Support Your Musicians 64 Become an Annual Fund Contributor 66 Education & Outreach 71 Our Sponsors and Partners

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SAVANNAH PHILHARMONIC 2019/2020 SEASON VOL. 2 OF 2 JANUARY - MAY

Meet The Artists Strings United Thomas Gansch & Savannah Arts the “Killer Queen” Academy Ensemble pg 32 pg 27 An Evening of Tango Season Finale A delight for the senses Mozart’s Requiem pg 26 Maestro Harada Returns pg 48

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#SAVPHIL • 3 Welcome

SAVANNAH Dear Friends, PHILHARMONIC BOARD As we welcome 2020, I want to offer some personal reflections on the OFFICERS first months of my Designate sea- Rhegan son at Savannah Philharmonic. White-Clemm There is so much to be excited BOARD CHAIR about at #savphil. There have Scott Lauretti been extraordinary experiences of VICE CHAIR community connectivity and love, Bud Green starting with the sold out Season TREASURER Opener in September, followed by Phyllis Albertson October’s Picnic in The Park which SECRETARY brought more than 19,000 fans to Forsyth Park, then hearing Nina Eidell violin soloist William Hagen’s inspiring Savannah debut in EXECUTIVE COMMITTEE MEMBER November. Our annual Holiday Spectacular concert series in December Susan Whitaker EXECUTIVE COMMITTEE got everyone in the festive spirit! MEMBER Since my arrival in July, I have enjoyed getting to know my wonderful musicians, chorus, Staff, Board, and fans. I feel so BOARD MEMBERS at home here in Savannah and I couldn’t be happier to be Carol Bell the new Music & Artistic Director starting next season. Carolyn Brown In February, we will be announcing my 2020/2021 inaugural Staci Donegan season as Music & Artistic Director of Savannah Philharmonic. Rachel Fields I look forward to returning to Savannah in January to host Lyon Jemison our annual fundraiser, An Evening of Tango, and then I will Marek Lewanda be returning to the stage in May to close this season with Roger Moss Mozart’s Requiem. Daphne Nash Together, these and many other moments of this season Kelley Parker remind me of the amazing power of music to inspire, edu- Renee Portell cate, comfort and elevate. I am honored and thankful to Cindy Prutzman have the privilege of stewarding the Savannah Philharmonic Mel Whitehead through this next exciting stage of artistic growth. I offer my sincere thanks to the Board of Directors, and the Staff for EX OFFICIO all of the great work that they do as the backbone of this Terri O’Neil organization and to the musicians, I profess my joy and ap- EXECUTIVE DIRECTOR preciation of the passion you bring to each of our concerts. Keitaro Harada To our audience, our donors, our subscribers and our cor- MUSIC & ARTISTIC porate sponsors, without your support and appreciation of DIRECTOR DESIGNATE the music we make, a resident orchestra could not exist in Savannah. Thank you for choosing to join us on this journey. KEITARO HARADA Music & Artistic Director Designate Savannah Philharmonic

4 • SAVANNAHPHILHARMONIC.ORG Table of Contents

TEAM Thomas Gansch Terri O’Neil pg 32 EXECUTIVE DIRECTOR Keitaro Harada MUSIC & ARTISTIC DIRECTOR DESIGNATE Mel Whitehead CHORUSMASTER Pre-Concert Nathan Lee Edward (E.J.) Lada Talks pg 25 DIRECTOR OF ARTISTIC pg 18 OPERATIONS Dr. Sinisa Ciric Season Finale CONCERTMASTER & pg 48 ARTISTIC DIRECTOR OF LARSEN MUSICIAN CONCERT SERIES Marsha Krantz LIBRARIAN Mike Daly ORCHESTRA PERSONNEL MANAGER 4 A Message from your Maestro Frances C. Colón 8 Season at a glance DEVELOPMENT & 9 Larsen Spotlight Series PATRON SERVICES ASSOCIATE 10 Orchestra 12 Chorus Katherine Poss DEVELOPMENT & 13 Keitaro Harada COMMUNICATIONS An Evening of Tango 14 Concertmaster ASSOCIATE pg 26 15 Chorusmaster Kristen Spiridon EDUCATION & 16 Make the Most of Your Visit OUTREACH Going Green 18 Pre-Concert Talks COORDINATOR pg 7 20 Mischievous Musicians Margaret Murphy 26 An Evening of Tango FINANCE ASSOCIATE 27 Strings United 28 Modern to Majestic 34 Cinephile Du Joure 38 Sympátheia 42 Germanic Passion 47 Saturday’s Night’s Fever Make the Most of Your Visit 48 Season Finale Mozart’s Requiem pg 16 54 Annual Fund Contributors 62 Support Your Musicians 64 Become an Annual Fund Contributor 66 Education & Outreach 71 Our Sponsors and Partners

#SAVPHIL • 5 “Music has real health benefits. It boosts dopamine, lowers cortisol and it makes us feel great. Your brain is better on music.”

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6 • SAVANNAHPHILHARMONIC.ORG WE’RE GOING GREEN! Savannah Philharmonic is proud to announce its going green initiative. In order to cut down on waste, we have chosen to print two programs per season: Volume 1 featured all orchestral and Larsen Musician Spotlight Series concerts from September through December. Volume 2 features all orchestral, chorus, and Larsen Musician Spotlight Series Concerts from January through May. Help us go green! n Keep your program and bring it with you to each concert. -Or- n Recycle your program in the designated recycle bins at the end of each concert. n View the program online, including program notes, days ahead of the concert. Your participation in going green will make an impact on the Savannah community, the environment and help us allocate saved dollars to producing more music.

#SAVPHIL • 7 Season at a glance

2019-2020 MISCHIEVOUS MUSICIANS SATURDAY NIGHT’S FEVER SEASON January 18 7:30 pm April 18 7:30 pm Lucas Theatre for the Arts Lucas Theatre for the Arts Tickets Janna Hymes, conductor Mel Whitehead, conductor $25-$80 Nathan Lee, piano Savannah Philharmonic Chorus & Friends MODERN TO MAJESTIC February 8 7:30 pm MOZART’S REQUIEM Johnny Mercer Theatre May 2 7:30 pm Enrico Lopez-Yañez, Johnny Mercer Theatre conductor Keitaro Harada, conductor Thomas Gansch, trumpet Alyssa Toepfer, soprano Zoie Reams, mezzo-soprano GERMANIC PASSION Omar Najmi, tenor March 21 7:30 pm David Cushing, bass Lucas Theatre for the Arts Savannah Philharmonic Vlad Vizireanu, conductor Chorus Ryne Cherry, baritone

SPECIAL EVENT: AN EVENING OF TANGO FRIDAY, JANUARY 31 6:00 pm Victory North Hosted by Maestro Keitaro Harada with Gustavo Feulien, baritone

8 • SAVANNAHPHILHARMONIC.ORG STRINGS UNITED: Larsen Musician Savannah Arts Academy ensemble Spotlight Series presented by Savannah Philharmonic Sunday, January 26 5:00 pm Tickets $25 First Presbyterian Church

Presented by CINEPHILE DU JOURE Nancy & Ken Larsen “Blue Heron” chamber ensemble Sunday, February 23 5:00 pm Lutheran Church of the Ascension

MARTIN GENDELMAN: Sympátheia Sunday, March 8 5:00 pm Trinity United Methodist Church

To purchase tickets VISIT savannahphilharmonic.org CALL the Savannah box office at 912 525 5050, option 1 to speak with a representative STOP BY the Savannah Box Office at 216 E. Broughton Street during business hours (M- F, 10 am – 5 pm)

#SAVPHIL • 9 Orchestra

VIOLIN Angela Loizides Sinisa Ciric Betul Soykan Concertmaster Sponsored by David Katz Susan & Ron Whitaker Conrad Thomas Andrea Pettigrew Marsha Krantz Assistant Concertmaster Sponsored by Jason Economides Dr. and Mrs. Sidney Alex Shlifer Jefferson Bolch, III Marina Volynets David Song Sponsored by Kelley B. Parker VIOLA David Edwards LiZhou Liu Principal Danijela Žeželj-Gualdi Sponsored by Yvonne Johnson Rhegan White-Clemm Assistant Principal & Timothy Clemm Magaly Seay Pedro Miszewski Sponsored by Sponsored by Pierce Jemison Dave & Sylvaine Neises Sprite Crawford Adrianne Munden-Dixon Patrick Shelc Sponsored by Richard Foster Sadie Nichols Anastasia Petrunina Gabriel Schlaffer Martha Gardner Marsha Krantz Lucas Scalamogna Michael Giel Ann Cafferty William McClain Robert Givens CELLO Kathryn Gardner-Otwell GUEST PRINCIPAL Jonathan Wright Chair Sponsored by Diana Langer Jeanne Johnson Alfred Gratta Ricardo Ochoa Guest Principal Principal Second Violin Roee Harran Sponsored by Fran & Hue Thomas Guest Principal Adrienne Caravan Joyce Yang Assistant Principal Guest Principal Second Violin Jessica Messere Sponsored by Sponsored by Lyon Jemison Kathleen & Steve Brenneman Christian Simmelink Erin Cassel Sponsored by Sponsored by Anonymous Cynthia Heil Jessica Daniel Mary Beth Bryant Sarah Land Sponsored by Sponsored by Ruth & Tom McMullin Lynn Weddle & Bud Green

10 • SAVANNAHPHILHARMONIC.ORG Katie Truex CLARINET John Harrison Bryant Sponsored by Jackie & Stephen Kristen Spiridon Jonathan Swygert Rabinowitz Principal Sponsored by Mark Gould Ismail Akbar Ron & Peg Morris TROMBONE Daniel Mumm Taylor Massey Sponsored by Ann Lytle Carl Polk Jean Gay Principal Jeffrey Brooks Sarah Kapps Mark Spradley Gretchen Roper Mary Horst Hollie Lawing Pritchard Emily O’Shea DOUBLE BASS Andy Warwick TUBA Vadim Volynets Katherine White David Zerkel Principal Principal Patrick Hanudel Joel Schnackel Jimmy Hendricks Russell Brown Tod Leavitt TIMPANI Gabriel Monticello BASSOON Ray McClain Sandra Nikolajevs Emory Clements Principal Principal Marc Chesanow Sponsored by Sponsored by Susan & Ron Whitaker PERCUSSION Jan & Gus Bell Sasha Enegren Stephen Primatic Peter Berquist Sponsored by Principal Sponsored by Michael W. & Sponsored by Tim & Dorothea Coy Peggy Towson Nancy & Ken Larsen Jacqueline Pickett Reed Hanna Matt Fallin Branca Ivanovic Brad Behr Ryan LeVeille Jesse Monkman FLUTE FRENCH HORN Diana Sharpe Jeana Melilli Mike Daly Principal Principal Patti Tolbert

Julie DeMott David Bradley HARP Erica Bass Pirtle Sponsored by Drs. Heather Simon & Carolyn Munford Regina Helcher Yost Steve Pohl Principal Debra Sherrill-Ward Kela Walton OBOE Helen Werling Andrew Jay Ripley KEYBOARD Principal Jonathan Croy Michael Braz Sponsored by Judith Thompson Sponsored by Marek & The Original Hippie, llc. Pamela Lewanda Brian Seaton TRUMPET Inna Amromin Martha Kleiner Clayton Chastain This list reflects current seating Principal order within each section. However, the seating order may change on a per concert basis.

The Savannah Philharmonic would like to thank Elizabeth Oxnard for generously refurbishing the conductor’s podium for the 2019-2020 season.

#SAVPHIL • 11 Chorus

Mel Whitehead Thank you to our Chorus members for all of their support CHORUSMASTER and dedication. Inna Amromin PIANO ACCOMPANIST SOPRANO Diane McCabe Rebecca Sentman (SL) Mary Nestor Merritt Quarles CHORUS MANAGER Lori Bailey Terri Norburg Perri Baxter Joy Aune Olson Suzanne Prior Katie Beaumont Juliet Pearl CHORUS STAGE Samantha Belcher MANAGER Renee Portell Kelly Bell Georgeanne Schopp Peggy Breese Dawn Stanford CHORUS BOARD Fran Conway Sarah Ellen Stephens Renee Portell Christina D’Aguillo Lauren Wallick CHAIR Caroline Downs Grace Downs Jennifer Livingstone TENOR SECRETARY Cornelia Fahy Jeff Watson (SL) Julia Flowers Phyllis Albertson Michael Elwell Angela Hopper-Lee TREASURER Daniel Chamberlin Shanice Lawrence David Edwards Mark Berry Ellen Lea Dennis Fields Lucas Bradley Samantha Liang Bill Gardner Trish McKay Fran Conway Paulette Hosti Jennifer Menken Peter Humphrey Anthony D’Aguillo Kara Mobley George Longstreth Gretchen Ernest Jeanne Mundy David Lotz Annette Podolak Laura Orsi Kathleen McGuire Howell Suzanne Prior Kathleen Moore Kenneth Rimes Merritt Quarles Don Read Alyssa Shaw Jeffrey Watson James Sentman Chris Thompson ALTO Darren Weaver Gretchen Ernest (SL) Flo Bryant BASS Yelena Chernyak Curt Bryant (SL) Madelon Curtis Mark Berry Diane Davis Joel Darulla Rebecca Davis David Frothingham Kyrin Dunston Larry Hyatt Susan Ganas Brian Kenworthy Karen Harmon Christopher Lane Deborah Helmken Tom Olson Annette Howell Kenneth Rimes Janet James Jack Van Eck Barbara Jenks Mimi Krupp *(SL) denotes Section Leader Jennifer Livingstone

12 • SAVANNAHPHILHARMONIC.ORG Meet Your Music & Artistic Director Designate

Conductor Keitaro Harada maintains a growing, international presence throughout North America, Asia, Mexico, and Europe. Recently named Music & Artistic Director Designate of Savannah Philharmonic, he will conduct the 2019/2020 opening and closing concerts before his inaugural season in 2020/2021. Harada’s broad scope of musical interest in symphonic, opera, chamber works, pops, film scores, ballet, educational, outreach, and multi-disciplinary projects leads to diverse and eclectic programs. Recent and upcoming highlights include Houston Symphony, NHK Symphony Orchestra, Yomiuri Nippon Symphony Orchestra, Osaka Symphony, Osaka Philhar- monic, Hawaii Symphony Orchestra, Kanagawa Philharmonic Orchestra, Nagoya Philharmonic Orchestra, New Japan Philharmonic, Tokyo Symphony, Tokyo Philharmonic, Fort Worth Symphony, Indianapolis Symphony, Memphis Symphony, Louisiana Philharmonic, Charlotte Symphony, West Virginia Symphony, Tucson Symphony, Phoenix Symphony, Virginia Symphony, and Orquesta Filarmónica de Sonora (México). No stranger to the operatic cannon, Harada returns this season for his debut of Leoncavallo’s Pagliacci with North Carolina Opera, for whom he has previously led productions of Carmen and Britten’s Turn of the Screw. In 2017, he conducted Mazzoli’s Song from the Uproar for Cincinnati Opera, as well as a run of Carmen for Bulgaria’s Sofia National Opera and Ballet that was reprised with a Japan tour in the fall of 2018. In past seasons and as Associate Conductor of Arizona Opera, he led productions of Don Pasquale, Le Fille du Regiment, and Tosca. As a 2010 Seiji Ozawa Fellow at Tanglewood, Harada conducted critically-acclaimed performances of Strauss’s Ariadne auf Naxos. Currently finishing his fourth season as Associate Conductor of the Cincinnati Symphony Orchestra and Cincinnati Pops, Harada regularly assists Music Director Louis Langrée, conducts the CSO, POPS, and works with James Conlon and Juanjo Mena for the May Festival. He is a three-time recipient of The Solti Foundation U.S. Career Assistance Award (2014, 2015, 2016), Bruno Walter National Conductor Preview (2013), the Seiji Ozawa Conducting Fellowship at Tanglewood Music Festival, and was a student of Lorin Maazel at Castleton Festival and Fabio Luisi at the Pacific Music Festival. In 2016 and 2018, he was invited by Valery Gergiev to serve on the faculty of the Pacific Music Festival. kharada.com | @KHconductor

#SAVPHIL • 13 Meet the Concertmaster

Dr. Sinisa Ciric is the concertmaster of Savannah Philharmonic, Gwinnett Ballet Orchestra, and a former concertmaster of New Atlanta Philharmonic, Jackson Symphony and Rome Symphony. He appeared as a soloist with Savannah Philharmonic, Rome Symphony Orchestra, Georgia Philharmonic as well as LaGrange Symphony and Bach Festival Orchestra and many other regional orchestras in the United States of America. Dr. Ciric is a founding member of the Balkan Quartet with whom he performed in many concerts promoting the rich musical heritage of his native Serbia and the countries of Balkan Peninsula. He received his undergraduate degree from the Academy of Arts, University of Novi Sad (Serbia), masters and doctoral degree in violin and viola performance at the University of Georgia in Athens where he studied with distinguished professors Levon Ambartsumian and Mark Neumann. Dr. Ciric is an Artist Affiliate with Emory University and had taught violin, viola and chamber music at Oxford College of Emory University. He also held a position of Violin and Viola Instructor at Georgia Perimeter College, Atlanta GA. Since January of 2016, Dr. Ciric is the Director of the Strings Conservatory Program at Savannah Classical Academy and the Artistic Director of Larsen Spotlight Chamber Music Series of Savannah Philharmonic.

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14 • SAVANNAHPHILHARMONIC.ORG Meet the Chorusmaster

A native of California, Mel Whitehead earned his Bachelors of Music in Vocal Performance from California State Fullerton and his Masters in Vocal Performance from University of Southern California. After singing professionally for 15 years, he settled in Georgia with his wife Sally, and began teaching. In 2006, he earned a Masters of Education in Curriculum and Instruction through the Arts from Lesley University, and in 2017, his Educational Specialist degree in Educational Leadership from Georgia College. He is currently the Performing Arts Supervisor for the Savannah-Chatham County Public School System.

Support your Savannah Text Philharmonic savphil to Did you know that ticket sales 243725 provide only 27% of the costs and to produce a concert? donate today! Please consider a gift to your Savannah Philharmonic.

#SAVPHIL • 15 Make the Most of Your Visit

Savannah Philharmonic welcomes you to an exciting season! Here are answers to some frequently asked questions to help you have the best experience possible.

Spectacular Family Mati- nee each year. Consider attending our Larsen Musician Spotlight Se- WHERE DO I BUY TICKETS? WHEN SHOULD I ARRIVE? There are a few ways We recommend 30-45 ries: six Sunday concerts you can purchase tick- minutes prior to a per- at 5:00 pm, offering an ets for our concerts: formance. This allows intimate musical expe- time for you to find rience with educational Go online to components. Savannahphilharmonic.org parking downtown, go to purchase tickets and through security, find view concert details and your seat, and relax learn about single tick- before the concert. Classical performanc- ets, Multi-Concert Ticket CAN I BRING CONCESSIONS packages and Season es typically feature a pre-concert talk that INTO THE HALL? Subscriptions. Concessions are avail- starts one hour before able at both the Lucas Call the Savannah box the concert. If you wish Theatre for the Arts office at 912 525 5050, to attend please make and the Johnny Mercer option 1 to speak with sure to plan accordingly. a representative. Theatre. New this year: Stop by the Savan- Attendees are invited nah Box Office at 216 E. to bring their beverages Broughton Street during into the hall to enjoy the business hours (M- F, WHY IS THERE A SECURITY concert.To avoid unnec- 10 am – 5 pm). CHECK-POINT? essary noise, drinks with Due to recent events, ice are not allowed in security check-points the auditorium. and large bag checks are in effect at both the WHAT SHOULD I WEAR? Lucas Theatre of the Arts Never let your wardrobe and the Johnny Mercer CAN I HAVE MY CELL PHONE keep you from a concert! Theatre. Weapons of any Your experience of the OUT DURING THE CONCERT? kind are prohibited on We ask that you turn music is what's import- the premises. ant, so wear whatever your devices to silent makes you feel comfort- mode and refrain from able. As you'll see, a lot cell phone use during of concertgoers wear the concert. Even if you business attire or casual CAN I BRING MY CHILD? have the brightness on business attire. We do Savannah Philharmonic the lowest setting, it can ask that you refrain from welcomes young con- still be a distraction for using strong scents, as certgoers aged two our musicians and other they may be distracting and above. Regardless patrons. If you want to to other patrons and of age, all attendees take a photo, be sure the performers. should have a ticket for to tag #SavPhil in your entry into the hall. pictures, but please wait until an applause break, Looking for a more fam- and make sure to turn ily-oriented experience? off your flash. We offer our Holiday

16 • SAVANNAHPHILHARMONIC.ORG Savannah Philharmonic welcomes you to an exciting season! Here are answers to some frequently asked questions to help you have the best experience possible.

Audio and video record- for others to start clap- ing is strictly prohibited. ping and join in. Why two pieces of advice? Well, the ritu- I ATTENDED ONCE AND als around applause DIDN’T LIKE IT. WHY SHOULD I GO AGAIN? HOW SHOULD I LISTEN? changed over time. In We wish we could guar- There is no “right” way to Mozart's day, the audi- antee you would love enjoy a concert. Every- ence was rather rowdy— each and every concert, one experiences music clapping, talking, and but art speaks to every differently. In fact, it’s even shouting during the person differently. completely okay not to performance. In the 20th Consider trying a few like a piece of music! century, this changed, concert experiences to That’s part of the discov- and audiences clapped see what best suits your ery of listening to music: only at the end of the tastes. That’s the joy of expanding your horizons entire piece of music it! We hope you’ll play and learning about and then clapped for the field a bit and “date” yourself. Music is meant a long time. This is still a few different concert to affect you, to spark the convention today at experiences—true love reactions and feelings, most orchestras around could be just around to lead you to reflect on the world, though our the corner. memories. It can be as policy is if you have an exciting and energizing emotional reaction to as it can be romantic or the music and need to spiritual. Lose yourself in express it, do it. The mu- the music, or keep your sicians are playing their HOW DO I GET MORE eyes glued to the stage hearts out for you, and INVOLVED? to capture the talent your applause means We’re glad you’ve and passion of the everything to them. enjoyed your experience orchestra, or simply use with us! If this is your first the time to disconnect, time at one of our con- relax and people-watch. certs, you can consider What you get out of a WHAT IF I’M LATE? becoming a season concert experience is Out of respect for our subscriber, volunteering, entirely up to you. performers, we ask or donating to our that you find your seat Annual Fund. Together, before the concert. If we can continue Savan- you are late, you will nah Philharmonic’s WHEN DO I APPLAUD? be seated at applause mission to inform, The short answer: breaks. Please take your instruct and enrich the Applaud when you feel seat quickly and quietly. community through moved to do so. The Some performances do orchestral and choral longer answer: many not have many applause performances, and to pieces of music are breaks, so please do promote and increase divided into sections your best to be on time. community knowledge (“movements”), so if you and appreciation of aren’t sure if it’s over, wait the arts.

Visit our website at savannahphilharmonic.org for tickets and more information. Still have more questions? Call the Savannah Philharmonic at 912 232 6002 and speak with our Development & Patron Services Associate.

#SAVPHIL • 17 PRE-CONCERT TALKS Presented before each full orchestral concert 6:30 pm Hosted by Edward J. Lada, Director of Artistic Operations Designed to enhance your concert experience and better acquaint attendees with the evening’s music, the host of the pre-concert talks will deliver insightful conversation. You won’t want to miss this behind the scenes opportunity! Pre-concert talks are scheduled for the following concert dates: MISCHIEVOUS MUSICIANS January 18 7:30 pm Lucas Theatre for the Arts Janna Hymes, conductor MODERN TO MAJESTIC February 8 7:30 pm Johnny Mercer Theatre Enrico Lopez-Yañez, conductor GERMANIC PASSION March 21 7:30 pm Lucas Theatre for the Arts Vlad Vizireanu, conductor MOZART’S REQUIEM May 2 7:30 pm Johnny Mercer Theatre Keitaro Harada, conductor

18 • SAVANNAHPHILHARMONIC.ORG TAKE OUR SURVEY! After each concert, ticket purchasers will receive a short electronic survey. Participants have seven days to submit their feedback. Your invaluable feedback will help shape the future of your Savannah Philharmonic. Questions? submit to [email protected].

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#SAVPHIL • 19 Mischievous Musicians

Saturday, Mischievous Musicians January 18 Divertissement Jacques Ibert 7:30 pm I. Introduction Lucas Theatre II. Cortège for the Arts 32 Abercorn Street III. Nocturne Performance length IV. Valse approx. 72 minutes V. Parade Janna Hymes, VI. Finale conductor Concerto for Piano No. 12 Wolfgang Amadeus Mozart Nathan Lee, piano in A major, K. 414 I. Allegro II. Andante III. Allegretto

INTERMISSION

Thank you to our Symphony No. 8 Ludwig van Beethoven generous sponsors in F major, Op. 93 I. Allegro vivace e con brio Susan & Ron Whitaker II. Allegretto scherzando III. Tempo di menuetto IV. Allegro vivace

Overture to The Barber Gioacchino Rossini of Seville

20 • SAVANNAHPHILHARMONIC.ORG Notes on the Program

Saturday, Divertissement (1929) January 18 by Jacques Ibert 7:30 pm Savannah Philharmonic premiere Performance time: Approx. 15 minutes Lucas Theatre for the Arts There’s no good way to summarize Jacques Ibert’s musical 32 Abercorn Street style, mainly because he steadfastly refused to limit himself to a single style during his career. Though not as well-known Performance length approx. 72 minutes a name as the other composers on this program, he composed music for large orchestras, chamber ensembles, and Janna Hymes, solo instruments, ballets, operas, and even films like Orson conductor Welles’ Macbeth and Gene Kelly’s Invitation to the Dance. Nathan Lee, piano Divertissement is a suite of incidental music originally for Eugene Labiche’s play “An Italian Straw Hat.” The six movements poke fun at popular music styles of the time, including a comic-opera overture, Mendelssohn’s “Wedding March,” a wrong-note waltz, and an inappropriately upbeat funeral march. Concerto for Piano No. 12 in A major, K. 414 (1782) by Wolfgang Amadeus Mozart Savannah Philharmonic premiere Performance time: Approx. 25 minutes In the spring of 1781, Mozart was in the middle of a feud with his employer, the Archbishop of Salzburg. The Archbishop had forbidden him to accept other engagements, eventually leading Mozart to offer his resignation, which the Archbishop refused. However, the feud worsened, and Mozart was eventually granted his wish and was fired with a literal “swift kick in the pants.” After moving to Vienna, Mozart’s fortunes were on the rise. His operas Idomeneo and The Abduction from the Seraglio were doing well and he was in demand as a soloist for public concerts. He wrote his piano concertos numbers 11, 12, and 13, to be performed for concerts during Lent in 1783. Lent was a popular season for such concerts at the time in Vienna. All theaters were dark during Lent, meaning more musicians were available for other work. In Mozart’s own words, these concerti were written to be “a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural, without being vapid.” Number 12, in particular, pays homage to Mozart’s former music teacher from London, Johann Christian Bach, who had recently died. During the second movement, Mozart reverentially adapts a melody JC Bach had composed for an opera in 1763.

#SAVPHIL • 21 Notes on the Program cont’d

Saturday, Symphony No. 8 in F major, Op. 93 (1812) January 18 by Ludwig von Beethoven 7:30 pm Savannah Philharmonic premiere Performance time: Approx. 23 minutes Lucas Theatre for the Arts The summer of 1812 was an eventful period for Beethoven. 32 Abercorn Street His health was poor, so his doctor ordered him to spend the summer at the spa town of Teplitz (modern-day Teplice, in the Performance length approx. 72 minutes Czech Republic). While there, Beethoven was worried about his finances, worried about his brother Johann’s love life Janna Hymes, (Johann was scandalously co-habitating with a woman who conductor already had an out-of-wedlock child; the couple would mar- Nathan Lee, piano ry by November of that year), and worried about his own love life (his infamous ten-page letter to his “Immortal Beloved” was written during this summer). Sometime that summer Beethoven met his idol, the author Goethe, and the meeting went poorly enough it was immortalized in a painting known as “The Incident in Teplitz.” And yet, Beethoven managed to write his shortest, most light-hearted, and most subversive symphony in 1812. Though it received a lukewarm reception at its premiere, Beethoven Klangfarbenmelodie felt the Eighth Symphony was superior to the Seventh in every (German for “sound- way. The first movement’s form is deceptive, opening with a color melody”) is a passage that sounds like a grand finale, only to launch into musical technique an opening melody. The symphony strangely has no “slow” that involves splitting movement. Instead, the second movement is a rhythm-ob- a musical line or sessed intermezzo – long thought to be inspired by Johann melody between Maelzel’s recently-invented metronome – that almost fore- several instruments, shadows neoclassical composers like Stravinsky. The third rather than assigning movement, Beethoven’s only symphonic minuet, is a surpris- it to just one instru- ingly lyric change of pace. And in the final movement, Bee- ment (or set of instru- thoven occasionally creates quasi-melodies by altering the ments), thereby instrumental colors of repeated chords – a technique nearly adding color (timbre) a century ahead of Schoenberg and Webern’s concept of and texture to the “Klangfarbenmelodie.” Taken as a whole, it’s no surprise that melodic line. a symphony so far ahead of its time went largely unappreci- ated by contemporary audiences.

Overture to The Barber of Seville (1791) by Gioacchino Rossini First performed by SPO: 2012 Performance time: Approx. 7 minutes Rossini is still, at least in this writer’s opinion, one of the greatest composers ever to write for the opera stage. His talents were such that he wrote his greatest masterpiece (the first true French Grand Opera) William Tell, at the age of 38 and promptly retired. Upon hearing “William Tell,” Donizetti - the greatest living opera composer at the time - declared that although Rossini wrote Tell’s first and last acts, the middle act

22 • SAVANNAHPHILHARMONIC.ORG Saturday, had been written by God. Although Rossini lived another January 18 39 years, he would never write another opera. 7:30 pm However, William Tell was Rossini’s only truly successful seri- Lucas Theatre ous opera. His talents lent themselves much more easily to for the Arts comedy, and in fact Rossini once said he would be just as 32 Abercorn Street happy setting laundry lists to music. But out of all his operas, he found no greater “laundry list” than Beaumarchais’ wildly Performance length popular play The Barber of Seville. The overture to The Barber approx. 72 minutes of Seville is perhaps best known from the classic Bugs Bunny Janna Hymes, cartoon, “The Rabbit of Seville.” Rossini’s comedic overtures conductor were often afterthoughts, composed at the last minute. Nathan Lee, piano Much of the musical material for the Barber’s overture was in fact recycled from his earlier, relatively unsuccessful dramatic operas Aureliano in Palmira and Elisabeth, Queen of En- gland. Fortunately, necessity is the mother of invention, and in this case Rossini’s self-plagiarized, hastily thrown-together afterthought of an overture became one of the most beloved pieces of music ever written.

#SAVPHIL • 23 Meet the Conductor

Saturday, Versatility, passion and innovation are the hallmarks of Amer- January 18 ican conductor Janna Hymes. Renowned for her inspiring 7:30 pm performances, musical depth and energetic presence both on and off the podium, she has developed a reputation as Lucas Theatre an exciting, detailed communicator. Praised by the press as for the Arts “an architect, a builder in sound, a conductor with an overall 32 Abercorn Street view who never misses details”, Ms. Hymes is Music Director Performance length of Indiana’s Carmel Symphony Orchestra (CSO) since 2017. approx. 72 minutes A popular guest conductor, Hymes continues to expand her Janna Hymes, relationships with orchestras nationwide. conductor Ms. Hymes' previous posts include Music Director of the Nathan Lee, piano Williamsburg Symphony Orchestra and Maine Grand Opera, Associate Conductor of the Indianapolis Symphony, Resident Conductor of the Charlotte Symphony and Music Director of the Columbus Women’s Orchestra, the Cincinnati Compos- ers’ Guild and the I Solisti Cincinnati Chamber Orchestra. She has served as Assistant Conductor of the Canton Symphony Orchestra (Ohio) and the Teatro Massimo Opera House in Pal- ermo, Italy, and as a frequent guest of the Messiaen Acade- my in Zwolle, Holland. Ms. Hymes also founded and served as Music Director of the Maine Pro Musica Orchestra, a professional orchestra in Mid Coast Maine she launched in 2008. Born in New York City, Janna Hymes is a Fulbright scholar, recipient of a 1999 Geraldine C. and Emory M. Ford Founda- tion Grant, and a prizewinner of the 1998 International Con- ducting Competition in Besancon, France. She studied under such prominent conductors as Leonard Bernstein, Gustav Meier, Otto Werner-Mueller and Gunther Schuller, and holds degrees from the University of Wisconsin-Madison and the College-Conservatory of Music of the University of Cincinna- ti. She also studied at the Tanglewood Music Center, Aspen Music Festival, the Festival at Sandpoint (Idaho), and the Conductor’s Guild Institute.

24 • SAVANNAHPHILHARMONIC.ORG Meet the Artist

Saturday, At the age of fifteen,Nathan Lee won First Prize in the 2016 January 18 Young Concert Artists International Auditions, and was also 7:30 pm awarded no less than fourteen special Concert Prizes. He currently holds the Mortimer Levitt Piano Chair of Young Lucas Theatre Concert Artists. for the Arts 32 Abercorn Street Mr. Lee made his New York debut at sixteen in the Peter Marino Concert, opening the Young Concert Artists Series at Performance length approx. 72 minutes Carnegie Hall. The Korean Concert Society Prize sponsored Mr. Lee’s sold-out, critically-acclaimed Kennedy Center debut Janna Hymes, in Washington, DC, a co-presentation of YCA with Washing- conductor ton Performing Arts. Nathan Lee, piano Mr. Lee was selected to share the stage with pianists Jean-Yves Thibaudet (YCA alumnus) and Lang Lang on Gala Evening for the Seattle Symphony, and with pianists Ilana Vered (YCA alumna) and Sasha Starcevich in a “Three Gener- ations Concert” in Perugia, Italy. In May 2019, Nathan Lee gave his New York concerto debut at Lincoln Center’s Alice Tully Hall, performing the Mendelssohn Piano Concerto No. 1with the Orchestra of St. Luke’s conducted by Teddy Abrams. He has also appeared as soloist with the Cleveland Orchestra, Minnesota Orchestra, Seattle Symphony, Buffalo Philharmonic on NPR’s From the Top, Chamber Orchestra of the Triangle (North Carolina), Orquesta Filarmónica de Boca del Río in Mexico and Daejeon Philhar- monic in Korea. Nathan Lee, who lives just outside Seattle, Washington, began playing the piano at the age of six and made his orchestral debut at the age of nine. He studies with Sasha Starcevich.

#SAVPHIL • 25 Savannah Philharmonic Presents AN EVENING OF Tango

Hosted by Maestro Keitaro Harada FRIDAY, JANUARY 31 6:00 pm $150 Victory North 2603 Whitaker St Cocktails, tapas, and an evening of tango music and dance Special guest Gustavo Feulien, Argentinian-American Baritone

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26 • SAVANNAHPHILHARMONIC.ORG Strings United

Strings United Larsen Musician Spotlight Series String Quartet No. 4 in C, K. 157 WolfgangAmadeus Mozart Sunday, January 26 String Quartet in F Major, Joseph Haydn 5:00 pm Op. 74, No. 2 101 First Presbyterian I. Allegro spiritoso Church String Quartet in C Minor, Ludwig van Beethoven 520 Washington Op. 18, No. 4 Avenue III. Scherzo Performance length approx. 65 minutes String Quartet No.13, Franz Schubert D 804 “Rosamunde”

I. Allegro ma non troppo

Quartet No. 2 in D major for Strings Alexander Borodin I. Allegro moderato

String Quartet No.1 in D Pytor Tchaikovsky II. Andante cantabile

Concerto grosso for strings Karl Jenkins ‘Palladio’ I. Allegretto

Violin Cello Thank you to our generous sponsors Adrienne Caravan Erin Cassel Sinisa Ciric Peter Gardner Nancy & Ken Larsen Elizabeth Jones Allegra Luna Frances Prager Fayha Polite Emily Primmer Sarah Povie Tiana Ruden Bass Jamsine Sams Sydnie Roberds Mina Smith Matthew Yeo

VIOLA Jalin Graham Yvonne Johnson Ariana Kalantari Alden Kidane Nehemiah Turner

#SAVPHIL • 27 Modern to Majestic

Saturday, Modern to Majestic February 8 Danzón No. 2 Arturo Márquez 7:30 pm Dreaming of the Masters III Allan Gilliland Johnny Mercer Theatre I. 101 Damnations 301 W. Oglethorpe II. Prayer Avenue III. Lower Neighbours Performance length approx. 66 minutes INTERMISSION Enrico Lopez-Yañez, Symphony No. 4 Pyotr Ilyich Tchaikovsky conductor in F minor, Op. 36 Thomas Gansch, I. Andante sostenuto trumpet II. Andantino in modo di canzona III. Scherzo – pizzicato ostinato IV. Finale: Allegro con fuoco

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28 • SAVANNAHPHILHARMONIC.ORG Notes on the Program

Saturday, Danzón No. 2 (1994) February 8 by Arturo Márquez 7:30 pm Savannah Philharmonic premiere Performance time: Approx. 9 minutes Johnny Mercer Theatre The danzón is the official dance of Cuba, but it is also an im- 301 W. Oglethorpe portant dance both in Puerto Rico and in the Mexican state Avenue of Veracruz. In its earliest form, the danzón is a relatively slow, formal couples dance that evolved from the French contre- Performance length approx. 66 minutes danse style by way of Spain. As time has gone on, the danzón has incorporated Cuban montuno and son, and eventually Enrico Lopez-Yañez, grew into styles like the cha-cha-cha and the mambo. Ar- conductor turo Márquez’s piece - commissioned in 1994 by the National Thomas Gansch, Autonomous University of Mexico - is definitely inspired by trumpet the more virtuosic and energetic varieties of the danzón. The work was popularized by Gustavo Dudamel and the Simón Bolivar Youth Orchestra of Venezuela. Dreaming of the Masters III (2010) by Allan Gilliland Savannah Philharmonic premiere Performance time: Approx. 15 minutes Commissioned by the Edmonton Symphony Orchestra. Writ- ten for Jens Lindemann, trumpet. Notes by the composer: “My Dreaming of the Masters series arose from a desire to combine my experience as an orchestral composer with my background as a jazz composer and performer. I wanted to write a series of concerti for soloists who were comfortable in both classical and jazz idioms. Each concerto would find inspiration in the jazz greats of the instrument I was writing for and, though fully notated, would allow the player the option to improvise. Dreaming of the Masters I was a clarinet concerto written for James Campbell and Dreaming of the Masters II was a piano concerto written for William Eddins. “Dreaming of the Masters III is more an homage to the trumpet in popular music rather than any real individuals. The obvious choices would have been Louis Armstrong, Miles Davis and Dizzy Gillespie but I think, because I'm a trumpet player myself, this seemed too obvious. Also, because I know Jens so well, I really wanted to write a piece that was tailor-made to his incredible virtuosic skills. “The three movements are titled; 101 Damnations, Prayer, and Lower Neighbours. 101 Damnations pays homage to the trumpet in jazz starting with a slow New Orleans style blues that moves into 1940’s big band swing. The title comes from when I was a young child struggling to pronounce my “L’s” properly. So I was always asking to see my favorite Disney movie “101 Damnations”. The inspiration for Prayer came from wanting to showcase Jens’ beautiful flugelhorn playing. It starts and

#SAVPHIL • 29 Notes on the Program cont’d

Saturday, ends with short cadenzas surrounded by ethereal orchestra- February 8 tion. The middle section has a slow groove that allows Jens 7:30 pm a chance to improvise. Lower Neighbours pays homage to 20th century cornet virtuosos and the great Latin tradition of Johnny Mercer the trumpet. I like to think of it as Herbert L. Clarke meets Tito Theatre Puente. The title refers to both the melodic gestures played 301 W. Oglethorpe by the cornet - the opening virtuosic section contains many Avenue upper and lower neighbor notes - as well as the fact that Performance length Latin music comes from our neighbors to the south.” approx. 66 minutes Symphony No. 4 in F minor, Op. 36 (1878) Enrico Lopez-Yañez, by Pyotr Ilyich Tchaikovsky conductor Savannah Philharmonic premiere Thomas Gansch, Performance time: Approx. 42 minutes trumpet Tchaikovsky’s Fourth Symphony is one of the great pillars of the symphonic repertoire but, like many great works, it was not appreciated when it was first composed. Tchaikovsky was an unusual figure in Russian music in the late 1800s. He distanced himself from The Five (Mussorgsky, Borodin, Rimsky-Korsakov, Cui, and Balakirev) who felt that Russian music needed to have a distinctly Russian identity. It should be noted that none of The Five were conservatory-trained, and Balakirev even considered “academicism” to be a threat to Russian music. Tchaikovsky, though conservatory-trained under Anton Rubinstein, also refused to fully ally himself with the western- ized music conservatories that felt Russian music needed to be “refined” to meet the standards of the West. Instead, Tchaikovsky felt there should be a way to write music that would exemplify Russian musical traditions, but with a tech- nical quality that would stand up to any criticism and tran- scend national borders. The end result was that Tchaikovsky’s centrism left him out of favor with both major camps in Russian music at the time. At its premiere, critics called the Fourth Symphony an “overlong tone-poem” with three extra movements tacked on to justify calling it a symphony. Its American premiere went no better, with the New York Post calling it “semi-barbaric.” As late as 1897, German reviewers still complained of the “confusion in brass and the abuse of the kettledrums.” Despite the cool initial reception, the Fourth Symphony is widely regarded to be Tchaikovsky’s best contribution to the genre.

30 • SAVANNAHPHILHARMONIC.ORG Meet the Conductor

Saturday, Enrico Lopez-Yañez is the Principal Pops Conductor of the February 8 Nashville Symphony. Appointed in 2019, he leads the Sym- 7:30 pm phony’s Pops Series and Family Series. Since working with the Nashville Symphony, Lopez-Yañez has conducted concerts Johnny Mercer with a broad spectrum of artists including Toby Keith, Trisha Theatre Yearwood, Richard Marx, Jennifer Nettles, Hanson, Kenny 301 W. Oglethorpe Loggins and more. Avenue During the 2019/20 season, Lopez-Yañez will make appearanc- Performance length approx. 66 minutes es with the San Diego Symphony, Edmonton Symphony, and return performances with the Detroit Symphony, Rochester Enrico Lopez-Yañez, Philharmonic, and Sarasota Orchestra. Lopez-Yañez has ap- conductor peared with orchestras throughout the United States includ- Thomas Gansch, ing the Utah Symphony, Omaha Symphony, and Oklahoma trumpet City Philharmonic. Sharing an equal love for opera, Lopez-Yañez served as As- sistant Conductor and Chorus Master for the Berkshire Opera Festival, where his work was met with rave reviews. He has led opera gala concerts in San Diego and Aguascalientes, Mexico, as well as a production of Madama Butterfly with Main Street Opera in Chicago. An active producer, composer and arranger, Lopez-Yañez has contributed to numerous albums, including the UNESCO bene- fit Action Moves People United and the children’s music album The Spaceship That Fell in My Backyard, winner of the John Lennon Songwriting Contest, Global Music Awards, Hollywood Music and Media Awards and more. Lopez-Yañez previously held the position of Assistant Conduc- tor with the Omaha Symphony. He holds a Master’s in Music from the University of Maryland and received a Master’s in Music and his Baccalaureate from UCLA, where he graduated summa cum laude.

#SAVPHIL • 31 Meet the Artist

Saturday, Thomas Gansch was born on December 31st 1975 in St Pölten, February 8 Lower Austria. He was raised in Melk, where he first learned 7:30 pm to play the trumpet from his father Johann Gansch. In his attempt to follow the footsteps of his half-brother Hans, who, Johnny Mercer at the time, occupied the solo trumpet chair in the Vienna Theatre Philharmonic Orchestra, he studied classical trumpet in Vien- 301 W. Oglethorpe na for 6 years with two different teachers. Avenue After having subbed in all opera houses, classical orches- Performance length approx. 66 minutes tras and contemporary ensembles in Vienna, he came to the most important conclusion in 1997: to do his own thing. He Enrico Lopez-Yañez, dropped out of music university and went on to become a conductor freelance player with “Mnozil Brass,” which he founded in 1992 Thomas Gansch, and “Gansch and Roses” in 2000 and is a regular composer trumpet for these bands. Gansch also was a member of the famous “Vienna Art Or- chestra” for eight years. Together with Austrian manufacturer Schagerl, he designed a special rotary trumpet called the “Ganschhorn” and a Flugelhorn of the same kind called “Killer Queen”. The “Killer Queen” Flugelhorn Introduced in 1989, Schagerl Meister Series Rotary Trumpets are world renown for being the highest quality handmade orchestral instruments available. Schagerl Meister instruments are also custom made to serve the needs and desires of the most discerning musicians in the world. Like the “Ganschhorn”, the Schagerl Killer Queen Flugelhorn is a kind of symbiosis of a rotary and a piston-valve instrument. In comparison with other flugelhorns, the response of the Schagerl Killer Queen Flugelhorn is easier and more precise. It has a smooth sound with a solid core.

32 • SAVANNAHPHILHARMONIC.ORG ANNOUNCING THE 2020/2021 SEASON FEBRUARY 24, 2020

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#SAVPHIL • 33 CINEPHILE DU JOURE: Blue Heron chamber ensemble

Sunday, CINEPHILE DU JOURE Blue Heron chamber ensemble February 23 Oboe Sonata in D Major, Op. 166, Camille Saint-Saens 5:00 pm Andantino Lutheran Church Ad libitum - Allegretto - Ad libitum of the Ascension Molto Allegro 120 Bull Street Duo for Cello and Piano, Op. 8, Miklós Rózsa Performance length Allegro Risoluto et Energico approx. 65 minutes Jeana Melilli, The Music of Rachel Portman Rachel Portman flute Selections from Emma and Chocolat

Jessica Messere, Duo for Flute and Piano, Aaron Copland cello Flowing Andrew Jay Ripley, Poetic, somewhat mournful oboe Lively, with bounce Dr. Benjamin Gabriel’s Oboe Ennio Morricone Warsaw, piano Arr. for oboe, cello and piano by Yo-Yo Ma

Le Charmeur for piccolo, piano, Nicole Randall and silent film Chamberlain

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Nancy & Ken Larsen

34 • SAVANNAHPHILHARMONIC.ORG Meet the Artists

Jeana Melilli, flute Jessica Messere, cello

Sunday, Jeana Melilli is Principal Flute of the Savannah Philhar- February 23 monic and piccolo/third flute for the Greenville Symphony, 5:00 pm the Columbus (Georgia) Symphony, and the South Carolina Philharmonic. She is an extra musician for the Atlanta Op- Lutheran Church era, the Atlanta Symphony Orchestra, the Atlanta Ballet, the of the Ascension Coastal Symphony of Georgia, and the Charleston Sympho- 120 Bull Street ny. She has appeared on recordings with the Atlanta Cham- Performance length ber Winds, the Sequence Ensemble, and the Atlanta Opera. approx. 65 minutes An avid chamber and baroque musician, she is a founding Jeana Melilli, member of the Hamsa Trio and the Five Points Quintet, as well flute as the historic performance groups Savannah Baroque and Jessica Messere, the cello Columbia, South Carolina based Vista Ensemble. Jeana’s traverso is a copy of a Robbert Wijne flute from 1698 made by Andrew Jay Ripley, oboe Jessica Messere lives in Atlanta and Savannah with her partner Ethan, two children Taylor and Claire, and two Dr. Benjamin furry children. Jessica takes her cello named Penelope to teach Warsaw, piano and play in symphonies, small ensembles, recitals, weddings, and in Celli. When not chauffeuring Penelope or her family between Atlanta and Savannah she enjoys CrossFit, practices Olympic Lifts & Powerlifts, reading, meditating, yoga, drinking a Kombucha while watching Star Trek movies and Dr. Who episodes. Jessica chose to play the cello at 9 years old because she liked the low sounding instrument. She studied with the late Wolf- gang Laufer at University of Wisconsin-Milwaukee and earned her Master's degree with Martha Gerschefski at Georgia State University. She has participated in various recording projects, professional symphonies, international music festivals, and performed solo in masterclasses for famous cellists such as Norman Fisher, Evan Drachman, Hans Jorgen-Jensen, Darrett Adkins, Timothy Eddy, Andres Diaz, and Yo-Yo Ma.

#SAVPHIL • 35 Meet the Artists

Andrew Jay Ripley, clarinet Benjamin Warsaw, piano

Sunday, Andrew Jay Ripley is a firm believer that quality live music February 23 should be a daily part of life in Savannah. 5:00 pm As principal oboist of the Savannah Philharmonic, and Lutheran Church formerly a member of the Savannah Symphony, Andrew of the Ascension received his formal training at The Juilliard School and 120 Bull Street Indiana University’s Jacobs School of Music. The fifth child of two bagpipers, Andrew grew up on a sheep farm in rural Performance length approx. 65 minutes Minnesota, and currently shares his time between music and crafting drinks at his bar the Lone Wolf Lounge. Jeana Melilli, flute American pianist, Benjamin Warsaw is a classical pianist, Jessica Messere, teacher, accompanist, and composer, and has performed cello numerous solo and ensemble concerts throughout North Andrew Jay Ripley, America and Europe. A native of Atlanta, Georgia, Benjamin oboe holds a Bachelor’s degree and Master’s degree from the Dr. Benjamin Eastman School of Music, Rochester, New York. He completed Warsaw, piano his Doctorate of Musical Arts in Piano Performance at Boston University in May 2011. Currently Benjamin is on the faculty at Georgia Southern University as Assistant Professor where he teaches piano and theory and is Artistic Director of Piano in the Arts. In 2015, Benjamin released his debut recording, “Warsaw plays Warsaw” featuring a cycle of 24 Preludes for piano solo. Benjamin frequently performs in Savannah and Atlanta.

36 • SAVANNAHPHILHARMONIC.ORG Annual Goal $2,000,000

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#SAVPHIL • 37 Sympátheia

Sunday, Sympátheia March 8 Cool of the Day John Ratledge 5:00 pm Sing Me to Heaven Daniel Gawthrop Trinity United Set Me as a Seal Rene Clausen Methodist Church 225 W. President How Can I Keep from Singing Robert Wadsworth Lowry / Street arr. Sarah Quartel Performance length Percussion Ensemble selections approx. 60 minutes to be announced from stage Musicians of Sympátheia Martin Gendelman the Savannah (world premiere) Philharmonic Orchestra and Chorus Mel Whitehead, conductor

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38 • SAVANNAHPHILHARMONIC.ORG Notes on the Program

Sunday, World Premiere: Sympátheia March 8 by Martin Gendelman 5:00 pm Performance time: Approx. 15 minutes Trinity United Sympátheia, for voices, percussion, and electronics, is an Methodist Church abstract reflection on our modern interactions and the 225 W. President concepts of sympathetic resonance, deep listening, Street interconnectedness, and empathy. Performance length Our twentieth-first century world is a loud, noisy one. Infor- approx. 60 minutes mation of all sorts lands in our ears and in front of our eyes Musicians of all the time, every day, and the internet, with its far reaching the Savannah possibilities, has become a major channel for social interac- Philharmonic tions. Perhaps its most significant advantage, the immedi- Orchestra and ateness in the response, has also created a problem as there Chorus seems to be no time, in our modern interactions, for thought- ful communication. No time for reflecting on ideas of our Mel Whitehead, own and others; not time for meditation. No time for listening. conductor Really listening. Listening to others. Listening to ourselves. Sympátheia, a Latin word evolved from Greek, was the term used in Ancient Greece to describe several different phe- nomena. In the realm of Acoustics, the word described what we now know as “sympathetic resonance,” or how a vibratory body may respond to external vibrations. We normally use this concept in regards to sounds, but one could also think of it in relation to our current social interactions. Interestingly, the term was also used by the Stoic philosophers to describe a “belief in mutual interdependence among everything in the universe, that we are all one,” as Marcus Aurelius wrote in his personal reflections. And yet another meaning of the term evolved over the centuries to become what we know today as empathy.

#SAVPHIL • 39 Meet the Composer

Sunday, The creative work of Martín Gendelman (b.1976) touches on March 8 both the acoustic and electronic domains and includes com- 5:00 pm positions for solo performer, chamber groups, and orchestra, as well as many cross-disciplinary works and installations Trinity United (primarily with dance, video, and theatre). Over the past Methodist Church decade, his music has been performed across the Ameri- 225 W. President cas, Europe, and the Middle East by ensembles such as the Street New York-based Da Capo Chamber Players, the Boston New Performance length Music Initiative, the Meitar Ensemble (Israel), and the Orques- approx. 60 minutes ta Sinfónica del Neuquén (Argentina), to name a few. Some Musicians of of the events in which he has taken part, either as a guest the Savannah composer or lecturer, include the Festival Forfest in the Czech Philharmonic Republic, CEME New Music Festival in Israel, the Visiones Orchestra and Sonoras International Festival of Musics and New Technol- Chorus ogies in Mexico, the New Music Greensboro Festival, Parma Mel Whitehead, Music Festival, and many national and regional conferences conductor of the Society of Composers and the College Music Society. Gendelman is a graduate of Universidad Nacional de La Plata in Argentina (where he studied with Mariano Etkin, among others), California State University Northridge (Liviu Marinescu and Daniel Kessner), and the University of Mary- land (Lawrence Moss and Thomas Delio). Currently, he is Associate Professor of Music and Head of Music Theory and Composition at Georgia Southern University. For more information, visit www.martingendelman.com

40 • SAVANNAHPHILHARMONIC.ORG #SAVPHIL • 41 Germanic Passion

Saturday, Germanic Passion March 21 Leonore Overture No. 2, Ludwig van Beethoven 7:30 pm Op. 72a Lucas Theatre Ruckert-Lieder Gustav Mahler for the Arts I. Liebst du um Schönheit 32 Abercorn Street II. Blicke mir nicht in die Lieder! Performance length approx. 81 minutes III. Ich atmet’ einen linden Duft IV. Um Mitternacht Vladimir Vizireanu, conductor V. Ich bin der Welt abhanden gekommen Ryne Cherry, INTERMISSION baritone Symphony No. 9 in C major, Franz Schubert D 944, “The Great” I. Andante – Allegro non troppo II. Andante con moto III. Scherzo. Allegro vivace IV. Finale. Allegro vivace

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42 • SAVANNAHPHILHARMONIC.ORG Notes on the Program

Saturday, Lenore Overture No. 2, Op. 72a (1805) March 21 by Ludwig van Beethoven 7:30 pm Savannah Philharmonic premiere Performance time: Approx. 15 minutes Lucas Theatre for the Arts Fidelio is the one and only opera Beethoven ever wrote. It was 32 Abercorn Street not an easy compositional process, undergoing multiple revi- sions from its earliest stages in 1803 to its final version in 1814. Performance length approx. 81 minutes When it premiered, the opera was titled Leonore – named after a woman who disguises herself as a prison guard (using Vladimir Vizireanu, the name Fidelio) to rescue her husband from political impris- conductor onment. The theater in Vienna changed the title to Fidelio to Ryne Cherry, avoid confusion with two other operas – based on different baritone stories – already titled Léonore and Leonora. The first overture Beethoven wrote for Fidelio’s 1805 premiere is the one being performed tonight, now confusingly referred to as the Leonore Overture No. .2 It is a symphonic masterpiece, overflowing with Beethoven’s dramatic intensity, but Beethoven decided it was much too lengthy for the theater, overshadowing the intimate opening scenes of the opera. He wrote a somewhat revised version (now helpfully called No. 3) for performances in 1806 which shaved about 2 minutes of music off the original. Still not satisfied, Beethoven made a third attempt (now perplexingly known as No. 1) for 1808 performances in Prague that clocks in at a mere 9 minutes of music. However, by the 1814 premiere of Beethoven’s final, revised version of Fidelio, he decided to re-do the overture yet again. Beethoven threw out everything he had written and, using entirely new musical materials, wrote a fourth version just over six minutes long, which is now maddeningly referred to as the Overture to Fidelio. Rückert-Lieder (1901) by Gustav Mahler text by Friedrich Rückert Savannah Philharmonic premiere Performance time: Approx. 18 minutes Friedrich Rückert was an extraordinarily popular poet in the first half of the 19th century. He was fluent in thirty languages, and specialized in translating poetry from Asia, India, and the Middle East. He also wrote German poetry in the styles and poetic structures of the Eastern poetry he translated. Numerous musical composers found inspiration in his poetry, including Schubert, Brahms, Richard Strauss, Bartók and, of course, Mahler. Five of Rückert’s poems were the basis for Mahler’s Kinder- totenlieder, and another five were adapted to become this collection. The challenge in presenting the Rückert-Lieder is the wide ranging topics, moods, and instrumentations of the

#SAVPHIL • 43 Notes on the Program cont’d

Saturday, five poems selected by Mahler. The settings are not designed March 21 as a unified song cycle, so each poem has a distinctly dif- 7:30 pm ferent character. To reflect the changing mood, each song calls for a different set of instruments in the orchestra, from Lucas Theatre the harp, strings, and solo winds of Blicke mir nicht… to the full for the Arts winds, brasses, harp, and piano (without the strings) of Um 32 Abercorn Street Mitternacht. Performance length approx. 81 minutes Symphony No. 9 in C major, D 944, “The Great” (1826) by Franz Schubert Vladimir Vizireanu, Savannah Philharmonic premiere conductor Performance time: Approx. 48 minutes Ryne Cherry, Schubert is more often thought of as a composer of lieder, baritone piano works, and chamber music, but his orchestral music is equally compelling. Though Beethoven was one of his great heroes, Schubert’s own style does not incorporate the same sort of bombastic drama. Even a casual listener will hear Schubert’s gift for melody and his lyrical shaping of phrases, and the care taken to maintain a clarity of structure throughout the orchestra that could easily vanish in a violent out- burst in a Beethoven symphony. Schubert’s ninth symphony, his “Great” C-major, almost went unperformed. For its time it was an astonishingly long symphony, taking around 50 minutes to perform in its entirety. Beethoven’s ninth, premiering just two years before Schubert wrote his ninth, was slightly longer at an hour in length. However, audiences were inclined to indulge Beethoven as a fifty-year-old renowned master, while Schubert was barely 30 years old and just starting to gain some renown. By 1826 Schubert had sent his new symphony to some friends at Vienna’s Musikverein, and the symphony was given a test reading where it was deemed much too difficult to perform. The extreme length of the symphony combined with the taxing nature of the individual instruments’ parts meant no orchestra was willing to tackle the piece for a premiere. After Schubert’s death in 1828, his brother Ferdinand wound up in possession of all his manuscripts and unpublished works. Many of those were slowly sold off to publishers, but there were no takers for the symphonies, operas, and mass- es. At least, that was the case until Robert Schumann decided to pay an unexpected visit to Ferdinand nearly ten years later. During that chance visit in 1837, Schumann happened to glance through the piles of music still in Ferdinand’s possession, and a large manuscript caught his eye. Recognizing this as an unperformed – and inspired – symphony in Schubert’s hand, Schumann rushed the manuscript to Leipzig, where Felix Mendelssohn and the Gewandhaus orchestra gave Schubert’s final symphony the premiere it deserved.

44 • SAVANNAHPHILHARMONIC.ORG Meet the Conductor

Saturday, Described as a conductor with “ample gestures, clarity, pre- March 21 cision, and genuine passion,” Vlad Vizireanu made his debut 7:30 pm with the London Symphony Orchestra at Barbican Hall as the Second Prize Winner in the 2016 Donatella Flick Competition. Lucas Theatre He was most recently invited to the 2018 Malko Competition for the Arts with the Danish National Symphony Orchestra in Copenha- 32 Abercorn Street gen. In 2019, he was confirmed to the Music Directorship of Performance length Knox-Galesburg Symphony. approx. 81 minutes He has worked with a number of orchestras including the Vladimir Vizireanu, Tonhalle-Orchester, Lucerne Festival Strings, New World conductor Symphony, Manhattan School of Music Symphony, and has Ryne Cherry, served as cover conductor for the Los Angeles Philharmonic, baritone Naples Philharmonic, and Sarasota Orchestra. He has also been invited to conduct at the Gstaad Festival, Castleton Festival, and Chautauqua Music Festival. Vizireanu has personally studied with some of the finest conductors of our generation, including Bernard Haitink, Kurt Masur, David Zinman, Michael Tilson Thomas, Neeme Jarvi, and as one of the last students of the late Lorin Maazel under full fellowship at the 2014 Castleton Festival. An ardent advocate of new music, Vizireanu is the Founder & Executive Director of Impulse New Music Festival, a two-week summer program in Santa Barbara, California which brings together young composers and performers to discover new compositions and develop practical skills for the demanding career of music. Vizireanu made his operatic debut in 2013 with Arizona State University Opera and Die Fledermaus. He served as assistant conductor to Lorin Maazel and Timothy Muffitt with productions of Les Dialogues des Carmelites, Madama Butterfly, and Don Giovanni. Vizireanu recently served as Music Director of the North Shore Symphony Orchestra in Long Island, New York and Assistant Conductor for the Thousand Oaks Philhar- monic in Thousand Oaks, California.

#SAVPHIL • 45 Meet the Artist

Saturday, Baritone Ryne Cherry is an opera, oratorio, and ensemble March 21 singer based in Boston, Massachussets. Ryne's opera roles 7:30 pm include Forester in Janáček’s The Cunning Little Vixen, Musta- fa in Rossini's L'italiana in Algeri, Pirate King in The Pirates of Lucas Theatre Penzance, Tomsky in The Queen of Spades, Belcore in L’elisir for the Arts d’amore, Olin Blitch in Susanna, and Mr. Ford in The Merry 32 Abercorn Street Wives of Windsor. His recent oratorio performances include Performance length Mozart's Requiem, Durufle's Requiem, Rossini's Petite messe approx. 81 minutes solennelle, and Carissimi’s Jepthe. Vladimir Vizireanu, Ryne has premiered numerous new works by acclaimed conductor composers such as Dominick DiOrio's opera The Little Blue Ryne Cherry, One, Keith Kusterer's chamber piece Echelon, Nazaykinskaya's baritone opera The Magic Mirror, and Kallembach's oratorio The Tryal of Father Christmas. In the summer of 2017, Ryne enjoyed his second season as a vocal fellow at Tanglewood, the Boston Symphony Orchestra's summer home, working and performing with such acclaimed artists as Lucy Shelton, Stephanie Blythe, Sanford Sylvan, and Dawn Upshaw. In the 2017-2018 season, Ryne had performances of Handel's The Messiah with Boston Baroque and The Handel & Haydn Society, portrayed multiple supporting characters in Weill's Threepenny Opera with the Boston Lyric Opera, had his role debut as Second Prisoner in Beethoven's Fidelio with Bos- ton Baroque, and returned to Tanglewood as a guest artist to portray Sam in Bernstein's A Quiet Place.

46 • SAVANNAHPHILHARMONIC.ORG Saturday Night’s Fever

Saturday, Saturday Night’s Fever April 18 1920s: I’ve Got a Crush On You George Gershwin / 7:30 pm arr. Jay Althouse Lucas Theatre 1930s: I Got Rhythm George Gershwin / for the Arts arr. Mark Hayes 32 Abercorn Street 1940s: Peroxide Swing Andrew T. van Slee / Performance length arr. Steve Zegree approx. 60 minutes 1950s: When I Fall In Love Victor Young & Savannah Edward Heyman / Philharmonic Chorus arr. Kirby Shaw Mel Whitehead, 1960s: Blackbird Lennon-McCartney / chorusmaster arr. Mark Brymer 1970s: Somebody to Love Freddie Mercury / arr. Roger Emerson 1980s: Africa David Paich & Jeff Porcaro / arr. Phillip Lawson 1990s: And So It Goes Billy Joel / arr. Kirby Shaw 2000s: Viva La Vida Berryman, Buckland, Champion & Martin / arr. Mark Brymer 2010s: Sing Hoying, Grassi, Olusola, Johnson & Hollander / arr. Mark Brymer Taylor the Latte Boy Marcy Heisler & Thank you to our generous sponsors Zina Goldrich / arr. Mac Huff

#SAVPHIL • 47 Mozart’s Requiem

Saturday, May 2 JOIN MAESTRO HARADA 7:30 pm FOR THE SEASON FINALE Johnny Mercer Theatre 301 W. Oglethorpe Avenue Performance length approx. 74 minutes Savannah Philharmonic Orchestra and Chorus Keitaro Harada, conductor Mel Whitehead, chorusmaster Alyssa Toepfer, River Rouge Transfiguration Missy Mazzoli soprano Four Norwegian Dances, Op. 35 Edvard Grieg / Stephanie Foley Hans Sitt Davis, mezzo- I. Allegro marcato soprano II. Allegretto tranquillo e grazioso Omar Najmi, tenor III. Allegro moderato alla Marcia David Cushing, bass IV. Allegro molto

Thank you to our INTERMISSION generous sponsors Requiem Wolfgang Amadeus Mozart / Franz Süssmayr I. Introitus II. Kyrie III. Sequentia a. Dies irae Charles C. Taylor & b. Tuba mirum Samir Nikocevic c. Rex tremendae Charitable Foundation d. Recordare Rhegan White-Clemm e. Confutatis & Timothy Clemm f. Lacrimosa Michael & Catherine Thames IV. Offertorium a. Domine Jesu b. Hostias V. Sanctus VI. Benedictus VII. Agnus Dei VIII. Communio

48 • SAVANNAHPHILHARMONIC.ORG Notes on the Program

Saturday, River Rouge Transfiguration (2013) May 2 by Missy Mazzoli 7:30 pm Savannah Philharmonic premiere Performance time: Approx. 10 minutes Johnny Mercer Theatre Missy Mazzoli’s “River Rouge Transfiguration,” premiered by 301 W. Oglethorpe the Detroit Symphony in 2013, is based on a vision of the cen- Avenue tury-old Ford Motors plant in Detroit, MI. The composer was inspired by a 1927 photograph of the plant by the modernist Performance length approx. 74 minutes American photographer Charles Sheeler, “Criss-Crossed Conveyors,” which was described as evoking “an almost Savannah tabernacular grace. The smokestacks in the background look Philharmonic like the pipes of a massive church organ, the titular convey- Orchestra and or belts forming the shape of what is unmistakably a giant Chorus cross.” When the photo first appeared in Vanity Fair in 1928, Keitaro Harada, it was given the evocative title “By Their Works Shall Ye Know conductor Them.” Mel Whitehead, The composer explains, “This is music about the transforma- chorusmaster tion of grit and noise (here represented by the percussion, Alyssa Toepfer, piano, harp and pizzicato strings) into something massive, soprano resonant and unexpected. The ‘grit’ is again and again fold- ed into string and brass chorales that collide with each other, Stephanie Foley collapse, and rise over and over again.” The sonic landscape Davis, mezzo- of the work is drawn from the transformation of mundane, soprano discordant sounds into a reverential, contemplative whole. Omar Najmi, tenor Missy Mazzoli is a Grammy-nominated composer, and is David Cushing, bass currently the Mead Composer-in-Residence with the Chicago Symphony. She also made history in 2018 as one of the first two women to be commissioned to compose a new opera for the Metropolitan Opera. Her works have been performed by the Los Angeles Philharmonic, Opera Philadelphia, the Kronos Quartet, and pianist Emanuel Ax. Four Norwegian Dances, Op. 35 (1888) by Edvard Grieg orchestrated by Hans Sitt Savannah Philharmonic premiere Performance time: Approx. 16 minutes As a composer, Edvard Grieg was never comfortable with longer symphonic forms, or even with orchestras in general. He wrote only 15 pieces for orchestra, and even then they were usually suites composed of many short movements, such as his Holberg Suite, or the incidental music to Ibsen’s play Peer Gynt. Four Norwegian Dances is no exception, originally written for piano duet and later orchestrated by Hans Sitt. The dances are based on Norwegian folk melodies col- lected by Ludvig Lindeman. Though light-hearted, the dances still overflow with Grieg’s rhythmic energy, rich harmony, and dramatic flair for unexpected twists and turns.

#SAVPHIL • 49 Notes on the Program cont’d

Saturday, Requiem in D minor, K. 626 (1791) May 2 by Wolfgang Amadeus Mozart 7:30 pm completed by Franz Xaver Süssmayr First performed by SPO: 2008 Johnny Mercer Last performed by SPO: 2016 Theatre Performance time: Approx. 48 minutes 301 W. Oglethorpe Avenue Mozart’s “Requiem” is possibly the most famous unfinished work in existence, and is undeniably one of the greatest Performance length approx. 74 minutes choral masterpieces ever written. Many people will likely be familiar with the version of events surrounding the creation of Savannah the Requiem as presented in Miloš Forman’s multiple Os- Philharmonic car-winning film Amadeus, but perhaps we should separate Orchestra and fact from fiction. Chorus The mystery surrounding the Requiem is due in some part Keitaro Harada, to Mozart’s widow, Constanze. A highly intelligent and savvy conductor businesswoman, Constanze was left responsible for herself, Mel Whitehead, two children, and Mozart’s significant debts after he died in chorusmaster late 1791. She embarked upon a busy campaign organizing Alyssa Toepfer, memorial concerts, having his compositions published, and soprano writing a biography of Mozart in order to pay off the debts and secure her own financial future. As such, many of the Stephanie Foley accounts in the biography were subject to fantastical embel- Davis, mezzo- lishments that would hopefully increase sales of the book. soprano It’s true that the Requiem was commissioned by an unknown Omar Najmi, tenor party. Far from a masked or disguised Antonio Salieri, though, David Cushing, bass the transaction was handled by intermediaries on behalf of Count Franz von Walsegg. The Count had a habit of commis- sioning works by other composers and presenting them as his own compositions. In this case, the count wanted a requiem mass to honor the passing of his late wife. When Mozart died with only half of his Requiem completed, Constanze was desperate for the income from the commis- sion, so she turned to Franz Süssmayr, a friend and composer who had assisted Mozart in work on The Magic Flute and La clemenza di Tito, to complete the Requiem in secret. Even through Süssmayr’s rendering of Mozart’s sketches, a listener can hear the remarkable innovation in Mozart’s final work. He broke ground by mixing new instruments (such as basset horns and trombones) with baroque-style continuo playing from organ and low strings. Mozart was a keen student of older works by Handel and Bach – to a much greater extent than most composers of his day – and he managed to combine their contrapuntal and stylistic forms with his own lyrical and harmonic innovations into a nearly forty years ahead-of-its-time foreshadowing of the Romantic style.

50 • SAVANNAHPHILHARMONIC.ORG Meet the Artists

Alyssa Toepfer, soprano Stephanie Foley Davis, mezzo-soprano

Saturday, Soprano Alyssa Toepfer has been praised as a performer May 2 with "unbridled dexterity" (Kansas CityStar) and a "marvelous, 7:30 pm soaring tone" (KC Metropolis). Stage credits include Littler Daughter in Missy Mazzoli’s Proving Up with Ad Astra Music Johnny Mercer Festival, Musetta (La bohéme) with Opera180, Zerlina (Don Theatre Giovanni) with Lawrence Opera Theatre, Adele (Die Fleder- 301 W. Oglethorpe maus) with Opera South Dakota, Jemmy (Guillaume Tell) with Avenue Wichita Grand Opera, Pamina (Die Zauberflöte) with the Performance length South Dakota Symphony, Lauretta (Gianni Schicchi) with Op- approx. 74 minutes era South Dakota, and Gretel (Hansel und Gretel) with Opera Omaha. She currently sings with the Grammy award winning Kansas City Chorale. Alyssa was a Nebraska district winner in the Metropolitan Opera National Council Auditions in 2010. Born and raised in Sioux Falls, SD, she completed a Bache- lor of Arts in Music at Augustana University and a Master of Music in Voice at UMKC. For more information, please visit alyssatoepfer.com. Stephanie Foley Davis was praised by the New York Times in her Glimmerglass Festival debut in The Tender Land as “a poised, touching Ma Moss” and Opera News said she was “a loving, careworn Ma, warm of voice and presence.” Ms. Davis has appeared in leading roles throughout the US with companies such as Glimmerglass Festival, Arizona Opera, Nashville Opera, Opera Roanoke, Orlando Philhar- monic and almost every professional opera company in North Carolina, including Opera Carolina, Piedmont Opera, North Carolina Opera, and Greensboro Opera. Stephanie makes her company debut with Vero Beach Opera, singing Rosina in Il Barbiere di Siviglia in January 2020. Also, this season will see her with North Carolina Opera as 2nd Lady in The Magic Flute. Ms. Davis is Chair of the Voice Faculty at The Music Academy of North Carolina, where she has been teaching voice since 2011.

#SAVPHIL • 51 Meet the Artists

Omar Najmi, tenor David Cushing, bass

Saturday, Tenor Omar Najmi is a familiar face on the stages of Boston, May 2 where he makes his home. As an Emerging Artist with Boston 7:30 pm Lyric Opera, Omar has appeared in over ten productions, including his critically acclaimed performances as Vanya Johnny Mercer Kudrjas in Katya Kabanova. Omar is a recent recipient of Theatre the Harold Norblom Award from Opera Colorado, where his 301 W. Oglethorpe appearances include Joe in La Fanciulla del West, and Nor- Avenue manno and Edgardo in Lucia di Lammermoor. Performance length approx. 74 minutes Off the operatic stage, Omar has maintained an active concert career. Most recently, he collaborated with soprano Lau- ra Intravia and pianist Brendon Shapiro in the creation and performance of "An American Timeline," a multimedia recital program exclusively featuring works by American composers. Omar has been a Young Artist with Chautauqua Opera, Op- era Saratoga, Opera North, and Opera NEO. He holds a M.M. from Boston University, and a B.M. from Ithaca College.

David Cushing’s versatile bass-baritone range is effort- lessly demonstrated in a variety of roles including recent appearances in the title roles of Don Pasquale and Le nozze di Figaro, Frère Laurent in Roméo et Juliette, and Bottom in A Midsummer Night’s Dream. Of a recent performance, the Boston Herald exclaimed, “his portrayal of hoodwinked old Pasquale… was a revelation. He could easily specialize in Ital- ian opera’s wealth of foolish-old-man roles and become the basso buffo of his generation.” Mr. Cushing’s recent engagements have included Spara- fucile/Monterone in Rigoletto and Leporello in Don Giovanni with Opera Tampa; Sarastro in Die Zauberflöte with Floren- tine Opera; Leporello with Syracuse Opera; Dr. Dulcamara in L’elisir d’amore and Figaro in Le nozze di Figaro with Opera North; and the leading role of Maometto in Rossini’s rarely performed opera L’assedio di corinto alongside renowned soprano Elizabeth Futral with Baltimore Opera.

52 • SAVANNAHPHILHARMONIC.ORG Proud Supporter of the Savannah Philharmonic

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INTRODUCING OUR 2020 WINTER/SPRING DEMONSTRATION EVENTS

Celebrating the genius of J S Bach by offering FREE, outstanding concerts of his music alongside other unique performances that capture his creative spirit.

BACH AND ESSENTIALS FROM BACH TO WARSAW THE BEATLES AND BACH SUNDAY, FEBRUARY 9 SUNDAY, APRIL 26 THURSDAY, MAY 21 Craig Price, bass-baritone Benjamin Warsaw, pianist Laura Ball, soprano Bach Cantata Ich habe genug Keyboard music beginning with Bach Cantata Jauchzet Gott (BWV 82), Psalm 30 by White, Bach and continuing through in allen Landen (BWV 51) and selected Spirituals three centuries of invention. and music by The Beatles Played on the newly acquired Steinway piano All performances 7:30 PM Lutheran Church of the Ascension, 120 Bull Street, Savannah BACHASCENDING.COM

#SAVPHIL • 53 Contributors

The Savannah Philharmonic Orchestra is very grateful to the individuals, organizations and corporations who support us. Donations listed are Annual Fund, Corporate, Event Patrons, and Foundation and Government Grantor Contributors as of January 13, 2020. The Legacy Society recognizes donors who provide support through planned giving.

54 • SAVANNAHPHILHARMONIC.ORG LEGACY SOCIETY: Richard Foster $100,000 - $999,999 Cynthia Heil E. Austin Hill Revocable Trust The Lauretti Family Rhegan White-Clemm Pamela & Marek Lewanda CONCERTMASTER CIRCLE: Ann Lytle $50,000 - $99,999 Kathryn & Mike McLearn Mr. & Mrs. Robert Demere Thomas & Ruth McMullin Nancy & Ken Larsen Dave & Sylvaine Neises Susan & Ron Whitaker Kelley B. Parker Greg & Margo Plaunt SOLOISTS’ CIRCLE: $15,000 - $49,999 Drs. Heather Simon & Stephen Pohl Rhegan White-Clemm & Timothy Clemm Jackie & Stephen Rabinowitz Charles C. Taylor & Georgine & Jim Scott Samir Nikocevic Dr. & Mrs. J. Wayne Sheridan Charitable Foundation Fran & Hue Thomas PRINCIPALS’ CIRCLE: Mr. & Mrs. R.E. Thorpe $7,500 - $14,999 Michael W. & Peggy Towson Peter & Camille Edwards Diane Tracy Robert Faircloth Ed & Mary Tritch Lynn Weddle & Bud Green Erin & James Waterman Mr. Joseph L. Herring Chris Poe & David Zyla Lyon D. Jemison ALLEGRO CIRCLE: Diana Langer $2,500 - $3,499 Joan & Herb McKenzie Phyllis E. Albertson Peg & Ron Morris Kathryn & Michael Bryson Original Hippie LLC Harold W. Bulman Mrs. David N. Sovchen Mimi Cay Michael & Catherine Thames David Goslin & Nancy McGirr MUSICIANS’ CIRCLE: Dr. & Mrs. Joel A. Greenberg $3,500 - $7,499 Annette B. Hartley Anonymous Mrs. Toby Hollenberg Betsey Andersen Joan & Jack Kaster Gus & Jan Bell Mrs. Robert O. Levitt Dr. & Mrs. Sidney Jefferson Venessa Lott Bolch, III Joann McElravy & Fred Wolf Kathleen & Steve Brenneman Cindy & Richard Moore Carolyn & Darryl Brown Daphne Nash Dorothea & Tim Coy Mr. & Mrs. J.R. Paddison Jo & Will Crake George & Ellen Powers Chris & Staci Donegan Sue & Dick Prior Dick & Judy Eckburg Mrs. Frank L. Wooten Jr. Nina & Ron Eidell

#SAVPHIL • 55 Contributors cont’d

PATRON LEVELS Ann & Tom Ramee COMPOSERS’ CIRCLE: Rosalie S. Morris Foundation $1,000 - $2,499 William & Margaret Rousseau Anonymous Johno Morisano & Judy & Shelly Barquist Carol Sawdye Kelley & Neil Berman Christine B. Aiken Sickles Gary & Sandy Bocard Michael & Gail Siegel Mr. & Mrs. Daniel H. Bradley Philip & Cathy Solomons Joan & Gary Capen Mary & Ned Sommer Betsy & Bob Contino Priscilla & Ronald Stahl Thomas L. Curless Dr. Susan Timna Lynne & Charles Davis Bill Udry Cheri Sheridan & Joe Drake Patty & Bill Ulmer Karl & Sandy Dreisbach Robert & Frances Vinyard Shaun & Rachel Fields Brianna & O.C. Welch Dr. Richard F. Leighton & Alice & Howard Welt Dr. Sylvia K. Fields Don & Beverly White David & Patty Frothingham Ray Williams Johnny & Susan Ganas Charles & Sally Yarber Morris & Marla Geffen PATRON: $500 - $999 Dr. John Bryan & Dr. Donna Graham Anonymous Dr. Alex C. & Ann Guira Margaret Betz & John Chropovka Marie Simmons & Tom Hairston Diane & Jim Bradshaw The Rev'd J. Patrick Hunt SSC Maureen Craig Scott & Pat James Margot Cutting Rodger Johnson Carol D'Cruz Patricia & Frank Kabela D. Morgan Derst Fran & Bob Kelly Leda Chong & Kevin Dewalt John G. Kennedy Foundation Dr. & Mrs. H. Emerson Thomas, Jr. Mimi & Joe Krupp Roger & Karen Foulkes Richard K. Lane John & Anne Gardner Aaron & Dayle Levy Gurdon & Kathy Wattles Bruce & Dorothy Maston David & Gail Kerr Kathleen McGuire & Robert Jones J. Del & Jeanine Lamb Sam & Barb McLaughlin Bert & Carol Larsson Ann Yingling & Dick & Mary Molnar Charles Morrow Mr. & Mrs. John Kleine Bill & Jane Peterson Betsy & John Rabun John Porter Melissa & John Paul Rowan Ronald Pratt Peter & Christine Rives Mary Raines Marie Scheuermann

56 • SAVANNAHPHILHARMONIC.ORG Ralph & Peggy Schilly Merritt Quarles Bob & Marilyn Slagel Col. & Mrs. Henry M. Reed II Donna & Edwin Slappey Maria Roelle Brent Taylor Joan Ross John & Penny Telgener Joseph & Marie Rozman Haydee & Jim Toedtman Michael & Kat Scandura Louise & Tom Wagner Mrs. Jan Schendorf Judy & Phil Walters Christopher & Cristina Mr. & Mrs. Pendleton P. White Senkowski Mr. & Mrs. David A. Young Andrew & Alicia Shillington William P. Simmelink SUPPORTER: $250 - $499 Cindy & Steve Szczecinski Betty & Walker Beeson Cindy & Will Telljohann Vic & Jean Bell Barby & Al Townsend JP & Eva Blachere Mr. & Mrs. John Tucker Andrew & Kim Boguszewski Dan & Carol Walsh Sue & Bill Bouton Melvin Hutcheson & Mr. & Mrs. Claude R. Breese Billy Wooten David & Maynett Breithaupt Richard & Jan Wright Anne W. Dauray SUSTAINER: $100 - $249 Ralph & Linda Davis Nancy & Ned Almy George & Martha Fawcett Laura Baker Sheila & Martin Grossman Brad & Gail Beaman Lynn P. Harrington B. G. Bowers Janet H. Hietbrink David Buchanan Dick & Joanne Hochman Joan D. Burns Jeff & Kathy Ignatoff Mr. & Mrs. Bernard Y. Myron & Fran Kaminsky Conyers Brenda & Brian Kenworthy John Cork Don & Kay Kole Stacie Court Marie & Bob Kraft Harriett DeLong Walter & Christina Lehneis Richard & Jeanne Dent Carol & Robert Lestina Celia Dunn Marjorie & B. H. Levy, Jr. Ruth E. Fenster Dr. & Mrs. George B. Jeff & Lynn Franklin Longstreth Jeffrey and Lynn Franklin Don & Margaret McCulloch Skip & Peggy Gillenwater Ashby & Annie Moncure Dr. & Mrs. Ronald Grimm James & Kathleen Moore Verne & Lynnetta Hartson Lawrence M. & Arlene C. Oberdank Peggy Hedeman Mrs. Jane Paterno Howard & Deborah Helmken Susannah & Jason Pedigo Carolyn Hultman Kris Brenard & Barbara James Johnson Powers Nancy Lazard #SAVPHIL • 57 Contributors cont’d

Ellen Lenart Spiridon Enmarket Karen & Cliff Lindholm ENT Associates of Harvey & Cathy Lynn Savannah, P.C. Sal & Karen Martorelli Georgia Power Monica McGoldrick Globe Shoe Company Jack & Barbara McMaken Gulfstream Aerospace Ron Melander & Jordan Gray Corporation Biff & Jerry Montana Habersham Beverage R. Valerie Osborn HunterMaclean Sandra & Bill Parrott The Kennickell Group Robert Perkins Old Town Trolley Barbara Pilzer Paris Market Thomas V. & Susan G. Reilly The Perry Lane Hotel Guy & Carole Renfer Ranco Event Rentals Kristin Russell Savannah Coca-Cola Corrine & Jeffrey Samuels Savannah Coffee Roasters Erich & Anneliese Schweistris Shrink Savannah Maurice & Nancy Sheppard Staci Donegan Real Estate Group Carol & Mike Spahn Stage Front Catherine Spruill & Thomas Shinnick Tourism Leadership Council Marilyn S. & Stephen J. Sztuk Turn It Pink, Inc. Nancy K. Thompson United Community Bank Gerald Thorne Victory North Joan & Stuart Weiner Visit Savannah Dr. & Mrs. John West Wells Fargo Dr. & Mrs. Les L. Wilkes Wet Willie’s Carmen A. Young World Trade Center Savannah Dr. & Mrs. Michael Zoller FOUNDATION & GOVERNMENT CORPORATE SPONSORS GRANTORS Audiology & Hearing Aid Investment is provided by the Services City of Savannah Brasseler USA Georgia Council for the Arts Cabretta Capital Georgia Music Foundation CIBC Private Wealth The Hodge Foundation Management Johanna Anderson Charles Schwab Trueblood Foundation Colonial Group Inc. Savannah Friends of Music Cordasco & Company, PC. Savannah Orchestral Critz Auto Group Music Fund The Eichholz Law Firm

58 • SAVANNAHPHILHARMONIC.ORG IN MEMORY OF CHARLES & Corrine & Jeffrey Samuels GRACE TUTEN Greg & Marcia Stinson Sandra & Bill Parrott Gerald Thorne IN HONOR OF TERRI O’NEIL Susan & Ron Whitaker Anonymous INTEGRATIVE MEDICINE DONORS Myron & Fran Kaminsky Joseph & Marie Rozman GIVE THE OF MUSIC DONORS St. Joseph’s/Candler Foundations Anonymous The One Hundred Children’s Foundation Betsy & Bob Contino MEDIA SPONSORS Ralph & Linda Davis WTOC 11 Dick & Judy Eckburg Savannah Morning News Matt & Ellen Grill Lesley Francis PR Lynn P. Harrington Connect Savannah Mr. & Mrs. John Kleine GPB 91.1 Aaron & Dayle Levy Sue & Dick Prior

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60 • SAVANNAHPHILHARMONIC.ORG #SAVPHIL • 61 SUPPORT YOUR MUSICIANS

Cynthia Heil with Kelley Parker with Violinist Rhegan White-Clemm and Peg and Ron Morris Cellist Erin Cassel David Song and Pierce Jemison Tim Clemm with Violinist with Principal Clarinetist Danijela Zezelj-Gualdi Kristen Spiridon

62 • SAVANNAHPHILHARMONIC.ORG

BECOME A MUSICIAN HOST The Savannah Philharmonic draws world-class talent well beyond Savannah. Savannah Philharmonic has a long history offering musicians The opportunity to stay in the private homes of our supporters during concert cycles. Hosting responsibilities are minimal-a private bedroom and bath and perhaps a refreshment. Musicians provide their own transportation and meals.

BENEFITS TO HOSTING INCLUDE: n Developing great and lasting friendships. n Bringing the sound of music to your home and providing a sneak peek of the concert to come. n Offering an important avenue of support to the Philharmonic (beyond your subscription and annual fund support). n It’s fun!

BECOME A MUSICIAN SPONSOR Becoming a musician sponsor is an excellent way to enhance your Philharmonic experience and make a positive impact through giving. As a sponsor, the Philharmonic office will pair you with a musician based on similar interests and passions, with the hope that you’ll develop a long-lasting friendship. Our musicians are talented, intelligent, share a love of Savannah and are looking for ways to connect with members of our community. Musician sponsorship starts at $3,500 per section chair and is $7,500 for a principal player. (See page 10 for a full listing of musicians and their sponsors.)

A SPECIAL THANK YOU TO OUR HOST FAMILIES THIS SEASON: Mrs. C. Scott Bartlett Bettina & Kim Huffman Kathleen & Stephen Carol Kirchner Brenneman Ruth & Thomas McMullin Angel Everidge & Diane & Tom Oxnard Marc Chesanow Kelley B. Parker Rhegan White-Clemm Dr. & Mrs. Peter Rives & Tim Clemm Georgine & Jim Scott Kathy & Sam Collura Kristen Spiridon Jo & Will Crake Dr. & Mrs. Jules Victor, III Richard Foster Erin & Jim Waterman Lynn Weddle & Bud Green Brooke & Andrew Wilford Cynthia Heil

Peg and Ron Morris Susan and Ron with Principal Clarinetist Whitaker with Kristen Spiridon Concertmaster Sinisa Ciric

#SAVPHIL • 63 Become an Annual Fund Contributor

Become a Savan- LEGACY SOCIETY nah Philharmonic The Legacy Society recognizes those who support Savannah annual fund con- Philharmonic’s mission through the following: Estate commit- tributor and join ments, Life-Income gifts, Trusts, Life Insurance and Retirement a community of Plans. Supporters receive recognition in perpetuity. committed orches- Levels of commitment: tral and choral $1 million or more music enthusiasts. $100,000 - $999,999 The benefits listed $25,000 - $99,999 here are our way of Under $25,000 expressing our grat- Federal Tax ID for the Savannah Philharmonic is 26-4016312. itude for your commitment to great CRESCENDO SOCIETY: $2500+ music all season We invite you to join the Crescendo Society! Supporters of long. Be sure to the Savannah Philharmonic Annual Fund at the $2,500 level visit savannahphil- or greater are members of the Crescendo Society—our inner harmonic.org for circle of supporters who share our pride and passion for our a full listing of orchestra and chorus. Members of the Crescendo Society benefits. enjoy exclusive benefits designed to enhance your musical experience, including the opportunity to engage with the conductor and musicians in private settings. In recognition of extraordinary generosity and commitment, donors at the Soloists’ Circle level and above receive customized attention and benefits designed to show our appreciation and grow their connection to the Savannah Philharmonic. The Development Department at 912 232 6002 for more information. CONDUCTOR’S CIRCLE: $100,000+ CONCERTMASTER’S CIRCLE: $50,000+ SOLOISTS’ CIRCLE: $15,000+ PRINCIPAL CIRCLE: $7,500 - $14,999 The opportunity to sponsor a Savannah Philharmonic principal musician’s chair for the full season.

MUSICIAN CIRCLE: $3,500 - $7,499 The opportunity to sponsor a Savannah Philharmonic musician’s chair for the full season, excluding principal musicians.

ALLEGRO CIRCLE: $2500- $3,499 Invitation to Crescendo Society events, including the Season Finale Celebration

PATRON LEVELS We welcome donations at all levels. All annual donors giving at the Patron Levels receive recognition in all season concert programs and listing on our website. For donors at the Com- posers’ Circle and above we offer protected seat holds for Subscribers and Multi-Ticket holders during the subscription renewal period.

64 • SAVANNAHPHILHARMONIC.ORG COMPOSER: $1,000 - $2,499 PATRON: $500 - $999 SUPPORTER: $250 - $499 SUSTAINER: $100 - $249

DONATION OPTIONS Contributions can be made online at Savannahphilharmonic. org, or through the Development Department at 912 232 6002.

MEMORIAL/HONORIA GIFTS You may make gifts to the Savannah Philharmonic in memory of, or to honor individuals.

CORPORATE MATCHING GIFTS With a corporate matching gift, you can double your donation, resulting in greater benefits to you and Savannah Philharmonic. Consult with your current, or past employer for details on their matching gift program for charitable organizations.

DEFERRED/PLANNED GIVING THROUGH THE LEGACY SOCIETY You can support Savannah Philharmonic with planned and deferred gifts through your estate in the form of bequests, life income gifts, a charitable lead trust, or life insurance policies.

FLEXIBLE PAYMENT OPTIONS Donations to the Savannah Philharmonic can be made in incremental monthly, quarterly, or semi-annual payments.

CORPORATE PARTNERSHIPS Savannah Philharmonic corporate partners receive valuable benefits, including; brand visibility brand alignment with meaningful education and outreach programs, community development and corporate hospitality opportunities.

CORPORATE SPONSORSHIP OPPORTUNITIES n Sponsoring a concert n Sponsoring a guest conductor n Sponsoring a guest soloist n Sponsoring a Savannah Philharmonic musician n Sponsoring a special event n Sponsoring one of the Savannah Philharmonic’s education or integrative medicine programs. The Savannah Philharmonic team can assist you in creating a customized sponsorship program that suits your company’s needs and helps you achieve your goals and objectives. For information about corporate sponsorship packages, please contact the Development Department at 912 232 6002.

#SAVPHIL • 65 Education and Outreach

LINK UP YOUNG PERSON’S CONCERTS In partnership with Each February, the Savannah Phil- harmonic offers two Young Per- son’s concerts for area students Investment is provided by in collaboration with Carnegie the City of Savannah Hall’s Weill Music Institute. The Link Up Young Person’s Concerts are presented after students study a three-month curriculum provided by Carnegie Hall in their music classes. This curriculum includes learning the recorder flute, singing an array of melodies and songs, composing musical works, and learning music history and biographical information about various composers. After the cur- The Hodge riculum is fulfilled, students get to join the Savannah Philhar- Foundation, Inc monic for their “debut” performance, playing their recorder flutes and singing alongside our very own Philharmonic musicians!

ORCHESTRA LAB In partnership with Savannah Philharmonic is excited to continue Orchestra Lab for area students throughout the City of Savannah, Cha- tham County, and surrounding areas. Orchestra Lab consists Investment is provided by of in-school education and outreach programs during the the City of Savannah entire school year. Philharmonic musicians, in partnership with music teachers and band directors, provide in-school sec- tionals, helping the students to achieve their personal and academic music goals. Soloists performing with the orchestra are invited to give masterclasses to groups Greg & Margo Plaunt of students who are studying the same instrument as the soloist. Philhar- monic musicians also perform in small chamber groups at area schools to in- troduce students to different forms and genres of chamber music. Lastly, the Philharmonic partners with Friends of Ben Tucker to produce three “Keep the Music Playing” workshops where students that have been given a donated instrument through Friends of Ben Tucker’s instrument donation program learn how to care and maintain their instruments.

66 • SAVANNAHPHILHARMONIC.ORG INTEGRATIVE MEDICINE In partnership with Integrative medicine, the prac- tice of treating the patient ho- listically: combining mind, body and spirit, is an often-over- looked aspect of patient care. Music can play an important role in this holistic healing process. The Magic Flute. Monthly, members of the Savannah Philhar- monic Orchestra and Chorus present a rendition of Mozart’s Stacie Court Magic Flute for children receiv- Joseph & Marie ing care in the Memorial Health Rozman Dwaine and Cynthia Willett Children’s Hospital of Savannah. The twenty-minute comedic performance brings smiles and laughter to the young patients, their families and caregivers. Our musicians perform, sing, dance, and frolic in professionally-designed costumes to create a truly authentic production. Savannah Philharmonic works with both the Curtis and Elizabeth Anderson Cancer Institute and the Nancy and J.C. Lewis Cancer and Research Pavilion to provide professional musicians who interact and perform live music for patients waiting to receive or while receiving cancer treatments.

PHILHARMONIC IN THE STREETZ In partnership with Developed to take orchestral music into neighbor- hoods around the city, “Phil- Investment is provided by the City of Savannah harmonic in the Streetz” is a casual afternoon gather- ing aimed at bringing live music to members of our community who would likely not attend an orchestral concert. “Philharmonic in the Streetz” brings together neighbors, students, and civic leaders, giving us the chance to celebrate music with both new and familiar faces. Free and open to the general public, Savannah Philhar- monic presents this bi-annual event to share music and the arts with the entire City of Savannah.

#SAVPHIL • 67 MUSIC TO YOUR EARS

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#SAVPHIL • 69 CHANGE YOUR LATITUDE

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70 • MINTT-014_LMHH_5.25x8.25_savannah_philharmoic.inddSAVANNAHPHILHARMONIC.ORG 1 11/27/19 2:00 PM Thank You to Our Corporate and Community Partners for their Generous Support

Investment is provided by the City of Savannah

Nancy & Ken Larsen Charles C. Taylor & The Hodge Foundation, Inc. Samir Nikocevic Charitable Foundation Susan & Ron Whitaker

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#SAVPHIL • 71 SAVANNAHPHILHARMONIC.ORG