WHAT’S INSIDE

CONCERTS Masterworks 30 RACH 3 38 Awet Andemicael Sings Famous Barouqe Arias 47 Ode to America! 42 Magnetic South 1 53 Mendelssohn & Grieg “Contrasts” 79 Beethoven’s 5th 52 Chamber Music at The City Gallery

Pops Special Events 34 A Tribute to Louis and Ella with Byron Stripling 63 Holiday Brass with Doc Severinsen and Phil Smith 73 Swingin’ Christmas with Tony DeSare 67 Holy City Messiah 76 Holiday Pops

4...... House Notes 18...... CSO Chorus 6...... Musicians 22...... Charleston Symphony 8...... Guest Musician Sponsors League, Inc. 9...... Board of Directors 26...... Educational Programs 11...... Administration 28...... Musician Roster 13...... Letter from Executive Director 84...... CSOGo Members 14...... 85...... Membership Benefits 16...... Principal Pops Conductor 86...... Donor Recognition 17...... From the Symphony 89...... In Honor/In Memory 92...... Guest Musician Hosts/In-Kind Gifts

ADVERTISING: Onstage Publications This playbill program template is published in association with Onstage Publications, 937-424-0529 | 866-503-1966 1612 Prosser Avenue, Dayton, Ohio 45409. This playbill program template may not be reproduced in whole or in part without written permission from the publisher. Onstage e-mail: [email protected] Publications is a division of Just Business!, Inc. Contents © 2018. All rights reserved. www.onstagepublications.com Printed in the U.S.A.

CharlestonSymphony.org 3 HOUSE NOTES

Thank you for attending this performance of the Charleston Symphony. Here are some tips and suggestions to enhance the concert experience for everyone.

TICKET INFORMATION STUDENT DISCOUNTS Students ages 6-22 may take advantage of the following discounts. Some concerts are excluded INDIVIDUAL CONCERT TICKETS or have special pricing noted on the Charleston Online: Symphony website. Purchase student discount www.CharlestonSymphony.org tickets at the Charleston Symphony box office (not Gaillard). College students must show their In Person: valid college ID card. Charleston Symphony Office: 2133 N. Hillside Drive (West Ashley) Monday thru Thursday, 9am $80 Gold Student Membership to attend to 5pm and Friday 9am to 12pm and beginning two 8 Masterworks, 4 Pops, and 3 Chamber hours prior to a performance at the concert venue. Music concerts. Half Price Student Tickets when purchased Gaillard Center Box Office (for Masterworks and in advance. Pops concerts only): Monday through Friday, $10 Student Rush Tickets (subject to availability, 11am to 6pm and beginning two hours prior to at the box office on night of concert only.) a performance. FOR THE ENJOYMENT OF ALL Will Call closes 30 minutes after performance begins. ELECTRONIC DEVICES By Phone: Please refrain from using personal electronic Charleston Symphony...... (843) 723-7528 devices during the performances. The Gaillard Center Box Office...... (843) 242-3099 LATE SEATING In consideration of both artists and audiences, latecomers will be seated at the discretion of the staff. Doors open one hour before the beginning of concerts and Will Call closes 30 minutes after concert starts.

As an added benefit for our subscribers, if you are unable to attend one of your subscription concerts, visit the Charleston SUBSCRIBER Symphony offices at 2133 N. Hillside Drive no less than 48 hours prior to the performance to exchange tickets for a future concert EXCHANGES (subject to availability, some exclusions apply).

4 CharlestonSymphony.org FOR YOUR COMFORT, PLEASE HELP US RECYCLE CONVENIENCE, & SAFETY Please keep your program guide if you wish. We PARKING also encourage patrons to place your program guide in the recycle baskets outside the entrances Two paid parking garages are located near the to the hall as you leave this performance for use at Gaillard Center: the Gaillard Parking Garage (flat future performances. $5 fee) adjacent to the hall and the parking garage located at the end of Calhoun Street near the South Concerts, performers, dates, times, and locations Carolina Aquarium. are subject to change. The Cumberland Street Parking Garage is near the Your attendance constitutes consent for use of Dock Street Theatre. your likeness and/or voice on all video and/or audio recordings and in photographs made during ACCESSIBILITY Charleston Symphony events. To purchase wheelchair-accessible tickets, please call Patron Services at (843) 723-7528 x110. IMPORTANT INFO RESTROOMS All restrooms in The Gaillard Center are handicap CHARLESTON SYMPHONY accessible. Restrooms are available on all levels, PATRON SERVICES with the exception of the Dress Circle. (843) 723-7528, ext. 110

CONCESSIONS ADDRESS Concessions are available for purchase before Mail: PO Box 30818 Charleston, SC 29417 concerts and during intermission. Food is not Physical: 2133 N. Hillside Drive Charleston, SC 29407 allowed inside either performance hall. OFFICE HOURS FOR YOUR SAFETY Monday-Thursday: 9am - 5pm Friday: 9am - 12pm In the event of an emergency, please use the exit nearest your seat. This is your shortest route out of WEBSITE the hall. Charleston Symphony staff members are www.CharlestonSymphony.org onsite at all performances. DEVELOPMENT (843) 723-7528, ext. 115

CHARLESTON SYMPHONY E-NEWS Receive the latest news, information and special pricing opportunities by signing up for the CSO’s e-news at www.CharlestonSymphony.org.

SOCIAL MEDIA Facebook: www.facebook.com/CharlestonSymphony Instagram: CharlestonSymphonyOrchestra Concerts, performers, dates, times, Twitter: @ChsSymphony and locations are subject to change. YouTube: www.youtube.com/user/ChasSymphony Your attendance constitutes consent for use of Use hashtag #CharlestonSymphony throughout your likeness and/or voice on all video and/or audio the season! recordings and in photographs made during CSO events.

CharlestonSymphony.org 5 MUSICIANS

CONDUCTORS

Ken Lam Yuriy Bekker Kellen Gray Music Director Principal Pops Conductor Assistant Conductor Sponsored by Herzman-Fishman Charitable Fund Sponsored by Valerie and John Luther and Carol H. Fishman CORE MUSICIANS

Yuriy Bekker Micah Gangwer Asako Kremer Alexander Boissonnault Assistant Concertmaster Assistant Principal Sponsored by Mrs. Andrea Volpe Sponsored by Second Violin Sponsored by Stuart and Sheila Christie Sponsored by Albert and Caroline Thibault Dr. and Mrs. Mariano La Via

Jan-Marie Joyce Alexander Agrest Norbert Lewandowski Damian Kremer Principal Viola Principal Assistant Principal Cello Sponsored by Sponsored by Sponsored by The Gray Foundation Sponsored by Ted and Joan Halkyard Dr. Jeffery and Mrs. Tammy Dorociak Principal Cello Chair Permanently Barbara Chapman endowed by the CSOL®

6 CharlestonSymphony.org Jessica Hull-Dambaugh Regina Helcher Yost Zachary Hammond Kari Kistler Principal Second Flute & Piccolo Principal Second Oboe & English Horn Sponsored by Sponsored by Co-Sponsored by Miriam DeAntonio Sponsored in loving memory of Roger and Vivian Steel Paul and Becky Hilstad and Nicholas and Eileen D’Agostino, Jr. John Frampton Maybank

Charles Messersmith Gretchen Roper Joshua Baker Katherine St. John Principal Second Clarinet Principal Second Bassoon Sponsored by Sponsored by Sponsored by Sponsored by Ilse Calcagno Ann and Henry Fralix Dr. and Mrs. William T. Creasman Rajan and Suman Govindan

Brandon Nichols Anne Holmi Christopher Lindgren Thomas Joyce Principal Horn Second Horn Principal Bass Trombone Sponsored by Sponsored by Sponsored by Sponsored by Cindy and George Hartley Ted and Tricia Legasey Dr. Cynthia Cleland Austin Robert and Helen Siedell

Thomas Bresnick Antonio Marti Beth Albert Ryan Leveille Principal Bass Principal Principal Principal Percussion Sponsored by Sponsored by Sponsored by Dr. James and Claire Allen Sponsored by Mr. and Mrs. Burton Schools Dr. S. Dwane Thomas Anne P. Olsen

CharlestonSymphony.org 7 GUEST MUSICIAN SPONSORS

he Charleston Symphony is very fortunate to have talented guest musicians who supplement our core orchestra to provde you with the best symphonic experience. TWe are also fortunate to have exceptionally generous donors who help make it possible for us to engage these talented musicans.

For a gift of $5,000 or more, you too can sponsor one of these available guest musician chairs.

Flute Merinda Smith Percussion Available

Available Mr. David Savard

Clarinet Available

Oboe Ms. Katherine M. Huger Violin William and Corinne Khouri

Available Michael and Barbara Moody

Bassoon Available Available

Horn Ike and Besty Smith Viola Ann and Lee Higdon

Available Available

MacDonald Carew Trumpet Cello Mr. and Mrs. Wayland H. Cato, Jr. Family Fund

Available * Friend of the CSO

Sue and Ken Ingram

Trombone Available Elizabeth Rivers Lewine

Tuba Available Bass Frank and Kathy Cassidy

Dr. and Mrs. Fritz Lorscheider

Harp Available Available

To participate, please contact the Developmet Office at (843) 723-7528 ext. 115.

8 CharlestonSymphony.org BOARD OF DIRECTORS

EXECUTIVE COMMITTEE President: Robert Siedell – President, Japan and Australia/New Zealand Region Head, American Express International, Inc. (Retired) Treasurer: Lenna Macdonald – Chairman/Finance & Administration, MedTrust Medical Transport, LLC Vice President, Artistic: Edward Hart – Chair, Department of Music, College of Charleston, Vice President, Development: Lee Higdon – President of Connecticut College (Retired) Vice President, Nominating & Governance: Carol H. Fishman – Attorney (Retired) and Community Volunteer Paul Hilstad – Partner and General Counsel, Lord, Abbett & Co, LLC (Retired) Norbert Lewandowski – Principal Cello, Charleston Symphony Kathleen Reid – President of the Charleston Symphony Orchestra League, Inc.

DIRECTORS Judy E. Chitwood – Charleston Symphony Advocate Jerry Hudson Evans – Partner Attorney, Richardson, Patrick, Westbrook & Brickman, LLC Ann Hurd Fralix – Fundraising Professional (Retired), Charleston Symphony Advocate Natalie Ham – General Counsel for Charleston County School District Eddie Irions, M.D. – Partner, Charleston GI Cynthia Mabry – Charleston Symphony Advocate Jon W. Olson – Sr. Vice President & General Counsel, Blackbaud, Inc. Roy Owen – Partner, Deloitte Consulting (Retired) David Savard – Charleston Symphony, Charleston Symphony Orchestra League, Inc., and Artistic Community Advocate, Eaton Corporation (Retired) Byron Stahl – Financial Advisor, Partner, Coastal Wealth Management

VOTING EX-OFFICIO MEMBERS Bob Hill – Banker (Retired)

NON-VOTING EX-OFFICIO MEMBERS Rick Goldmeyer – President, Charleston Symphony Orchestra Chorus Becky Hilstad – Past President, Charleston Symphony Orchestra League, Inc. Kyle Lahm – Cultural Arts Director, City of North Charleston Jennifer Luiken – Professor of Voice, Charleston Southern University Valerie Morris – Dean, School of the Arts, College of Charleston Mike Whack – Special Assistant to the Mayor, City of Charleston

LIFE MEMBERS James Allen Max Hill, Jr. Marianne Mead Burt Schools Ted Halkyard Ted Legasey Eloise Pingry Ed Sparkman

HONORARY TRUSTEE Ellen Dressler-Moryl

CharlestonSymphony.org 9

ADMINISTRATION

Executive Director FINANCE OPERATIONS MARKETING Michael Smith Director of Finance General Manager Director of Marketing Jeff Irwin Kyle Lane Kate Gray Executive Assistant and Board Liaison DEVELOPMENT Personnel Manager Marketing Coordinator Karen Piraneo Vacant Thomas Joyce Seda Avdan

PATRON SERVICES Production Manager Marketing Coordinator Director of Patron Mason Wills Mandie Ronick Services Cynthia Branch Music Librarian EDUCATION Rachel Gangwer Director of Education and Community Engagement Mitsuko Flynn

CharlestonSymphony.org 11 12 CharlestonSymphony.org EXECUTIVE DIRECTOR Michael Smith Dear Patrons, I am excited and humbled to welcome each one of you into the hall tonight. This is our 82nd season as a symphony orchestra, and we could not be here without your support.

I could talk at length about this season’s beautiful repertoire, but I will allow Ken to do that on the next page over. Instead, I would like to share with you some highlights we’ve experienced over the last year, and why I believe that the Charleston Symphony has never been stronger.

I am thrilled to report that the Charleston Symphony is as financially healthy as ever. We have just completed an industry- leading eighth consecutive season with a modest operating surplus, devoting 84% of our expenses directly into our artistic and educational programs. Additionally, thanks to the Donnelly Foundation and some very generous patrons/donors, we have established the Symphony’s first-ever Operating Reserve Fund, a rainy-day fund designed to support the Symphony in case of economic downturn. We aim to grow this fund every year so as to ensure that we can always provide Charleston with world class orchestral music.

Last fall, the Charleston Symphony officially acquired the Charleston Symphony Youth Orchestra (CSYO), which has allowed us to deepen and strengthen our involvement in the education of young musicians from all around the tri-county area. The CSYO will operate under the direction of our new Assistant Conductor, Kellen Gray, whom we are delighted to welcome to the Charleston Symphony family.

Finally, I am happy to share that the Charleston Symphony has added more new subscribers than any year since 2011, thanks in part to our flexible new subscription option, Pick 6. In a time when many are experiencing declines in attendance, we are extremely grateful to witness our audience grow. I see the Symphony as a cornerstone not only of Charleston’s performing arts scene, but of Charleston as a whole, and I am very thankful to see this notion reflected within the community.

I look forward to another season of wonderful music, exciting new initiatives, and growing patron support. I thank the musicians for their incredible artistry and dedication, the staff for their diligent hard work behind the scenes, the board of directors, volunteers, CSOL and CSO Chorus for their generous support, and most of all you, our patrons, for your presence here this evening. Please enjoy the show!

Sincerely,

Michael A. Smith Executive Director

CharlestonSymphony.org 13 ABOUT THE Music Director

en Lam was appointed Music Director of the Charleston Symphony in 2014 and began his first full Kseason with the orchestra in September 2015. Winner of the 2011 Memphis Symphony Orchestra’s International Competition and a featured conductor in the League of American Orchestra’s 2009 Bruno Walter National Conductors Preview with the Nashville Symphony, Maestro Lam made his US professional debut with the National Symphony Orchestra at the Kennedy Center in June 2008 as one of four conductors invited by Leonard Slatkin. In recent seasons he has led performances with the symphony orchestras of Cincinnati, , Detroit, Hawaii, Memphis, Illinois and Meridian, as well as the Hong Kong Sinfonietta, Hong Kong Philharmonic, Guiyang Symphony and the Taipei Symphony Orchestra.

A keen operatic conductor, Maestro Lam has led numerous productions of the Janiec Opera Company at Brevard Music Center and was Assistant Conductor at Cincinnati Opera, Baltimore Lyric Opera and at the Castleton Festival in Virginia. He has led critically acclaimed productions at the Spoleto Festival USA, Lincoln Center Festival and at the Luminato Festival in Canada. His performance run of Massenet’s Manon at the Peabody Conservatory was hailed by the Baltimore Sun as a top ten classical event in the Washington/Baltimore area in 2010.

Maestro Lam also holds the posts of Music Director of the Illinois Symphony Orchestra, Resident Conductor of the Brevard Music Center in North Carolina, Artistic Director of Hong Kong Voices and Conductor Laureate of the Baltimore Symphony Youth Orchestras. Previous positions have included posts as Associate Conductor for Education of the Baltimore Symphony Orchestra, Assistant Conductor of the Cincinnati Symphony Orchestra and Principal Conductor of the Hong Kong Chamber Orchestra.

Maestro Lam studied conducting with Gustav Meier and Markand Thakar at Peabody Conservatory. David Zinman and Murry Sidlin at the American Academy of Conducting at Aspen and Leonard Slatkin at the National Conducting Institute. He read economics at St. John’s College, Cambridge University and was an attorney specializing in international finance for ten years before becoming a conductor.

Maestro Lam is the recipient of the 2015 Johns Hopkins University Global Achievement Award, given to alumni who exemplify the university’s tradition of excellence and who have brought credit to the university and their profession in the international arena through their professional achievements.

14 CharlestonSymphony.org MUSIC DIRECTOR Ken Lam Dear CSO Patrons, In the words of Aldous Huxley, “That which comes nearest to expressing the inexpressible is music.” I believe I can speak for all our musicians when I say that we create, interpret and play music not simply to make a living, but to make ourselves— our spirits and our minds—whole. We play, as Huxley so aptly said, to express the inexpressible, both for ourselves and for our audience.

I have designed each concert in this season’s program to bring to life that which I feel cannot be expressed in words alone. Some pieces, like Aaron Copland’s Symphony No. 3 and Beethoven’s 5th, may inspire and uplift, while others, like Daugherty’s Raise the Roof and Richter’s The Four Seasons Recomposed, may challenge and provoke. While Rachmaninoff’s Piano Concerto No. 3 may charm some with its musical virtuosity, it will captivate others through its sweeping Russian melodies. Of course, some works will exhilarate you while others will soothe—all of which is testament to the inherent power of the music.

It is our life’s work, and indeed our life’s pleasure, to bring our interpretation of these magnificent works to you: to add texture and depth to your daily life, to fill your soul as it has ours, and to express a part of the human experience that would otherwise go unwritten and unspoken. I hope that you will join us for a what will surely be a transcendent season.

Sincerely,

Ken Lam

CharlestonSymphony.org 15 PRINCIPAL POPS CONDUCTOR Yuriy Bekker

uriy Bekker, critically-acclaimed violinist and conductor, has led the Charleston Symphony as YConcertmaster since 2007 and was named its Principal Pops Conductor in 2016. Bekker served as the orchestra’s Acting Artistic Director from 2010-2014 and Director of Chamber Orchestra from 2014-2015, playing a major role in the orchestra’s successful resurgence. Mr. Bekker has served on faculty as a violinist and conductor for the Miami Music Festival in Miami, Florida since 2014. He is also an adjunct faculty member of the College of Charleston School of the Arts as a violin professor and as conductor of the College of Charleston Orchestra. He is Music Director of Piccolo Spoleto Festival’s Spotlight Chamber Music Series and co-founder of the Charleston Chamber Music Institute. Mr. Bekker was given the Outstanding Artistic Achievement award from the city of Charleston to honor his cultural contributions. Bekker has also held the position of concertmaster for the Orlando Philharmonic Orchestra and the AIMS Festival in Graz, Austria, and has held additional positions with the Houston Symphony and the Houston Grand Opera and Ballet Orchestras. Bekker has performed worldwide as a celebrated guest concertmaster, avid chamber musician, and critically-acclaimed soloist. In addition to over a dozen concertos with the Charleston Symphony, he has performed with the Vancouver Symphony (British Columbia), Ulster Orchestra (Northern Ireland), Buffalo Philharmonic, Chicago Chamber Music Society, European Music Festival Stuttgart (Germany), Pacific Music Festival (Japan), Spoleto Festival USA, Piccolo Spoleto Festival, Aspen Music Festival, at the Kennedy Center, and in cities including City, Chicago, Miami, Orlando, Amarillo, Missoula, Asheville, Flagstaff, Scottsdale, Barcelona, and Graz. He has collaborated with Herbert Greenberg, Claudio Bohorquez, Alexander Kerr, Andres Cardenes, Andrew Armstrong, Robert DeMaine, Sara Chang, Gil Shaham, Ilya Kaler, Joshua Roman, JoAnn Falletta, and Andrew Litton. As Principal Pops Conductor of the Charleston Symphony, Bekker has worked with notable guests artists such as Ben Folds, Tony Desare, Ellis Hall, and Cirque de la Symphonie. Bekker’s recent and upcoming engagements include conductor and violinist with the Amarillo Symphony, violinist on Tchaikovsky’s and Bruch’s Concertos for Violin with the Charleston Symphony, conductor of Mahler’s Symphony No. 6 at the Miami Music Festival, a chamber music appearance with the Fort-Worth Chamber Music Society, and a busy upcoming pops season packed with exciting repertoire and guest artists. Bekker earned a Graduate Performance Diploma from the Peabody Conservatory under the tutelage of Herbert Greenberg. He also holds bachelor’s and master’s degrees from the Indiana University School of Music, where he studied violin with Nelli Shkolnikova and Ilya Kaler. Mr. Bekker has studied conducting with Christopher Wilkins, David Zinman, Imre Pallo and David Effron. His debut CD, Twentieth Century Duos, received world-wide acclaim and a nomination for the International Classical Music Awards. Born in Minsk, Belarus, Bekker is now a United States citizen, and is a proud husband and father to his wife, Jenny, and their toddler son, Nathanael. Visit www.YuriyBekker.com for more information.

16 CharlestonSymphony.org FROM THE Symphony

ood evening and welcome to the 2018-19 season of the Charleston Symphony! My name is Zac GHammond and I am the principal oboist of the CS. This year marks my fourth season as a member of this outstanding ensemble, and the past four years have flown by. It feels like just yesterday I was sitting down for my first rehearsal in Charleston. Anytime you play with a new orchestra, it takes a while to overcome your nerves and really begin to feel comfortable. In Charleston however, I found that I was comfortable almost immediately. Every musician, staff member, and even audience member was so warm and supportive, I felt completely welcome from my first day.

There are many things about the CS that I think set apart from other groups. The extremely high-level music making of this orchestra of course cannot be overstated. Whenever I travel to play with another group and I come back to play in Charleston, I am always reminded of just how talented this group of musicians is. Another less noticeable, but I think equally impressive, strength of the CS is its collaborative attitude. Whether it is my fellow musicians, the staff, the board, or even the community, everyone has an open mind and a willingness to work on new projects or try something different. This is something that I have found is really rare among orchestras and a unique feature of the Charleston Symphony.

A project that I think really illustrates this collaborative spirit is the new solo piece that I am premiering this season. I feel so honored to be performing a completely new oboe concerto with the CS in January. While playing a concerto is always exciting, this one holds very special significance because the piece is being written by local composer, Yiorgos Vassilandonakis, who is a faculty member at the College of Charleston. I view this as a really important project, not only because it demonstrates the huge pool of talent and experience that exists in Charleston, but also because I think it is the duty of classical musicians to support the music of living . It is a crucial aspect of being a musician that I believe will contribute to the future and longevity of orchestral music.

We are looking forward to a great season full of exciting and innovative concerts at the CS. None of that would be possible without your continued support, so on behalf of all of the musicians of the Charleston Symphony, thank you!

Sincerely, Zachary Hammond Principal Oboe

CharlestonSymphony.org 17 CSO CHORUS Dr. Robert Taylor, Director

he Charleston Symphony Orchestra Chorus is the premier all- volunteer chorus in Lowcountry South Carolina. Composed Tof auditioned volunteers drawn from the greater Charleston metropolitan area, the Chorus is an independent, non-profit organization under the direction of Dr. Robert Taylor, the Director of Choral Activities for the College of Charleston. Dedicated to the promotion, enjoyment, and appreciation of choral music, the Chorus performs a diverse choral repertoire presented in concerts of the highest musical excellence that seek to entertain and educate audiences of all generations as well as nurture and encourage young singers.

Founded by Emily Remington as the Charleston Singers Guild, the full, 120-voice Chorus has provided the choral component for a broad range of classical and modern choral Masterworks, Pops, and Spoleto USA concerts for the City of Charleston for four decades. Major work performances routinely include the voices of the College of Charleston Concert Choir and more recently the Charleston Southern Singers as well as area children’s choirs. The Chorus Chamber Singers, a select sub-division of the CSO Chorus, provides a smaller ensemble to perform works in the chamber repertoire, including three annual performances of Handel’s Messiah.

The 2017–2018 season included two Charleston Symphony Masterworks appearances: Beethoven’s Ninth Symphony and Ralph Vaughn Williams Toward the Unknown Region; the ever-popular Holiday Pops; and a full evening of Italian opera music which included presentations of six well known Italian opera choruses. The Chamber Chorus sang a chamber music program in the Dock Street Theatre for Shubert’s Standchen and excerpts from Brahms’ Zigeunerlieder as well as the traditional and popular Holy City Messiah performances. The Chorus concluded the symphony concert season to excellent critical reviews performing Carl Orff’s popular Carmina Burana in collaboration with the Charleston Symphony, the Gaillard Performing Arts Center, and the Nashville Ballet. The Chorus’ performance season climaxed with an appearance in Spoleto USA along with the Westminster College Choir singing Brahms German Requiem to rave reviews: “The chorus was the undisputed star.”

The Chorus continues to seek skilled, experienced vocal talent and offers audition opportunities routinely in August and January. For additional information about the CSO Chorus or to register for an audition, please visit www.CSOChorus.com.

18 CharlestonSymphony.org CHORUS ROSTER

SOPRANOS ALTOS TENORS BASSES Inga Agrest Rennie All Philip Amarendran Tom Bracewell Meghan Amey Eloise Brooks Kirk Beckstrom Kevin Crenshaw Autumn Baldwin Susan Cheves Celeste Carlson Garris Davis Tiffany Beckley Lindsey Collier Vaughan Scott Chachula Tim Falvey Mary Bell Lilly Cooper Gabriel Chavarria Bill Flack Susan Borick Phyllis Dickinson Jeff Collins Marlon Fox Susan Chagrin Logan Doyle Stevenson Griggs Joe Gamboa Katherine Clifton Julie Fenimore Steve Gurry Rick Goldmeyer Gail Corvette Sue Findlay Mark Lazzaro* William Irick Maryileen Cumbaa Jaimie Flack Marianne Martin Stuart Kaufman Erin Danly Jiska Ford Hank Martin Lee Kohlenberg Libby Davis Patricia Hoff Mike Mout Wei-Kai Lai Helena Dilling Judith Johnson Richard Rathmann Doug Ludlum Ruth Dombrowski Janice Kisling Theresa Robards Scott McBroom Tammy Dorociak Amanda Mazzaro David Shaleen Nate Medford Anna Doyle Kathryn McAtee Jordan Stoner Ed Mitchell Debbie Fox Christe McCoy- Bill Thornby Walter Moser Linda Gast Lawrence McIver Watson Gary Nichols Michelle Graham Lyndsey Medford Curtis Worthington Dick Pekruhn Janice Grant Sarah Napier Jack Pitzer* Janet Hildebrand Sally Newell Stuart Terry Susan Hoskins Tara Noone Dwight Williams Laura Irick Marianne Nubel Phyllis Jestice Donna Padgette Kiri Koziol Joyce Peach* Donna Mastrandrea Faith Pecorella * section leaders Sabrina McIntyre Nancy Pellegrini Yon Meyer Rachel Premo Bethany Moebs Taylor Seman Ru Monsell Marybeth Sgambelluri Mary Moser Jenna Tobin Martina Mueller Eileen Vanhorn Kay Nickel Rachel Walls Allyssa Noone Judy Warren Emily Payton Charlene Whalen Rebecca Peters Sarah Woodall Lauren Reynolds Christina Wynn Silke Sida Danielle Simonian* Cathy Sippell Sharon Steffan Libby Summerford Meta Van Sickle Samantha Vandapuye Lena Vennstrom Lorraine West Leah Whatley Sarah Woods Sophia Zimmermann

CharlestonSymphony.org 19 20 CharlestonSymphony.org

22 CharlestonSymphony.org CharlestonSymphony.org 23

CharlestonSymphony.org 25 EDUCATION AND COMMUNITY ENGAGEMENT

id you know the CSO offers a multitude of education programs for students and teachers to foster lifelong relationships with music? The CSO believes in the immense value Dof education through music, and it is our goal to reflect this belief in the mission of our educational programs—to inspire, challenge, and educate students through musical experiences. To fulfill our mission, the CSO invests over $350,000 annually towards our educational initiatives. ABOUT OUR INITIATIVES:

Charleston Symphony Youth Orchestra: The CSYO performances at participating schools to connect musical is the core of our educational programs. Over seventy elements and concepts they are learning through young musicians from the Lowcountry ranging in The Orchestra Swings curriculum to further prepare ages 13-18 rehearse weekly and perform three students for the culminating concert! concerts throughout the season with CSO Assistant Conductor, Kellen Gray. These students work closely In-School Program: CSO Musicians perform at local with CSO musicians in sectionals and side-by-side schools throughout the tri-county region free of charge, events, enriching their musical education and creating eliminating barriers of access such as affordability and impactful experiences. transportation. For many students, this is their first experience and only opportunity to see a live musical Young Peoples Concert: The Orchestra Swings The performance. Last season, CSO ensembles gave 124 CSO partners with Carnegie Hall’s Link Up program performances at 75 school, reaching over 18,500 to present The Orchestra Swings, a highly interactive students, many of whom are from Title I schools. and participatory concert for students in grades K-5, where they sing and play recorder alongside the CSO. Residency Program: Throughout the season, CSO All participating teachers attend a district accredited Principal Timpanist, Beth Albert, and Principal teacher workshop lead by CSO Director of Education Percussionist, Ryan Leveille visit the Allegro Charter and Community Engagement, Mitsuko Flynn, and School of Music as part of an on-site residency program Charleston ’s Director of Education and Outreach, that collaborates with music teachers to enhance David Carter, and receive free teacher and student classroom curricula and aims to create long lasting curriculum guides. CSO ensembles give In-School impact of mentorship through music.

26 CharlestonSymphony.org Professional Learning: The CSO offers district SPECIAL THANKS TO OUR accredited workshops for educators throughout the tri-county to enhance their curricula. Last season, EDUCATION SPONSORS Ken Lam and the CSO String Quartet held a conducting workshop for 15 Charleston County School District Anonymous music teachers. Six teachers were selected to prepare Mr. and Mrs. Frank L. Barkley, Jr. a score and conduct the quartet to receive feedback Bihun Family Foundation from Maestro Lam on subjects such as score study, conducting technique, and rehearsal technique. Boomtown BlueCross BlueShield of Community performances: The CSO partners with a South Carolina variety of local organizations to bring the community performances such as Saltwater Sounds at the South City of Charleston Carolina Aquarium, Rush Hour concerts at the Gibbes County of Charleston Museum of Art, and Story Time at the Charleston County Charleston Symphony Public Library. Orchestra League Student Ticket Options: Steeply discounted student Michael Griffith and Donna Reyburn tickets are available including $10 Student Rush tickets Robert and Catherine Hill on the evening of all CSO performances, making Town of Kiawah musical experiences more accessible and affordable for young people. Kiawah Seabrook Exchange Club Ellen Moryl CSOgo: The CSO offers a monthly membership, giving The Mark Elliott Motley Foundation young professionals affordable access to Charleston’s best music as well as to networking events, where Publix Super Markets Charities the Lowcountry’s most driven young professionals Mr. and Mrs. G. Richard Query can collaborate with one another and socialize with Harriet Ripinsky Charleston’s business leaders. South Carolina Arts Commission HOW DO WE DO IT? SCE&G The CSO is committed to serving our community and offers Speedwell Foundation meaningful musical experiences to students through the generous support of donors, corporate sponsors, Additional thanks to the Robert Bosch and community partners. To learn more about how you can support these programs, please contact the CSO’s Corporation for their support of the Director of Education and Community Engagement, David Stahl Education though Music Mitsuko Flynn, at [email protected] or Endowment Fund. call (843) 723-7528 ext. 103.

CharlestonSymphony.org 27 MUSICIAN ROSTER SEPTEMBER 2018 THROUGH JANUARY 2019

VIOLIN VIOLA FLUTE/PICCOLO TRUMPET *Yuriy Bekker *Jan-Marie Joyce *Jessica Hull-Dambaugh *Antonio Marti *Alexander Boissonnault *Alex Agrest *Regina Yost Timothy Hudson *Micah Gangwer Rebecca Boelzner Tacy Edwards James Ackley *Asako Kremer Kathryn Dark Jeanna Melilli Cameron Handel Karel Abo Sadie deWall Dilshad Posnock Micah Holt Kathleen Beard Nicole Moler Jon Kaplan Corine Brouwer Charles Galante OBOE Kyle Lane Chi-Yin Chen Rachel Gangwer *Zac Hammond Susan Messersmith Lydia Chernicoff Stephen Goist *Kari Kistler Greg Schoonover Rex Conner Jeremy Keinbaum Martha Stephenson David Edwards Taliaferro Nash Kleiner TROMBONE Andrew Emmett Daniel Sweaney Megan Kyle *Christopher Lindgren Tracy Ensley Daniel Urbanowicz Rachel Maczko Carrie Bates Shannon Fitzhenry Benjamin Weiss Rebecca Nagel David Roode Seth Gangwer Alexandra Shatalov Christen Greer CELLO BASS TROMBONE Catherine Hazan *Norbert Lewandowski ENGLISH HORN *Thomas Joyce Pam Hentges *Damian Kremer *Kari Kistler Joshua Holritz Erin Ellis Frances Hsieh Christopher Glansdorp CLARINET Chris Bluemel Tomas Jakubek Hilary Glen *Charles Messersmith Dan Peck Ha-Young Kim Ismar Gomes *Gretchen Roper Rudolph Kremer Charae Krueger Joseph Beverly TIMPANI Lenora Leggatt Yuriy Leonovich Patrick Lin *Beth Albert Johnny Mok Jessica Lyons Daniel Mumm Jeffrey Brooks Margeaux Maloney Elizabeth Murphy PERCUSSION Mayumi Nakamura Joshua Nakazawa *Ryan Leveille Nonoko Okada Daniel Pereira BASSOON Robert Burrows Liviu Onofrei Stephen Thomas *Joshua Baker Michael Haldeman Yefim Romanov Dusan Vukajlovic *Katherine St.John Jeffrey Handel William Ronning Cameron Williams Mathew Masie Nina Sandberg CONTRABASSOON Ray McClain Lauren Scott BASS Sean Gordon Diana Sharpe Stephanie Silvestri *Thomas Bresnick Ashley Hedrick Michelle Skinner Douglas Aliano HARP Ari Streisfeld Michael Ashton HORN Abigail Kent Michael Sutton Maurice Belle *Brandon Nichols Jacqueline Marshall Marius Tabacila Peter Berquist *Anne Holmi Andrea Mumm Mary Taylor Mark Chesanow Debra Sherrill-Ward Kathleen Wilson Ryo Usami Emory Clements Katharine Caliendo Jenny Weiss Joseph Farley Michael Daly KEYBOARD Shr-Han Wu Ben Jensen Alex Depew Julia Harlow Christian Zamora Jan Mixter Grace Salyards Chee Hang See Cody Rex Ghadi Shayban Paul Sharpe

*Core musician

28 CharlestonSymphony.org

MASTERWORKS September 21 and 22, 2018 Gaillard Center

RACH 3

Stewart Goodyear, piano Ken Lam, conductor

Johannes Brahms (1833-1897) Symphony No. 3 in F Major, Op. 90 I. Allegro con brio II. Andante III. Poco allegretto IV. Allegro

INTERMISSION

Sergei Rachmaninoff (1873-1943) Piano Concerto No. 3 in D minor, Op. 30 I. Allegro ma non tanto II. Intermezzo III. Finale Sponsored by Bob and Marcia Hider.

Pre-concert conversations Tonight’s floral arrangement from the stage are held from provided courtesy of Belva’s Flower 6:30pm-7:00pm prior to every Shop of Mt. Pleasant. Masterworks performance.

30 CharlestonSymphony.org ABOUT THE ARTIST

Stewart Goodyear Piano

roclaimed “a phenomenon” by the Times and “one of the best pianists of his generation” by the Philadelphia Inquirer, Stewart PGoodyear is an accomplished young pianist as a concerto soloist, chamber musician, recitalist and composer. Mr. Goodyear has performed with major orchestras of the world, including the Philadelphia Orchestra, New York Philharmonic, Chicago Symphony, Pittsburgh Symphony, San Francisco Symphony, Los Angeles Philharmonic, Cleveland Orchestra, Academy of St Martin in the Fields, Bournemouth Symphony, Frankfurt Radio Symphony, MDR Symphony Orchestra (Leipzig), Montreal Symphony, Toronto Symphony Orchestra, Dallas Symphony, Atlanta Symphony, Baltimore Symphony, Detroit Symphony, Seattle Symphony, Mostly Mozart Festival Orchestra, Royal Liverpool Philharmonic, and NHK Symphony Orchestra.

Mr. Goodyear began his training at The Royal Conservatory in Toronto, received his bachelor’s degree from Curtis Institute of Music, and completed his master’s at The Juilliard School. Known as an improviser and composer, he has been commissioned by orchestras and chamber music organizations, and performs his own solo works. This year, Mr. Goodyear premiered his suite for piano and orchestra, “Callaloo”, with Kristjan Jarvi and MDR Symphony Orchestra in Leipzig, and in July of this year, the Clarosa Quartet will premiere his Piano Quartet commissioned by the Kingston Chamber Music Festival. Mr. Goodyear performed all 32 Beethoven Piano Sonatas in one day at Koerner Hall, McCarter Theatre, the Mondavi Center, and the AT&T Performing Arts Center in Dallas.

Mr. Goodyear’s discography includes Beethoven’s Complete Piano Sonatas (which received a Juno nomination for Best Classical Solo Recording in 2014) and Diabelli Variations for the Marquis Classics label, Tchaikovsky First Piano Concerto and Grieg’s Piano Concerto, and Rachmaninov’s Piano Concertos No. 2 and 3, both recorded with the Czech National Symphony under Stanislav Bogunia and Hans Matthias Forster respectively, and released to critical acclaim on the Steinway and Sons label. His Rachmaninov recording received a Juno nomination for Best Classical for Soloist and Large Ensemble Accompaniment. Also for Steinway and Sons is Mr. Goodyear’s recording of his own transcription of Tchaikovsky’s “The Nutcracker (Complete Ballet)”, which was released October 2015 and was chosen by as one of the best classical music recordings of 2015.

Mr. Goodyear’s recording of Ravel’s piano works was released last summer on the Orchid Classics label. His new recording, “For Glenn Gould”, will be released this spring on the Sono Luminus label. ​ Highlights of the 2017-18 season include returns engagements with the Victoria, Phoenix and Omaha Symphonies, his recital debut at the Chamber Music Society of Detroit, and his debut with the Helsingborg Symphony.

CharlestonSymphony.org 31 PROGRAM NOTES MASTERWORKS

Johannes Brahms (1833-1897) wrote for his lifelong friend and collaborator, violinist Symphony. No. 3 Joseph Joachim. When they were both bachelors in their early 20s, Joachim had declared himself to be “free, but lonely” (“frei aber einsam” in German), Johannes Brahms was a bit of a late bloomer. This and Brahms took this musical motif to represent that is perhaps an unusual statement about a composer motto. At the time he was writing Symphony No. 3, who was first introduced to the public at the age of Brahms was still a bachelor, but declared himself to 20, when composer Robert Schumann wrote in the be “free, but happy” (“frei aber froh”), adjusting the pages of Germany’s foremost musical periodical of motif accordingly. Last, but certainly not least, is the Brahms’s abilities to “give expression to the times in way that these opening chords introduce what Arnold the highest and most ideal manner.” However, due Schoenberg called the “tonal problem” of the piece. to a combination of his intense self-criticism and an The tension generated by the A-flat in the second almost fanatical sense of the shadow cast by his chord highlights a kind of slippage between our home musical forebears—especially Ludwig van Beethoven, key of F major and the parallel minor. Brahms uses a marble bust of whom always looked down at this tension as a structuring problem that the orchestra Brahms while he composed at his desk—Brahms keeps trying to solve throughout the piece. The final was often overly careful with the music he actually movement provides a compelling journey from F released into the world. For instance, even though minor back to the triumphant F major that parallels he started sketching his Symphony No. 1 at age 22, the final movements of Beethoven’s 5th (presented he did not allow it to be premiered until he was 43 by the Charleston Symphony in January!). In just three years old. By contrast, Brahms wrote Symphony chords, Brahms gives us a universe of information, so No. 3 during the summer of 1883, when, at the age of imagine what he might do if you’re willing to give him 50, he was arguably at the height of his ability. His first half an hour. two symphonies had established him as the foremost proponent for the “conservative” side in the ongoing Sergei Rachmaninoff (1873-1943) War of the Romantics. In the years immediately before its premiere, his towering Violin Concerto and Piano Piano Concerto No. 3 Concerto No. 2 had burnished his credentials as a superb melodist and someone with a unique penchant Sergei Rachmaninoff’s Piano Concerto No. 3 has a bit for formal innovation. And to top it all off, his chief rival, of a reputation among pianists. Several performers Richard Wagner, had died in February leaving Brahms over the years have joked that the concerto has as the preeminent musical voice in Germany. more notes than all the Mozart piano concertos combined. American pianist Gary Graffman has been Perhaps no better evidence of Brahms’s mastery known to caution his students at the Curtis Institute exists than the sheer volume of information he is that they should learn the piece while they are “still able to embed into the smallest musical gestures. too young to know fear.” It is undoubtedly a piece Let us take, for instance, the opening chords of the that simultaneously reminds us of Rachmaninoff’s first movement. The pattern of these three chords incredible facility as a composer along with his mimics the opening of the Symphony No. 3 by absolutely awe-inspiring talent at the keyboard. In Brahms’s mentor, Robert Schumann. The sequence of fact, Polish-American pianist Josef Hofmann, to whom specific chords—two F major chords with an unusual the concerto is dedicated, never actually performed fully-diminished chord sandwiched between them— the piece in public because his slightly smaller allows the upper voices to outline a motif of three hands simply couldn’t bend or stretch into the notes: F-Ab-F. These notes are a riff on the F-A-E required shapes. motif, which appears in many of the works Brahms

32 CharlestonSymphony.org PROGRAM NOTES MASTERWORKS

Rachmaninoff composed his Piano Concerto No. 3 opportunity to perform the piece in , during an important period of transition in his career. this time under the baton of with the Just a few years before, he had moved his family New York Philharmonic. Rachmaninoff reportedly away from his native Russia due to mounting political treasured this performance for the rest of his life, turmoil. This initiated nearly a decade of constant frequently commenting on the extraordinary care movement for the composer. As Rachmaninoff’s that Mahler took in studying the score and preparing international reputation continued to grow, he and the orchestra. his family moved to the musical city of Dresden, but Rachmaninoff was soon lured away by a series of The first movement of the concerto opens with a opportunities to perform, teach, and conduct in the simple diatonic melody, often referred to as the United States. In preparation for this extended tour “Russian hymn.” Many scholars and critics have of America during 1909-1910, he set out to compose tried to trace this melody to a Russian folk song or a new concerto to be debuted with the New York Orthodox church chant, but it appears to be purely Symphony Society. Rachmaninoff completed the of Rachmaninoff’s own invention. Over the course concerto just days before boarding a boat for New of the three movements, this melody appears again York City, and thus had no choice but to prepare and again in a wide variety of guises: sometimes for its premiere on a silent keyboard in his cabin piled under layers of elaboration and other times while en route to the U.S. Neverthelesss, the debut allowed to shine forth in all its simplicity. In this performance was a tremendous success, and just concerto, we see Rachmaninoff’s brain and his fingers months later Rachmaninoff was given another at their most dextrous and dazzling.

CharlestonSymphony.org 33 POPS September 29, 2018 Charleston Gaillard Center

A TRIBUTE TO LOUIS AND ELLA WITH BYRON STRIPLING Byron Stripling, trumpet and vocals Carmen Bradford, vocals Yuriy Bekker, conductor

Louis Armstrong arr. Ted Ricketts Satchmo! A Tribute to Nick LaRocca, Eddie Edwards, Henry Ragas Tiger Rag, and Tony Sbarbaro arr. Bill Grimes Joe Primrose Saint James Infirmary arr. and W.C. Handy arr. Jeff Tyzik Saint Louis Blues Ella Fitzgerald and Al Feldman A Tisket, A Tasket Sam Coslow and Ella Fitzgerald Mr. Paganini George and Ira Gershwin arr. Nelson Riddle I Got Rhythm Jimmy McHugh and I Can’t Give You Anything But Love arr. Jeff Tyzik George and Ira Gershwin They Can’t Take That Away From Me Byron Stripling arr. Dennis Mackrel Satchmo Scatin’ & Swingin’

INTERMISSION

Duke Ellington arr. Calvin Custer Duke Ellington: A Medley for Orchestra Spencer Williams arr. Jeff Tyzik Basin Street Blues Eddie DeLange and Louis Alter Do You Know What It Means arr. Bill Grimes To Miss New Orleans George Gershwin arr. Nelson Riddle I Won’t Dance George Gershwin arr. Nelson Riddle Someone To Watch Over Me Gerald Marks and Seymour Simons All of Me George and Ira Gerswhin arr. Nelson Riddle But Not For Me Harry Akst and Grant Clarke arr. Jeff Tyzik Am I Blue Traditional arr. Jeff Tyzik Bill Bailey

34 CharlestonSymphony.org ABOUT THE ARTISTS

Byron Stripling Trumpet and vocals

powerhouse trumpeter, gifted with a soulful voice and a charismatic onstage swagger, BYRON STRIPLING has delighted audiences A internationally. As soloist with the Boston Pops Orchestra, Stripling has performed frequently under the baton of Keith Lockhart, as well as being featured soloist on the PBS television special, “Evening at Pops,” with conductors John Williams and Mr. Lockhart. Currently, Stripling serves as artistic director and conductor of the highly acclaimed, award winning Columbus Jazz Orchestra.

Since his Carnegie Hall debut with the New York Pops, STRIPLING has emerged as one of America’s most popular symphony pops guest artists, having performed with over 100 orchestras around the world including the Boston Pops, National Symphony, Pittsburgh Symphony, Detroit Symphony, Seattle Symphony, Baltimore Symphony, Dallas Symphony, Minnesota Orchestra, Detroit Symphony, Vancouver Symphony, Toronto Symphony, and Dallas Symphony, to name a few. He has been a featured soloist at the Hollywood Bowl and performs at jazz festivals throughout the world.

An accomplished actor and singer, STRIPLING was chosen, following a world wide search, to star in the lead role of the Broadway bound musical, “Satchmo.” Many will remember his featured cameo performance in the television movie, “The Young Indiana Jones Chronicles,” and his critically acclaimed virtuoso trumpet and riotous comedic performance in the 42nd Street production of “From Second Avenue to Broadway.”

Television viewers have enjoyed his work as soloist on the worldwide telecast of The Grammy Awards. Millions have heard his trumpet and voice on television commercials, TV theme songs including “20/20,” CNN, and soundtracks of favorite movies.

STRIPLING earned his stripes as lead trumpeter and soloist with the under the direction of and . He has also played and recorded extensively with the bands of , , , , , Louis Bellson, and Buck Clayton in addition to The Lincoln Center Jazz Orchestra, The Carnegie Hall Jazz Band, and The GRP All Star Big Band.

STRIPLING enjoys conducting Seminars and Master Classes at colleges, universities, conservatories, and high schools. His informative talks, combined with his incomparable wit and charm, make him a favorite guest speaker to groups of all ages.

STRIPLING was educated at the Eastman School of Music in Rochester, New York and the Interlochen Arts Academy in Interlochen, Michigan. One of his greatest joys is to return, periodically, to Eastman and Interlochen as a special guest lecturer.

A resident of Ohio, STRIPLING lives in the country with his wife, former dancer, writer and poet, Alexis and their beautiful daughters.

CharlestonSymphony.org 35 ABOUT THE ARTISTS

Carmen Bradford Vocals

orn in Austin, Texas and raised in Altadena, , Carmen Bradford grew up with music in her home and heart. Following the footsteps of Bher great family musical legacy, she has carved out a place in music history for herself and plays an integral role in the jazz world.

Bradford was discovered and hired by Mr. William Count Basie and was the featured vocalist in the legendary Count Basie Orchestra for nine years. She has since performed and/or recorded with such talents as Wynton Marsalis, John Clayton, Nancy Wilson, Doc Severinsen, Tony Bennett, James Brown, Byron Stripling, George Benson, Lena Horne, Frank Sinatra, as well as the DIVA Jazz Orchestra, the National Symphony, and the Lincoln Center Jazz Orchestra, among others. Bradford performed on two Grammy Award winning with the Count Basie Orchestra in the 1980s and later collaborated on a third Grammy Award winning album, Big Boss Band, with guitarist George Benson.

Bradford began another chapter in her illustrious career as a solo artist with the critically acclaimed debut album Finally Yours and With Respect (Evidence Records), which established her as one of jazz music’s most diverse and exciting vocal talents. Her next release, Home With You, (Azica Records) is a collection of piano/vocal duets with Shelly Berg.

Currently, Bradford makes guest appearances with the Count Basie Orchestra.

36 CharlestonSymphony.org

CHAMBER MUSIC October 4, 2018

AWET ANDEMICAEL SINGS FAMOUS BAROQUE ARIAS

Awet Andemicael, soprano Daniel Sansone, organ

Arcangelo Corelli (1653-1713) Concerto Grosso No. 4 in D Major, Op. 6 I. Adagio-Allegro II. Adagio III. Vivacie IV. Allegro Antonio Vivaldi (1678-1741) Nulla in Mundo Pax Sincera, RV 630 George Frideric Handel (1685-1759) “Oh Had I Jubal’s Lyre” from Joshua “Lascia la spina cogli la rosa” from Il Trionfo del Tempo e della Verità, HWV 46 “Flammende Rose, Zierde der Erden” from Neun Deutsche Arien, HWV 210 “Quoniam tu tolus sanctus … Cum sancto spiritu” from Gloria HWV deist George Frideric Handel (1685-1759) Organ Concerto in G minor, Op. 4 No. 1 HWV 289 I. Larghetto e staccato II. Allegro III. Adagio IV. Andante

38 CharlestonSymphony.org ABOUT THE ARTISTS

Awet Andemicael Soprano oy is the hallmark of soprano Awet Andemicael’s artistry. She has been acclaimed for her “sparkling solo verses” (Opera News), “vivid musical Jpersonality” (Boston Globe), “honeyed tone” (San Francisco Classical Voice), “fine comic interplay and […] superb singing” (Washington Times). Closely associated with De Falla’s El Retablo de Maese Pedro, she has sung the role of El Trujamán with numerous ensembles, including the Boston Symphony, San Francisco Symphony, Los Angeles Philharmonic, and, most recently, the Knights at the Tanglewood Festival.

Awet’s special affinity for eighteenth-century sacred music has been featured in concerts with the Bach Collegium Japan, the Handel and Haydn Society, at Carnegie Hall and the Ravinia and Aldeburgh Festivals, with the Symphonies of Pittsburgh, Nashville, Jacksonville, Richmond, and Memphis, and with the Sebastians Chamber Ensemble.

Awet is delighted to return to Charleston, after a wonderful experience performing Messiah with the Symphony Orchestra and Chorus last year. Awet will be back again later this season to sing Mozart’s Requiem with the CSO. In between, she performs with the acclaimed ensemble The Knights at the BRIC Festival in , as well as the Charlotte Master Chorale and the Colorado Bach Ensemble. For more information on Awet’s performance schedule and upcoming recordings, please visit her website: www.awetandemicael.com.

CharlestonSymphony.org 39 ABOUT THE ARTISTS

Daniel Sansone Organ aniel Sansone received his Bachelor of Music Degree in Organ Performance from the State University of New York at Fredonia, studying Dwith Dr. John Hofmann. Daniel also holds a Master of Music degree in Organ Performance and Literature from the University of Notre Dame. While at the University of Notre Dame, he was a student of Dr. Craig Cramer.

Daniel has held numerous church positions including serving as Director of Music and Liturgy at St. Ignatius Loyola Cathedral in Palm Beach, Florida and serving as organist at St. Mary’s Cathedral in Portland, Oregon. Daniel also worked in the Office of Campus Ministry at the University of Portland in Oregon, and served as adjunct faculty in the Performing and Fine Arts Department, teaching organ and . Daniel has performed organ recitals throughout the United States including the Basilica of the National Shrine of the Immaculate Conception in Washington, D.C., St. Paul’s Cathedral in Pittsburgh, and has appeared as guest organ soloist with the Peabody Concert Orchestra, the United States Naval Academy Brass Ensemble and the Charleston Symphony Orchestra. He has also performed as organ soloist on the Baltimore Bach Series.

He is a past recipient first-prize winner of the Arthur Poister National Organ Playing Competition sponsored by the Syracuse New York Chapter of the American Guild of Organists.

At his most recent position, Daniel served as Director of Music Ministry at the Cathedral of Mary Our Queen, serving the Archdiocese of Baltimore. Daniel oversaw a comprehensive Liturgical Music Program, and was Artistic Director of the Cathedral Music Series. He assumed this position at the Cathedral of Mary Our Queen in November of 2000.

In January of 2014, Daniel was appointed Director of Music and Liturgy for the Cathedral of St. John the Baptist, serving the Diocese of Charleston, South Carolina. Daniel directs and accompanies the Cathedral Choir for the Cathedral’s Sunday 11:15am Solemn Choral Liturgy, as well as other parish liturgies such as Solemn Choral Vespers. He plans and plays Cathedral weddings, funerals, and memorial liturgies.

Daniel established and directs the Cathedral Men’s Schola, chanting the various Propers of the Roman Liturgy using original notation, as well as the Cathedral Schola, specializing in music from the Renaissance Period and earlier.

He also serves on the Diocesan Liturgical committee where his responsibilities include the planning and implementation all Diocesan Liturgies in collaboration with the Office of Worship for the Diocese of Charleston.

Daniel is Artistic Director for the Cathedral Concert Series, which features a variety of musical offerings including the Charleston Symphony Orchestra and Chorus, the Cathedral of St. John the Baptist Choir, and the Taylor Festival Choir which is the professional choir-in-residence. The Cathedral also hosts a number of performers on the annual Piccolo Spoleto Festival including the L’Organo Recital Series of which Daniel is a committee member.

He is a member of the American Guild of Organists, the Conference of Roman Catholic Cathedral Musicians, National Pastoral Musicians, the Chorister Guild and the Royal School of Church Music.

40 CharlestonSymphony.org PROGRAM NOTES MASTERWORKS

JOSHUA PART III, NO. 63 For you alone are Holy. “OH HAD I JUBAL’S LYRE” You alone Master George Frideric Handel (1685-1759) You alone the Highest, Jesus Christ. Text by Thomas Morell (1703-1784) With the Holy Spirit in the glory of God the Father.

Oh, had I Jubal’s lyre, NULLA IN MUNDO PAX SINCERA Or Miriam’s tuneful voice! Antonio Vivaldi (1678-1741) To sounds like his I would aspire, In songs like hers rejoice. Aria My humble strains but faintly show, Nulla in mundo pax sincera How much to Heav’n and thee I owe. sine felle; pura et vera, dulcis Jesu, est in te. IL TRIONFO DEL TEMPO E DELLA VERITÀ “LASCIA LA SPINA COGLI LA ROSA” Inter poenas et tormenta George Frideric Handel (1685-1759) vivit anima contenta Text by Cardinal Benedetto Pamphili casti amoris sola spe. (1653-1730) In this world there is no honest peace Lascia la spina, cogli la rosa; free from bitterness; pure and true tu vai cercando il tuo dolor. sweet Jesus, lies in Thee. Canuta brina per mano ascosa, giungerà quando nol crede il cuor. Among anguish and torment lives the contented soul, Leave the thorn, take the rose; chaste love its only hope. you go searching for your pain. Gray frost by hidden hand Recitative will come when your heart doesn’t expect it. Blando colore oculos mundus decepit at occulto vulnere corda conficit; NEUN DEUTSCHE ARIEN “FLAMMENDE ROSE, fugiamus ridentem, vitemus sequentem, ZIERDE DER ERDEN” nam delicias ostentando arte secura George Frideric Handel (1685-1759) vellet ludendo superare. Text by Barthold Heinrich Brockes (1680-1747) This world deceives the eye with alluring color Flammende Rose, Zierde der Erden, but is corroded within by hidden wounds. Glänzender Gärten bezaubernde Pracht! Let us flee him who laughs, Augen, die deine Vortrefflichkeit sehen, shun him who follows us, Müßen vor Anmut erstaunet, gestehen, for by skillfully displaying its pleasures, this world Daß dich ein göttlicher Finger gemacht. overwhelms us by deceit.

Flaming Rose, Ornament of the Earth, Aria Shining gardens of enchanting splendor! Spirat anguis inter flores et colores Eyes that see your excellence explicando tegit fel. Must be astonished with grace, confessing, That a divine finger made you. Sed occulto factus ore homo demens in amore GLORIA IN EXCELSIS “QUONIAM TU SOLUS saepe lambit quasi mel. SANCTUS … CUM SANCTO SPIRITU” Alleluia George Frideric Handel (1685-1759) The serpent’s hiss conceals its venom, Quoniam tu solus Sanctus. as it uncoils itself among blossoms and beauty. Tu solus Dominus. Tu solus Altissimus, Iesu Christe. But with a furtive touch of the lips, Cum Sancto Spiritu, in gloria Dei Patris. a man maddened by love Amen will often kiss as if licking honey. Alleluia.

CharlestonSymphony.org 41 CHAMBER MUSIC October 12, 2018

MAGNETIC SOUTH 1 “CONTRASTS”

Kayleen Sanchez, soprano Nicholas Bentz, guest composer Yiorgos Vassilandonakis, conductor Ken Lam, conductor

Edgard Varèse (1883-1965) Octandre

Nicholas Bentz (b. 1994) A Cosmos in Stone, Respawning

Béla Bartók (1881-1945) Contrasts Revised and edited Chou Wen-Chung, 1980

David Maves (b. 1937) The Captive

42 CharlestonSymphony.org ABOUT THE ARTISTS Nicholas Bentz Composer icholas Bentz is a composer-performer who is primarily interested in the intersections of art and alternative modes of perception and Nexpression. His music takes its inspiration from a wide array of sources including visual and cinematic art, anthropology and philosophy, and interactive art. Nicholas has received commissions from the Johns Hopkins University Applied Physics Laboratory, Occasional Symphony, SONAR New Music Ensemble, Troika, Symphony Number One, and the Charleston Symphony Orchestra among others, and has had his music played by the Jacksonville Symphony and the Peabody Modern Orchestra. Nicholas was a winner of an EarShot New Music Reading through American Composer’s Orchestra and SONAR New Music Ensemble’s RADARLab Competition. He was also a finalist for the ASCAP Morton Gould Young Composer Awards in 2014 and was the Composer-in-Residence for Symphony Number One’s 2016-17 season. As a dedicated chamber musician, Nicholas has worked with Thornton Edge, Mind on Fire, Now Hear This, SONAR New Music Ensemble, Peabody Camerata, and the College of Charleston Contemporary Music Ensemble among others. An avid and sought-after interpreter of new music, Nicholas has commissioned and premiered over thirty pieces ranging from chamber and solo pieces to concerti and multimedia works. Nicholas currently attends the University of Southern California where he is pursuing a master’s degree in composition under Andrew Norman. Nicholas received his bachelor’s degree in composition from the under Kevin Puts while also completing a bachelor’s and master’s in violin under the tutelage of Herbert Greenberg. His previous composition teachers include Yiorgos Vassilandonakis, George Tsontakis, and Felipe Lara, and his previous violin teachers include Yuriy Bekker, Espen Lilleslåtten, and Diana Cohen.

CharlestonSymphony.org 43 ABOUT THE ARTISTS

David Maves Composer regonian David Maves began his professional life as a composer in 1963. Fresh out of the University of Michigan with a masters degree, he was Oappointed a Ford Foundation Composer-in-Residence in Raleigh, North Carolina, and was expected to compose for any musical ensembles in the area from primary school classroom ensembles to school or professional groups. After four years of various such postings, he returned to Ann Arbor to continue studies with the much beloved teacher Ross Lee Finney and received his doctorate leading later to a thirty year appointment as Composer-in-Residence at the College of Charleston. He has had a close, forty-year relationship with the Charleston Symphony he was timpanist for eight years in the late 1970s and early 80s; he was commissioned by conductor Lucien de Groote to compose a work in honor of Stravinsky’s birthday; he conducted the premiere of his own Third Symphony; and later his Two Piano Concerto for pianists Wilfred Delphin and Edwin Romain was premiered, conducted by David Stahl. Retired from the College since 2007, Maves feels he has returned to his first position as “composer-in- residence,” this time in beautiful downtown Ansonborough. “The Captive” is a recent work, premiered in New York City in February 2017 and recorded there a year later with the North/South Consonance String Ensemble, scheduled to be released this Fall as a CD and on iTunes. Kayleen Sánchez Vocalist ayleen Sánchez is an active performer, recording artist, and pedagogue. She is a founding member of the song duo BEDLAM. Recent KBEDLAM engagements include the Phoenix Early Music Society, Pegasus Early Music, and the Rochester Early Music Festival. BEDLAM has been broadcast on Rochester’s WXXI, WWFM’s “Well-Tempered Baroque”, South Dakota Public Broadcasting, and Arizona PBS. BEDLAM released its debut album, BEDLAM (Athyr Records) in 2015, and their latest album, Died for Love (Soundset Recordings) was released in June of 2017. BEDLAM’s active touring schedule can found on their website at www.bedlamearlymusic.com. American composer David M. Gordon praised her performance of his music as “deeply moving and extraordinarily precise,” and dedicated a large-scale song cycle, “Mysteria Incarnationis,” to Sánchez and her husband, pianist Paul Sánchez (to be recorded in May 2017). Kayleen is also featured on the CD Magus Insipiens (Soundset Recordings, 2016), performing song cycles composed by Paul Sánchez, and appears on the CDs West Meets East (Albany Records) and Music of George Morey (label TBA). She recently recorded Schubert’s Schwanengesang with pianist Johnandrew Slominski on a Viennese-style fortepiano. Their recording has been released on the Soundset label, and features ornamentation and other historically- informed performance practices. Sánchez received her Bachelor of Music and Master of Music degrees in Vocal Performance and Literature from the Eastman School of Music. She is on voice faculty at the College of Charleston in Charleston, SC.

44 CharlestonSymphony.org ABOUT THE ARTISTS

Yiorgos Vassilandonakis Conductor riven by a strong dramatic and formal sense, Yiorgos Vassilandonakis’ music is emotionally engaging and cerebral at the same time. DVenturing into chamber, vocal, orchestral, opera, film, electronic & multimedia genres, his works reveal a mastery of timbre, sonority and temporal space, and a deep interest in sound itself as a physical entity.

Vassilandonakis’ music is frequently programmed on both sides of the Atlantic, and has been commissioned and performed, among others, by the New York New Music Ensemble, the San Francisco Contemporary Music Players, the Nouvel Ensemble Moderne, the Juilliard Percussion Ensemble, ALEA III, the Del Sol String Quartet, Ensemble Cairn, Meridian Arts Ensemble, Ensemble In Extensio, the Athens Camerata and the Hellenic Contemporary Ensemble. It has been supported by grants from Meet-the-Composer, the American Music Center and the French Ministry of Culture, and featured in the Aspen, Ernest Bloch, Domaine Forget, Wellesley and Patras International Festivals.

Yiorgos holds advanced degrees from the University of California, Berkeley, where his principal composition teachers were Edmund Campion, Richard Felciano, John Thow, Jorge Liderman and Cindy Cox. As the recipient of the George Ladd Prix de Paris, he spent two years in Paris, studying advanced composition, orchestration and electronic music with Philippe Leroux, at the École Nationale de Musique et de Danse, Erik Satie. He also studied composition with Paul Reale and Ian Krouse, and Film Music with the legendary Jerry Goldsmith, Paul Chihara & Don Ray. His conducting teachers were David Milnes and Jeffrey Schindler.

A dedicated educator, Dr. Vassilandonakis has taught Composition and Music Theory at the University of California, Berkeley and the University of Virginia, as well as electronic music at the Centre de Création Musicale, Iannis Xenakis, in Paris, before joining the faculty at the College of Charleston in 2010.

Also active as a conductor and proponent of contemporary music, he has conducted the GuitArte Ensemble, the Young People’s Symphony Orchestra, the Prometheus Symphony Orchestra, the UCLA Philharmonia, and the UC Berkeley Symphony. He was the Music Director at the Oakland Cathedral of the Ascension, and is the Composer-In-Residence with the Worn Chamber Ensemble in San Francisco.

CharlestonSymphony.org 45 46 CharlestonSymphony.org MASTERWORKS October 26 and 27, 2018 Gaillard Center

ODE TO AMERICA!

Beth Albert, timpani Ken Lam, conductor

Samuel Barber (1910-1981) Adagio for Strings

Michael Daugherty (b.1954) Raise the Roof

INTERMISSION

Aaron Copland (1900-1990) Third Symphony I. Molto moderato; with simple expression II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato - Allegro risoluto

Pre-concert conversations Tonight’s floral arrangement from the stage are held from provided courtesy of Belva’s Flower 6:30pm-7:00pm prior to every Shop of Mt. Pleasant. Masterworks performance.

CharlestonSymphony.org 47 ABOUT THE ARTIST

Beth Albert Timpani

native of Baltimore, , Beth has served as Principal Timpanist of the Charleston Symphony Orchestra since the 1994-95 season. AMs. Albert received her bachelor’s degree from the Juilliard School of Music in New York where she studied with New York Philharmonic members Roland Kohloff and Elden Bailey. While in New York, she was an original member of the Metropolitan Percussion Quartet. She went on to pursue a master’s degree from the Cleveland Institute of Music where she was a student of the Cleveland Orchestra’s timpanist Paul Yancich.

After graduating, Beth was appointed section percussionist with the Richmond (VA) Symphony Orchestra, where she played for one season. In addition to her duties with the orchestra, Beth was also a founding member of the Washington, D.C.-based Global Rhythm percussion trio. Beth has performed in the percussion sections of the Baltimore Symphony Orchestra, the Concordia Chamber Orchestra, Charlotte Symphony, and Hilton Head Symphony. Beth resides in North Charleston with her Boykin spaniel Gunther.

48 CharlestonSymphony.org PROGRAM NOTES MASTERWORKS

Samuel Barber (1910-1981) Raise the Roof is a one-movement concerto of sorts, Adagio for Strings featuring the timpani in a wide-variety of unexpected guises over its twelve-minute runtime. The piece begins almost meditatively: the first entrance of the Samuel Barber’s Adagio for Strings is perhaps most timpani outlines a simple Gregorian chant melody with famous today for its use to accompany the tragic the standard timpani mallets, but within ten minutes march of 25th Infantry Division in Oliver Stone’s 1986 the soloist is performing a full-on Latin groove using Vietnam War filmPlatoon . However, according to only their hands. At one point the soloist even places a his own sketches, Barber’s inspiration for the piece cymbal upside down on the head of the lowest drum to came from a different kind of relentless march: the create a thrilling and eerie glissando effect. According constant building and crashing of waves in the ocean. to Daugherty, the inspiration for the piece came in Inspired by a passage from the third book of Virgil’s part from architecture: the treatment of the initial chant Georgics, Barber originally wrote the piece as the theme is akin to the endless figuration and repetition middle movement of his 1936 String Quartet, but of a Gothic cathedral while the later rock-inspired rearranged it for a full less than two section constructs a much more modern space by years later at the behest of famed conductor Arturo “laying down bricks and stones to build up a ‘wall of Toscanini. According to legend, at the conclusion of sound.’” The piece was originally commissioned by the first rehearsal with the NBC Symphony Orchestra, the Detroit Symphony Orchestra and premiered in Toscanini summed up his feelings for the piece in only the fall of 2003. It has since become one of his most three words: “semplice e bella.” Simple and beautiful. frequently programmed works. The simplicity and beauty come in part from Barber’s Aaron Copland (1900-1990) use of arch form to construct the piece. The main melodic figure forms a kind of arch that slowly and Third Symphony methodically winds its way up in its first phrase before winding its way back down in the second. These During the final years of the Great Depression, Aaron smaller arches begin to expand and undergird the Copland was finding a new sound. Copland had larger arch, which unfolds over the course of the work’s received his musical training from famed composer full eight minutes. In the end, the waves subside and and pedagogue Nadia Boulanger in Paris, so when the arch is complete: touching ground on the other he returned to New York City in 1925, many of his side and returning us to the place where we began. compositions imitated the modernist French style of these formative years. By the early 1930s, however, Michael Daugherty (b.1954) Copland found himself increasingly disenchanted with Raise the Roof the elitist institution of classical music, and desired to write simpler music with a broader appeal. He also wanted to create something in classical music that Michael Daugherty was born in Cedar Rapids, Iowa in would be distinctly American. He experimented with 1954. He is the son of a dance-band drummer and the these new sounds in a series of American-themed oldest of five brothers, all professional musicians. Over ballets, beginning with El Salón México in 1936. He his storied career, Daugherty achieved international certainly includes American folk melodies—primarily recognition as one of the ten most performed drawn from collections of “cowboy songs” he checked American composers of concert music, according to out of the New York Public Library—but by the end of the League of American Orchestras. His orchestral the sequence, he seems to do something even more music has received six Grammy awards over the than that. Copland’s ballets from this period actually last decade, including Best Contemporary Classical begin to establish a sound to the American landscape Composition in 2011 and 2017. Since 1991, Daugherty that would be copied and reproduced in almost every has served as a professor of musical composition at subsequent musical representation. The wide-open the University of Michigan School of Music, Theatre harmonies, tough lyricism, and rhythmic vitality of & Dance.

CharlestonSymphony.org 49 PROGRAM NOTES MASTERWORKS

Billy the Kid, Rodeo, and his 1944 masterpiece format with the outer movements in a continuously- Appalachian Spring provide a musical grammar that developing sonata form, and the inner movements is used to encapsulate the American experience in a scherzo and lilting, gorgeous andantino form even today. respectively. But he includes many of the harmonic and melodic characteristics that had defined his Copland composed his third and final symphony at Depression-era compositions, even including his the end of this period, and he began work on the famous Fanfare for the Common Man as the main piece almost as soon as he had finished Appalachian theme for the final movement. If Copland had indeed Spring. To commemorate the end of World War II—and spent the last decade building a unique American perhaps subconsciously to commemorate the end sound, his Third Symphony would be the musical of this period of astonishing personal productivity— equivalent of the Marshall Plan: an American attempt Copland sought to reconcile the new “Americana” to rebuild European infrastructure in its own image sound of his ballets with the most conventional genre and to signal the broader shifts in culture and power of European classical composition: the symphony. He that would unfold over the decades to come. maintains the standard four-movement symphonic

50 CharlestonSymphony.org Did You Know? Young people who participate in the arts for at least three hours on three days each week through at least one full year are: • 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance

• 4 times more likely to win an award for writing an essay or poem

CharlestonSymphony.org 51 CHAMBER MUSIC November 9 and 10, 2018 City Gallery at Waterfront Park

CHAMBER MUSIC AT THE CITY GALLERY

W. A. Mozart (1756-1791) String Quartet No. 6 in B-flat Major, K. 159 I. Andante II. Allegro III. Rondo. Allegro grazioso Yuriy Bekker and Micah Gangwer, Alex Agrest, Viola • Norbert Lewandowski, Violoncello Ney Rosauro (b.1952) Two Pieces for Marimba and Flute, Op. 39 1. Farewell Song 2. Reunion’s Dance Jessica Hull-Dambaugh, Flute • Ryan Leveille, Marimba George Rochburg (1918-2005) Duo for Oboe and Bassoon I. Allegro con umore II. Marziale III. Allegro giocoso Zachary Hammond, Oboe • Joshua Baker, Bassoon Jean Françaix (1912-1997) Quartet for English Horn and String Trio I. Allegro vivace II. Andante tranquillo III. Vivo assai IV. Andantino V. Allegro giocoso Kari Kister, English Horn • Alex Boissonnault, Violin Sadie deWall, Viola • Norbert Lewandowski, Violoncello Charles Small (1927-2017) Conversation for Tenor and Bass Trombone Christopher Lindgren, Tenor Trombone • Thomas Joyce, Bass Trombone Dmitri Shostakovich (1906-1975) Two Pieces for String Quartet, Op. 36a I. Adagio (Elegy) II. Allegretto (Polka) Yuriy Bekker and Micah Gangwer, Violins Alex Agrest, Viola • Norbert Lewandowski, Violoncello Sponsored by Henry and Sylvia Yaschik Foundation

52 CharlestonSymphony.org MASTERWORKS November 16 and 17, 2018 Gaillard Center

MENDELSSOHN & GRIEG Jihye Chang, piano Rodrick Dixon, tenor CSO Chorus, Dr. Robert Taylor, director College of Charleston Concert Choir, Dr. Robert Taylor, director Charleston Southern University Concert Singers, Dr. Dustin Ousley, director Ken Lam, conductor

Edvard Grieg (1843-1907) Holberg Suite, Op. 40 I. Prelude II. Sarabande III. Gavotte and Musette IV. Air V. Rigaudon Felix Mendelssohn (1809-1847) Piano Concerto No. 1 in G minor, Op. 25 I. Molto allegro con fuoco II. Andante III. Presto - Molto allegro e vivace Sponsored by Dr. S. Dwane Thomas

INTERMISSION

Benjamin Britten (1913-1976) Saint Nicolas, Op. 42 I. Introduction II. The Birth of Nicolas III. Nicolas Devotes Himself to God IV. He Journeys to Palestine V. Nicolas Comes to Myra and is Chosen Bishop VI. Nicolas from Prison VII. Nicolas and the Pickled Boys VIII. His Piety and Marvellous Works IX. The Death of Nicolas Sponsored by Charlie and Maryileen Cumbaa

Pre-concert conversations Tonight’s floral arrangement provided from the stage are held from courtesy of Belva’s Flower Shop 6:30pm-7:00pm prior to every of Mt. Pleasant. Masterworks performance.

CharlestonSymphony.org 53 ABOUT THE ARTISTS

Jihye Chang Piano

ianist Jihye Chang enjoys a diverse career as a performer, educator, scholar, recording artist, and advocate for new music in the United PStates and abroad. She has shared the stage with renowned musicians such as Chee-Yun, Frank Cohen, Andrés Diaz, Anton Kuerti, William Preucil, and Richard Young, among others. She is a recipient of the Henry Kohn Award from the Tanglewood Music Center, an Honorary Fellowship from the Montgomery Symphony Orchestra, Aaron Copland Recording Grant, and first prize of the Mikhashoff International Pianist-Composer Competition. In 2018-19 she will appear at the San Francisco Center for New Music, Old First Church Concert Series of San Francisco, Blue Candlelight music series in Dallas, and will also collaborate with visual artist Min Oh on an inter-disciplinary project on piano etudes.

Ms. Chang is currently in the midst of a five-year project entitled “Continuum 88,” an exploration of the solo piano literature in collaboration with young composers from Australia, Korea, and U.S.A., with concerts in Korea, Taiwan, and various locations in the U. S. A. The program for the 2018- 2019 season focuses on piano fantasies, and she will lead a short residency at University of Alabama Huntsville as well as a guest artist concert at the Georgia State College with this program.

Her recordings can be found on labels including Sony/BMG Korea, Albany, Centaur, and Ravello/Parma. Recent engagements include a world premiere of Robert Aldridge’s Piano Concerto No. 2 at the Brevard Music Center; performances for the Chamber Music Society of Fort Worth, and Seoul National University’s Tuesday Concert Series and Studio 2021 series. Her festival appearances include solo performances at the Virtuosi X Festival and Festival Inverno de Garanhuns in Brazil, Orleans Festival in France, Lowcountry Chamber Music Festival, and New Music Festivals at the University of Louisville, Ball State University, and Brandeis University.

Ms. Chang graduated from Seoul National University, where she received the President’s Award, and earned her Master’s and Doctorate degrees from the Indiana University Jacobs School of Music under the tutelage of György Sebök, Reiko Neriki, and Edward Auer. Most recently she served as Visiting Assistant Professor at Florida State University. Currently she is a faculty member at the Brevard Music Center, lecturer at Florida State University, and a core member of the Intersection Contemporary Ensemble.

54 CharlestonSymphony.org ABOUT THE ARTISTS

Rodrick Dixon Tenor

odrick Dixon possesses a tenor voice of extraordinary range and versatility that has earned him the respect and attention of leading Rconductors, orchestras and opera companies throughout North America. Notable operatic engagements include Los Angeles Opera in the title role of Zemlinky’s Der Zwerg conducted by James Conlon and as Walther von der Vogelweide in Tannhäuser, Michigan Opera Theater as Tonio in La fille du Regiment, Todi Music Festival as Lenski in Eugene Onegin and as Tonio, Portland Opera in the title role of Les Contes d’Hoffmann, Opera Columbus for the world premiere of Vanqui (Prince), Virginia Opera as Sportin’ Life in , Cincinnati Opera as the Duke in Rigoletto and Opera Southwest in the title role of Rossini’s Otello.

On the concert stage, he is a regular guest of the Cincinnati May Festival. He has appeared as tenor soloist in Orff’s Carmina Burana, Stravinsky’s Oedipus Rex, Janacek’s Glaglitic Mass, Mahler’s Das Klagende Lied and Symphony No.8, Beethoven Symphony No. 9, Rachmaninoff’s The Bells, and Rossini’s Stabat Mater. Other notable appearances include: Philadelphia Orchestra for Der Zwerg, Los Angeles Philharmonic in the title role of Stravinsky’s Oedipus Rex conducted by Esa-Pekka Salonen and directed by Peter Sellars, which he repeated at the Sydney Arts Festival in Australia, Ravinia Festival for The Bells, Mahler’s Das Klagende Lied, Atlanta Symphony as featured soloist conducted by Robert Spano, Vail Music Festival as tenor soloist in Beethoven’s Symphony No. 9 conducted by Marin Alsop, the Dvorak Stabat Mater in Umbria Italy, Zlin Czech Republic, Basilica Santa Maria Maggiore in Rome conducted by Walter Attanasi, the Cincinnati Symphony for their “Classical Roots” concerts conducted by John Morris Russell, and as featured tenor soloist in Madison Opera’s “Opera in the Park”. Mr. Dixon appeared with the Philadelphia Chamber Orchestra in Can you hear God Crying at the Kimmel Center, Benjamin Britten’s oratorio Saint Nicolas with the Mendelssohn Chorale conducted by Marti Bein in Rockford IL., and with the Longfellow Chorus for a program of works by Samuel Coleridge-Taylor which was recorded and filmed for a documentary in Portland Maine.

Last July, he appeared with The Cleveland Orchestra at the Blossom Music Center as Sportin’ Life in Robert Russell Bennett’s suite of music from Gershwin’s Porgy and Bess. This spring he will return to the Cincinnati May Festival and Carnegie Hall for performances of Nathaniel Dett’s The Ordering of Moses.

As a part of “The Tenors: Cook, Dixon & Young,” he has appeared in concert with the Atlanta Symphony, Hollywood Bowl, Kodak Theatre, Cincinnati Symphony, Pittsburgh Symphony, Dayton Philharmonic, Colorado Symphony, West Virginia Symphony, Chicago Symphony Orchestra at Millennium Park, Elgin Symphony, Rackham Symphony Chorus, Wolf Trap, Tennessee, Detroit’s M.O.T Orchestra, Anchorage Alaska, Los Angeles Greek Theatre, Washington DC White House, and performing art centers throughout Florida.

Rodrick Dixon’s musical theater credits include the original cast of Ragtime on Broadway, Show Boat at the Auditorium Theatre; Pops Concerts at Grant Park Music Festival, the Chicagoland Pops Orchestra at the Rosemount Theatre, and the Cincinnati Pops with . Mr. Dixon has performed Christmas and MLK concerts of Too Hot too Handel at the Detroit Opera House and the Auditorium Theatre under the baton of Suzanne Acton for 12 years.

CharlestonSymphony.org 55 PROGRAM NOTES MASTERWORKS

Edvard Grieg (1843-1907) Piano Concerto No. 1 was written and premiered with Holberg Suite the composer at the keyboard during the fall of 1831. Although the piece was first performed in , it was inspired by Mendelssohn’s extensive travels in Written for the 200th birthday of Norwegian playwright Italy around this time—travels which also inspired his Ludvig Holberg, Edvard Grieg’s Holberg Suite is Symphony No. 4 “Italian,” which was composed just modeled on the Baroque dance suites that were 18 months later. During the year prior, Mendelssohn popular during Holberg’s life. The “suite” or “partita,” had spent time in Florence, Milan, Rome, and Naples consists of a prelude or overture followed by a series meeting with local musicians, all while performing at of lively and diverse dances drawn from the high a breakneck pace. He returned to Germany only in societies of Europe. This suite is an early example of short stints to fulfill concert obligations, spend time the “neoclassicism” that would become a common with family, or in the case of this particular premiere in feature of European composers just a few decades Munich, visit potential love interests. The piece carries later. Despite being composed at the height of the a dedication to Delphine von Schauroth, the daughter lush Romantic era, epitomized by Richard Wagner, of a baroness with whom Mendelssohn had become Grieg attempted to restrict himself to the sounds and quite interested. Perhaps even more intriguing is that techniques of the previous century. The piece was Schauroth, herself a pianist and composer, supposedly originally composed for solo piano and was premiered wrote one of the themes featured in the concerto. In by the composer himself at a bicentennial celebration a letter to his sister just days before the premiere of for Holberg in December 1884 in their shared the concerto, Mendelssohn wrote that “Delphine hometown of Bergen, Norway. The piece garnered has composed a passage for this work that makes a positive attention, and Grieg decided to create this startling effect.” However, he never specified which arrangement for string orchestra the following year. particular passage she contributed, and scholars have been unable to identify it to this day. Mendelssohn Felix Mendelssohn (1809-1847) reportedly went as far as making a formal request Piano Concerto No. 1 to Delphine’s mother asking for permission to marry her daughter, but when she expressed reluctance, In the history of music, preference is often given to he quickly withdrew the request and returned to Italy. the loudest and most revolutionary figures. Felix Lurking somewhere within this concerto is the quiet Mendelssohn is no such figure. By all accounts, he expression of a love that never quite was: neither was considered a quiet and somewhat aloof young the loudest nor the most revolutionary declaration man. Yet in his all-too-brief 38 years, Mendelssohn of emotion in musical history, but a passionate and managed to have tremendous success as a compelling one all the same. composer, conductor, performer, and teacher. He is largely responsible for the reintroduction of Johann Sebastian Bach to the musical public and is the founder of the oldest university school of music in Germany, the Leipzig Conservatoire. Although they were almost polar opposites in temperament, his career actually seems to most closely resemble that of the child prodigy . He made his first public concert appearance at the age of 9, wrote his first published work by the time he was 13, and his first full symphony at age 15. By the time he sat down to write his first piano concerto at the age of 22, he was a well-seasoned composer and performer alike.

56 CharlestonSymphony.org PROGRAM NOTES MASTERWORKS

Benjamin Britten (1913-1976) Britten wrote the music for the centenary of Lancing Saint Nicolas College, a boarding school Sussex which was his partner, Peter Pears’ alma mater. Because of the circumstances of the work’s commission, Britten wrote Next month, we will have countless opportunities to the score such that it could be performed with a mix celebrate the mythical figure of Saint Nicholas during of professional and amateur forces: the school’s own the run-up to Christmas. But with tonight’s cantata preparatory chorus and string orchestra joined by a by Benjamin Britten, we are given the opportunity professional tenor soloist—Pears himself at the first to reflect upon the life of the historical Saint Nicolas, performance—and a complement of percussionists. who served as Bishop of Myra in modern-day Turkey These diverse performing forces make the work during the first half of the fourth century AD. After an popular because of its flexibility, but they also lend introduction set in the present day, the libretto by the music extraordinary color and breadth. Following British theatrical director Eric Crozier presents a series Nicolas’ death, the piece ends by returning us to the of eight colorful vignettes taken from Nicolas’ life and present day with a congregational hymn taken directly deeds. These stories naturally center on particularly from The English Hymnal. formative moments in Nicolas’ life as well as incidents which demonstrate his unique spiritual power. Of particular note is the seventh movement, enigmatically titled “Nicolas and the Pickled Boys,” in which Nicolas performs the resurrection of three boys who have been pickled in brine by a murderous butcher. They emerge from their barrels singing a cherubic “Alleluia” that eventually spreads to the rest of the chorus.

CharlestonSymphony.org 57 PROGRAM NOTES MASTERWORKS

SAINT NICOLAS, OP. 42 God be glorified! Benjamin Britten (1913-1976) Pilgrims came to kneel and pray by his side Text by Eric Crozier (1914-1994) he grew in grace, his name was sanctified

I. Introduction God be glorified!

Our eyes are blinded by the holiness you bear Nicolas grew in innocence and pride The bishop’s robe, the mitre and the cross of gold His glory spread in rainbow round the countryside obscure the simple man within the Saint “Nicolas will be a Saint!” the neighbours cried Strip off your glory, Nicolas, Nicolas, and speak! God be glorified! Across the tremendous bridge of sixteen hundred years I come to stand in worship with you as I stood III. Nicolas Devotes Himself to God among my faithful congregation long ago All who knelt beside me then are gone My parents died all too soon Their name is dust, their tombs are grass and clay I left the tranquil beauty of their home yet still their shining seed of faith survives in you! and knew the wider world of man It weathers time, it springs again in you! Poor Man! I found him solitary, racked by doubt: With you it stands like forest oak born, bred, doomed to die or withers with the grasses underfoot in everlasting fear of everlasting death: preserve the living faith for which your fathers fought! the foolish toy of time, the darling of decay - For faith was won by centuries of sacrifice hopeless, faithless, defying God and many martyrs died that you might worship God Heartsick, in hope to mask the twisted face of poverty I sold my lands to feed the poor Help us, Lord, to find the hidden road I gave my goods to charity but love demanded more that leads from love to greater love Heartsick, I cast away from faith to greater faith all things that could distract my mind Strengthen us, O Lord! from full devotion to His will Screw up our strength to serve Thee with simplicity I thrust my happiness behind but love desired more still Heartsick, I called on God II. The Birth of Nicolas to purge my angry soul to be my only master, friend and guide Nicolas was born in answer to prayer I begged for sweet humility and love was satisfied and leaping from his mother’s womb he cried:

God be glorified! IV. His Journeys to Palestine

Swaddling-bands and crib awaited him there Nicolas sailed for Palestine but Nicolas clapped both his hands and cried: across the sunlit seas The South West wind blew soft and fair God be glorified! seagulls hovered through the air and spices scented the breeze Innocent and joyful, naked and fair he came in pride on earth to abide Everyone felt that land was near: all dangers now were past: God be glorified! except for one who knelt in prayer fingers clasped and head quite bare Water rippled Welcome in the bath-tub by his side alone by mizzen-mast he dived in open-eyed, he swam, he cried: The sailors jeered at Nicolas who paid them no regard God be glorified! until the hour of sunset came and up he stood and stopped their game When he went to church at Christmastide of staking coins on cards he climbed up to the font to be baptized

58 CharlestonSymphony.org PROGRAM NOTES MASTERWORKS

Nicolas spoke and prophesied “O God! We are all weak, sinful, foolish men a tempest far ahead We pray from fear and from necessity at death The sailors scorned such words of fear in sickness or private loss since sky and stars shone bright and clear Without the prick of fear our conscience so “Nonsense!” they all said sleeps, forgetful of Thy grace Darkness was soon on top of them but still the South wind blew Help us, O God, to see more clearly The captain went below to sleep Tame our stubborn hearts and left the helmsman there to keep Teach us to ask for less and offer more gratitude to Thee his course with one of the crew Pity our simplicity Nicolas swore he ‘d punish them for we are truly pitiable in Thy sight Amen” for mocking at the Lord The wind arose, the thunder roared The winds and waves lay down to rest lightning split the waves that poured the sky was clear and calm in wild cascades on board The ship sailed onward without harm and all creation sang a psalm Waterspouts rose in majesty of loving thankfulness until the ship was tossed abaft, aback, astern, abeam Beneath the stars the sailors slept lit by the lightning’s livid gleam exhausted by their fear, while I and all aboard cried, “Lost!” knelt down for love of God on high and saw his angels in the sky Lightning hisses through the night smile down at me, and wept blinding sight with living light! Ah! “Spare us!” – “Man the pumps!” V. Nicolas Comes to Myra and “Axes!” — “Save us, Savior!” is Chosen Bishop Winds and tempests howl their cry of battle through the raging sky! Come Stranger sent from God! Ah! “Spare us!” – “Lifeboats!” Come, man of God! “Lower away!” – “Save us, Savior!” Stand foremost in our church and serve this diocese as Bishop Nicolas Waves repeat their angry roar our shield, our strength, our peace! Fall and Spring again once more! Ah! “Let her run before the wind!” I, Nicolas, Bishop of Myra and its diocese “Shorten sail!” – “Reef her!” “Heave her to!” shall with the unfailing grace of God defend his faithful servants Thunder rends the sky asunder comfort the widow and fatherless with its savage shouts of wonder! and fulfill his will for this most blessed church Ah! “Pray to God. Kneel and pray!” Amen Lightning, thunder, tempest, ocean praise their God with voice and motion Place the mitre on your head to show your mastery of men! Nicolas waited patiently Amen till they were on their knees Take the golden robe that covers you with then down he knelt in thankfulness Christ’s authority! begging God their ship to bless Amen and make the storm to cease Wear the fine dalmatic woven with the cross of faith Amen Bear the crozier as a staff and comfort to your flock! Amen Set the ring upon your hand in sacramental sign of wedlock with thy God! Amen Serve the faith and spurn his enemies!

CharlestonSymphony.org 59 PROGRAM NOTES MASTERWORKS

(All voices and congregation) Starving beggars howl their cry All people that on earth do dwell snarl to see us spurring by sing to the Lord with cheerful voice! times are bad and travel slow Him serve with fear, His praise forth tell O we have far to go! Come ye before Him and rejoice We mourn our boys, our missing ones! O enter then His gates with praise We sorrow for three little ones! approach with joy His courts unto Timothy, Mark and John are gone, are gone! praise, laud and bless His name always For it is seemly so to do Landlord, take this piece of gold! Bring us food before the cold For why? The Lord, our God is good: makes our pangs of hunger grow His mercy is for ever sure O we have far to go! His truth at all times firmly stood and shall from age to age endure Day by day we seek to find Amen some trace of them but oh! Unkind! Timothy, Mark and John are gone, are gone! VI. Nicolas from Prison Let us share this dish of meat Persecution sprang upon our church Come, my friends, sit down and eat! and stilled its voice Join us, Bishop, for we know Eight barren years it stifled under Roman rule: that you have far to go! And I lay bound condemned to celebrate my lonely sacrament Mary meek and Mother mild with prison bread who lost thy Jesus as a child while wolves ran loose among my flock. O man! our Timothy, Mark and John are gone, are gone! The world is set for you as for a king! Paradise is yours in loveliness Come, your Grace, don’t eat so slow! The stars shine down for you Take some meat! for you the angels sing yet you prefer your wilderness O do not taste! O do not feed on sin! You hug the rack of self But haste to save three souls in need! embrace the lash of sin pour your treasures out to bribe distress The mothers’ cry is sad and weak You build your temples fair without and foul within: within these walls they lie You cultivate your wilderness whom mothers sadly seek Yet Christ is yours, yours! For you he lived and died Timothy, Mark and John God in mercy gave his Son put your fleshly garments on! to bless you all, to bring you life Come from dark oblivion! Come! and Him you crucified to desecrate your wilderness See! Three boys spring back to life Turn, turn away from sin! Ah! who, slaughtered by the butcher’s knife Bow down your hard and stubborn hearts! lay salted down! Confess, confess yourselves to Him in penitence And entering, hand in hand they stand and sing and humbly vow your lives to Him, to holiness “Alleluia” to their King!

VII. Nicolas and the Pickled Boys VIII. His Piety and Marvelous works

Famine tracks us down the lanes For forty years our Nicolas hunger holds our horses’ reins our prince of men, our shepherd winter heaps the roads with snow and our gentle guide walked by our side O we have far to go! We turned to him at birth and death

60 CharlestonSymphony.org PROGRAM NOTES MASTERWORKS in time of famine and distress IX. The Death of Nicolas in all our grief to bring relief Death, I hear thy summons and I come He led us from the valleys in haste, for my short life is done to the pleasant hills of grace And o! my soul is faint with love He fought to fold us in from mortal sin for Him who waits for me above O! He was prodigal of love! Lord, I come to life, to final birth A spendthrift in devotion to us all I leave the misery of earth and blessed as he caressed for light, by Thy eternal grace We keep his memory alive where I shall greet Thee face to face in legends that our children and their children’s children treasure still Christ, receive my soul with tenderness A captive at the heathen court for in my last of life I bless wept sorely all alone Thy name who lived and died for me “O Nicolas is here, my son! and dying, dying yield my soul to Thee. And he will bring you home!” “Fill, fill my sack with corn!” he said Lord, now lettest Thou Thy servant “We die from lack of food!” depart in peace, according to Thy word For mine eyes have seen Thy salvation And from that single sack he fed which Thou hast prepared a hungry multitude before the face of all people Three daughters of a nobleman to be a light to lighten the gentiles were doomed to shameful sin and to be the glory of Thy people Israel till our good Bishop ransomed them by throwing purses in Glory be to the Father The gates were barred, the black flag flew and to the Son and to the Holy Ghost three men knelt by the block As it was in the beginning But Nicolas burst in like flame is now and ever shall be world without end and stayed the axe’s shock Amen “O help us, good Nicolas! (All voices and congregation) Our ship is full of foam!” He walked across the waves to them God moves in a mysterious way and led them safely home His wonders to perform He sat among the bishops He plants His footsteps in the sea who were summoned to Nicaea: and rides upon the storm then rising with the wrath of God boxed Arius’s ear! Deep in unfathomable mines of never failing skill He threatened Constantine the Great He treasures up his bright designs with bell and book and ban: and works His sovereign will till Constantine confessed his sins like any common man Ye fearful saints, fresh courage take the clouds ye so much dread Let the legends that we tell are big with mercy and shall break praise him, with our prayers as well in blessings on your head

We keep his memory alive Amen in legends that our children and their children’s children treasure still

CharlestonSymphony.org 61 62 CharlestonSymphony.org SPECIAL EVENT December 4, 2018 Gaillard Center

HOLIDAY BRASS WITH DOC SEVERINSEN AND PHIL SMITH

Doc Severinsen, trumpet Phil Smith, Conductor, trumpet, and host

Don’t miss the Charleston Symphony brass as they perform holiday classics with Doc Severinsen, legendary trumpet player, and former band leader for “The Tonight Show Starring Johnny Carson!” Also joining is Phil Smith, the former Principal Trumpet player of the New York Philharmonic as conductor, trumpet player, and host.

Program to be announced from the stage.

CharlestonSymphony.org 63 ABOUT THE ARTISTS

Doc Severinsen Trumpet

eeeeere’s Johnny!” That lead-in, followed by a big band trumpet blast, was the landmark of late night television for three decades. The H‘Johnny’ was Johnny Carson, the announcer was Ed McMahon and the bandleader was Doc Severinsen. Beginning in October 1962, The Tonight Show with Johnny Carson ruled the night air for thirty years. On May 22, 1992, it came to an end…

Within a week of the final telecast, Doc Severinsen and His Big Band were on the road, and to this day, audiences across America love and respect Doc and his big band, not just because he shared their living room with them for so many years, but because of Doc’s love of the Big Band repertoire. His musicianship keeps this iconic American music fresh to this day. Severinsen can still blow hard with his horn, and hit the high notes, but as a band leader, Doc continues to surround himself with the best in the business, and he’s only too happy to give them a turn in the spotlight.

Doc has made more than 30 albums–from big band to jazz-fusion to classical. Two critically acclaimed Telarc CDs with the Cincinnati Pops Orchestra showcase his multifaceted talents from Bach to ballads. He received a Grammy Award for “Best Jazz instrumental Performance – Big Band” for his recording of Doc Severinsen and The Tonight Show Band-Volume I.

In 2006, Doc moved to San Miguel de Allende, in Mexico, ostensibly to retire from performance. Within weeks, he was jamming with the magnificent guitarist Gil Gutierrez. He now tours regularly with Gil in a quintet called The San Miguel Five, performing a mix of Latin and Gypsy jazz and standards, to exceptional acclaim. They just released their most current CD, Oblivion, in January 2014.

Severinsen’s accomplishments began in his hometown of Arlington, Oregon, population: 600. Carl H Severinsen was born on July 7th, 1927, and was nicknamed “Little Doc” after his father, Dr. Carl Severinsen a dentist. He served in the Army during World War II and following his discharge, landed a spot with the Charlie Barnett Band. When this band broke up, Severinsen toured with the Tommy Dorsey, then, the Benny Goodman bands in the late 40’s.

After his days with Barnett and Dorsey, Doc arrived in New York City in 1949 to become a staff musician for NBC. After years of playing with NBC’s many studio bands, Doc was invited to play a gig in the highly respected Tonight Show Band. The band leader at the time, Skitch Henderson, asked him to join that band in 1962 in the first trumpet chair. Five years later, Doc became the Music Director for The Tonight Show and the rest is history. His loyalty to Johnny Carson and Ed McMahon never faltered, and the warm camaraderie between the three was an enormous part of the show’s success.

Today, Doc has not lost his flair for the outrageous fashion statement or his trademark wit. But his gregarious nature has never interfered with the fact that he has been one of the greatest trumpeters and musicians of the last 60 years, respected in the worlds of classical music, jazz, big band, and now even world music. In the end, Doc Severinsen has transcended his celebrity, and rejoiced in his remarkable ability to simply play his trumpet as well as he can. Which has proven to be good enough for the millions of people who count themselves his fans.

64 CharlestonSymphony.org ABOUT THE ARTISTS Philip Smith Conductor, Trumpet, Host

hilip Smith joined the Hugh Hodgson School of Music at the University of Georgia as the William F. and Pamela P. Prokasy Professor in the PArts in August 2014. In addition to teaching his trumpet studio, he is the of the UGA , member of the faculty Georgia Brass Quintet, and coach of the Bulldog Brass Society. This new position follows his retirement from the New York Philharmonic after 36 years of service as Principal Trumpet.

He is a graduate of The Juilliard School. In January 1975, while still at Juilliard, Sir Georg Solti appointed Mr. Smith to the Chicago Symphony Orchestra.

Throughout his career at the NYP and CSO, Mr. Smith appeared regularly as soloist, recitalist, chamber orchestra performer, and clinician. He was featured as a soloist with the New York Philharmonic in almost every season.

Mr. Smith has also appeared with many symphonic wind ensembles, including the U.S. “President’s Own” Marine Band, the West Point Academy Band, and many major university wind ensembles.

An avid brass band enthusiast, Mr. Smith has been guest soloist with Black Dyke Mills and GUS (Britain), Goteborg Brass (Sweden), Hannaford Street Silver and Intrada Brass (Canada), and Imperial, Georgia, and San Antonio (USA) brass bands. He has soloed with all of the Salvation Army Staff Bands worldwide including the International Staff Band (London), New York, Chicago, Amsterdam, Melbourne, German and Japan.

In addition to soloing, Mr. Smith has conducted many brass bands and brass ensembles. He recently guest conducted the Royal Stockholm Philharmonic Brass and Percussion, and was guest conductor of the National Youth Brass Band of Great Britain (NYBBGB) 2016 Summer Course. He led the UGA British Brass Band to a Third-place Prize in the First Section of the 2017 North American Brass Band Association Championships. He has hosted and conducted the New York Philharmonic Brass and Percussion at the 2014, 2016, and 2017 “Holiday Brass” in David Geffen Hall, and will do so again this December. He also conducted this group at the Dedication Ceremony of the September 11 Museum in New York City on May 15, 2014.

Mr. Smith has been on the faculty of The Juilliard School and School of Music, and has appeared at worldwide trumpet seminars as well as numerous International Trumpet Guild conferences. He has also been an adjudicator for the Prague Spring (2016), Ellsworth Smith (2016), and Eric Aubier (2017) International Solo Trumpet Competitions.

In 2005, Mr. Smith was made an Honorary Member of the Royal Academy of Music (Hon RAM). In 2006, Mr. Smith was given the International Trumpet Guild Honorary Award.

Mr. Smith’s film soundtrack credits include: The Hudsucker Proxy (1993), Cobb (1994), A Time To Kill (1996), Punchline (1998), Sphere (1998), The Rookie (2002), The Alamo (2003), The Ladykillers (2004), Manchurian Candidate (2004), and Hitch (2005). His commercial soundtrack credits include: “NBC Sunday Night Football Theme 2006” music by John Williams and “NBC Super Bowl XVIII Theme 2008” music by John Williams and Joel Beckerman.

CharlestonSymphony.org 65

SPECIAL EVENT December 6, 2018 • 7:30pm Cathedral of St. John The Baptist Sponsored by Charlei and Maryileen Cumbaa

HOLY CITY MESSIAH Charleston Symphony Orchestra Chamber Chorus, Dr. Robert Taylor, director Deanna Breiwick, soprano Jennifer Luiken, mezzo-soprano Victor Cardamone, tenor Nathaniel Olson, baritone

SHORT PROGRAM (NO INTERMISSION!) Part One Part Two No. 1 Sinfonia No. 24 Surely He Hath Borne Our Griefs No. 2 Comfort Ye, My People No. 25 And With His Stripes We Are Healed No. 3 Ev’ry Valley Shall Be Exalted No. 26 All We Like Sheep Have Gone Astray No. 4 And the Glory of the Lord No. 27 All They That See Him Laugh Him To Scorn No. 5 Thus Saith The Lord No. 28 He Trusted In God No. 6. But Who May Abide No. 29 Thy Rebuke No. 7 And He Shall Purify No. 30 Behold, And See No. 8 Behold, A Virgin Shall Conceive No. 31 He Was Cut Off No. 9 O Thou That Tellest Good Tidings To Zion No. 32 But Thou Didst Not Leave His Soul In Hell No. 12 For Unto Us A Child Is Born No. 40 Why Do The Nations so Furiously No. 14a There Were Shepherds In The Field Rage Together? No. 14b And Lo, The Angel Of The Lord No. 41 Let Us Break Their Bonds Asunder No. 15 And The Angel Said Unto Them No. 42 He That Dwelleth In Heaven No. 16 And Suddenly There Was With The Angel No. 43 Thou Shalt Break Them No. 17 Glory To God No. 44 Hallelujah No. 18 Rejoice Greatly, O Daughter Of Zion! Part Three No. 21 His Yoke Is Easy No. 45 I Know That My Redeemer Liveth No. 46 Since By Man Came Death No. 47 Behold, I Tell You A Mystery No. 48 The Trumpet Shall Sound No. 53 Worthy is the Lamb....Amen

CharlestonSymphony.org 67 SPECIAL EVENT December 8, 2018 • 7:30pm East Cooper Baptist Church Sponsored by Dr. Jeffrey and Mrs. Tammy Dorociak December 9, 2018 • 4:00pm St. Theresa The Little Flower Catholic Church Sponsored by Barbara Chapman in loving memory of errty Chapman HOLY CITY MESSIAH Charleston Symphony Orchestra Chamber Chorus, Dr. Robert Taylor, director Deanna Breiwick, soprano Jennifer Luiken, mezzo-soprano Victor Cardamone, tenor Nathaniel Olson, baritone

LONG PROGRAM Part One No. 11 The People That Walked In Darkness No. 1 Sinfonia No. 12 For Unto Us A Child Is Born No. 2 Comfort Ye, My People No. 13. PIFA “Pastoral Symphony” No. 3 Ev’ry Valley Shall Be Exalted No. 14a There Were Shepherds In The Field No. 4 And the Glory of the Lord No. 14b And Lo, The Angel Of The Lord No. 5 Thus Saith The Lord No. 15 And The Angel Said Unto Them No. 6. But Who May Abide No. 16 And Suddenly There Was With The Angel No. 7 And He Shall Purify No. 17 Glory To God No. 8 Behold, A Virgin Shall Conceive No. 18 Rejoice Greatly, O Daughter Of Zion! No. 9 O Thou That Tellest Good Tidings To Zion No. 19 Then Shall The Eyes Of The Blind No. 10 For Behold, Darkness No. 20 He Shall Feed His Flock No. 21 His Yoke Is Easy

INTERMISSION Part Two No. 41 Let Us Break Their Bonds Asunder No. 24 Surely He Hath Borne Our Griefs No. 42 He That Dwelleth In Heaven No. 25 And With His Stripes We Are Healed No. 43 Thou Shalt Break Them No. 26 All We Like Sheep Have Gone Astray No. 44 Hallelujah No. 27 All They That See Him Laugh Him To Scorn Part Three No. 28 He Trusted In God No. 45 I Know That My Redeemer Liveth No. 29 Thy Rebuke No. 46 Since By Man Came Death No. 30 Behold, And See No. 47 Behold, I Tell You A Mystery No. 31 He Was Cut Off No. 48 The Trumpet Shall Sound No. 32 But Thou Didst Not Leave His Soul In Hell No. 53 Worthy is the Lamb....Amen No. 40 Why Do The Nations so Furiously Rage Together?

68 CharlestonSymphony.org ABOUT THE ARTISTS

Deanna Breiwick Soprano merican soprano Deanna Breiwick, hailed by The New York Times for her “sweet sound and floating high notes” and for being a “vocal Atrapeze artist,” makes a series of house and role debuts in the 2018- 2019 season. Ms. Breiwick will return to the Metropolitan Opera as a Shadow in the North American premiere of Nico Muhly’s Marnie, conducted by Robert Spano, debut with Michigan Opera Theatre as Gretel in Humperdinck’s Hansel und Gretel and Rosasharn in Ricky Ian Gordon’s The Grapes of Wrath, debut Adina in Donizetti’s L’Elisir d’Amore with Opera Omaha, debut the role of Cunegonde in for a return to Des Moines Metro Opera, and Norina in Don Pasquale for a house debut with Berkshire Opera Festival.

In the 2017/18 season, Ms. Breiwick returned to Opernhaus Zürich, performing Drusilla in Monteverdi’s L’incoronazione di Poppea. She also made her Metropolitan Opera stage debut, first as La Charmeuse in Massenet’s Thaïs, and then as a Flower Maiden in Wagner’s Parsifal, a new production conducted by Yannick Nézet-Séguin. Other debuts included Opera Philadelphia as Aveline Mortimer in Elizabeth Cree. Concert debuts included Seattle Symphony and New Choral Society in Scarsdale, NY for Messiah, Orff’s Carmina Burana in a joint project with the Charleston Symphony and Nashville Ballet, as well as with the El Paso Choral Society, and the Israelite Woman in Handel’s Judas Maccabaeus with the International Handel Festival in Göttingen, Germany. Ms. Breiwick also presented solo recitals in El Paso, Texas and Chicago, Illinois, the latter with close collaborator Julie Coucheron.

Ms. Breiwick is a native of Seattle, WA and holds degrees from The Juilliard School and Mannes College of Music. She spent several years in Europe as an Ensemble member of Opernhaus Zürich. Victor Cardamone Tenor raised for his “bright voice” and “perfect tone quality,” up-and-coming tenor Victor Cardamone has garnered much attention and critical Pacclaim over the last few years, and continues to do so. He was a Central Region Finalist of the Metropolitan Opera National Council Audition, and the recipient of two Encouragement Awards. Victor has portrayed both main and supporting roles, performed in scenes programs and for various community outreach events, and sung in several choruses at Youngstown State University, Opera Western Reserve, New Castle Lyric Opera (including a world première production), Asheville Lyric Opera, Ball State University, and the Janiec Opera Company at Brevard Music Center. Victor graduated from Youngstown State University with his Bachelor’s Degree in Music Education, receiving a double major in applied voice and .

CharlestonSymphony.org 69 ABOUT THE ARTISTS

Jennifer Luiken Mezzo-Soprano ezzo-soprano Jennifer Luiken has performed numerous times on the Piccolo Spoleto program. With a voice described as “voluptuous” and M“beautifully clean and radiant,” Miss Luiken transitions easily between many genres and styles. She has performed throughout the United States, and internationally in England, Scotland, Germany, Bulgaria, Austria, Catalunya and Italy, and was the mezzo-soprano soloist for the European Premiere of Bradley Ellingboe’s Requiem in Hungary, Slovakia and the Czech Republic. She is an avid and frequent recitalist and performer of both art song and chamber works for voice and instruments and has been frequently selected for the Spotlight Concert Series on the Piccolo Spoleto Festival as well as the “Sunset Serenade,” the opening concert of the festival. Having made multiple appearances with the Charleston Symphony Orchestra and other regional orchestras, her orchestral and concert repertoire includes Verdi’s Requiem; Mahler’s Symphony No. 2, “Resurrection”; Alexander Nevsky; Beethoven’s Symphony No. 9; Dvořák’s Requiem and Stabat Mater; Mozart’s Requiem; and Aaron Copland’s In the Beginning.

Nathaniel Olson Baritone athaniel Olson, Baritone, based in Greensboro, NC is originally from Chicago and actively performs Concert and Oratorio works throughout Nthe USA. It is a pleasure to perform Handel’s Messiah with Maestro Ken Lam and the Charleston Symphony Orchestra. Recent performances include Bach’s Masses in G Minor and F Major, and Cantatas 4, 150, and 187 for the Duke Chapel Bach Cantata Series, Bach’s Johannes Passion with the Bach Society of Charleston, Bach’s complete Weihnachts-Oratorium, Oster- Oratorium, and Cantata 147 with the Raleigh Bach Soloists, Handel’s Messiah at High Point University, Brahms Requiem at University of North Carolina at Greensboro, Vaughan Williams Five Mystical Songs with the Columbus Indiana Philharmonic and nearby in Beaufort, SC. Career highlights include premiering the role of Tomasz in Lyric Opera of Chicago’s The Property, solo recitals for the Carnegie Hall Great Singers III Series and the Carnegie Hall Neighborhood Concert Series, a solo WTVP Public Television Special entitled “The American Songbook,” as Don Giovanni with the Oklahoma International Mozart Festival, frequent recitals at the Ravinia Festival, and in recital at the Tucson Desert Song Festival. Nathaniel and his wife Soprano Julianne Olson have performed together at the Lyric Opera of Chicago, Asheville Lyric Opera, toured across South Korea for the Far East Broadcasting Company, across Indonesia during their year teaching at a university in Jakarta, and in the Netherlands for the Ravinia Festival. Nathaniel is a Doctoral Candidate in Voice at UNC Greensboro and teaches at Elon University.

70 CharlestonSymphony.org PROTECTING THE WILDEST JUNGLES ON THE PLANET.

MAIN STREET. PRESCHOOL. THE PLAYGROUND. The environment isn’t just some far off place. It’s the lawn beneath our feet, the food on our plate, and the air we breathe. And it’s why the Natural Resources Defense Council is working to protect the most important places on Earth. Whether it’s the rainforest, the arctic, or your living room. To learn more, go to NRDC.org. And help protect the jungle creatures in your backyard.

Because the environment is everywhere.

CharlestonSymphony.org 71

POPS December 11, 2018 Gaillard Center

SWINGIN’ CHRISTMAS WITH TONY DESARE Tony DeSare, vocalist and pianist Yuriy Bekker, principal pops conductor

Emil Waldteufel The Skater’s Waltz Sammy Cahn and JuleStyne Let it Snow and Walter Kent I’ll Be Home for Christmas Felix Bernard and Richard Smith Winter Wonderland Tony DeSare Christmas for You and Me Jule Styne, Betty Comden, Just in Time and Adolph Green Adolphe Adam and Placide Cappeau Oh’ Holy Night John Frederick Coots and Santa Claus is Comin’ to Town

INTERMISSION

Piotr Ilych Tchaikovsky Selections from The Nutcracker Ballet March Dance of the Mirlitons Trepak Irving Berlin, arr. Tony DeSare and I Love a Piano Ted Firth Tony DeSare Christmas Home Georges Bizet “Farandole” from L’Arlesienne Suite No. 2 Joseph Carleton Bead and Jingle Bell Rock James Ross Boothe Sammy Cahn and Jule Styne, The Christmas Waltz arr. Carmen Dragon Tony DeSare 18 Versions of Jingle Bells Hugh Martin and Ralph Blane Have Yourself A Merry Christmas

CharlestonSymphony.org 73 ABOUT THE ARTIST

Tony DeSare Vocals and Piano

ony DeSare performs with infectious joy, wry playfulness and robust musicality. Named a Rising Star Male Vocalist in Downbeat magazine, TDeSare has lived up to this distinction by winning critical and popular acclaim for his concert performances throughout North America and abroad. From jazz clubs to Carnegie Hall to Las Vegas headlining with Don Rickles and major symphony orchestras, DeSare has brought his fresh take on old school class around the globe. DeSare has three top ten Billboard jazz albums under his belt and has been featured on the CBS Early Show, NPR, A Prairie Home Companion, the Today Show and his music has been posted by social media celebrity juggernaut, George Takei. DeSare has also collaborated with Youtube icons Postmodern Jukebox.

Notwithstanding his critically acclaimed turns as a singer/pianist, DeSare is also an accomplished award-winning composer. He not only won first place in the USA Songwriting Contest, but has written the theme song for the motion picture, My Date With Drew, several broadcast commercials and has composed the full soundtracks for the Hallmark Channel’s Love Always, Santa and Lifetime’s Nanny Nightmare. His sound is romantic, swinging and sensual, but what sets DeSare apart is his ability to write original material that sounds fresh and contemporary, yet pays homage to the . His compositions include a wide-range of romantic, funny, and soulful sounds that can be found on his top-selling recordings.

DeSare’s forthcoming appearances include the Milwaukee Symphony Orchestra, Seattle Symphony, Indianapolis Symphony Orchestra, Grand Rapids Symphony, Baltimore Symphony Orchestra and the Smith Center in Las Vegas.

DeSare releases new recordings, videos of standards and new originals every few weeks on his YouTube channel, iTunes and Spotify. Follow Tony on Facebook, Twitter and subscribe on YouTube to stay connected.

Tony DeSare is a Yamaha Artist.

74 CharlestonSymphony.org CharlestonSymphony.org 75 POPS December 22, 2018 Charleston Gaillard Center HOLIDAY POPS 2018 Sponsored by the Storey Foundation in Memory of Bert Storey Tamara Saunders Jenkins, soprano Sara Lucille Law, soprano CSO Chorus, Dr. Robert Taylor, director Charleston Children’s Chorus, Heather Hammond, director Yuriy Bekker, conductor

Leroy Anderson A Christmas Festival Antonio Vivaldi Gloria RV589: “Gloria in Eccelsis Deo” John Rutter Dormi Jesu James Stephenson I Saw Three Ships Victor Herbert, arr. Otto Langey “March of the Toy Soldiers” from Babes in Toyland Sergei Prokofiev “Trioka” from Lieutenant Kije, Op. 60 Sam Hyken Chanukah J.S. Bach “Shout, Rejoice!” from Christmas Oratorio, BWV248

INTERMISSION

Leroy Anderson, arr. Robert Wendel Caribbean Bob Wells and Mel Tormé, arr. Carmen Dragon (Chestnuts Roasting On An Open Fire) Sy Miller and Jill Jackson, Let There Be Peace on Earth arr. Hawley Ades John Wesley Work, Jr., Go Tell It On The Mountain arr. James Stephenson Traditional carol, arr. Craig Courtney The Musicological Journey Through the Twelve Days of Christmas Leroy Anderson Sleigh Ride Traditional carols, arr. David Willcocks “O Come All Ye Faithful” and “Hark! The Herald Angels Sing” from Five Christmas Carols

76 CharlestonSymphony.org ABOUT THE ARTISTS

Sara Law Soprano.

ara Lucille Law is a twenty-five year old New York City based Soprano. Praised for her “… lightness, brightness, and clarity of tone.” (Voce Di SMeche), as well as her “…striking stage presence and pinpoint high coloratura” (South Florida Classical Review), Sara was last seen as Johanna in Hawaii Performing Arts Festival’s production of Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street. Previous roles also include Tytania in Britten’s A Midsummer Night’s Dream, Miss Wordsworth in Britten’s Albert Herring, and Barbarina in Mozart’s Le Nozze Di Figaro. Sara has been an Apprentice Artist at Miami Music Festival as well as a Young Artist at The Janiec Opera Company at the Brevard Music Center. She received her Bachelor’s degree in Vocal Performance from New England Conservatory, and is currently a second year candidate for her Master’s of Music at Mannes School of Music. Sara studies under the tutelage of Amy Burton.

Tamara Saunders Jenkins Soprano amara Saunders Jenkins was born in New London, Connecticut. She has a Bachelor’s Degree in Organizational & Leadership Management Tfrom Voorhees College and a Master’s Degree in Management & Leadership from Webster University with Honors.

Tamara was a soloist and Soprano Section Leader for the Charleston Symphony Orchestra’s Gospel Choir (Charleston Gospel Choir) and the Charleston Symphony Orchestra Spiritual Ensemble. She has performed with the CSO Ensemble for productions of “Porgy and Bess” during Piccolo Spoleto. She toured with the CSO Gospel Choir to Austria, Germany and the Czech Republic. She has traveled internationally entertaining our military troops with the Department of Defense/USO. Her travels took her to Asia, South America, Europe and Africa.

Other performances include “The Legend of Zelda” and “Broadway Rocks” with the North Charleston Pops and she sings in the soprano section with Lowcountry Voices under the direction of Nate Nelson. She is a co-founder of the acapella Gospel/Spirituals group Spiritually Yours, the featured choir for Charleston Food and Wine Gospel Brunch.

Tamara’s has acted with Village Rep in “DISASTER!”, Art Forms and Theater Concepts in “Little Ham,” “Joe Turners Come and Gone” and “Eubie!” and White Tuxedo Production of “Rent.” Other credits include “Army Wives,” “The Wise Kids” and “Search” with Brad Jayne & Company.

CharlestonSymphony.org 77 SING-A-LONG

O Come All Ye Faithful Hark! The Herald Angels Sing O come, all ye faithful, joyful and triumphant, Hark! The herald angels sing, O come ye, O come ye, to Bethlehem. “Glory to the newborn King; Come and behold Him, born the King of angels Peace on earth, and mercy mild, God and sinners reconciled!” O come, let us adore Him, Joyful, all ye nations rise, O come, let us adore Him, Join the triumph of the skies; O come, let us adore Him, With th’angelic host proclaim, Christ the Lord. “Christ is born in Bethlehem!”

Child, for us sinners poor and in the manger, Hark! The herald angels sing We would embrace Thee, with love and awe; ”Glory to the new born King!” Who would not love Thee, loving us so dearly? Christ, by highest Heav’n adored; O come, let us adore him… Christ the everlasting Lord; Late in time, behold Him come, Yea, Lord, we greet Thee, born this happy morning; Offspring of a virgin’s womb. Jesus, to Thee be all glory given; Veiled in flesh the Godhead see; Word of the Father, now in flesh appearing. Hail th’incarnate Deity, Pleased with us in flesh to dwell, O come, let us adore him… Jesus our Emmanuel.

Hark! The herald angels…

Hail the heav’nly Prince of Peace! Hail the Sun of Righteousness! Light and life to all He brings, Ris’n with healing in His wings. Mild He lays His glory by, Born that man no more may die. Born to raise the sons of earth, Born to give them second birth.

Hark! The herald angels…

78 CharlestonSymphony.org MASTERWORKS January 4 and 5, 2019 Gaillard Center

BEETHOVEN’S 5TH

Zachary Hammond, oboe Ken Lam, conductor

Ludwig van Beethoven (1770-1827) Coriolan Overture, Op. 62

Yiorgos Vassilandonakis (b. 1969) Oboe Concerto (World Premier) Sponsored by Dr. James L. and Judy E. Chitwood - Chitwood Family Fund

INTERMISSION

Ludwig van Beethoven (1770-1827) Symphony No. 5 in C minor, Op. 67 I. Allegro con brio II. Andante con moto III. Allegro IV. Allegro Sponsored by Susan W. and James V. Sullivan

Pre-concert conversations Tonight’s floral arrangement provided from the stage are held from courtesy of Belva’s Flower Shop 6:30pm-7:00pm prior to every of Mt. Pleasant. Masterworks performance.

CharlestonSymphony.org 79 ABOUT THE ARTIST

Zachary Hammond Oboe

achary Hammond joined the Charleston Symphony Orchestra as principal oboe during their 2014-15 season. Before moving to Charleston, ZZac earned his bachelor’s degree at the Eastman School of Music in Rochester, NY studying under Richard Killmer. While still a student at Eastman, Zac was appointed to be principal oboe of Symphoria (formerly the Syracuse Symphony) in Syracuse, NY. He is a frequent guest musician with orchestras throughout the country including the Rochester Philharmonic, Charlotte Symphony Orchestra, National Arts Centre Orchestra (Canada), Lake Placid Sinfonietta and the New World Symphony. He has been featured as a soloist with both the Charleston Symphony and Symphoria. Zac has participated in many summer music festivals including the Aspen Music Festival, National Repertory Orchestra, Youth Orchestra of the Americas and the Sarasota Music Festival. He also enjoys teaching and maintains a large studio of oboe students throughout the Charleston area.

80 CharlestonSymphony.org ABOUT THE ARTIST

Yiorgos Vassilandonakis Composer

riven by a strong dramatic and formal sense, Yiorgos Vassilandonakis’ music is emotionally engaging and cerebral at the same time. DVenturing into chamber, vocal, orchestral, opera, film, electronic & multimedia genres, his works reveal a mastery of timbre, sonority and temporal space, and a deep interest in sound itself as a physical entity.

Vassilandonakis’ music is frequently programmed on both sides of the Atlantic, and has been commissioned and performed, among others, by the New York New Music Ensemble, the San Francisco Contemporary Music Players, the Nouvel Ensemble Moderne, the Juilliard Percussion Ensemble, ALEA III, the Del Sol String Quartet, Ensemble Cairn, Meridian Arts Ensemble, Ensemble In Extensio, the Athens Camerata and the Hellenic Contemporary Ensemble. It has been supported by grants from Meet-the-Composer, the American Music Center and the French Ministry of Culture, and featured in the Aspen, Ernest Bloch, Domaine Forget, Wellesley and Patras International Festivals.

Yiorgos holds advanced degrees from the University of California, Berkeley, where his principal composition teachers were Edmund Campion, Richard Felciano, John Thow, Jorge Liderman and Cindy Cox. As the recipient of the George Ladd Prix de Paris, he spent two years in Paris, studying advanced composition, orchestration and electronic music with Philippe Leroux, at the École Nationale de Musique et de Danse, Erik Satie. He also studied composition with Paul Reale and Ian Krouse, and Film Music with the legendary Jerry Goldsmith, Paul Chihara & Don Ray. His conducting teachers were David Milnes and Jeffrey Schindler.

A dedicated educator, Dr. Vassilandonakis has taught Composition and Music Theory at the University of California, Berkeley and the University of Virginia, as well as electronic music at the Centre de Création Musicale, Iannis Xenakis, in Paris, before joining the faculty at the College of Charleston in 2010.

Also active as a conductor and proponent of contemporary music, he has conducted the GuitArte Ensemble, the Young People’s Symphony Orchestra, the Prometheus Symphony Orchestra, the UCLA Philharmonia, and the UC Berkeley Symphony. He was the Music Director at the Oakland Cathedral of the Ascension, and is the Composer-In-Residence with the Worn Chamber Ensemble in San Francisco.

CharlestonSymphony.org 81 PROGRAM NOTES MASTERWORKS

Ludwig van Beethoven (1770-1827) Tonight’s Oboe Concerto is a world premiere Coriolan Overture composed for and dedicated to Zac Hammond, principal oboist of the Charleston Symphony. Vassilandonakis called Hammond “a brilliant performer Coriolan Overture, Op. 62 was written to accompany with a unique sound, unparalleled musicianship and a performance of Heinrich von Collin’s play Coriolan, virtuosity, great musical instincts and a deep interest which was itself a German adaptation of Shakespeare’s in new music.” Unlike a typical concerto that sets historical tragedy, Coriolanus. Beethoven composed the soloist apart from the orchestra and explores the overture at the behest of long-time patron resulting contrasts, this work builds upon the potential Prince Franz Joseph Maximilian von Lobkowitz, at synergies between soloist and ensemble. The oboe is whose home the piece was premiered alongside a natural-born soloist because of its poignant timbre, his Symphony No. 4 and Piano Concerto No. 4 in razor-sharp articulations, and immense capacity for March 1807. The play centers on the Roman General expressivity, so the orchestra works throughout to Coriolanus who is exiled from Rome for treason. provide a shifting sense of background, dialogue, In anger, Coriolanus goes to Rome’s enemies, the counterpoint, and context. The piece is cast in one Volsci, and offers to lead an assault on his former continuous movement that grows out of the twists home. Upon hearing of his plan, Coriolanus’ mother, and turns of an improvisatory cantilena that opens the Volumnia, is dispatched to dissuade him. Beethoven’s piece. The soloist begins with a series of “fixations” on overture gives musical shape to these two central certain pitches which are subsequently shaped into characters with a resolute C minor theme representing contrasting sections. The soloist and orchestra move Coriolanus and a tender theme in the relative major through a variety of different variations, including representing Volumnia’s cries for peace. The ending “singing,” “dancing,” “fighting,” and “melting,” all of is bittersweet, however, as she ultimately convinces which are woven together into a single musical thread. Coriolanus to let go of his vengeance only to see him commit suicide in the face of what he had already set Ludwig van Beethoven (1770-1827) in motion. Symphony No. 5 Yiorgos Vassilandonakis (b. 1969) Oboe Concerto (World Premiere) If one were forced to identify a single musical composition to serve as the cornerstone of the Western classical tradition, Ludwig van Beethoven’s Driven by a strong dramatic and formal sense, Yiorgos Symphony No. 5 would certainly be a serious Vassilandonakis’ music is emotionally engaging and contender—although it is worth noting that its most cerebral at the same time. His music is frequently serious challengers would simply be other Beethoven programmed on both sides of the Atlantic, and has symphonies. It was intentionally chosen as the first been commissioned and performed by the New piece ever performed by the New York Philharmonic York New Music Ensemble, the San Francisco at its founding in 1842 and the National Symphony Contemporary Music Players, the Juilliard Percussion in Washington D.C. in 1931. In 1977, Beethoven’s 5th Ensemble, the Del Sol String Quartet, the Athens was featured on the so-called “Voyager Golden Camerata and the Hellenic Contemporary Ensemble. Record,” a 12-inch gold-plated copper disk containing During the 1990s, he also pursued a successful career “sounds and images selected to portray the diversity as a film composer and arranger in Hollywood with of life and culture on Earth.” So if we ever do locate credits as a composer, conductor, and producer intelligent life out there among the stars, it is possible of scores for theater, independent films, television that Beethoven’s 5th will have been one of their first documentaries and commercials, as well as a theme encounters with humankind. park ride at Universal Studios. Since 2010, he has taught musical composition in the music department at the College of Charleston.

82 CharlestonSymphony.org PROGRAM NOTES MASTERWORKS

Each of Beethoven’s “heroic period” symphonies the “development.” The resulting structure is thus expanded the notion of what the symphony as a designed to grow and develop organically rather genre is capable of. Beethoven demonstrated new than progressing schematically through a variety of possibilities in form and structure by applying the preset musical blocks. Romantic notion of “organicism” to his compositional process. In the generation before Beethoven, Following the first performance in 1810, writer and critic composers had begun experimenting with a new E.T.A. Hoffman said of the famous opening notes of structuring principle known as “sonata form,” which Beethoven’s Symphony No. 5: “How simple is this divided a symphonic movement into three big theme—let that be said again—that the master places sections: exposition, development, and recapitulation. as the basis of the whole, but how wonderfully does Composers would introduce their main melodies he derive all the subsidiary and transitional passages in the first “exposition” section and then subject from it…the inner structure of the movements, their those ideas to variation and transformation in the working out, instrumentation, the way they are linked “development” section, before returning to the together—everything works toward a single point.” In opening material with the final “recapitulation.” a sense, the opening notes of the first movement— Typically, the development section was fairly short now among the most famous in all symphonic and designed merely to provide a contrast between repertoire—are like a seed that Beethoven spends the the two sections containing the main melodic content. remainder of the symphony watering and tending into However, Beethoven’s symphonies (especially a dazzling array of fruits and flowers. It is as though the Nos. 3 and 5) greatly expanded this middle section, whole scheme of the piece is present in the rhythmic, and even subjected musical materials in the harmonic, and melodic contours of the opening notes “exposition” and “recapitulation” to the principles and we simply get the thrill of hearing it unfold. of variation and transformation that characterize

CharlestonSymphony.org 83 BRING THE CSO INTO YOUR HOME— LITERALLY Join the many members of the Charleston Symphony family who already provide housing for visiting guest musicians. Get to know some of the wonderful musicians who travel to Charleston to bring you great music, and at the same time have a direct impact on the quality of the music-making on-stage! Host only when it is convenient for you, and all you need to provide is a private room. We are looking for hosts (or unused vacation rental property, we will pay any fees) in all areas of greater Charleston. For more information on this program, contact: Tom Joyce, Personnel Manager [email protected] 843-469-4274 cell

MEMBERS (2018/2019 Season)

Lis Adams Daniel Coy Lin Laffitte Jaan Rannik Linda Maxwell Allen David Esto Rachel Lindsay Marianne Rogers Stuart Bennett Kerri Forrest Jane Nandy Meta Van Sickle Tyler Bulkley Patricia Gould Margaret Sarah Watson Passailaigue

84 CharlestonSymphony.org MEMBERSHIP All donations received between July 1, 2018, and June 30, 2019, will BENEFITS 2018-2019 qualify for the following benefits.

MAESTRO’S CIRCLE ($25,000+) Benefits below plus: Dinner with concertmaster/music director CSO quartet in-home performance (8 weeks’ notice)

MUSICIAN’S CIRCLE Gold ($15,000-$24,999) Benefits below plus: Lunch with musician of choice Box seating during CSO rehearsal

Silver ($10,000-$14,999) Benefits below plus: Reserved seating at Custom House Concert

Bronze ($5,000-$9,999) Benefits below plus: Sponsor guest musician chair Invitation to “Meet the Musician” events Invitation to Musician/Sponsor luncheon VIP access to special events

PARTNER’S CIRCLE Gold ($2,000-$4,999) Benefits below plus: Invitation to season opening and closing receptions Complimentary parking in Gaillard garage Invitation to neighborhood Chamber event

Silver ($500-$1,999) Benefits below plus: Listing in Bravo Invitation to CSO rehearsal

Bronze ($1-$499) Listing in on-line Annual Report Bi-annual E-Newsletter

CharlestonSymphony.org 85 DONORS

Maestro’s Circle Gold Musician’s Circle Silver Jerry H. Evans and $50,000+ $10,000-$14,999 Stephen T. Bajjaly Henry and Ann Hurd Fralix BlueCross BlueShield of Anonymous Rajan and Suman Govindan South Carolina Ilse Calcagno Michael Griffith and Donna Reyburn City of Charleston Barbara Chapman Dr. William D. Gudger Charleston Symphony Orchestra County of Charleston Bob and Marcia Hider League, Inc. Charleston Regional Alliance Robert and Catherine Hill Gaylord & Dorothy Donnelley for the Arts Mr. and Mrs. Raymond D. Houlihan Foundation The Cumbaa Family Fund of Coastal Ms. Katherine M. Huger Herzman-Fishman Charitable Fund Community Foundation of SC Ilderton Contractors and Carol H. Fishman Dr. Miriam DeAntonio Sue and Ken Ingram Speedwell Foundation Dr. Jeffery and Mrs. Tammy Dorociak Dr. Eddie Irions Mr. Ronald H. Fielding and William and Corinne Khouri Maestro’s Circle Silver Ms. Susan Lobell Richard and Lasca Lilly $35,000-$49,999 Gray Charitable Trust Dr. and Mrs. Fritz Lorscheider Cindy and George Hartley Mrs. John F. Maybank Mr. and Mrs. G. Richard Query Lee and Ann Higdon Ellen and Mayo Read Paul and Becky Hilstad Paul and Mary Jane Roberts Maestro’s Circle Bronze Dr. and Mrs. Mariano F. La Via Mr. David Savard $25,000-$34,999 Mr. and Mrs. Edward E. Legasey SCE&G Elizabeth Rivers Lewine Joseph and Claire Schady John T. and Elizabeth K. Cahill Endowment of Coastal Thomas and Alison Schneider Fund of Coastal Community Community Foundation of SC Mr. M. Edward Sellers and Foundation of SC Macdonald Carew Family Fund Dr. Suzan D. Boyd Ted and Joan Halkyard Mrs. Phyllis Miller Ike and Betsy Smith Martha Rivers Ingram Advised Fund Barbara and Michael Moody Mrs. Merinda Smith of The Community Foundation Larry and Eilene Nunnery South State Bank of Middle Tennessee Anne P. Olsen Susan W. and James V. Sullivan Valerie and John Luther Helen and Robert Siedell Albert and Caroline Thibault Robert Bosch Corporation Roger and Vivian Steel Dr. S. Dwane Thomas SC Arts Commission Henry & Sylvia Yaschik Storey Foundation Musician’s Circle Bronze Foundation, Inc. Mrs. Andrea Volpe $5,000-$9,999 Partner’s Circle Gold Musician’s Circle Gold Mrs. Sharon Balderson $2,000-$4,999 $15,000-$24,999 Mr. and Mrs. Fernando E. Casasco Frank and Kathy Cassidy Dr. and Mrs. Baker Allen Claire and James Allen Mr. and Mrs. Wayland H. Cato, Jr. Mr. and Mrs. David Allen Family Foundation Lucia Childs Mr. and Mrs. Brady and Mary Jo and Fred Armbrust Dr. James L. and Judy E. Chitwood - Betty Anderson Dr. Cynthia Cleland Austin Chitwood Family Fund Mr. Ivan V. Anderson and Stuart and Sheila Christie Eliza Chrystie Dr. Renee Dobbins Anderson Dr. and Mrs. William T. Creasman Coastal Community Foundation Dr. Charles A. Andrus Estate of Elizabeth B. O’Connor Open Grants Anonymous Colbert Family Fund of Coastal Atlantic Services of Charleston Community Foundation of SC Charitable Trust Nicholas and Eileen D’Agostino, Jr. Dr. and Mrs. Robert Baker Ellen and Tommy Davis Lees and John Baldwin John and Mary Degnan Mrs. Nella G. Barkley

86 CharlestonSymphony.org The Charleston Symphony Orchestra gratefully acknowledges supporters from the following individual, corporate, foundation, and government entities for their commitment to moving the mission of the CSO forward. Listed below are gifts received between July 1, 2017 and June 30, 2018.

Charles and Sharon Barnett Marilyn Hoffman Partner’s Circle Silver Jodi Rush and Jon Baumgarten Arthur Jenkins $500-$1,999 Anne and Philip Bergan Mr. and Mrs. P. Frederick Kahn The Bihun Family Foundation Katherine Kelsey Jill and Richard Almeida Henry M. Blackmer Foundation, Inc. Bettie and Jim Keyes Mr. David Anderson Tricia and Tom Bliss Town of Kiawah Island Mr. and Mrs. James P. Anderson BoomTown Kiawah Seabrook Exchange Club Anonymous Mr. and Mrs. Thomas W. Boswell Dr. Michael S. Kogan Lou and Karen Attanasi William and Mary Buckley Susan and Bob Leggett Susan Parsons and Angus Baker Foundation Mr. and Mrs. Fulton D. Lewis Gloria Adelson and Dr. Sy Baron Mr. and Mrs. T. G. Burke Dr. and Mrs. Michael Maginnis Mr. and Mrs. John T. Benton Dr. and Mrs. H. Fred Butehorn, Jr. Capt. and Mrs. Nat Malcolm Mr. and Mrs. R. Jeffrey Bixler Jean F. Carlton Profs. Bill and Carolyn Matalene Mr. and Mrs. Robert B. Black Dr. Malcolm C. Clark Mr. and Mrs. David H. Maybank, Jr. The Boatwright Family Bill and Sherry Cook Jack and Cathy McWhorter Charitable Fund of National Gail and David Corvette Mrs. Patricia Mesel Christian Foundation Sally and Colin Cuskley The Mark Elliott Motley Foundation Mr. and Mrs. Gordon E. Bondurant Mrs. Clementina Edwards Town of Mount Pleasant Sid and Barbara Boone Nancy and Ralph Edwards Bill and Sheila Prezzano Dr. D. Oliver Bowman and Keith and Susanne Emge Dr. and Mrs. A. Bert Pruitt Mr. Robert Sauers Joanne and Christopher Eustis Publix Super Markets Charities Dr. and Mrs. G. Stephen Buck Mrs. Vernelle Evans Mr. and Mrs. William J. Raver Barbara Burbello Julie and John Fenimore Mr. and Mrs. Donald S. Reid Carolina Eyecare Physicians, LLC William and Prudence Finn Robert S. and Sylvia K. Reitman Mr. and Mrs. James A. Cathcart, III Charitable Trust Family Foundation Chase Family Giving Fund Friedlander Family Fund Royall Ace Hardware, Inc. Dr. Deborah Cintron Richard J. Friedman, M.D. and Nancy N. Rudy Dr. Harry and Mrs. Jennifer Clarke Sandra Brett Gretchen and Fritz Saenger Mike and Kerri Collins Richard and Neva Gadsden Mr. Robert M. Schlau Michael and Sally Connelly Joe and Sylvia Gamboa Ginger and David Scott Ethel A. Corcoran Dr. Robert Gant Enoch and Annette Sherman Dr. and Mrs. C. Richard Crosby Drs. Deborah Williamson and Mr. and Mrs. Michael Sommer Jill Davidge David Garr Kate and David Stanton Richard and Jean Day Kevin and Jody Garvey Elizabeth and Charles Sullivan Mr. and Mrs. Paul J. De Palma Kathy and Pete Gaynor Marilyn and George Taylor Dr. and Mrs. Victor E. Del Bene Bob and Ornella Gebhardt Foster and Betty Thalheimer Gary and Susan DiCamillo Joyce and Gerry Gherlein The Reverend and Sarah Lund Donnem Dr. and Mrs. Frederick J. Goulding Mrs. Alastair Votaw Dr. Carol Drowota Mrs. Judith Green Ms. Patience D. Walker Dr. and Mrs. Haskell S. Ellison Richard and Ann Gridley Anonymous Mrs. Virginia Ennis Rachel Grogan Hypnotherapy Mr. and Mrs. D. Sykes Wilford Mr. and Mrs. Fair Tracy and Billy Grooms Terese T. and Joseph H. Williams Hal and Jo Fallon David and Patricia Hannemann Christine and Richard Yriart The Fink Family Charles and Celia Hansult Mr. and Mrs. Stephen Ziff The Francis Marion Hotel Mr. and Mrs. James C. Hare, Jr. Sharon Fratepietro and Frank and Kathleen Hayn Herb Silverman Nelson Hicks Paula and Eugene Freed

CharlestonSymphony.org 87 DONORS

James and Margie Freston Mr. and Mrs. Emory Main Bené and Charles Rittenberg Sallie and Stephen Fuerth Dr. and Mrs. John C. Maize Mr. John M. Rivers, Jr. Mr. and Mrs. John Gelston Mr. and Mrs. Alfred L. Malabre, Jr. Ms. Kathleen H. Rivers Mr. and Mrs. Mark Gernand Clarence and Judy Manning Mr. and Mrs. Claron A. Robertson John and Pamela Gerstmayr Cathy Marino Patty Scarafile Neil and Marsha Gewirtzman Mr. and Mrs. James J. Marino Mr. and Mrs. Robert K. Schafer Mr. and Mrs. Lawrence Gillespie Mr. Jeffrey Martello Mr. and Mrs. Stephen Schwartz Kerry and Rick Goldmeyer The Jack and Joanne Martin Bill and Gloria Seaborn Mr. and Mrs. Peter B. Goodrich Charitable Foundation Mr. and Mrs. Kenneth Seeger Janet and Ray Gorski Gene and Susan Massamillo Judy Selby and Reid Spencer Mrs. Faye F. Griffin Gary and Donna Mastrandrea Mr. and Mrs. David Shaw Mr. and Mrs. Benjamin A. Hagood David W. Maves Elaine and Bill Simpson Kathy and Wayne Hall Mr. Tony Mazurkiewicz Herk and Sherry Sims Lynn S. Hanlin Gwen and Layton McCurdy Mr. and Mrs. George W. Smyth, Jr. Joseph and Elaine Heckelman Mr. and Mrs. Thomas McDermott Byron Stahl Richard and Nancy Heiss Susan and Larry Middaugh Nancye B. Starnes Foundation Mr. Ralph Mills Thomas and Jane Steele Kandace and William Higley Dr. and Mrs. Terence N. Moore Harriett Steinert Bill and Ruth Hindman Ellen Moryl Tim and Mary Strand Mr. and Mrs. Ken Hirsch Paul and Jane Ann Mougey Anonymous Peter and Judy Hubbard Helen and Gerd D. Mueller Nancy and Stephen Sundheim Gail and Tim Hughes Dr. Martina Mueller Gerald and Gretchen Tanenbaum Mr. and Mrs. Addison Ingle Helen and Donald Muglia Drs. Terri Thomas and Alex Kent Dr. and Mrs. Julius R. Ivester, Jr. Patrick and Agnes Murphy Mrs. Maurice Thompson Herb Jarvis Loretta Doll Nethercot Anne and Ken Tidwell Dr. and Mrs. Joseph M. Jenrette, III Dr. and Mrs. Robert E. Notari Dr. and Mrs. Charles Tremann Dr. and Mrs. George Khoury Anthony R. Oglietti Dr. and Mrs. Richard Ulmer Mr. and Mrs. Michael Kirk Mr. and Mrs. Bob Omahne Ms. Normandie Updyke Mr. Michael and Dr. Dianne Owen/ McClinton Family Fund Gregory Van Schaack Kochamba Tony and Joanne Panek Mr. and Mrs. Martin J. Vincentsen Mr. and Mrs. Karl Kuester Dr. and Mrs. Leonard L. Peters Gero and Linda vonGrotthuss John and Shea Kuhn Mr. and Mrs. Howard Phipps, Jr. John and Cecily Ward Mrs. Joan S. Ladd Ms. Eloise Pingry Ms. Jane Waring Julia Lamson-Scribner Ms. Pamela Pollitt Mr. and Mrs. John H. Warren, III Charles and Brenda Larsen Mr. George J. Pothering and Mary Ellen and Charles S. Way Mr. and Mrs. Michael Laughlin Ms. Maria Villafane-Lundell Betty and Leo Weber Karyn Lee and William Hewitt Mr. and Mrs. Robert Rainear The Reverend H. Gregory West Dr. Edmund LeRoy James and Kathleen Ramich Ms. Mary Bradford-White and Anne and Cisco Lindsey Family Fund Mr. Lynn White Richard and Barbara Lione Elizabeth and James Ravenel Robert and Rosalind Williams Charles and Joan Lipuma Mark Reinhardt Mr. and Mrs. Bonum S. Wilson, Jr. Ms. Susan Lowther Mr. and Mrs. Clark L. Remsburg Mr. Joseph L. Wright, Jr. Mr. James D. Lubs Mr. and Mrs. William R. Ms. Lane Howell MacAvoy Richardson, Jr. Oxford Fund Inc. Harriet Ripinsky

We apologize if we inadvertently omitted your name or incorrectly listed your name in our list. Please call us at 843-723-7528 ext. 115 so we can make the correction for publication of our next program book.

88 CharlestonSymphony.org IN HONOR / IN MEMORY

IN HONOR IN MEMORY

Yuriy Bekker Norman Bell Judith Green Ledlie Bell Marilyn Hoffman Dr. and Mrs. Kenneth Kammer George Donely Mr. Michael and Dr. Dianne Kochamba Ann Taylor

Barbara Chapman Mr. and Mrs. Brian Finnegan Katherine Whittle Mary Finnegan Cabezas

Jonathan Kammer Fitz Hardin Dr. and Mrs. Kenneth Kammer Jean Carlton Timothy Martin The marriage of Ann Hurd and Henry Fralix Mike and Kerri Collins John F. Maybank Mitsuko Flynn and Daniel Mumm Mr. and Mrs. Benjamin A. Hagood Thomas and Joan Jones Mr. and Mrs. David H. Maybank Don and Kitty Reid Mrs. John F. Maybank John M. Rivers Ken Lam Charleston Symphony Orchestra League, Inc. John and Johne McTavish Mr. Michael and Dr. Dianne Kochamba Jim and Judy Chitwood

Bob and Sylvia Reitman Richard Moryl Susan Reis Laura Durmer Dr. and Mrs. Mariano La Via David Savard and Helen Savard Joyce Platz Dr. and Mrs. Sidney Seltzer Dorothy Irene Carson Rhett Charles and Gretchen Tremann Rev. Dr. William P. Rhett, Jr. Nikki Tremann Colonel Richards Roddey Dr. and Mrs. Fritz Lorscheider

M. Bert Storey Storey Foundation

Steven Stucky Kristen Stucky

CharlestonSymphony.org 89 OPERATING RESERVE FUND

The Charleston Symphony Orchestra is extremely grateful to the following donors who supported the iniative to create an Operating Reserve Fund from the Matching Grant opportunity from the Gaylord and Dorothy Donnelley Foundation.

Anonymous (2) Janet and Ray Gorski John and Shea Kuhn Barbara and Dr. James L. and Tracy and Billy Grooms Mr. and Mrs. Michael Moody Judy E. Chitwood of the Ted and Joan Halkyard Michael Laughlin Barbara Nuding Chitwood Family Fund Cindy and George Hartley Mrs. Elizabeth R. Lewine Dr. and Mrs. A. Bert Pruitt Dr. Malcolm C. Clark Robert and Catherine Hill Dr. and Mrs. Dr. Harold J. Quinn Gail and David Corvette Bruce and Diane Hoffman Fritz Lorscheider Mr. David Savard Marilyn W. Curry Mr. and Mrs. Mr. Spencer Lynch Helen and Robert Siedell Gaylord & Dorothy Raymond D. Houlihan Macdonald Carew Elaine and Bill Simpson Donnelley Foundation Dr. Eddie Irions Family Fund Susan W. and Dr. and Mrs. Dr. and Mrs. Mrs. John F. Maybank James V. Sullivan Haskell S. Ellison Julius R. Ivester, Jr. Dr. and Mrs. Mary Ellen and Mrs. Virginia Ennis Mr. and Mrs. Karl Kuester Francis G. Middleton Charles S. Way William and Prudence Dwight and Finn Charitable Trust Lindsey Williams

90 CharlestonSymphony.org HOW YOU CAN HELP THE CSO?

You have been fortunate enough “NOTHING CAN to contribute money into your Individual Retirement Account for BE SAID TO BE all those years at work, and it’s grown to a tidy sum. Now that you CERTAIN, EXCEPT are 70½, Uncle Sam would like DEATH AND TAXES.” his cut! Those people 70½ or older must begin making required –BENJAMIN FRANKLIN minimum distributions, or RMDs, from their qualified retirement accounts. The CSO can help alleviate the sting because a donation counts as a required minimum distribution, but doesn’t increase your adjusted gross income. Contact your IRA administrator today to give your money to the CSO instead of Uncle Sam!

The Charleston Symphony Orchestra relies on the community to help it achieve its mission of inspiring and engaging the community with exceptional musical performances and educational programs. There are many ways to help:

• Become a concert sponsor (from $15,000) • Become a guest musician chair sponsor (from $5,000) • Become a Young People’s Concert sponsor (from $2,500) • Sponsor a Guest Artist • Make a donation in someone’s honor • Make a contribution from your IRA for a tax benefit • Make a gift of stock • Make a bequest to the CSO in your estate plans

Call Development at (843) 723-7528 ext. 115 for more information.

CharlestonSymphony.org 91 GUEST MUSICIAN HOSTS & IN-KIND GIFTS

GUEST MUSICIAN HOSTS Bob and Ornella Gebhardt Elizabeth Murphy Jenny and Jack Gelston Terri and Bob Musor Josh Baker and Dan Urbanowicz Pam and John Gerstmayr Anne Nietert Mr. and Mrs. John Rhett Baldwin Kerry and Rick Goldmeyer Barbara and Tom Pace Jenny and Yuriy Bekker Suman and Rajan Govindan Dr. and Mrs. Basil Papaharis Ledlie Bell Maureen Graham Dr. Vincent and Rev. Nancy Pellegrini Anne and Andrew Benbow J. Kirkland Grant Joyce and Paul Perocchi Linda Bergman Bob Habig Lorraine Perry and Ford Reese Mr. and Mrs. J. Sidney Boone, Jr. Edith Haman Claudia Porter and Stuart Hotchkiss Mr. and Mrs. Thomas W. Boswell Zac Hammond David and Marsha Ray Bowers Family Celia and Chuck Hansult Donna Reyburn and Michael Griffith Sharon and Nigel Bowers Ellen and Ed Harley Faith and Herb Russell Tom Bradford and Susan Bass Jo and Ray Hauck Bill and Amy Sage Doug and Verna Bunao-Weeks Louise Heikes and Roy Liebman Barbara Sanders Dr. and Mrs. Phil Buscemi Eric and Margaret Herzlich Enoch and Annette Sherman Mary Bridget Cabezas Ron and Linda Hicks Beth and Mitchell Sherr Jean Carlton Becky and Paul Hilstad Helen Snow Judy and Bill Casey Abby and Fred Himmelein Katherine and Michael St. John Frank and Linda Cassara Connie and Lowry Hughes Carol Spitznas Stuart and Susan Chagrin Rochelle and Andy Iserson Nancy Eaton Stedman Joan and Richard Chardkoff Glenn and Judy Jackson Roger and Vivian Steel Lydia Chernicoff and Jaan Rannik Marijayne Jensvold Dianna Stern L. John and Judy Clark Kurt and Vicki Johnson Char and Cece Stricklin Anne Cline Christina Jones and Sam Lynah Albert and Caroline Thibault Judy Collins Jan-Marie and Tom Joyce Jim and Carol Thiesing Ann and Paul Comer Michael and Joy Ellen Kauffman Laurie and Frank Thigpen Maureen and John Corless Gloria Kelso Ms. Kathleen Tresnak and Ms. Carolyne Cox Sally and Tim Key Mr. William Reehl Bill and Erble Creasman Kari Kistler Richard and Martha Ulmer April and Terry Cullen Marlene and Bruce Koedding Meta Van Sickle Nancy and Steven Cunningham Asako and Damian Kremer Jenny and Ben Weiss Allen Curry Peggy and Franklin LaBelle Ann Wessel Jill Rabon Davidge June and Mariano La Via Dr. and Mrs. Donald Wilbur Giulio and Donatella Della Porta Liz and Phil Leffel Jim and Debby Willis Dr. Jeffery and Mrs. Tammy Dorociak Susan and Bob Leggett The Winther Family Ms. Karen Durand Penelope Leighton and Regina and Dr. Jeffrey Yost Tacy and Darrell Edwards John Hurshman Jeannie Yzquierdo Mr. and Mrs. Roger Embry Courtenay and Norbert Ms. Mary Zimerle Susan Fasola Lewandowski John and Carole Fay Chris Licata and Jennifer Blevins IN-KIND GIFTS Gail and Evan Firestone Rachel Ruth Lindsay Mr. George Flynn Dr. and Mrs. Michael Maginnis Belva’s Flower Shop Mitsuko Flynn and Daniel Mumm Marjorie T. McManus Carnegie Hall Ann Hurd Fralix Georgia H. Meagher Cathedral of St. John the Baptist Joe and Sylvia Gamboa Janice and Jay Messeroff Charleston Southern University Rachel and Micah Gangwer Susan and Charles Messersmith Gibbes Museum of Art Jackie and Sam Gawthrop Ed and Clare Meyer James Island Cleaners Wayne and Anna Mickiewicz Fox Music House

92 CharlestonSymphony.org