS SPONSORED BY JAN AND DOUG HART

TODAY’S GUEST ARTIST IS SPONSORED BY RENEE BRESLER AND WAYNE STEIFLE

TODAY’S GUEST ARTIST IS SPONSORED BY CAROL AND JIM SMEATON

Please silence and refrain from using cellular phones during this performance. The use of cameras, audio or video recorders at any Brevard Philharmonic event without authorization from Philharmonic management is strictly prohibited.

www.brevardphilharmonic.org | brevard philharmonic 17 about the artists PAUL HUANG, violin

ecipient of the prestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln Center Award for Emerging RArtists, violinist Paul Huang is celebrated for his eloquent music making, distinctive sound, and effortless virtuosity. The Washington Post proclaimed Mr. Huang as “an artist with the goods for a significant career” following his recital debut at the Kennedy Center.

This summer, Mr. Huang made his highly acclaimed debut at Bravo! Vail Music Festival stepping in for violinist Anne-Sophie Mutter in Mozart’s Violin Concerto No. 4 with Chamber Orchestra Vienna-Berlin. Recent and forthcoming engagements include his recital debut at the Lucerne Festival in Switzerland as well as appearances with Mariinsky Orchestra with Valery Gergiev (St. Petersburg’s White Nights Festival),

Berliner Symphoniker with Lior Shambadal Borggreve Marco photo credit: (Philharmonie Berlin debut), Detroit Symphony with Leonard Slatkin, Houston Symphony with Andres Orozco-Estrada, Orchestra of St. Luke’s Mr. Huang’s recent recital engagements included with Carlos Miguel Prieto, Seoul Philharmonic, Lincoln Center’s “Great Performers” series and a Baltimore Symphony and Grant Park Festival return engagement at the Kennedy Center where Orchestra with Markus Stenz, North Carolina he premiered Conrad Tao’s Threads of Contact for Symphony and Charlotte Symphony with Violin and Piano during his recital evening with Gemma New, Buffalo Philharmonic with JoAnn pianist Orion Weiss. He also stepped in for Midori Falletta, Pacific Symphony with Carl St. Clair, with Leonard Slatkin and the Detroit Symphony National Symphony Orchestra of Taiwan with to critical acclaim. Mr. Huang has made debuts ShaoChia Lu, and Taipei Symphony with Jahja at the Wigmore Hall, Seoul Arts Center, and the Ling (both in Taipei and on a U.S. tour). The Louvre in Paris. 2019–20 season will see Mr. Huang giving the German premiere of Tan Dun’s Violin Concerto His first solo CD, Intimate Inspiration, is a Fire Ritual with the Nuremberg Symphony with collection of favorite virtuoso and romantic Kahchun Wong and appearances in the U.S. with encore pieces released on the CHIMEI label. In Tucson Symphony, New Mexico Philharmonic, association with Camerata Pacifica, he recorded Long Beach Symphony, Brevard Symphony, and Four Songs of Solitude for solo violin on their Mobile Symphony. album of John Harbison works. The album was released on the Harmonia Mundi label in Recital and chamber music performances this fall 2014. season will include Mr. Huang’s recital debut for People’s Symphony Concerts in New York, A frequent guest artist at music festivals a recital tour across North America and Taiwan worldwide, he has performed at the Seattle, with pianist Helen Huang, as well as his debut Music@Menlo, Caramoor, Bridgehampton, at Wolf Trap. He will also return to Camerata La Jolla, Moritzburg, Kissinger Sommer, Sion, Pacifica in Santa Barbara and the Chamber Music and Orford Musique music festivals, as well as Society of Lincoln Center for three separate tours the Great Mountains Music Festival in Korea. in the U.S., Europe, and the Far East. His collaborators have included Gil Shaham, Cho-Liang Lin, Nobuko Imai, Lawrence Power,

18 brevard philharmonic | www.brevardphilharmonic.org about the artists

Maxim Rysanov, Mischa Maisky, Jian Wang, Most Promising Young Artists, the 2013 Salon Frans Helmerson, Lynn Harrell, Yefim Bronfman, de Virtuosi Career Grant, and the 2014 Classical and Marc-Andre Hamelin. Recording Foundation Young Artist Award.

Winner of the 2011 Young Concert Artists Born in Taiwan, Mr. Huang began violin lessons International Auditions, Mr. Huang made at the age of seven. He is a proud recipient of critically acclaimed recital debuts in New York the inaugural Kovner Fellowship at The Juilliard and in Washington, D.C. at the Kennedy Center. School, where he earned his Bachelor’s and Other honors include First Prize at the 2009 Master’s degrees under Hyo Kang and I-Hao Lee. International Violin Competition Sion-Valais He plays on the 1742 ex-Wieniawski Guarneri del (Tibor Varga) in Switzerland, the 2009 Chi-Mei Gesù on loan through the generous efforts of the Cultural Foundation Arts Award for Taiwan’s Stradivari Society of Chicago.

www.brevardphilharmonic.org | brevard philharmonic 19 about the artists DANBI UM, violin

raised by The Strad as an “utterly dazzling” artist, with “a marvelous show of superb technique” and “mesmerizing grace” (New PYork Classical Review), violinist Danbi Um captivates audiences with her virtuosity, individual sound, and interpretive sensitivity. A Menuhin International Violin Competition Silver Medalist, winner of the prestigious 2018 Salon de Virtuosi Career Grant, and a recent top prizewinner of the Naumburg International Violin Competition, she showcases her artistry in concertos, solo recitals, and in collaboration with distinguished chamber musicians.

Highlights of Ms. Um’s 2019–20 season include solo appearances with the Chamber Orchestra of Philadelphia (Kimmel Center) and Brevard Philharmonic, a national tour with the Chamber Music Society of Lincoln Center, and debut performances at premiere series including Wolf

Trap, Cincinnati’s Linton Chamber Series, and Borggreve Marco photo credit: Chicago’s Dame Myra Hess Concerts. Notable recent engagements include performances at An avid chamber musician, Ms. Um is a current Caramoor, Music@Menlo’s celebrated “Carte artist member of the Chamber Music Society of Blanche” series, the National Museum of Women Lincoln Center (CMS) and will see her opening in the Arts, the Philadelphia Orchestra’s “Morning the CMS’s 50th anniversary season, broadcast Musicales,” Parlance Chamber Concerts, and live on Medici TV, in fall 2019 at Alice Tully Ms. Um’s New York recital debut at Lincoln Hall. Festival appearances have included those at Center presented by the Chamber Music Society Marlboro, Ravinia, Yellow Barn, Moab, Seattle, of Lincoln Center. Caramoor, and North Shore. Ms. Um also recently made her critically acclaimed debut at After winning the 2014 Music Academy of the the Moritzburg Festival in Dresden, Germany at West Competition, Ms. Um made her concerto the invitation of Jan Vogler. Her other chamber debut in the Walton Violin Concerto with music collaborators have included Anthony the Festival Orchestra, conducted by Joshua Marwood, Vadim Gluzman, Pamela Frank, Cho- Weilerstein. She has also had solo engagements Liang Lin, Paul Neubauer, Frans Helmerson, with the Vermont Symphony, Dartmouth David Shifrin, and Gilbert Kalish. Symphony, Israel Symphony, Herzliya Chamber Orchestra, and Auckland Philharmonia Born in 1990 in Seoul, South Korea, Ms. Um Orchestra. She also recently appeared in recital began violin lessons at the age of three. In the and in chamber music performances in such year 2000, she moved to the United States to venues as the Kennedy Center, Philadelphia’s study at the Curtis Institute of Music, where Kimmel Center, Boston’s Isabella Stewart Gardner she earned a Bachelor’s degree. She also holds Museum, Chicago’s Harris Theatre, London’s an Artist Diploma from Indiana University. Her Wigmore Hall, and at the Tel Aviv Museum teachers have included Shmuel Ashkenasi, Joseph of Art. Silverstein, Jaime Laredo, and Hagai Shaham.

Ms. Um is a winner of Astral Artists’ National Auditions. She plays a 1683 “ex-Petschek” Nicolo Amati violin, on loan from a private collection.

20 brevard philharmonic | www.brevardphilharmonic.org program notes

About the Music… Born in Prussia (now part of Poland) to wealthy by Alan M. Rothenberg parents, Moszkowski received most of his musical training in Berlin and enjoyed a reputation as a Overture to Ruslan und Ludmilla fine pianist and conductor. After developing MIKHAIL GLINKA (1804–1857) neurological problems in his arms, Moszkowski concentrated on composition. In 1897, having The history of Russian symphonic music begins become wealthy from his many performing with Mikhail Glinka, but exactly why depends engagements, he moved to Paris and became a on whether you are Russian. According to revered teacher, counting among his students Russian music scholar Richard Taruskin, there Thomas Beecham and Wanda Landowska. But is “the Western view that regards [Glinka] as the within ten years, with his health deteriorating, first authentically national Russian composer, he cut back on both his composition and his versus the native view that sees him as the teaching. He said his students “wanted to first universal genius of music to have come write like artistic madmen such as Scriabin, from Russia.” To Western ears, he was the first Schoenberg, Debussy, and Satie,” and his own composer to use Russian folk materials to give his music was rapidly falling out of favor. He also music a particular sound. The Russian viewpoint faced financial ruin, having heavily invested in is he was the first composer to create music German and Austrian securities which became that could stand alongside his contemporaries, worthless after World War I, and died a pauper. particularly Beethoven. Over the last few decades, Moszkowski’s music With little formal training, Mikhail Glinka has engendered a revival of interest. In addition produced, along with a small collection of to over 200 solo piano works, Moszkowski orchestral and chamber music, two operas: wrote a symphony, two piano concertos, a violin A Life for the Tsar and Ruslan und Ludmilla. concerto, an opera, and a ballet. The Suite in While the operas are seldom performed outside G Minor for two violins and piano was composed of Russia, their overtures have become fixtures in 1871, and at the time was considered one of his in the concert hall worldwide. Ruslan und finest works. The four movements are arranged Ludmilla, completed in 1842, is based on a in a progression similar to a symphony—the poem by Alexander Pushkin and tells the story sonata-form first movement is followed by an of how Ruslan saved his bride Ludmilla, who was elegant waltz. The slow third movement features kidnapped by a sorcerer on their wedding day. long, extended melodies, and is followed by the The sparkling and brilliant overture uses snippets spirited finale. The arrangement of the piano of arias sung by the major characters, along with part for orchestra was created by Carl Topilow, music from the opera’s finale. the founding conductor of the Cleveland Pops Orchestra.

Suite in G Minor, Op. 71 MORITZ MOSZKOWSKI (1854–1925), Romeo and Juliet, Fantasy-Overture ARR. CARL TOPILOW PETER ILYICH TCHAIKOVSKY (1840–1893)

Many composers enjoy immense popularity Completed in 1880. About the same time—1879: for a length of time, only to have their music Henrik Ibsen’s “A Doll’s House” premieres in pass into obscurity. Such was the fate of Moritz Copenhagen. Thomas Edison demonstrates the Moszkowski. In a 1925 New York Times article incandescent lightbulb. 1880: Competing circus written shortly after the composer’s death, critic owners P. T. Barnum and James A. Bailey join forces Olin Downes wrote, “Moritz Moszkowski…was to create the Barnum & Bailey Circus. Sixteen-year- a quarter of a century ago was one of the most old Richard Strauss premieres a symphony, his first noted and successful musicians of Europe…His major work. 1881: London’s Savoy Theatre opens, piano compositions had an enormous vogue the first public building to be fully lit by electricity. on both sides of the Atlantic…Time has passed judgement on his works; before the composer Shakespeare has been the inspiration for many died, their popularity was swiftly waning.” musical works, but the musical depiction of the story of Romeo and Juliet by Peter Ilyich

www.brevardphilharmonic.org | brevard philharmonic 21 program notes

Tchaikovsky had several additional sources. In Navarra, Op. 33 1869, composer Mili Balakirev suggested that PABLO DE SARASATE (1884–1908) Tchaikovsky write a tone poem based on the play; he even supplied some musical sketches and Pablo de Sarasate was born in Pamplona, a general outline of the piece. About the same the capital of the Navarra province, in the time, Tchaikovsky fell in love with the singer Basque region of northern Spain. The son of a Désirée Artôt. Smitten, he saw her frequently, bandmaster, he showed early prowess on the and even proposed marriage. When she married violin, and gave his first public concert at the fellow singer Mariano Padilla, Tchaikovsky age of eight. Thanks to a wealthy patron who poured his disappointment into the Romeo and gave him a Stradivarius violin, he then studied Juliet, Fantasy Overture, and sent it to Balakirev in Madrid and Paris. At the age of thirteen, after for evaluation, who responded with guarded only one and half years of study at the Paris enthusiasm. Balakirev didn’t like most of the Conservatory, he won the school’s first prize piece, but of the love theme, he wrote, “When in violin. By most accounts, Sarasate was not a I play it, I imagine you are lying naked in your performer of great intellectual depth. But the bath and that Artôt-Padilla herself is washing purity of tone, sheer elegance of his performing your stomach with hot lather from scented soap.” style, and virtuosity of his technique was such After a barely noticed first performance in March that the great conductor Hans von Bülow 1870, Tchaikovsky completely revised the piece spoke of his playing as “seductive speaking twice, finally completing it in 1880. on the violin… Sarasate plays like an angel, or an archangel.” He was also much admired by Essentially in sonata-allegro form, the piece his fictional contemporary, amateur violinist does not strictly adhere to the sequence of Sherlock Holmes. During his frequent tours of events in the play. The introductory theme, Europe and the Americas, he performed music religious and somber, depicts Friar Laurence. written for him by Edward Lalo, Max Bruch, The second section, with its fast scalar passages and Camille Saint-Saëns. But he became and syncopations, represents the antagonism particularly famous for his own compositions, between the two families. The main characters’ many of them based on tunes from popular love is depicted in the long, sensuous theme operas, designed to show off his skills. Spanish- that is hinted at a number of times before being flavored pieces were in vogue in the late nineteenth fully heard near the end. The final section puts century, and his music in that vein became some together all the themes, interrupted twice to of his most popular. Navarra, for two violins and depict the death of first Romeo, then Juliet. orchestra, is an 1889 tribute to his birthplace in According to Tchaikovsky biographer David the style of a jota, a fast dance common in the Brown, the last few bars “recall that fatal feud region. Both solo parts are filled with some of on which these young lives have been broken; Sarasate’s trademark virtuoso touches—double the warring families now stand transfixed… a and triple stops, left-hand pizzicatos, and long stunned horror at what has been done.” passages of harmonics.

Program Notes © 2019 by Alan M. Rothenberg www.noteperfectnotes.com

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24 brevard philharmonic | www.brevardphilharmonic.org CHRISTMASTIME IN BREVARD

DECEMBER 15, 2019, James C. Fellenbaum, AT 3:00 PM conductor PORTER CENTER, BREVARD COLLEGE Transylvania Choral Society

LEROY ANDERSON A Christmas Festival

ARR. LEROY ANDERSON Suite of Carols Bring a Torch, Jeanette, Isabella Away in a Manger Wassail Song

PETER ILYICH TCHAIKOVSKY Christmas Waltz from The Seasons

LUCAS RICHMAN Hannukah Festival Overture

GEORGE FRIDERIC HANDEL Glory to God from The Messiah

PETER WARLOCK Three Carols Tyrley Tyrlow Balulalow The Sycamore Tree

FRANZ GRUBER/ARR. CHIP DAVIS Stille Nacht

ARR. PHILIP GORDON A Tribute of Carols

GEORGES BIZET Farandole from L’Arlesienne Suite No. 2

Please silence and refrain from using cellular phones during this performance. The use of cameras, audio or video recorders at any Brevard Philharmonic event without authorization from Philharmonic management is strictly prohibited.

www.brevardphilharmonic.org | brevard philharmonic 25 26 brevard philharmonic | www.brevardphilharmonic.org SENSATIONAL STRINGS

MARCH 15, 2020, AT 3:00 PM James C. Fellenbaum, BREVARD- DAVIDSON RIVER conductor PRESBYTERIAN CHURCH

GEORGE FRIDERIC HANDEL Concerto Grosso in G Major, Op. 6, No. 1 (1685–1759) A Tempo giusto Allegro Adagio Allegro Allegro

WOLFGANG A. MOZART Serenade No. 13, Eine Kleine Nachtmusik, (1756–1791) K. 525 I. Allegro II. Romanze: Andante III. Minuet IV. Rondo

INTERMISSION

PETER ILYICH TCHAIKOVSKY Andante Cantabile from String Quartet (1840–1893) No. 1, Op. 11

GUSTAV HOLST St. Paul’s Suite, Op. 29, No. 2 (1874–1904) I. Jig II. Ostinato III. Intermezzo IV. Finale (The Dargason)

TODAY’S CONCERT IS SPONSORED BY JAN AND DOUG HART

Please silence and refrain from using cellular phones during this performance. The use of cameras, audio or video recorders at any Brevard Philharmonic event without authorization from Philharmonic management is strictly prohibited.

www.brevardphilharmonic.org | brevard philharmonic 27 program notes

About the Music… In the fall of 1739, Handel composed twelve by Alan M. Rothenberg concertos, patterned after those of Corelli, and included them in oratorios and other large The string orchestra, consisting of only violins, works performed during the 1739–1740 season. violas, cellos, and basses, can trace its origins In April 1740, they were published in a single to the Baroque era, where small ensembles of volume edition that sold out quickly and was string instruments would perform, supported reprinted at least five more times before the turn by a continuo—a cello or bass that would play of the century. the bass line, along with a harpsichord or organ that would outline the chords played by the The first concerto, in five movements, was other instruments. In the Classical era, use of completed on September 27, 1739, although the the continuo fell out of favor as the ensembles date of the first performance is unknown. Music grew larger. Many of the early symphonies of historian and composer Charles Burney heard Mozart, Haydn, and their contemporaries are this concerto at a 1784 concert of Handel’s music for strings only. During the nineteenth century, and wrote, “If the epithet grand… had been composers began writing for larger orchestras, here intended to express sublimity and dignity, with expanded wind, brass, and percussion it might have been used with utmost propriety; groups. The twentieth century saw a resurgence for I can recollect no movement that is more lofty of interest in the all-string ensemble, often and noble than this.” through arrangements of pieces originally for string quartet. Serenade in G Major, Eine Kleine Nachtmusik, K. 525 Concerto Grosso in G Major, WOLFGANG AMADEUS MOZART (1756–1791) Op. 6 No. 1 GEORGE FRIDERIC HANDEL (1685–1728) The genesis of many pieces by Wolfgang Mozart are shrouded in mystery, often due to the lack German by birth, George Frederic Handel found of sketches or preliminary versions of his music. his greatest success in England. Handel settled Apparently, Mozart frequently worked out an in London in 1712, after musical training in his entire composition in his head and then put it on native Halle and then in Italy. He became famous paper with virtually no corrections or cross-outs. for his presentations of opera and, after 1739, The Serenade in G Major, written in the summer the newly invented oratorio, a way of presenting of 1787 while Mozart was working on the opera musical stories—usually based on Biblical Don Giovanni, is one example. incidents—without the theatrical trappings of opera. At the time, it was common practice The eighteenth-century serenade usually to present short instrumental works between contained five or more movements, typically sections of operas and oratorios. for winds or strings, and was often used as background music at some royal social event. While in Italy, Handel was exposed to the new Mozart wrote a number of serenades, almost concerto grosso form championed by Antonio all on commission, and there is usually some Vivaldi and Arcangelo Corelli. In a concerto evidence—letters, records of payment, or other grosso, the instruments are divided into a documents—that tell us about the occasion where concertino group of soloists, a larger group called the music was performed or the circumstances of the ripieno or tutti, and a continuo group. The its composition. However, the Serenade in G, concertino and ripieno groups would typically the thirteenth and last serenade Mozart wrote, is alternate, with the soloists performing more never mentioned in any of his letters, and there complex or virtuosic parts. Vivaldi felt pieces is nothing to indicate the composer ever heard in this form should be three movements in the it performed. order fast-slow-fast, which developed into the Classical-era concerto form. Corelli advocated concertos with four or more movements.

28 brevard philharmonic | www.brevardphilharmonic.org program notes

Mozart entered this serenade in his personal St. Paul’s Suite catalogue of works on August 10, 1787, and it GUSTAV HOLST (1874–1934) has become known by the phrase he included in the entry: Eine Kleine Nachtmusik (literally Completed in 1913. About the same time—1912: “a little night music”), although Mozart would Girl Scouts founded. Oreo cookie introduced. 1913: have considered this a description rather than a Henry Ford applies the new principles of the moving title. He also listed its five movements: Allegro, assembly line to automobile manufacturing. First Minuet and Trio, Romance, Minuet and Trio, performance of Stravinsky’s “Rite of Spring.” 1914: and Finale. But the manuscript, in Mozart’s First electric traffic light installed in Cleveland, handwriting, consists of eight numbered pages Ohio. Green beer is introduced on St. Patrick’s Day with one page—presumably containing the first in The Bronx, New York. Minuet and Trio—missing. Because of the popularity of Gustav Holst’s As a result, Eine Kleine Nachtmusik, despite its orchestral suite The Planets, many consider him a popularity and seeming perfection, is actually “one-hit wonder” composer, which unfortunately incomplete. Yet, as H. C. Robins Landon, one causes his many other fine pieces, including of the greatest Mozart scholars, wrote, “The those for orchestra, to be neglected. His music public has always been attracted by its formal for military band is considered an essential part precision and by the beauty and delicacy of the of the modern wind ensemble repertoire, and slow movement; this might, quite simply, be he contributed many beautiful works to the considered the most beautiful piece of occasional choral literature. music ever written.” The son of an organist and choirmaster, Holst first learned to play piano (which he loved) and Andante Cantabile (from String violin (which he hated). He also took up the Quartet No. 1, Op. 11) trombone, which became his main instrument PETER ILYICH TCHAIKOVSKY (1840–1893) after he developed neuritis in his right arm. At London’s Royal College of Music, his teachers Tchaikovsky composed the first of his three included Hubert Parry and Charles Villiers string quartets in February 1871, and the first Stanford. Holst supported himself by playing performance took place at an all-Tchaikovsky trombone in various orchestras and at one point concert in Moscow the following month. The performed under Richard Strauss. In 1895, Holst quartet was well-received and has become a met Ralph Vaughan Williams, and they became fixture of the string quartet repertoire. The lifelong friends, critiquing each other’s works and second movement, marked “Andante Cantabile,” becoming advocates for the preservation, study, is particularly loved. The composer reported that and use of English folk song. Leo Tolstoy was moved to tears by this movement during an 1876 performance. The movement is In 1903, Holst decided to curtail his freelance also often performed by a full string orchestra. trombonist career and concentrate on composition. He also began teaching, eventually The somewhat melancholy main theme of this becoming the director of music at St. Paul’s movement is based on an old Russian song Girls’ School in Hammersmith, a position he Tchaikovsky heard during the summer of 1869 held from 1905 until his death. He wrote many when he was staying at his sister’s house in the pieces for performance by the students at St. Ukraine. One of the workmen frequently sang Paul’s, and the continuing popularity of many this tune, and Tchaikovsky included it in his of these works show the merit of music initially collection of Russian folk song arrangements written mainly for educational purposes. for piano. The wistful second theme is by the composer.

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Holst’s The Planets brought him unwelcome fame, music, points to the four-movement suite as “the but the increased name recognition allowed him most spectacular proof of his faith in his pupils… to travel the world, although he would always Holst never wrote down to his students.” The return to St. Paul’s. Even when ill-health forced first movement Jig uses two themes that are first him to cut back his activities, he preferred to developed individually and then combined. The spend his time composing in the soundproof second movement’s Ostinato begins in the second room the school built specifically for his use. violins, and the other instruments play melodies Holst’s early compositions show the influence of around it. The Intermezzo alternates a slow, exotic Wagner and Richard Strauss, but his encounter melody with faster dance sections. The final with English folk song, and his interest in English movement is derived from Holst’s Second Suite composers of the renaissance, especially Thomas for Military Band written the previous year. The Morley and Thomas Weelkes, transformed his movement uses two tunes from The Dancing orchestral music. His works gained a directness of Master, a collection of melodies and instructions expression, often attributable to the incorporation for English Country Dance, first published in of folk songs. 1651 by John Playford. The tune “Dargason” is presented and put through a series of variations, The 1913 St. Paul’s Suite was written in then it is ingeniously combined with the now appreciation for the new music facilities the well-known tune “Greensleeves.” school built for him. Initially for string orchestra, Holst later added optional parts for wind instruments, though the piece is most often heard Program Notes © 2019 by Alan M. Rothenberg in its original orchestration. Holst’s daughter www.noteperfectnotes.com Imogen, one of the strongest advocates of his

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BEETHOVEN, BOTTESINI, AND BASS

APRIL 5, 2020, James C. Fellenbaum, AT 3:00 PM conductor PORTER CENTER, BREVARD COLLEGE Xavier Foley, double bass

LUDWIG VAN BEETHOVEN Overture to Fidelio (1770–1827)

GIOVANNI BOTTESINI Double Bass Concerto No. 2 in B Minor (1821–1889) I. Allegro II. Andante III. Allegro Xavier Foley, double bass

INTERMISSION

LUDWIG VAN BEETHOVEN Symphony No. 8 in F Major, Op. 92 I. Allegro vivace e con brio II. Allegretto scherzando III. Tempo di menuetto IV. Allegro vivace

TODAY’S CONCERT IS SPONSORED BY A. STUART FENDLER FAMILY TRUST

Please silence and refrain from using cellular phones during this performance. The use of cameras, audio or video recorders at any Brevard Philharmonic event without authorization from Philharmonic management is strictly prohibited.

www.brevardphilharmonic.org | brevard philharmonic 33 about the artist XAVIER FOLEY, double bass

avier Foley is known for communicating his passion for music and virtuosity on the double bass, which is rarely presented Xas a solo instrument. Winner of a prestigious 2018 Avery Fisher Career Grant, he was recently recognized on New York WQXR’s “19 for 19” Artists to Watch list, and featured on PBS Thirteen’s NYC-ARTs.

Also a composer, Mr. Foley has been co- commissioned by Carnegie Hall and the Sphinx Organization for a new work entitled “For Justice and Peace” for Violin, Bass, and String Orchestra, which will be performed at Carnegie Hall this season as part of a program designed to promote social justice.

As concerto soloist with orchestra, he has performed with the Atlanta Symphony, Philadelphia Orchestra, Nashville Symphony, Brevard Concert Orchestra, Victoria (TX) Symphony, Sphinx Symphony and Sphinx Virtuosi at Carnegie Hall. Upcoming appearances include the Bottesini Evergreen Museum, Southern Adventist Concerto No. 2 with the Greensboro Symphony University, Sill Music Mondays, Leaf Peeper and Brevard Philharmonic. Concerts (including a commission of a new composition), and the Matinee Musicale Series in Mr. Foley won the 2016 Young Concert Duluth, MN. Artists International Auditions along with four Performance Prizes and a Paiko Foundation An active chamber musician, Mr. Foley has Fellowship, and First Prizes at Astral’s 2014 been reengaged to perform on tour and at Alice National Auditions, Sphinx’s 2014 Competition, Tully Hall with The Chamber Music Society and the 2011 International Society of of Lincoln Center this season, and appear on a Bassists Competition. special YCA Gala Concert at Alice Tully Hall. He has also appeared at the Marlboro Music In 2018, he made his acclaimed New York Festival, Tippet Rise Music Festival in Fishtail, recital debut at Merkin Concert Hall and his MT, Bridgehampton and Skaneateles (NY) Washington, DC debut at the Kennedy Center’s Festivals, New Asia Chamber Music Society in Terrace Theater on the Young Concert Artists Philadelphia, South Mountain (MA) Concerts, Series. The program included two of his own Wolf Trap, and with New York’s Jupiter compositions. He has also performed at Carnegie Chamber Players. Hall as a Laureate of the Sphinx Competition, at the Young Concert Artists Series at Alice Tully A native of Marietta, GA, Xavier Foley is an Hall and the Morgan Library, and for Boston’s alumnus of the Perlman Music Program, and Isabella Stewart Gardner Museum, Paramount earned his Bachelor of Music from the Curtis Theatre in Vermont, Harriman-Jewell Series in Institute of Music working with Edgar Meyer and Missouri, and Buffalo Chamber Music Society. Hal Robinson. His double bass was crafted by This season, Mr. Foley performs for Baltimore’s Rumano Solano.

34 brevard philharmonic | www.brevardphilharmonic.org program notes

About the Music… unwieldy instrument, there are two important by Alan M. Rothenberg pre-twentieth century names that helped define the solo bass repertoire: Domenico Dragonetti (1763–1846) and Giovanni Bottesini. Overture to Fidelio, Op. 72 LUDWIG VAN BEETHOVEN (1770–1827) Born to a musical family in the northern Italy town of Crema, Bottesini began violin at the Rossini wrote one overture he used for four age of five and also studied piano. cello, and different operas; it took Beethoven four tries double bass. In 1835, his father learned of two to find the right overture for his only opera. scholarship openings at the Milan Conservatory— He began working on Leonore in 1804, but one in bassoon, one in double bass—and because of his inexperience in writing for the Giovanni’s musical fate was sealed. Bottesini theater, the composition of the entire opera was studied at the conservatory for three years and difficult and filled with false starts and many then left to concentrate on composition and re-writes. The first performances took place in start his performing career. While playing in an November 1805 to dismal reception by both orchestra in Verona, he came to the attention of critics and audiences. These performances used Giuseppe Verdi, who encouraged him to embark the overture now known as Leonore Overture on a career as a soloist. The year 1846 brought No. 2. Beethoven revised the work extensively him to the Havana, Cuba opera company, and and composed another overture, Leonore Overture with this organization he made extensive tours of No. 3, for a performance in March 1806. He America and premiered his first opera. wrote yet another version, Leonore Overture No. 1, in anticipation of an 1807 performance As Bottesini’s reputation grew, he became known which never took place. (The illogical numbering as “the Paganini of the double bass.” Critics raved derives from confusion, only recently resolved, about his intonation, pure tone, and exceptional about the order of composition of the overtures.) agility on the instrument. He toured Europe, conducting and performing numerous concerts All three of these overtures are rather long, with in London, Paris, and Palermo. In 1871, Verdi the complexity one would normally expect from selected him to conduct the premiere of Aida a movement of a symphony. Beethoven realized in Cairo. Later, Verdi recommended him for they were overly dramatic and would overshadow directorship of the Parma Conservatory, though the first few scenes of the opera. A revival in 1814 he served in that post for just one year before his gave him the opportunity to make substantial death in 1889. revisions to the opera itself, now named Fidelio, and to create a more succinct, less dramatic Many of Bottesini’s compositions have been lost, overture. The revised opera is now a fixture of the but we know of at least ten operas, a symphony, operatic repertoire, and its overture frequently six string quartets, and a mass setting. Of course, appears on concert programs. he also wrote many pieces for the bass, including an instruction method, dozens of solo pieces, and three concertos, of which the second is the most Double Bass Concerto No. 2 in popular. Composed in 1845, it includes many of Bottesini’s innovations in bass technique: a wide B Minor range of pitches, sudden changes in dynamics, and GIOVANNI BOTTESINI (1821–1889) rapid passagework. The first movement includes a long cadenza that encompasses the full range of It was not uncommon for nineteenth century the instrument and requires considerable agility virtuosos to write music designed to display their on the part of the soloist. The slow, introspective abilities, and for players of certain instruments it second movement shows the composer’s affinity was almost a necessity. There is a lot of “show off” for bel canto Italian opera. The third movement is music for pianists and violinists, but not much a jaunty affair, with rhythmic figures reminiscent for instruments like the bassoon, trombone, and of bolero dances. especially, double bass. For players of that large,

www.brevardphilharmonic.org | brevard philharmonic 35 program notes

Symphony No. 8 in F Major, Op. 93 form movement, it reaches a dramatic climax LUDWIG VAN BEETHOVEN (1750–1827) at the beginning of the recapitulation, rather than during the development. The second Composed in 1812. About the same time—1810: movement, usually the place for a contemplative Bavaria holds the first Oktoberfest in celebration moment, is instead taken up with a joke that of the Crown Prince’s marriage. 1812: The Boston is another link between the Eighth Symphony Gazette coins the term “gerrymander” in a political and Wellington’s Victory. The latter was originally cartoon. The Brothers Grimm begin publishing written to be performed on a Panharmonicon, fairy tales. 1813: The London Philharmonic is a sort-of mechanical military band, invented by founded. Jane Austin’s “Pride and Prejudice” is Beethoven’s friend Johann Napomunk Maelzel. published anonymously. The Panharmonicon never amounted to much, and Beethoven rescored Wellington’s Victory Beethoven’s Seventh and Eighth symphonies were for standard orchestra. Another of Maelzel’s sketched simultaneously in 1811, completed the inventions was more interesting to Beethoven— following year, and share an emotional buoyancy the metronome. One day, as the possibly not found elsewhere in Beethoven’s orchestral apocryphal story goes, Maelzel was demonstrating output. Critic Ernest Newman wrote the Eighth the metronome to Beethoven and some friends. “takes the overspill of the Seventh,” and both The composer was taken with the device and sang symphonies exhibit “a mood of joyous acceptance a little tune to the accompaniment of the ticking of life and the world.” device, which became the theme of the Eighth’s second movement. Curiously, both of these symphonies were written during one of Beethoven’s most emotionally The conventional Classical-era symphony difficult periods. Beethoven had been engaged would feature a minuet as the third movement, in a passionate affair with Antonie Brentano, but in almost all of his symphonies Beethoven a married woman who offered to leave her substituted a faster movement he called a scherzo. husband and children to live with the composer. In the Eighth Symphony he returned to the But, Beethoven realized he could not give her earlier practice, but with its unusually accented the same devotion she gave him and ended the beats this minuet is far from something Haydn affair. Today, most scholars believe the famous or Mozart would have written. The finale returns “Immortal Beloved” letter of July 1812 was us to the mood of the first movement, complete written to Brentano. with jocular themes, unexpected syncopations, and playful incongruities. The Eighth was first performed in February 1814 in a concert that included the Seventh Symphony Beethoven biographer Maynard Solomon and Wellington’s Victory, an overblown tribute wrote the Eighth Symphony exists “in a festal to the defeat of Napoleon. Both these pieces paradise, outside of time and history, untouched overshadowed the relatively modest Eighth, by mortality. [It] transports us into a sphere of which within a year became very popular, laughter, play and the exuberant release of bound resulting in it being arranged for numerous energy.” It is a small jewel nestled between the instrumental groupings. towering masterpieces of the Seventh and the Ninth and was, by some accounts, Beethoven’s The Seventh begins with a long introduction, favorite of all his symphonies. but the Eighth gets down to business right away and then zips along with almost continuous rhythmic inventiveness. Unusual for a sonata- Program Notes © 2019 by Alan M. Rothenberg www.noteperfectnotes.com

36 brevard philharmonic | www.brevardphilharmonic.org POPS: STAGE, PAGE, AND SCREEN

MAY 17, 2020, AT 3:00 PM James C. Fellenbaum, PORTER CENTER, conductor BREVARD COLLEGE

ARR. BRUCE CHASE Broadway Tonight!

RICHARD ROGERS/ Oklahoma! Selections for Orchestra ARR. ROBERT RUSSELL BENNETT

STEPHEN SONDHEIM/ Send in the Clowns from ARR. ROBERT LOWDEN A Little Night Music

ANDREW LLOYD-WEBBER/ Selections from Phantom of the Opera ARR. CALVIN CUSTER

INTERMISSION

MEL BROOKS/ARR. TED RICKETTS Selections from The Producers

JOHN WILLIAMS Main Theme from Angela’s Ashes

HOWARD SHORE/ARR. JOHN WHITNEY The Lord of the Rings: The Fellowship of the Ring, Symphonic Suite

TODAY’S CONCERT IS SPONSORED BY GINNY AND WARREN BEDELL

Please silence and refrain from using cellular phones during this performance. The use of cameras, audio or video recorders at any Brevard Philharmonic event without authorization from Philharmonic management is strictly prohibited.

www.brevardphilharmonic.org | brevard philharmonic 37 38 brevard philharmonic | www.brevardphilharmonic.org brevard philharmonic personnel

VIOLIN VIOLONCELLO FRENCH HORN Kristine Fink Candler, Ben Smith, principal Andrew Merideth, principal concertmaster Carol Bjorlie Christopher Caldwell Paul Stroebel, Livingston Cheney Seth Hall principal second violin Clara Johnson Tyler Goodwin Kirsten Allen Patricia K. Johnston Julie Ledford Audrey Bass Erin Klimstra Simone Beach Norman Malenke TRUMPET Callie Brennan Bruce McLean Larry Black, principal Renee Bresler Nora Naughton Brian Garland Sarah Cammisano Betty Tang Chris Imhoff Joanne Cohen William Shank Clarice Collins DOUBLE BASS Ralph Congdon Leo Bjorlie, principal TROMBONE Jennifer Cooke Michael DeTrolio Zsolt Szabo, principal Cheryl Hagymassy Keith Freeburg L. Rienette Davis Samantha Hearn Vance Reese Ken Hurst Lillian Hall Scott Swanberg Sarah Hurd BASS TROMBONE Mary Irwin PICCOLO Matthew Anderson Sam Lyons Linda Threatte Kathryn McLean TUBA Zachary Miller FLUTE Michael Schallock Michael Perry Rosalie Morrow, principal Monique Pinelli Linda Lancaster TYMPANI Carolyn Tackett Byron Hedgepeth Michele Tate OBOE Elizabeth Terry Susan Brashier, principal PERCUSSION Patrick Preacher Linda Carrillo, principal VIOLA MaryAllyeB Purtle Joshua Dunn Cameron Rehberg, principal Wesley Strasser Lucie Fink CLARINET Sarah Kehrberg Stephen Loew, principal KEYBOARD Margery Kowal Charles Morrow Jason McCoy Patricia Black Henrietta Neeley BASSOON Emily Shelton Poole HARP Jennifer Anderson, principal Kendra Rempel Claire Stam Rosalind Buda Amanda Tant Karen Molnar Anastasia Yarbrough MANAGER Will Peebles Carla Wright

LIBRARIAN Kendra Rempel

www.brevardphilharmonic.org | brevard philharmonic 39 2019 contributors

e invite you to partner Geri & Bill Hambley Harriett & John Vanderschaaf with the Brevard Jean & Bill Holmes Sherwin Williams Philharmonic and Ann S. Ives Cathy & Ron Wood Whelp support its goal of creating KTCHN WSQL and presenting the finest possible Lib Mason WNCW orchestral music. We gratefully Harriette & Mike McLain Marie & Ray Miller supporters acknowledge the following donors Judy & Don Patrick $100-$249 who made contributions prior Ronnie & Pete Peterman Anonymous (3) to 07/31/2019. Gloria & Jim Sanders Amazon Smile Aleta & Ed Tisdale Judith & Robert Andersen Transylvania Community Bonnie Arbuckle director’s circle Arts Council Linda & John Austin $10,000 and above Beverly & David Yeager Audrey Love Foundation Sally & Gene Baker Renee Bresler & Wayne Steifle Michele & Marvin Barg Jan & Doug Hart sustainers Elizabeth Bates & Roy Penchansky Rabinowitz Estate $250-$499 Susan & Dick Bir Anonymous Joan & David Bloom Suzanne & Jim Bailey Jean & Charles Brendle producers Joan Collier Barham Margaret E. Bridges, MD $5,000-$9,999 Beckett Plumbing Carol & John Carrano Kristine & John Candler Steven & Chris Bergner Russell N. Chappell Ginny & Warren Bedell Carrie Blair Leslie & Kenneth Chepenik Carole & Ted Futrelle Broad Street Wines Ann & Robert Commarota MountainSide Homebuilders JC Cecconi Laura Peck Cunningham Jacquelyn & Bruce Rogow Gayle & Wes Colby Binky Curwen Harriett & Kenneth Walls Leslie & Art Cole Linda & Allen Delzell Dalton Wholesale Floors of Terry Dudley underwriters Gordon County Edie & Chuck Dunn $2,500-$4,999 Nancy & Joe De Pippo Don Eckelmann A. Stuart Fendler Family Foundation Patrick Duncan M & M. George Erdman GlenLaurel Partners East Coast Granite Paul Feste Becky & Lawrence Lohr Connie & Chuck Edmands Patricia Gross Carolyn Mills Glenco Fireplaces, Etc., Inc. Ron Gurtler Carol & Jim Smeaton Glenco Foam & Sandy Harrington Insulation, Inc. Carol & John Helbling patrons Janet & Richard Grey Karen A. Henegar $1,000-$2,499 R. Griffin and Associates Ann & Bob Hoeke LTG (R) & Mrs. John M. Brown, III Griffin Waste William & Judith Hollenack Dugan’s Pub Lynn & Don Hupe IBM Yvonne & Charles Goldsmith Suzanne & John Jack Mary Kay & Bill Jennings GBS Building Supplies Adelaide Hart Kersh Donna Johnston & Charles Stohr Hampton Inn Eleanor S. Kirlin Kathy & Luke Kitahata John Luzena Lynn & Larry Klein Lin & Ken Kolb Reed & Jack Parker Harriet & Chris Lewis Kristy & George Lampe Inez & Bob Parsell Elaine Long & Jim Phillips June Litchfield Virginia & Gayle Ramsey Joan & Malcolm MacDonald Dottie & Steve Marcinko Isabel Richardson Sue & Norm Macoy Nancy & Hal Martin Lynne & Phil Seymour Matanuska Lodge Sandra & Harry McCauley Aleen Steinberg Roberta & Bob Miller Carolyn & John McCoy Rose Wimsatt & Peter Reilly Quality Comfort Heating Eleanor Mercer and Cooling Barbara Meyer benefactors Lucy & Robert Rodes Virginia Meyn $500-$999 Nancy Scharsich Joanie & D.L. Miller Anonymous Dorothy Semans Dori Miller & Don Bieger Karla Atkinson Paula & Ron Silverman Sarah Lee & Don Myracle Brevard Brewery Steep Creek Stone Barbara Prietz Roberta Carver & Sysco Jeanne & Donald Puchala Glenn Cockerham Tino and Associates Carlene Ragan Dorothy Chapman M. Torrey & D. Hirschman Manuel Reyes Otalora Lucille & Peter Chaveas Susan D. Toscani Jane G. Robertson Nancy & Fred Granros Mary Beth Shumate Claire M. Rouse

40 brevard philharmonic | www.brevardphilharmonic.org 2019 contributors

Christine Schmidt & Elizabeth Brown Eric Myracle David Warinner Fred Cohn Sue & Jim Null Tom Shetler Robert Currier Ken Olson Virginia Simpson Carol & Jim Dolan John Orr Mary & Bob Stoner J. Eddy & A. Green Pamela & Christopher Pazoles Carole & Frank Taylor Geri & Bill Hambley Patricia A. Pike Ray Tuers in memory of Pete Peterman Emily Porter Barbara & Don Turner Sallee Engstrom Elizabeth Rahn Mary & Richard Walker Exxon Mobile Patty & Alan Roman Elaine & Bob Wilkerson Lyn & Jack Fields Janie & Robert Sargent Monica Williams Kathy & Ralph Filson Parke Sickler Food Matters Jeanne Speight contributors Anita Goldsmith Linda K. Stadnick up to $99 Carolyn Gordon-Loebig Robert Stolze Anne Alexander Suzy Greene Frank Waterman Judy & Dennis Berman Catherine Lewis Susan Winsor James Brecher Ysleta McDonald Charles Briedis Rhae & Don Mozley

Bequest Is the Brevard Philharmonic in your will? A bequest to the Brevard Philharmonic— whether a percentage or fixed dollar amount of your residuary estate—ensures that the tradition of superb orchestral music continues in our community for generations to come. Please call the office with information on your bequest and it will be recognized in the Brevard Philharmonic program book as a Planned Gift.

Endowments and Legacy Gifts Endowments and Legacy Gifts allow the Brevard Philharmonic to develop income to enhance and expand our programming. We gratefully acknowledge the following gifts that contribute to the financial security of our mission.

Virginia W. Ramsey Fund for Music in the Schools Bill & Geri Hambley Endowment The Community Foundation of Western North Carolina The Estate of Larry Rabinowitz

If you would like to establish a fund or contribute to an existing fund, please call the Brevard Philharmonic office at 828–884–4221 or email [email protected].

www.brevardphilharmonic.org | brevard philharmonic 41 sponsorships Living with the Joy of Great Music in Brevard Are you a donor looking for a way to take it to the next level? Would you like to have a more significant impact on the Brevard Philharmonic’s financial well-being? Sponsorships demonstrate a commitment to the cultural enrichment of our community and help us provide outstanding orchestral music and guest artists throughout the year. Thank you for your consideration of becoming a leader in our donor community.

If you would like to discuss sponsorship opportunities, call Glenn Cockerham at 828-884-4221.

Concert and Music Sponsorships

Premiere Concert Sponsorship – $5000 -Your choice of available concerts to sponsor -Two season tickets plus a pair of tickets to sponsored concert -10% discount on all single ticket purchases -Recognition in press releases, program book, and website -Recognition on concert poster in the lobby -Recognition at all donor functions -Invitation to a rehearsal and meeting with the Maestro

Music in the Schools Concert Sponsorship – $4000 This sponsorship enables all Transylvania County fifth-graders the experience of a live orchestra concert in the Porter Center. -Recognition in the MIS press releases -Recognition in the program book

Concert Sponsorship – $3000 -Your choice of available concerts to sponsor -Two tickets to sponsored concert -Recognition in press release, program book, and website -Recognition on concert poster in the lobby -Recognition at all donor functions

Guest Artist Sponsorship – $2000 -Your choice of available guest artists to sponsor -Two tickets to sponsored concert -Recognition in press release -Recognition on the program page of chosen concert

Music Sponsorship – $550 -Your choice of musical composition to sponsor -Recognition on the program page of chosen concert

42 brevard philharmonic | www.brevardphilharmonic.org board of directors board of Ex-Officio Member staff directors James C. Fellenbaum 2019-2020 Artistic Director/Conductor ADMINISTRATOR Ex-Officio Member Dusty Campbell PRESIDENT Barbara Meyer Glenn Cockerham C Notes President ORCHESTRA MANAGER VICE-PRESIDENT Carla Wright Lib Mason The Advisory Board is a place of honor that has been LIBRARIAN TREASURER established for those who have faithfully served Brevard Kendra Rempel Kristine Candler Philharmonic. Members are asked to be on-call for the SECRETARY PRODUCTION Board of Directors to share MANAGER Judy Patrick their experience and expertise. Erika Maciula MEMBERS AT LARGE ADVISORY BOARD Joan Collier Barham MEMBERS HEAD USHER Renee Bresler Karla Atkinson Rosalie Hale Leslie Cole John Luzena Carole Futrelle Layton Parker Jan Hart Jinks Ramsey Lawrence Lohr Manuel Reyes-Otálora Mike McLain Jim Smeaton Mary Beth Shumate Ed Tisdale Carol Smeaton Don Wauchope

VISIT US ONLINE AT www.BrevardPhilharmonic.org

Program Repertoire C Notes Guest Artist Bios & Videos Order Tickets Photos Email Us Blog Pages Volunteer Music in the Schools Donate

www.brevardphilharmonic.org | brevard philharmonic 43

music in the schools

All fifth graders in Transylvania County are treated to a full orchestra experience. Brevard Academy’s Jack Gresham was the 5th grade guest conductor for A Western Fanfare.

usic in the Schools The brass family is introduced to the fourth grade Music in the Schools is Brevard by Blue Ridge Symphonic Brass covering the Philharmonic’s very special outreach history of brass instruments and how the sounds programM to the elementary school students of are produced, including the physics of low and Transylvania County. Through live performances high notes. and demonstrations, many of which take place right at the County Schools and Brevard As the cumulative experience of the Music in the Academy, this program introduces the students Schools program, fifth graders are treated to a full to the four families of instruments that make up orchestral concert by the Brevard Philharmonic the symphony orchestra. Orchestra directed by Maestro Fellenbaum at Brevard College Porter Center. “Meet the Orchestra” is the Kindergarten program introducing students to each of the All programs are organized and coordinated by families in the orchestra with an overview of Mary Beth Shumate, Brevard Philharmonic strings, woodwinds, brass, and percussion. Education Outreach Director.

First grade enjoys the Camerata Antiqua, a The Brevard Philharmonic extends sincere professional recorder ensemble, who discuss appreciation to JACQUELYN AND BRUCE woodwinds and play a variety of songs including ROGOW for their generous sponsorship of early music. the Music in the Schools program. Additional sponsors include Geri and Bill Hambly, the Due to the enormous size of the percussion family, Virginia W. Ramsey Fund for Music in the Porter Center is the setting for the second grade Schools, C Notes, and other BP donors. This percussion program. All second graders in the project was also supported by the N.C. Arts county (including private and home schooled) Council, a division of the Department of Natural are invited for an exciting demonstration of & Cultural Resources and the Transylvania the percussion family and sound of the massive Community Arts Council. pipe organ as demonstrated by Brevard College students and faculty.

Third graders are treated to a presentation of the string family and enjoy learning the history of the violin family (and bows) and hearing the sound of the different instruments in their various registers.

www.brevardphilharmonic.org | brevard philharmonic 45 c notes

Notes is an affiliate organization of the Brevard Philharmonic, providing vital financial and volunteer support throughoutC the year. Members get involved by hosting audience receptions in the Porter Center lobby, ushering at concerts, preparing and serving lunch for our musicians between rehearsals on Saturdays, and providing housing to those musicians who travel to perform with us.

Meetings during the year allow C Notes members to socialize with each other, enjoy musical performances, learn about upcoming volunteer opportunities, and discover the behind-the-scenes activities that are part of bringing a concert to the stage. Members are engaged and involved in many facets of Brevard Philharmonic operations.

To be a part of C Notes and for more information about how you can assist the Brevard Philharmonic, please call 828.884.4221 or visit www.brevardphilharmonic.org.

Judy Andersen Joy A. Evans Barbara Meyer Bonnie Arbuckle Kris Fulmer Marie K. Miller Karla Atkinson Carole Futrelle Inez Parsell Polly Averette Kathleen Garofalo Judy Patrick Sally Baker Anita Goldschmidt Ronnie Peterman Nancy Beale Yvonne Goldsmith Carol Poole Susan Becker Carolyn Gordon-Loebig Virginia W. Ramsey Susan A. Bir Nancy Granros Elaine Raynolds Joanna Bliss Geri Hambley Katinka Remus Gail Blunt Sandra G. Harrington Isabel K. Richardson Joshua Braun Janet Hart Jacquelyn Rogow Renee Bresler Elisabeth Illg-Reyes Penny Roubion Poo Cabe Carlene Jerome Claire M. Rouse Jacolyn Campbell Adelaide Kersh Janie Sargent Kristine F. Candler Janice Kimball Nancy Scharsich Marilyn Carlson Eleanor Kirlin Mary Beth Shumate Rachel Carpenter Kathy Kitahata Delilah Stewart Carol Carrano Susan Klopp Anne Stoutamire Roberta Carver Elizabeth Lamberton Elizabeth Owen Taylor Leslie Chepenik Marilyn Lockhart Aleta Tisdale Chloe Coger Linda Gash Locks Susan D. Toscani Leslie Cole Rebecca Lohr Harriett Vanderschaaf Karen Cole Virginia MacDonald Cecile B. Voso Elizabeth Creech Suzanne Macoy Harriet Walls Elisabeth Curwen Lib Mason Don Wauchope Maggie Di Rocco Mary Alice McBrayer Carol Weinhofer Mary Dryselius Leslie McLachlan Carla Wright Ruth Duncan Harriette McLain

46 brevard philharmonic | www.brevardphilharmonic.org donate your instrument drive

o you have a band or orchestra instrument tucked away in a closet or attic, playable but no longer being played? The Brevard DPhilharmonic is seeking donated instruments for ‘Music In The Schools,’ our outreach program to Transylvania County Schools.

Brevard Philharmonic’s Music In the Schools program is holding the ‘Donate Your Instrument’ (DYI) drive to provide instruments to middle and high school band and orchestra teachers in Transylvania County Schools. This will make it possible for students to play these instruments in school and check them out for practice at home. The availability of free instruments will enable more students to learn an instrument and participate in middle and high school music programs. It is © Susan Chambers also hoped that DYI will enable Brevard Middle Rosman High School Band students with their donated instruments. School to expand a small string group to the first ever BMS orchestra. instruments to playing condition. Please Why is it so important to provide the opportunity make checks payable to Brevard Philharmonic, for all children to play a musical instrument? with ‘DYI’ on the memo line. Research shows that music education boosts students’ math, computer, and language skills. And You may bring a band or orchestra instrument, playing in the school band or orchestra provides or your cash or check, to the Brevard students with another way to express themselves. Philharmonic office. The office is located at 521 North Broad St., Brevard, NC. The orchestra Whether children are already musically aware, phone number is 828-884-4221; please call first or discover a new passion through this program, to confirm the office is open. the investment and effort is more than worth it. That’s why Music In The Schools is asking you If you prefer, bring your instruments and/or support the ‘DYI’ drive this year. cash/check donations to the next BP Concert. You will receive a receipt for your donation If you don’t have an instrument to donate, as Brevard Philharmonic is a non-profit cash donations are also welcome to support 501(c)(3) organization. the purchase of instruments or restore used

We are grateful to the following DYI donors of both cash and instruments: John Bundy JC Cecconi Nora Lynn Holmes Anita Houston, Mountain Woodwind Repair Janie & Robert Sargent Jim Symington Aleta Tisdale Linea Warmke Susan Wilkinson

© Susan Chambers

Aleta Tisdale presented Lincoln Walker a violin at a Brevard Philharmonic concert.

www.brevardphilharmonic.org | brevard philharmonic 47 house concert-june 2019

Cellist Amit Peled Returns for Philharmonic Fundraiser sraeli cellist Amit Peled, a musician of profound artistry and charismatic stage presence, who performed with the Brevard Philharmonic in 2016, returned for aI house concert at the home of Kristine and John Candler on June 6, 2019. Peled was joined by accompanist Vance Reese, assistant professor of music at Brevard College.

In addition to being a soloist, Peled is an educator having taught at Johns Hopkins University since 2003, where he was one of the youngest professors ever at a major conservatory. Peled is also the founder, conductor, and artistic director of the Mt. Vernon Virtuosi, a chamber orchestra dedicated to launching careers of recently graduated music students.

This was the second house concert fundraiser for the Philharmonic and was truly an intimate musical experience and a glorious gift for all guests! Proceeds from the concert will be used to continue bringing exceptional guest artists to performances of the Brevard Philharmonic.

Many thanks to the sponsors and donors for making this event a success!

PLATINUM SPONSORS Kristine and John Candler Lib Mason and Bernie Groseclose Kristine and John Candler Roberta Carver and Harriette and Mike McLain Jan and Doug Hart Glenn Cockerham Barbara Meyer Carol and Jim Smeaton Gayle and Wesley Colby Harvey Miller Leslie and Art Cole Reed and Jack Parker GOLD SPONSORS Nancy and Joe DePippo Jinks Ramsey Renee Bresler and Wayne Steifle Connie and Chuck Edmands Manuel Reyes-Otalora Harriette and Mike McLain Shirley and Stuart Fendler Gypsy Richardson Gypsy Richardson Carole and Ted Futrelle Katy and Chaim Salomon Yvonne and Charles Goldsmith Janie & Robert Sargent SILVER SPONSORS Ron Gurtler Dorothy Semans Joan Barham Sandy Harrington Mary Beth Shumate John Luzena Jan and Doug Hart Paula and Ron Silverman Matanuska Lodge, Karen A. Henegar Carol and Jim Smeaton Glacier View Alaska Carol Hupe Alice Sperling Lynn and Don Hupe Aleta and Ed Tisdale DONORS / GUESTS Adelaide Kersh Ray Tuers Joan Barham Harriet and Chris Lewis Carol and Harry Weinhofer Renee Bresler and Wayne Steifle Becky and Lawrence Lohr Elaine and Bob Wilkerson Chris and Steve Bergner John Luzena Cathy and Ron Wood Carrie Blair and Amiee Smallwood Sue and Norm Macoy

48 brevard philharmonic | www.brevardphilharmonic.org Brevard Philharmonic supports and celebrates music education. There are many wonderful music educators in WNC and several are connected to Brevard Philharmonic. If you are looking for lessons, consider one of these.

Brian Garland Patricia Black Instructor of Trumpet, Shires Artist Piano, vocal coaching [email protected] [email protected] www.briangarlandtrumpet.com 828-884-8990 828-736-0404

Tonya & David Hudson Piano, voice, saxophone, songwriting, Steve Loew Instructor of Clarinet at Asheville full service recording studio School of Music [email protected] [email protected] www.hudsoncreative.org 828-318-4663 828-243-0256

Norm Malenke Kathryn McLean Cellist and Cello Instructor Suzuki violin Instructor [email protected] [email protected] 828-435-5492 864-230-4866

Kendra Rempel Linda Threatte Violin and Viola Instructor Flute Instructor [email protected] [email protected] 505-459-4585 828-883-9452

Sarah Kehrberg violin and viola Suzuki certified [email protected] 828-772-6232

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