Ludwig Van Beethoven in a Transcription of His Violin Concerto for String Orchestra

Dear Friends of the Mid-Atlantic Symphony Orchestra,

It is such a joy to be able to start our 2020-2021 season! In these difficult times we feel so fortunate to be able to play concerts for you. Like life, music is resilient and necessary. With this opening concert, we celebrate our beloved Ludwig van Beethoven in a transcription of his violin concerto for string orchestra. For Beethoven “Music is a higher revelation than all wisdom and philosophy” and to me his music expresses a psychological and spiritual victory. Edvard Grieg’s Erotik and Holberg Suite are both marvels of lushness and beautiful string orchestra writing that will beautifully contrast Beethoven’s masterpiece. I am so proud of our MSO musicians and how resilient and artfully creative they are during these times of challenge, playing each and every note with heartfelt meaning. We are also blessed to have you as our audience and feel so excited to be sharing the music with you!

Enjoy the concert,

Julien Benichou, Music Director

MISSION STATEMENT: To enrich life across the Mid-Atlantic region through the power of classical music

Board of Directors President Jeffrey Parker Vice President Valerie Mazur Secretary Raymond Vergne Treasurer John Pinney Vice President of Education & Outreach Patricia Campbell

Area Vice Presidents Valerie Mazur, Easton Jean Wehner, Ocean View Vacant, Ocean Pines Peter Harrigan, Rehoboth

Directors Donna Barker Andrea Barnes Katherine Barney Regina Brittingham Courtney Kane Marci Levin Jennifer Martella MSO Staff Music Director Julien Benichou General Manager Dane Krich Consultant Mary Lou Tietz Ticket Fulfillment Anne Marie Rogerson

GUIDELINES

Music is an integral part of our lives. The Mid-Atlantic Symphony Orchestra is dedicated to making your concert-going experience one in which you will continually want to return. VENUES For the 2020-2021 Season Series, the Mid-Atlantic Symphony Orchestra will perform at one venue on the Eastern Shore of Maryland, the Easton Church of God, Easton, Maryland and will livestream the concerts.

VENUE ACCESSIBILITY The venue is handicap accessible.

PARKING Parking is available at the venue.

TICKET PURCHASES There are four options for purchasing tickets. 1) Tickets may be purchased online via the MSO website midatlanticsymphony.org. 2) The ticket order form can be downloaded from the MSO website and mailed to the MSO address. 3) Tickets may be purchased by calling the MSO voice system at 1-888-846-8600. Leave a brief message with your name and telephone number and an MSO representative will return your call. 4) Tickets, if available, may be purchased at the door.

TICKET PRICES For the 2020-2021 Season Series, a season subscription is $195 for 5 concerts. Single tickets may also be purchased for $45 and the livestream concert may be purchased for $15 per person. Tickets to the New Year’s Eve concert are $85 and $25 for the livestream. Complimentary tickets are available to youths up to 18 years old, however due to a limited number of these tickets, a reservation is required.

TICKET PAYMENT The MSO accepts Visa, MasterCard, check or cash for payment.

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DRESS CODE There is no official “dress code” for attending MSO concerts. In respect to the Maestro and the musicians, “smart casual” attire is suggested.

“THEATER” TEMPERATURES Temperatures will fluctuate due to audience size and location of seating. Dress in layers so you can adjust your clothing to be comfortable in a variety of temperatures.

LOST AND FOUND If you misplace your glasses, think you left a sweater on a seat, found keys in the parking lot, etc., call 1-888-846-8600, leave a message and an MSO representative will return your call.

Turn off cell phones and any other electronic devices. The light/noise from these devices is a distraction. Please, no text messaging or flash photography during performances.

Leave all food and drinks outside the “theatre”. NO food or drinks are allowed inside the “theatre”. If unwrapping a cough drop or piece of candy to soothe a dry or sore throat, please do so quietly.

Respect those around you. Concert-goers are expected to arrive and be seated before the music commences. The audience waiting for a concert to begin may talk freely until the end of the applause greeting the entrance of the conductor (or the concertmaster if the orchestra tunes on stage). Please refrain from talk during the performance as it is extremely distracting to other audience members and the musicians. Unless there is an emergency, plan to stay seated during the performance. Refrain from returning to your seat while the musicians are performing. Do so when there is a “break” in the music.

Applause, for musical performances, is held until the entire piece is completed even though there are sometimes pauses between the movements. In between these movements the music will stop for a few seconds. Take note of the program to determine the number of movements. Do not applaud until the conductor has dropped his hands and has turned around to acknowledge the audience. Sometimes this is prolonged past the cutoff of the orchestra, with hands held in the air or slowly lowered over several seconds, in the hope of allowing the audience to stay joined with the artistic creation even for just a moment after its sounds have ceased.

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2019-2020 “Keep the Music Playing!”

Campaign THANK YOU for your support to “Keep the Music Playing!” The Mid-Atlantic Symphony Orchestra Board of Directors, Maestro Julien Benichou, and the MSO musicians are grateful to the patrons, grantors, sponsors and advertisers who support the MSO concerts performed throughout the mid-Atlantic region. Contributions received between July 1, 2019 and June 30, 2020 are acknowledged. We have made every effort to ensure our list is accurate. For changes/additions, call 888-846-8600. GRANTORS 2019-2020 SEASON $15,000+ Van Strum Foundation SPONSORS ($750) Jack and Andrea Barnes $10,000-$14,999 Edward and Elaine Bednarz Maryland State Arts Council Tom and Diane Dee Robert and Faith Duncan $5,000-$9,999 Martha Horner and Sylvia Garrett Community Foundation of the Eastern Shore Brendan and Laurie Keegan Worcester County Arts Council Stephen and Judith Kight Barry and Susan Koh $2,500-$4,999 Arthur and Sallie Melvin Talbot County Arts Council Mr. and Mrs. William Millar William Reybold < $2,500 John Sisson Artistic Insights Fund, Mid-Shore Community Albert and Eleanor Smith Foundation, Inc. Sonny Sollars Brendan and Laurie Keegan Jean and Genevieve Wehner Hope Fulton and Joel C. Leuchter Philanthropic Fund Gilbert & Marylou Carrico Tietz Family DONORS Foundation Maestro’s Circle- $10,000 + Sussex County Council Teresa H. Lynn Townsend Family Charitable Fund continued 11

Concertmaster’s Circle-$5,000-$9,999 Ralph & Carole Lohmann Bill & Elspeth Ritchie Composers’ Circle-$2,500-$4,999 Rubel Family Foundation George P. Eysymontt Friends’ Circle-$100-$249 Soloists’ Circle-$1,000-$2,499 Molly & Peirce Anderson Pamela Chappell Anonymous Mr. & Mrs. Robert B. Duncan Helen & Charles Atkinson Carolyn Ewing Mrs. Gordon R. Baer Dr. & Mrs. Al Fiscina James W. Barcus Sandra Lehman R. A. Bollman Ann Marvin Judith Carpenter John Pinney BJ Cohen Jean & Genevieve Wehner Nancy Collins Barbara Coughlan Principals’ Circle-$500-$999 James L. & Betty Crothers William B. Bergen Foundation, Inc. Elaine L. Dickinson Sue & Joe Bredekamp DiFebo’s Restaurant Summer Brenner Dr. Donald E. Dillon JoFran Falcon Karen & N. Benjamin Dize Judy & Steve Kight Ronya & David Driscoll Chloe Pitard Eagle Family Fund Rafael Prieto Mr. & Mrs. George Fox Martha Read Mr. & Mrs. William Gordean Texas Instruments Elsie W. Gould (on behalf of Bill & Terry Witowsky) William & Elizabeth Hennings Bill & Terry Witowsky Martha F. Horner Diana Kingman Musicians’ Circle-$250-$499 A. Hughlett Kirby Sara Corbishley Laura & Martin Krupp C. Paul Cox Karl Lemp Albert Dannes Gloria & Michael Lindemann Paul Herman & Karen Goldman Stanley & Beverley Martin Mettah & Geoffrey Kollmann Marcia Levin continued 12

Frank Mason Katherine McQueen Marilyn McGriff James Meckley Ray & Linda Olsen Michelle Moodispaw Tony & Cammy Passarella Patricia Newcomb Donna & Vito Potenza Sandra Pace Christine Powers Catherine Pierson Gail Reese Nancy Purchase Anne & Dave Rogerson Valerie Reber Barbara Rose Adrienne Rudge Leslie Rowell Karen & Robert Schultz Mary Ryan Audrey & Lawrence Scott Mr. & Mrs. Heinrich Schmitz Richard Scully Jean Shaw Beverly Shea Gwen & James Skeens Diann & Michael Sherwin Mary & William Slot Robert & Sue Simms Anna & Gilbert Snow Anne Sloan Janice Spieler Dennis & Susan Tracey Jo Ann Storey David Webster Mary Ann Struck Joan Wetmore Dr. & Mrs. George Vernimb Edward Wirkman Nan & Charlie Walthall Hanna Woicke George Dappert & Judy Wixted Rebecca Zinser

Patrons’ Circle <$100 The MSO would also like to acknowledge Carolyn & Gary Arrell and thank the many patrons who Ray & Kathy Busen donated the value of their cancelled Valerie Chamberlain August 2020 concert tickets to the MSO.

Maryann & Alex Donnan Zita Dresner CONTRIBUTIONS - MSO Forest Hansen EDUCATION AND OUTREACH Glynn & Judy Hodges Note-Worthy Instruments Program Anneliese Hoffmann Reverand Michael D. Moyer and Mr. & Mrs. Francis Hopkinson, Jr. members of St. Paul’s Episcopal Church Michael Konski Betsy Rice Bette Koontz Joanne Breedlove, flute Ann Ludwig Patti Clark, 2 clarinets Helen McConnell Leonard & Carol Wolek, clarinet 13 continued

School Education and Outreach Programs SILVER PATRON ($1,000) American Legion Synepuxent Post 166 Donna Barker Andrea and Jack Barnes Andrea Barnes JoFran Falcon Leslie & John Briggs Michael Jahnigen Linda Goss Jerry’s Fund Foundation Jan & Rick Hynson Kiwanis Club of Ocean Pines Catherine McCoy Ocean City/Berlin Optimist Club Carolyn Williams & Colin Walsh Ocean City Elks Lodge #2645 Bruce Wiltsie & Bill Davenport Ocean City Knights of Columbus #9053 FRIEND ($500) MEMORIAL CONTRIBUTIONS Edward Bednarz In memory of Mr. Maurice Benichou, Maestro Eleanor Dallan JT Ten & Albert Smith Julien Benichou’s Dad, given by Jack and Sylvia Garrett & Martha Horner Andrea Barnes Martha Read In memory of James J. Duckworth, given by Alexa & Tom Seip Judith Duckworth HOLIDAY JOY CELEBRATION SPONSORS In memory of Minnie Nichols, given by (OCEAN CITY) Rodanthe & Paul Hanrahan In memory of Bunny, given by Joanne M. Kirby SILVER PATRON ($1,000) In memory of our beautiful daughter, Donna Jack & Andrea Barnes Caddell Yenney, given by Mary and Tom Yenney FRIEND ($500) Sandra Lehman

HOLIDAY JOY CELEBRATION SPONSORS (TALBOT COUNTY) ELIZABETH LOKER COMPETITION SPONSORS GOLD SPONSOR ($2,500) Competition Director Sponsor - Donna Jocelyn & George Eysymontt Barker Margaret Keller Venue Sponsor – Jack and Andrea Barnes Ceci & Rob Nobel Second Prize Sponsor – Catherine Collins Mary Lou & Joseph Peters McCoy William Reybold III Advertising Sponsor – Mary Lou & Joseph Peters 14

2020-2021 “Keep the Music Playing!”

GRANTORS Marci Levin and Joel Resnick $15,000+ Arthur and Sallie Melvin Maryland State Arts Council William and Maxine Millar Michele Moodispaw $10,000-$14,999 Marlene Ott Joseph Peters $5,000-$9,999 George Raitt Albert and Eleanor Smith $2,500-$4,999 Talbot County Arts Council DONORS Worcester County Arts Council Maestro’s Circle- $10,000 +

< $2,500 Concertmaster’s Circle-$5,000-$9,999 C. Paul Cox Family Fund John Pinney, Pinney Associates, Inc. Keegan Family Fund Sussex County Council Composers’ Circle-$2,500-$4,999 Peter and Joanne Harrigan 2020-2021 SEASON Soloists’ Circle-$1,000-$2,499 SPONSORS ($750) Sandra Lehman Robert and Faith Duncan Marci Levin and Joel Resnick Brendan and Laurie Keegan

A. Hughlett Kirby Principals’ Circle-$500-$999

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Musicians’ Circle-$250-$499 Patrons’ Circle <$100 Helen & Charles Atkinson Donna Barker Katherine L. Barney Howard Boyd Dianne & Harry Burlew JoFran Falcon Patricia & Lawrence Campbell Carol Gadsby Pamela Chappell Peter Gerardo Albert Dannes Kay & Lanny Hickman DiFebo’s Restaurant (Bethany Beach Marshall Hodges and Rehoboth Beach locations) Anneliese Hoffmann Linda & Gregory Neuner Faith Kauffmann Vito & Donna Potenza Bette Koontz Melissa S. A. Lourie Friends’ Circle-$100-$249 Sandra Miller Mrs. Gordon R. Baer Penny Mohr & Mark Elert Edward & Elaine Bednarz Katherine Munson Carol Bishop Nancy Purchase Dale Buley Paul Sikoris Dr. James Carder Philip Webster Nancy Collins Edna Ellett CONTRIBUTIONS - MSO Sylvia Garrett EDUCATION AND OUTREACH John and Eileen Giaquinto Note-Worthy Instruments Program Maryellen Gunther Carolyn Harrison School Education and Outreach Kathleen Heintz Programs Paul Herman & Karen Goldman Jack & Andrea Barnes Martha Horner Women’s Club of Ocean Pines Dale Jacobs Diana Kingman MEMORIAL CONTRIBUTIONS Jack & Andrea Barnes, In Memory of Gloria & Michael Lindemann Helen W. Parker Martin Mason Peter & Joanne Harrigan, In Memory of James Meckley Helen W. Parker Rev. Diane Nagorka Courtney Kane, In Memory of Helen W. Kathie Ochse Parker Susan & Barry Koh, In Memory of Helen Rosenblum Family Fund W. Parker Diana Sable Maxine & William Millar, In Memory of Betty J. Sgro Helen W. Parker JoAnn Storey Catherine Thomas 18

MSO AMBASSADORS*

Sussex County Worcester County Talbot County Cape Region Mary Bucklew Janet Abler Betty Baer Sandi Bisgood Dolores Bushemi Keith Abler Shauna Beulah Joanne Cabry Gwenn Hoffman Gale Alford Patricia Brown Edna Ellett Lee Horn Dale Buley Susan Claggett Joanne Harrigan Sandra Lehman Marie Buley Shirley Cockey Sharon Kaplan Tom Markiewicz Kay Hickman Gloria Condrell Terri Rumble Diane Nagorka Lanny Hickman Steve Fillarte Warren Rumble Greg Neuner Dr. Donna Main Janet Friedberg Jeff Socorso Linda Neuner Eileen Martin Lauren Little Carol Olmstead Diane McGraw Rebecca Mullin Mary Pratt Ellen Morvick Ceci Nobel Priscilla Scott Linda Olsen Mari Stanley Ray Olsen Lee Walker Donna Potenza Anastasia Wrightson Vito Potenza Sandy Wrightson Howard Sribnick

*Symphony Ambassadors are a valuable asset promoting the MSO to their “spheres of influence” throughout the mid-Atlantic region. They volunteer at concerts and fundraisers in support of the MSO to “Keep the Music Playing!” vol·un·teer’ A person who impacts a life forever A person who makes a difference Join a very special group of volunteers who Keep The Music Playing! Becoming part of the MSO leadership as either a Symphony Ambassador or Board Member can transform a potential patron’s music appreciation as well as your own. Our volunteers become familiar with the classical music arena, stay mentally active, and increase their sense of purpose as they interact with patrons. No experience necessary Contact the MSO at 888-846-8600

JULIEN BENICHOU, CONDUCTOR

Making his mark as a champion for the future of classical music, thanks to his commitment to new music and innovative programming; Julien Benichou is widely recognized for his inspiring musicality, incredibly infectious energy, and creatively fostering the next generation of musicians and audiences. Benichou is the Music Director of the Mid-Atlantic Symphony Orchestra (MSO), Chesapeake Youth Symphony Orchestra (CYSO), Southern Maryland Youth Symphony Orchestra (SMYOC), and the Principal Conductor of the Washington Opera Society (WOS).

As a guest conductor, Benichou has garnered high acclaim through his work with the New York City Ballet, Annapolis Symphony, Ballet Theatre of Maryland, Baltimore Concert Opera, and Baltimore Symphony Orchestra collaborations with Mobtown Modern Synchronicity. Abroad, he has conducted the Orquestra Sinfonica do Parana in Brazil, St. Petersburg State Symphony and Siberian State Symphony in Russia, and the Free State Symphony in South Africa. Benichou's success as a guest conductor has frequently led to return invitations. Next season he will return to the Siberian State Symphony and the Free State Symphony. Additionally, Benichou will return to Carnegie Hall for his 5th year in collaboration with Tim Janis and flutist James Galway.

Now entering his 16th season with the MSO, Benichou has dramatically raised the professional quality of the ensemble, as well as expanding the orchestra's season and donor base. Through his commitment to working in the community and ability to attract high profile artists, Benichou has developed one of the premier regional orchestras in the greater Baltimore/ Washington area. His leadership of the MSO has led to collaborations with Stefan Jackiw, Virgil Boutellis-Taft, Kurt Nikkanen, Brandie Sutton, Vincent Beer-Demander, Leon Fleisher, Kevin Short, Arnaud Sussmann, and Tine Thing Helsen, to name a few.

Benichou has also found great success in conducting operatic productions, served by his keen attention to detail and an ability to bring forth a wealth of expression from singers. In his position as principal conductor of the Washington Opera Society, Benichou recently concluded a production of Carmen at the Maison Francaise in Washington, DC, featuring Lisa Chavez as Carmen and Jonathan Tetelman as Don Jose. Additionally, he has worked extensively with the Morgan State University Choir, leading a fully-staged performance of Gershwin's Porgy and Bess, featuring Baritone Lester Lynch and Soprano Leah Hawkins. Later with the same ensemble, he conducted the world premiere of James Lee's Mother's Lament.

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A composer himself, Benichou is an avid supporter of new music. He has received numerous commissions for theatre, film, and concert music, most recently from the Siberian State Symphony Orchestra. Benichou has also initiated many new commissions. Recently he conducted the world premiere of Lalo Schifrin's Mandolin Concerto.

Julien Benichou is no stranger to pushing the boundaries of classical music, frequently conducting crossover and pops concerts. He has enjoyed working with the US Army Blues Big Band, the Army Strings, the Irish band Lunasa, and artists Warren Wolf, Mairead Nesbitt, Loreena McKennitt, Sara McLachlan, Matthew Morrison, and HARLOE. In 2017, Benichou premiered “Way of the Rain” at Carnegie Hall, a concert featuring Robert Redford and Vice President Al Gore. Repeat performances are scheduled next season at EarthX in Dallas, TX, and at the Monte-Carlo Opera in the presence of his Highness Albert II, Prince of Monaco.

As an avid advocate for music education, Benichou has worked extensively with the CYSO to bring unmatched experiences to young musicians. He has taken the CYSO on six different European tours through invitations by several prestigious festivals in France, in addition to side- by-side concerts with the Orchestre des Jeunes de Montréal and the St. Petersburg State Symphony. Under his leadership, the CYSO has performed at Carnegie Hall on numerous occasions.

Benichou received a Graduate Performance Diploma from the Peabody Institute and earned a Master's Degree from Northwestern University. He also pursued graduate studies at Yale University. In masterclasses, he has worked with Leonard Slatkin, Yuri Temirkanov, Marin Alsop, Michael Tilson Thomas, and JoAnn Falletta. His primary teachers have been Victor Yampolsky, Gustav Meier, and Jorma Panula.

Before coming to the United States, he trained in France with Roland Hayrabedian and Pol Mule at the Marseille Conservatory and Jean-Sébastien Béreau at the Rueil-Malmaison Conservatory, as well as privately with Yves Cohen. He also studied harmony and counterpoint with Pierre Doury at the Schola Cantorum in Paris. Benichou became a US Citizen in 2016. When not traveling between conducting engagements, he shares his time between his homes in Baltimore, MD and in the French region of Provence.

Bring the World of Music to our Children on the Shore!

The Mid-Atlantic Symphony needs STUDENT VIOLINS for EDUCATION and OUTREACH in our local counties: Dorchester, Sussex, Wicomico, and Worcester

YOU can help with DOLLARS or INSTRUMENTS Contact Patty Campbell at 443-664-6585

JULIEN BENICHOU, CONDUCTOR KURT NIKKANEN, VIOLIN

Thursday, September 24, 7:30 PM, Easton Church of God, Easton, MD

HAPPY BIRTHDAY LUDWIG!

Erotik fromLyric Pieces, Op. 43 Edvard Grieg 1843-1907

Violin Concerto in D Major Ludwig van Beethoven 1770-1827 I. Allegro ma non troppo II. Larghetto III. Rondo. Allegro Kurt Nikkanen, Violin

Holberg Suite Edvard Grieg 1843-1907 I. Praeludium (Allegro vivace) II. Sarabande (Andante) III. Gavotte (Allegretto) IV. Air (Andante religioso) V. Rigaudon (Allegro con brio)

September Roster 1st Violin Viola Kurt Nikkanen, Concertmaster Yuri Tomenko* Regi Papa, Associate Concertmaster Cameron Raecke Kimberly McCollum Dana Bevard Cello Jacques-Pierre Malan* 2nd Violin Tzu-Jou Yeh Celaya Kirchner* Steven Chen Christian Simmelink Mary Thulson Bass Anthony Shields Christopher Chlumsky* Andrew Coccoli

*Principal

American violinist Kurt Nikkanen is an international soloist of the highest order. Born in Hartford, Connecticut, he began his violin studies at the age of three, later studying with Roman Totenberg and Jens Ellerman. At twelve he gave his Carnegie Hall debut, performing with the New York Symphony; two years later he was invited by Zubin Mehta to perform the Paganini Concerto No.1 with the New York Philharmonic for a Young People’s Concert. He is a graduate of the Juilliard School, where he was a scholarship student of Dorothy DeLay.

Mr. Nikkanen regularly receives invitations from the leading orchestras and presenters in the USA and Europe, and has toured Japan and the Far East. In North America he has appeared with the Dallas Symphony, Minnesota Orchestra, San Francisco Symphony, Los Angeles Philharmonic and Cleveland Orchestra, and in Europe with the BBC Symphony, Royal Philharmonic, BBC Philharmonic, Deutsches Symphonie-Orchester Berlin, Rotterdam Philharmonic and the Dresden Staatskapelle. He has worked with many leading conductors.

An enthusiastic advocate of contemporary music, Kurt Nikkanen has given numerous performances of the John Adams Violin Concerto, with orchestras such as the Royal Stockholm Philharmonic, London Sinfonietta, Deutsches Symphonie-Orchester Berlin, Oregon Symphony, Hallé Orchestra and Cincinnati Symphony (all under the composer’s direction).

Highlights of recent seasons have included a UK tour with the Royal Liverpool Philharmonic, performances with the Gothenburg Symphony and Neeme Jarvi at the BBC Proms, and concerts with the Rotterdam Philharmonic, Prague Symphony and RTE Orchestra in Dublin; also with the Bayerischer Rundfunk and Suddeutscher Rundfunk orchestras, both with the late Yakov Kreizberg, and the Royal Scottish National Orchestra with Junichi Hirokami. He has also appeared with the Belgian National Orchestra, Trondheim Symphony and the orchestra of RAI Turin, the Detroit Symphony and Orchestra of Galicia, the Bilbao Symphony, the Malaysian Philharmonic and performances of the Dvorak concerto with the Czech Philharmonic and Vladimir Ashkenazy, both in Prague and on tour in the USA, with concerts in New York and Chicago. In 2011, he was featured as soloist in a performance of the Barber Violin Concerto and Ravel Tzigane with the Turku Philharmonic in a live webcast that was streamed worldwide.

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Mr. Nikkanen has had many works written for him, including Steven R. Gerber’s violin concerto, which he has recorded for Koch International. In 2009, Mr. Nikkanen performed the world premiere of Mikko Heinio’s concerto Alla Madre, subsequently recording it for Sony Classical with the Turku Philharmonic under Petri Sakari and released in 2010. His recording of William Walton’s Violin Concerto with the New Haven Symphony Orchestra was released on the Nimbus Alliance label in 2010 and was chosen as “Critics Choice for 2010” in Gramophone Magazine.

Mr. Nikkanen gave the New York premiere of the Violin Concerto by Thomas Adès in May 2010 and has since performed it in Australia with the Perth Symphony Orchestra conducted by Paul Daniel.

In addition to his orchestral appearances, Kurt Nikkanen performs regularly as a recitalist both in the US and abroad with his wife, pianist Maria Asteriadou, presenting repertoire ranging from the complete Beethoven sonatas to Piazzolla tangos.

He is the Concertmaster of the New York City Ballet Orchestra and maintains a private teaching studio in New York, where he resides with his family.

In Memoriam The Mid-Atlantic Symphony Orchestra would like to express its deepest condolences at the passing of Diane Dee

In her life before retirement, Diane was employed by the CIA and Foreign Service and served tours in Beirut, Lebanon, Taipei, Panama, China, Belgium and Morocco. It was a busy and challenging career, especially combined with an active family life at home, raising 3 sons. Following her retirement, Diane moved to Ocean View, Delaware and wanted to give back through volunteering and use her many talents by doing so. Her love for classical music led her to one such volunteer opportunity. As a member of the Board and MSO family, she served as Ocean View Vice President and contributed in so many ways over the years. The orchestra is very grateful for her many contributions to the MSO and her dedication to bringing classical music to the Eastern Shore of Maryland and Delaware.

Program Notes Edvard Grieg Norwegian 1843-1907 Edvard Grieg was born into a stable and supportive upper class family. His mother was a good pianist and began his lessons at age 6. In 1858, at the age of 15, he enrolled in the Leipzig Conservatory, and studied the music of Schubert and Mendelssohn. He returned to Copenhagen and married his cousin Nina, who had a splendid voice and championed his songs. He spent the winters of 1866 and 1870 in Rome, where he met Henrik Ibsen and Franz Liszt. After settling in Oslo, he received a yearly stipend from the Norwegian government. In his maturity, he toured Scandinavia, continental Europe and England to great acclaim. Grieg died of heart failure in 1907. Grieg's music is rooted in the national folk tradition of Norway. It is intensely lyrical. Grieg had the gifts of melody and harmony. He wrote music for the piano, the voice, chamber ensembles and violin sonatas. His orchestral works were few. His Piano Concerto Opus 16 made him famous, and the Peer Gynt Suites Opus 23 made him popular.

Erotik (Poeme erotique) Opus 43, No. 5 Originally written for the piano, this short work has been transcribed for string orchestra and for cello and piano. The listener who anticipates intense passion and lustful drives in the music will be disappointed. Using a simple F-D-E-C motif, Grieg finds depths of expression and feeling, creating a mood of tranquility and profound satisfaction without unnecessary fireworks.

Holberg Suite, Opus 40 The Holberg Suite Opus 40 originated as a tribute to Ludvig Holberg, a famous Danish writer, on the 200th anniversary of his birth. Written for the piano, later transcribed by the composer for string orchestra, the Holberg Suite uses musical forms of Holberg's time, specifically classical dances. The prelude presents a vigorous melody against a restless rhythm; it is followed by the sarabande, gavotte and musette. Next comes a gentle Air of classical design. The Suite closes with a gay rigaudon, still exhibiting a romantic vein.

Program Notes by Raymond Vergne, M. D. 33

Ludwig van Beethoven German (1770-1827) Concerto for Violin and Orchestra in D, Opus 61

Ludwig van Beethoven was born in the German town of Bonn on December 16, 1770 to a musical family. He was a precociously gifted pianist and violist. After nine years as a court musician in Bonn, he moved to Vienna to study with Joseph Haydn and remained there for the rest of his life. He was soon well known as both a virtuoso and a composer, and became the first important composer to earn a successful living while forsaking employment in the church or court. He uniquely straddled the Classical and Romantic eras. Rooted in the traditions of Haydn and Mozart, his art also encompassed the new spirit of humanism expressed in the works of German Romantic writers as well as in the ideals of the French Revolution, with its passionate concern for the freedom and dignity of the individual. Throughout history, human beings have made progress in numerous fields of endeavor in a stepwise and almost predictable fashion. At times, the progress made by some has been of such magnitude and scope that it has become the source of legends and Ancient Aliens theories. Think of Shakespeare in the theatre, Michelangelo and Rembrandt in the decorative arts, Albert Einstein in physics, Nikola Tesla in electricity, Bill Gates and Steve Jobs in our electronic age. In music, Beethoven took existing XVIII century forms and developed them to extraordinary horizons and in previously unforeseen directions. In addition, he infused classical music with a profoundly personal and individualistic character never previously expressed. In 1802, Beethoven was in despair from the realization that he was going deaf. Beethoven's deafness, while very frightening to him, increased only gradually in varying waves up to around 1808 and turned definitely for the worse in 1812. It is generally agreed that the anger Beethoven's deafness kindled in him translated into a rage to defeat fate by pushing music far beyond its previous frontiers. For his last 15 years he was unrivaled as the world's most famous composer. In musical form he was a considerable innovator, widening the scope of the sonata, symphony, concerto and string quartet.

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The Concerto for Violin and Orchestra in D Opus 61 was composed for, dedicated to and premiered by Franz Clement in 1808-1809. It was not well received; although Beethoven wrote a piano version, Opus 61a, the work was ignored until revived by the violin prodigy Josef Joachim years after Beethoven's death. For the Violin Concerto, Beethoven used a similar strategy as Dvorak would use eighty years later for his Cello Concerto: let primarily the woodwinds and the brass accompany the soloist, Beethoven giving the bassoon several lovely passages; use the full orchestra sparingly, never drowning or even challenging the soloist; use pizzicato strings to enhance specific segments. The first movement opens, in radical fashion, with five taps of the tympani. This short-short- short-short-long sequence is repeated, in one form or another, a couple of hundred times by various instruments during the first movement; it helps cement the 4/4 rhythm and "runs a thread" throughout the whole movement, which is an Allegro in modified sonata form. The first theme, termed "radiant" by Donald Francis Tovey in his Essays in Musical Analysis, is introduced by the woodwinds. It is followed shortly by the "scale" and the "energetic" themes, which are primarily transition subjects. The "scale" motif is picked up by the violins, with delicate counterpoint on the cellos and the short-short-short-short-long figure in the brass. After the "energetic" motif, the second main theme (fourth overall) emerges, broad and lyrical, announced by the woodwinds and repeated by the strings. The fifth theme, a glorious ascending motif presented by the violins and answered by the cellos and basses, brings the exposition to a close. The solo violin enters in an assertive and virtuosic fashion, flashing octaves and double stops, and proceeds to repeat, embellish and adorn the five motifs, leaving the third, the "energetic" theme, for last. Throughout the soloist's exposition, a sense of spaciousness and timelessness is preserved. The development begins with a symphonic interlude, and is divided into two parts: development of the first "radiant" motif and then the fifth "glorious" subject, over woodwinds and brass taking over the short-short-short-short-long drum figure. A crescendo on the violin solo leads to the recapitulation and the coda, during which the violin embarks in its cadenza. Beethoven did not write a cadenza for his violin concerto, but it seems that everyone else did. At least fifty (50) recognized cadenzas have been written and played; those of Joachim and Fritz Kreisler are the most popular and best known. Joachim's cadenza is full of double stops and quotes most of the five themes, including the five note drum call, and a segment where the first "radiant" theme and the fifth "glorious" motif are heard simultaneously, skillfully intertwined. continued

The heights of lyricism are attained right after the cadenza, when the solo violin and the bassoon establish a short dialogue using the lyrical fourth theme and the "glorious" fifth motif. A similar episode occurs at the end of Brahms' Violin Concerto, when the clarinet and the solo violin as- cend to ecstasy. The movement closes without urgency, yet in the affirmative. The Larghetto is a theme and variations maintaining the broad, expansive mood in 4/4 time. After the third variation, the violin introduces a totally new melody that disappears once the main theme returns. The atmosphere is ethereal and relaxed. The orchestration is most effec- tive, initially with the violin playing over pizzicato strings, then woodwinds, particularly the bassoon, and finally the brass, resulting in an atmosphere of calm and solemnity. A short cadenza leads directly, without pause, to the third movement, a vigorous Rondo in 6/8 time. The architecture of the Rondo is A-B-A-C-A-D-A plus cadenza and coda. The third entry C is particularly lovely and Joachim's cadenza is quite substantial. Yet there is something pedestri- an about the Rondo. Although the music is rhythmic, the themes attractive and the orchestration solid, the Rondo does not have the gravitas that the Allegro and Larghetto exude. The mood is different. In Beethoven's Emperor Concerto, Brahms' Violin Concerto and Dvorak's Cello Concer- to, the third movement "fits" nicely with the rest of the work: the atmosphere is not identical, yet congruent with the previous two movements.. After the grandeur and loftiness of the first two movements, conveying a sense of consolation, nobility and peace, the third movement of the Beethoven Violin Concerto is somewhat carnivalesque and provides a venue for the soloist to demonstrate technical skills and complete the concerto in a flash of brilliance. It is difficult to doubt that Franz Clement contributed significantly to this concerto. In the surviv- ing manuscript, Beethoven assigns four staves to the violin solo, providing room for corrections and additions. Five excellent motifs or themes are presented in the exposition, all appropriate for development, enough for two concerti if necessary, and plenty for the soloist to choose from. The violin parts, although technically challenging, were written by a hand that knew the possibili- ties and the limits of the instrument. This violin concerto was most likely the product of close cooperation between a genius of composition and a master of performance. Beethoven's Concerto for Violin and Orchestra in D Opus 61, together with the Brahms' Violin Concerto, is the standard against which all other concertos are measured. As a work of colossal breadth, Olympian stature and deep nobility, it is a favorite of soloists, orchestras and concert- goers everywhere. The performance of his work without wind instruments will be novel. The piano version, Opus 61a, is underwhelming. The original orchestral score calls for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. Length of performance: about 45 minutes.

Beethoven died on March 26, 1827 in Vienna, Austria.

Program Notes by Raymond Vergne, M. D. 36

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