WHAT’S INSIDE

Welcome | 3 2020 Season Calendar | 4 Chopin and The Growth Of Genius | 6 Black Classical Music Pioneers | 10 Mozart’s Last Melodies | 15 Music + Prose | 25 Missa Solemnis | 30 National Philharmonic Orchestra | 40 National Philharmonic Chorale | 41 Board of Directors | 42 Supporters | 42 Heritage Society | 47 National Philharmonic Staff | 47

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elcome to National Philharmonic’s Wwinter and spring concerts of 2020! Pianist Brian Ganz appears in February in his tenth National Philharmonic piano recital on his quest to perform the complete works of Fryderyk Chopin.

February is also Black History Month. Grammy Award-winning violinist Melissa White, most recently featured on the soundtrack of Jordan Peele’s film, Us, joins the National Philharmonic for a concert of Black Classical Music Pioneers, featuring works by William Grant Still, Florence Price, Wynton Marsalis and Washington’s own, George Walker, the first African-American to win the Pulitzer Prize for music.

National Philharmonic’s March presentation features two of the final three works of Wolfgang Amadeus Mozart: the Concerto for Clarinet and Orchestra with clarinetist Jon Mallin credit Jay Photo Manasse, and the Requiem, prominently featured in the Oscar-winning film Amadeus.

In April, the National Philharmonic is joined by Metropolitan Opera soprano Danielle Talamantes and another Grammy Award-winning artist, cellist Zuill Bailey, for a concert entitled Music & Prose. The program, in addition to Samuel Barber’s Overture to The School for Scandal and the award-winning work for cello and orchestra, Tales of Hemingway, will feature two world premieres by local composers: Henry Dehlinger and Alistair Coleman.

The National Philharmonic 2019-20 season closes in May with Ludwig van Beethoven’s monumental Missa Solemnis, in anticipation of the great master’s 250th anniversary in December 2020.

I am delighted to share all of this wonderful music with you, our audience!

Piotr Gajewski Music Director & Conductor

NATIONAL PHILHARMONIC 3 NATIONAL PHILHARMONIC 2020 CALENDAR

PIANIST BRIAN GANZ MUSIC + PROSE 10th SAT APRIL 18, 2020 8PM CHOPIN—THE GROWTH OF GENIUS Year! SAT FEB 1, 2020 8PM 6:45-7:30PM: Meet the Composers Note: No pre-concert lecture Member Encore Q&A Featuring Chopin masterpieces such as the great Polonaise- Danielle Talamantes, soprano Fantaisie, the Funeral March, Waltzes, Op. 34 and Nocturnes, Zuill Bailey, cello (three-time Grammy winner) Op. 27, along with the surprisingly engaging youthful efforts Piotr Gajewski, conductor that made them possible. Samuel Barber Overture to The School for Scandal Henry Dehlinger The Love Song of J. Alfred Prufrock: BLACK CLASSICAL MUSIC PIONEERS A Rhapsody for Voice and SAT FEB 22, 2020 8PM Orchestra (orchestral premiere) Alistair Coleman Concerto for Cello and Orchestra Melissa White, violin (Sphinx Competition winner) (world premiere) Piotr Gajewski, conductor Michael Daugherty Tales of Hemingway Wynton Marsalis Wild Strumming of Fiddle Sponsored by the Prufrock Fund (from All Rise) Florence Price Violin Concerto No. 1 in D Major George Walker Lyric for Strings BEETHOVEN’S MISSA SOLEMNIS William Grant Still Symphony No. 1 (“Afro-American”) SAT MAY 30, 2020 8PM For Young People: Participate in the Sponsored by Patricia Haywood Moore & Roscoe M. Moore, Jr. Color the Music Project Esther Heideman, soprano MOZART REQUIEM Shirin Eskandani, mezzo-soprano SAT MARCH 21, 2020 8PM Norman Shankle, tenor Member Encore Q&A Kerry Wilkerson, baritone Suzanne Karpov, soprano National Philharmonic Chorale Magdalena Wór, mezzo-soprano Piotr Gajewski, conductor Norman Shankle, tenor Kevin Deas, bass Jon Manasse, clarinet National Philharmonic Chorale Free pre-concert lectures are offered 75 minutes Piotr Gajewski, conductor before concerts throughout the season. Please check W. A. Mozart Clarinet Concerto in A Major nationalphilharmonic.org for up-to-date information. Requiem in D minor

4 NATIONAL PHILHARMONIC NATIONAL PHILHARMONIC 5 CHOPIN AND THE GROWTH OF GENIUS

SATURDAY, FEBRUARY 1, 2020, 8PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor CHOPIN AND THE GROWTH OF GENIUS

Brian Ganz, piano

Mazurka in C Major, Op. Posth. Frédéric Chopin (1810-1849)

Mazurka in A-flat Major, Op. Posth.

4 Mazurkas, Op. 33 No. 1 in G-sharp minor No. 2 in D Major No. 3 in C Major No. 4 in B minor

Nocturne in E minor, Op. 72, No. 1

2 Nocturnes, Op. 27 No. 1 in C-sharp minor No. 2 in D-flat Major

Polonaise in B-flat Major, Op. 71, No. 2

Polonaise in C-sharp minor, Op. 26, No. 1

Polonaise-Fantaisie, Op. 61 INTERMISSION

Funeral March in C minor, Op. 72, No. 2 Frédéric Chopin

Funeral March in B-flat minor (from Op. 35)

Waltz in E-flat Major, Op. Posth.

Waltz in G-flat Major, Op. 70, No. 1

3 Waltzes, Op. 34 “Grande Valse Brillante” No. 1 in A-flat Major “Grande Valse Brillante” No. 2 in A minor “Grande Valse Brillante” No. 3 in F Major

“Grande Valse” in A-flat Major, Op. 42

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

The Music Center at Strathmore Marriott Concert Stage ARTIST BIOGRAPHIES

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

NATIONAL PHILHARMONIC 7 PROGRAM NOTES

Frédéric Chopin respectively. They are both lively, virtuosic (born March 1, 1810 in Żelazowa Wola, dances marked by rich chromaticism; both Poland; died on October 17, 1849 in are on the cusp of Chopin’s full maturity. Paris, France) The one in A-flat Major was positively identified as a Chopin mazurka only Chopin was the consummate poet of the in 1930. The four Mazurkas Op. 33 are piano, a composer who almost single- justly celebrated as one of Chopin’s most handedly reinvented piano music for captivating sets of mazurkas. They cover the Romantic century and fashioned a a wide range of forms, techniques, and style that, although influential on several emotions, from the waltz-like rhythm of generations of composers, remained Op. 33/1, to the irregular accents of exquisitely personal and unique. To Op. 33/2, the simplicity of Op. 33/3, and commemorate the tenth year in his journey the rondo-like form of Op. 33/4, one of through Chopin’s complete oeuvre in the longest mazurkas. Altogether, they partnership with the National Philharmonic, showcase the quintessential style of Brian Ganz came up with a format that Chopin’s mazurkas: intimacy, rhythmic beautifully illustrates the growth of Chopin’s inventiveness, harmonic daring, and style by juxtaposing early and late works formal experimentation. in the same genre, performing a kind of “musical time-lapse photography” that The nocturne for piano was not invented allows us to peer into Chopin’s creative by Chopin (the creator of the genre was process and stylistic evolution. Of the five the Irish composer John Field), but Chopin musical genres represented in the program, gave such a unique voice to this genre four are inextricably associated with and brought it to such an unsurpassed Chopin’s personal and cultural experiences, level of compositional refinement and either because of their deep national expressive nuance, that it has become associations (mazurka and polonaise) forever associated with him. The nocturne or because Chopin refashioned a pre- is, indeed, one of Chopin’s signature existing genre into utterly personal musical musical genres. He composed nocturnes utterances (waltz and nocturne). Only one intermittently throughout his career. The (the funeral march) can be traced to a more Nocturne Op. 72, No. 1 (1827), was Chopin’s universal context. first nocturne. It already contains many of the elements characteristic of a Chopin The mazurka, a Polish folk dance in triple nocturne: a lyrical and highly embellished meter originally from the region of Mazovia, melody supported by a perpetually varied is one of Poland’s national dances (another harmonic texture and a flexible rhythmic one being the polonaise). The mazurka is structure. The two Nocturnes Op. 27, characterized by a lively gesture on the composed in 1836, were dedicated to first beat of the measure, usually a dotted Countess Thérèse d’Appony, in whose salon “long-short” rhythm, and a metrical accent Chopin often performed. They represent that falls most often on the third beat of Chopin’s treatment of the nocturne at the measure, in contrast with the waltz, in its most mature and sophisticated, and which the accent (when there is one) falls are so musically rich that some scholars most often on the first beat. Chopin drew have considered them to be ballades in inspiration from the mazurka at every major miniature. Even though Chopin performed juncture of his stylistic development. The them separately (especially the second mazurkas are the most numerous works one), it is clear that he conceived them as in Chopin’s oeuvre (fifty eight in total) a pair of contrasting pieces. The profound, and contain some of his most personal, majestic Nocturne Op. 27, No. 1, written in intimate, and confessional music. The two an elaborated ABA form, has a dark and posthumously published mazurkas included brooding character that led the critic James in the program (in C Major and in A-flat Huneker to refer to it as “the gloomiest and Major) date from 1833 (or 1825) and 1834, grandest of Chopin’s moody canvases.” By contrast, the Nocturne Op. 27, No. 2, is a

8 NATIONAL PHILHARMONIC PROGRAM NOTES

supremely lyrical and elegant composition, lugubrious, dignified. The Funeral March in cast in a linear form that does not rely C minor, Op. 72, No. 2, was written when on the sharp contrasts found in the first Chopin was seventeen years old. It is an nocturne, but rather on the continuous impressive work for someone so young, unfolding of a seemingly infinite melody. It full of inventiveness, textural variety, and has almost the feeling of an improvisation, thematic richness. The Funeral March in ending with a cascade of filigree sonorities B-flat minor, from the Piano Sonata Op. 35, that is surely one of Chopin’s most was composed in 1837 and used only later breathtaking passages. as the third movement of Chopin’s second piano sonata, completed in 1839. It is a The polonaise is an aristocratic Polish work that has acquired a life of its own, dance in triple meter, often suggesting the independently from the sonata, reflecting its idea of a march or procession. Together original conception as a stand-alone work. with the mazurka, it comprises the bulk of It conveys great majesty and profundity, Chopin’s most overtly nationalistic music. with a poignant central section framed by He wrote his first work in this genre when processional music of unforgettable impact he was only seven years old, and the last and finality. in 1846 (the Polonaise-Fantaisie included in this program). The Polonaise in B-flat The popular Viennese waltz was thoroughly major, Op. 71, No. 2, dates from 1828 but refashioned by Chopin into some of his may have been in gestation earlier. Like most popular examples of salon music. most of Chopin’s polonaises, it is in ternary Chopin published eight waltzes during his form, but already impregnated with an lifetime, with ten more waltzes published element of bravura that will become more posthumously. The waltzes in E-flat Major refined in the late polonaises. The Polonaise (1827) and G-flat major (1832) were not in C-sharp minor, Op. 26, No. 1 (1831-36) composed much earlier than the published begins with an assertive gesture that is set of Waltzes Op. 34 (1834-38), and fully Beethovenian in its power. The superb consequently share some stylistic features trio (the central section) is one of the most with them. The set includes examples of the famous passages in Chopin. It was probably two basic types of Chopin’s waltzes: fast, one of the reasons why this work was sparkling, brilliant salon music (Op. 34, received with such great admiration from Nos. 1 and 3) and more introspective the very beginning, and also contributes miniatures that are more abstract in their to making it one of Chopin’s most beloved musical conception (Op. 34, No. 2). The polonaises. The towering Polonaise- central work in the set is melancholy and Fantaisie, Op. 61 (1845-46) is Chopin’s most subdued, providing a marked contrast with successful essay in hybrid form. Initially, he the flashy and more brilliant works that referred to the work simply as a “Fantasy,” flank it. Indeed, the set could almost be but the animating presence of polonaise- seen as an emulation of a three-movement like rhythmic elements and majesty of sonata from the Classical period, in character, along with formal ambiguities which two fast movements surround a and unconventional transitions between central movement of a more introspective sections, led him to conceive of the work character. The brilliant and virtuosic Waltz as a hybrid. It is one of the most impressive Op. 42 (1840) is considered one of Chopin’s compositions of Chopin’s maturity, and most perfect works in this genre. It is a remains one of Chopin’s most favored works complex and substantial piece, framed by in the pianist’s repertoire. an introduction that functions as a call to dance and a gripping coda that brilliantly The funeral march is a genre that has summarizes the music and, as it were, been used in many contexts throughout the successful end of yet another festive the history of Western music. Whether evening in the salons of Paris. singly or as part of a larger work, its character remains the same: somber, @ James Melo

NATIONAL PHILHARMONIC 9 BLACK CLASSICAL MUSIC PIONEERS

SATURDAY, FEBRUARY 22, 2020, 8PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor BLACK CLASSICAL MUSIC PIONEERS

Melissa White, violin Piotr Gajewski, conductor

Wild Strumming of Fiddle from Wynton Marsalis (1961-) the oratorio All Rise

Violin Concerto No. 1 in D Major Florence Price (1887-1953) Tempo moderato Andante Allegro INTERMISSION

Lyric for Strings George Walker (1922-2018)

Symphony No. 1 in A-flat Major William Grant Still (1895-1978) (“Afro-American”) Moderato assai Adagio Animato Lento, con risoluzione

Sponsored by Patricia Haywood Moore & Roscoe M. Moore, Jr.

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

The Music Center at Strathmore Marriott Center Stage

10 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

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

NATIONAL PHILHARMONIC 11 ARTIST BIOGRAPHIES

Melissa White, violin Baku, Azerbaijan. Recent and upcoming orchestral activities include solo debuts American violinist Melissa with the National Philharmonic and the White has enchanted Monroe, Pasadena, and Knox-Galesburg audiences around the symphonies, and return engagements world as both a soloist with the Chicago Sinfonietta and the and a chamber musician. Lansing Symphony Orchestra. As a Photo credit Kevin Murphy Photo Michael A First Prize winner of member of Harlem Quartet Ms. White the Sphinx Competition, she is a founding has collaborated with such classical music member of the highly acclaimed Harlem luminaries as Itzhak Perlman, Ida Kavafian, Quartet. As an orchestral soloist she has Carter Brey, Paul Katz, Anthony McGill and performed with some of America’s leading David Shifrin, as well as with jazz artists ensembles, including the Boston Pops Chick Corea, Gary Burton, Stanley Clarke, and the Cleveland, Detroit, Baltimore, John Patitucci, Eddie Daniels, and Paquito Atlanta, Pittsburgh, and Colorado D’Rivera. Ms. White holds performance symphony orchestras. Internationally, she degrees from the Curtis Institute of Music has appeared with the Colombian Youth and New England Conservatory of Music, Orchestra in a tour of Colombia, and with and has studied with Jaime Laredo, Ida Poland’s Philharmonia Dolnoslaska under Kavafian, Donald Weilerstein, and Miriam the direction of Piotr Gajewski. She has Fried. Her current instrument, “Matilda,” also served as interim concertmaster was commissioned as part of a Sphinx of the Louisville Orchestra, performed MPower Artist Grant in 2014 by the with the Orpheus Chamber Orchestra on American violin maker Ryan Soltis. tour in Japan, and appeared in recital in

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12 NATIONAL PHILHARMONIC PROGRAM NOTES

When the Czech composer Antonín orchestra, when the Chicago Symphony Dvořák arrived in the United States in Orchestra premiered her Symphony in 1892, he soon became aware of the rich E minor on June 15, 1933. This was a musical traditions of the African-American major landmark in a career that had been population. During his time in the United evolving for many years, anchored on a States, he continued to investigate this solid musical training that culminated with music with keen interest and curiosity. In her graduation from the New England 1893, in a pronouncement that proved to Conservatory of Music in Boston. Despite be far more prescient than he could have her outstanding music qualifications, she imagined, he declared in a piece published was unable to make a decent living as a in The New York Herald: “The future musician in her native state of Arkansas, music of this country must be founded and the refusal of the Arkansas State upon what are called the Negro melodies. Music Teachers Association to grant This must be the real foundation of any her membership because of her race serious and original school of composition eventually forced her and her husband to to be developed in the United States.” move to Chicago, where she had better This program is a vivid demonstration professional opportunities. In fact, it of Dvořák’s insight and a tribute to the was only in 2018 that the she was finally multifaceted legacy of African- given her due by the Arkansas State American composers. Music Teachers Association, when she was inducted in the Arkansas Women’s Wynton Marsalis Hall of Fame. Florence Price was part of (born October 18, 1961 in a remarkable group of African-American New Orleans, Louisiana) composers—including William Grant Still and William Dawson—whose works were Wynton Marsalis was born into a being championed by major orchestras, remarkably musical family, and his ever- publishers, and cultural organizations in expanding career has covered the fields of the 1930s and 1940s. The Violin Concerto classical music, jazz, and music pedagogy. No. 1 in D Major was part of a large cache In 1983, when he was only 22 years old, he of Florence Price’s manuscripts discovered became the only musician to have won a in 2009 in an abandoned house in the Grammy Award in jazz and classical music outskirts of Chicago. Composed in 1939, it in the same year, a feat that he repeated is structured in a traditional layout in three the following year. His multifarious movements. The first movement is a rich activities, including major projects such tapestry of sounds, including emulation of as Jazz at Lincoln Center, have earned the sound of the banjo and a generous use widespread recognition. In 2005, he of the pentatonic scale. It is harmonically received the National Medal of Arts from adventurous, with many sections in distant President George W. Bush. Wild Strumming keys, and in many ways, it evokes the of Fiddle is a movement from the massive joyful religious service in a black church. oratorio All Rise, commissioned by the The second movement is a sustained, New York Philharmonic and premiered comforting meditation of great spiritual at Lincoln Center in December 1999. It breadth, which again makes much use blends elements of classical music, jazz, of pentatonicism. This movement can be and blues, creating a sound tapestry that heard as the calm before the storm, as it transcends any attempt to pigeonhole it leads to the tempestuous last movement, into accepted categories. a virtuoso piece for both the soloist and the orchestra. Throughout the concerto, Florence Price references to African-American music and traditions are not verbatim, but rather work (born April 9, 1887 in Little Rock, Arkansas— to create a web of musical references died June 3, 1953 in Chicago, Illinois). and associations. Florence Price was the first African- American woman to have a symphonic work performed by a major American NATIONAL PHILHARMONIC 13 PROGRAM NOTES

George Walker 150 works, including 8 operas) and the (born June 27, 1922 in Washington, D.C.— range of his influence made him one of the died August 30, 2018 in Montclair, most representative American composers th New Jersey) of the 20 century, championed by all the major conductors of the time and George Walker was the first African- admired by fellow composers of every American composer to receive the Pulitzer spectrum of the classical music scene. Prize in music, which was awarded in 1996 His musical training was thorough and for his work Lilacs for voice and orchestra. extremely refined, including studies with He was also the first black instrumentalist the avant-garde composer Edgard Varèse to perform in Manhattan’s Town Hall, in a and with George Whitefield Chadwick, a debut recital that was hailed as “notable” pioneer of African-American music. Still by The New York Times. His career was the first American composer to have developed in many directions, earning an opera (Troubled Island) produced by him an increasingly wider recognition as the New York City Opera, the first African both a composer and pianist, including American to conduct a major American his election to the American Academy orchestra (Los Angeles Philharmonic of Arts and Letters in 1999 and his Orchestra), and the first to have a induction into the American Classical symphony—the Symphony No. 1, titled Music Hall of Fame in 2000. He also won “Afro-American”—performed by a leading dozens of composition prizes, including American orchestra. The Symphony No. 1, Guggenheim, Rockefeller, and Fulbright composed in 1930, deliberately combines fellowships. Walker’s eclectic musical the traditional form of the symphony with style is a blend of classical influences— elements drawn from the blues and other particularly the music of Chopin, Brahms, genres of African-American music. Still and Beethoven—and elements of jazz, was keen to point out these affiliations, not folk music, and religious hymns. Lyric only by using the title “Afro-American,” but for Strings is an arrangement for string also by preceding each of the movements orchestra of the second movement of with quotations from the dialect poems Walker’s String Quartet No. 1 (1946). It of African-American poet Paul Laurence was originally titled Lament, but sometime Dunbar. In his journal, Still noted, “I seek in after its premiere, Walker changed the the ‘Afro-American Symphony’ to portray title to Lyric for Strings. Written in Walker’s not the higher type of colored American, trademark counterpoint style, it unfolds as but the sons of the soil, who still retain so a purposeful strain of melodies that seem many of the traits peculiar to their African to be in perpetual conversation with each forebears; who have not responded other, coming together at strategic points completely to the transforming effect of to create discrete harmonic climaxes. It progress.” The work’s four movements soon became his most popular work, and cover a broad range of compositional one of the most often performed works by techniques, styles, and expressions, all a contemporary American composer. of which are infused with references to traditional African-American culture. It William Grant Still became one of Still’s most popular works, (born May 11, 1895 in Woodville, featuring in the program of several major orchestras after the premiere in 1931 by the Mississippi—died December 3, 1978 Rochester Philharmonic Orchestra, and in Los Angeles, California) today it has a secure position as one of the most significant works in the African- William Grant Still is often referred to American canon. as the “Dean” of African-American composers. His vast output (more than @ James Melo

14 NATIONAL PHILHARMONIC MOZART’S LAST MELODIES

SATURDAY, MARCH 21, 2020, 8PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor MOZART’S LAST MELODIES

Jon Manasse, clarinet Suzanne Karpov, soprano Magdalena Wór, mezzo-soprano Norman Shankle, tenor Kevin Deas, bass National Philharmonic Chorale Piotr Gajewski, conductor

Concerto for Clarinet and Wolfgang Amadeus Mozart (1756-1791) Orchestra in A Major Allegro Adagio Rondo: Allegro INTERMISSION

Requiem in D minor Wolfgang Amadeus Mozart Introitus: Requiem Aeternam

Kyrie

Sequentia: Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrimosa

Offertorium Domine Jesu Christe Hostias

Sanctus

Benedictus

Agnus Dei

Communio: Lux aeterna

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

The Music Center at Strathmore Marriott Center Stage ARTIST BIOGRAPHIES

Piotr Gajewski, Barbican Centre performance of Mozart’s conductor Clarinet Concerto with Gerard Schwarz and the Academy of St. Martin in (For Piotr Gajewski’s the Fields. biography, please see page 11.) An avid chamber musician, Jon Manasse has been featured in New York City

Photo credit Jay Mallin credit Jay Photo programs with The Chamber Music Society of Lincoln Center and at Carnegie Jon Manasse, clarinet Hall’s Weill Recital Hall, Alice Tully Hall and Merkin Concert Hall; at the Aspen Among the most Music Festival, Caramoor International distinguished classical Music Festival, Sarasota Music Festival artists of his generation, and France’s Festival International des clarinetist Jon Manasse is Arts, as well as the chamber music internationally recognized festivals of Bridgehampton, Crested

Photo credit Matt Dine credit Matt Photo for his inspiring artistry, Butte, Georgetown, St. Bart’s and Seattle. uniquely glorious sound and charismatic He has also been the guest soloist with performing style. many of the leading chamber ensembles of the day, including The Amadeus Trio Recent season highlights include return and Germany’s Trio Parnassus and has performances with the Seattle Symphony collaborated with violinist Joshua Bell and Orchestra and debuts with the Baltimore pianist Jon Nakamatsu. Symphony Orchestra and Montana’s Missoula Symphony Orchestra. With Manasse is also principal clarinetist of the pianist Jon Nakamatsu, he continues to American Ballet Theater Orchestra and the tour throughout the United States as half Mostly Mozart Festival Orchestra. In 2008, of the acclaimed Manasse/Nakamatsu he was also appointed principal clarinetist Duo. The Duo’s activities include the and Ensemble Member of the Orchestra world premiere performances of Paquito of St. Luke’s in New York City. He has also D’Rivera’s The Cape Cod Concerto with served as guest principal clarinetist of Symphony Silicon Valley. the New York Pops Orchestra, Orchestra of St. Luke’s and Orpheus Chamber Mr. Manasse’s solo appearances include Orchestra. Mr. Manasse has been a guest New York City performances at Lincoln clarinetist with the New York Philharmonic Center for the Performing Arts’ Avery in concerts conducted by Valery Gergiev Fisher Hall and Alice Tully Hall, Columbia and André Previn, and, during the 2003-04 University and The Town Hall, fourteen season, served as the principal clarinetist tours of Japan and Southeast Asia—all of The Metropolitan Opera Orchestra. with the New York Symphonic Ensemble, debuts in Jerusalem, Tel Aviv, and Osaka In addition to the premiere performances and concerto performances with Gerard of Lowell Liebermann’s Clarinet Concerto, Schwarz and the Mostly Mozart Festival which was commissioned for him, Jon Orchestra, both at Lincoln Center’s Manasse has also presented the world Avery Fisher Hall and at the prestigious premieres of James Cohn’s Concerto Tokyu Bunkamura Festival in Tokyo. With for Clarinet & String Orchestra at the orchestra, he has been guest soloist with international ClarinetFest ’97 at Texas the Naples and National Philharmonics, Tech University and, in 2005, of Steven the National Chamber Orchestra and R. Gerber’s Clarinet Concerto with the many more. Of special distinction was National Philharmonic. Mr. Manasse’s 2002 London debut in a

16 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Jon Manasse has six critically acclaimed Chamber Music Festival, an appointment CDs on the XLNT label: the complete announced during summer 2006. clarinet concerti of Weber, with Lukas Foss and the Brooklyn Philharmonic Suzanne Karpov, Orchestra; the complete works for clarinet soprano and piano of Weber, with pianist Samuel Sanders; recording premieres of 20th Hailed by the San Century clarinet works; “Clarinet Music Francisco Chronicle for from 3 Centuries,” including Mozart’s her “elegant” soprano, Clarinet Quintet (with the Shanghai both “incisive and Quartet), as well as music by Spohr, tender,” Suzanne Karpov Gershwin and James Cohn; James Cohn’s is quickly distinguishing herself as one Clarinet Concerto No. 2; and the concerti of the country’s leading young sopranos. of Mozart, Nielsen and Copland, with the Ms. Karpov recently made her Carnegie Slovak Radio Symphony Orchestra. Also Hall debut as the soprano soloist in available are his recordings of Steven R. Poulenc’s Gloria with DCINY. Past season Gerber’s Clarinet Concerto with Vladimir oratorio highlights as soprano soloist Lande and the St. Petersburg State include performances of Handel’s Messiah Academic Symphony on the Arabesque with the Washington Bach Consort, label and Lowell Liebermann’s Quintet for the American Bach Soloists, Richmond Clarinet, Piano and String Trio on KOCH Symphony Orchestra, and the Washington International. His debut CD with pianist Opera Orchestra at the Kennedy Center, Jon Nakamatsu, a Harmonia Mundi album as well as soprano soloist in Haydn’s of the Brahms Clarinet Sonatas, was The Creation with the UC-Davis Symphony released to international rave reviews, Orchestra. Operatic highlights include early in 2008. 2010 saw the release of performances with Washington National concerti by Mozart and Spohr with Gerard Opera, Boston Early Music Festival, Schwarz and the Seattle Symphony, also and the New Hampshire Music Festival. on the harmonia mundi label. In competition, Ms. Karpov has won numerous awards, including 1st place Jon Manasse is a graduate of the Juilliard at the national NATS Competition in School, where he studied with David Chicago, and 1st place in the 2018 Handel Weber. Mr. Manasse was a top prize Aria Competition, and an Encouragement winner in the Thirty-Sixth International Award from the Metropolitan Opera Competition for Clarinet in Munich and National Council Auditions. Ms. Karpov the youngest winner of the International is a graduate of the Maryland Opera Clarinet Society Competition. Currently, he Studio (University of Maryland, College is an official “Performing Artist” of both the Park), and earned her Bachelor’s degree Buffet Crampon Company and Vandoren, from Boston University. the Parisian firms that are the world’s oldest and most distinguished clarinet Magdalena Wór, maker and reed maker, respectively. Since mezzo-soprano 1995, he has been Associate Professor of Clarinet at the Eastman School of Music; “...and Magdalena Wor in the fall of 2007 Mr. Manasse joined almost stole the show as the faculty of his alma mater, the a well-defined and well- Juilliard School. sung Suzuki.” proclaimed Anne Midgette of The Jon Manasse and his Duo partner, the Washington Post following Magdalena’s acclaimed pianist Jon Nakamatsu, serve role debut of Suzuki with Virginia Opera. as Artistic Directors of the Cape Cod

NATIONAL PHILHARMONIC 17 ARTIST BIOGRAPHIES

This season holds Magdalena’s debut Pittsburgh Opera as Elder Barber/Gus performance with Seattle Symphony Greenlee in The Summer King, a new opera as soloist for their performances of that explores the life of Josh Gibson, “one Messiah. She sings Maddalena in Opera of the greatest Negro League baseball Birmingham’s Rigoletto and Bach B Minor players” and performed the role of Lindoro Mass and Messiah with the National in L’Italiana in Algeri with Piedmont Opera. Philharmonic. This past season Magdalena sang Alexander Nevsky and Messiah with Mr. Shankle began his career with the National Philharmonic Orchestra and San Francisco Opera (SFO) in the Merola Suzuki in Opera Birmingham’s Madama Opera Program and as an Adler Fellow. Butterfly. In 2011-2012, Magdalena sang He officially made his company début Carmen for Lyric Opera of Virgina, as Valletto in L’incoronazione di Poppea, Messiah with Atlanta Symphony Orchestra and subsequently appeared in SFO’s and Alabama Symphony Orchestra, productions of Tristan und Isolde, Don was soloist for Janáček’s Glagolitic Carlo, Prokofiev’s Betrothal in a Monastery, Mass with Cathedral Chorale Society Louise, Lucia di Lammermoor, Idomeneo, of the Washington National Cathedral and Don Giovanni. In 2001, Norman was and for Bach Magnificat with National selected as a winner of the distinguished Philharmonic, and gave recitals at the ARIA award. Other awards include a 1999 Polish and Hungarian Embassies in Richard Tucker Career Grant, and the 1998 Washington, D.C. McAllister Award.

Magdalena Wór is a First Place Winner Kevin Deas, bass of the Heinz Rehfuss Vocal Competition, a Metropolitan Opera Competition American bass Kevin National Finalist, an alumna of the San Deas is especially Francisco Opera’s Merola Summer Opera celebrated for his Program and Domingo-Cafritz Young riveting portrayal of the Artist Program at the Washington National title role in Porgy and Opera. Magdelana is originally from Poland Bess with the New York and has lived in the United States Philharmonic, National Symphony, since 1991. St. Paul Chamber Orchestra, Philadelphia Orchestra, San Francisco, Atlanta, Norman Shankle, tenor San Diego, Utah, Houston, Baltimore and Montreal Symphonies and at the The Boston Globe has Ravinia and Saratoga Festivals. His recent called tenor Norman recordings include Die Meistersinger with Shankle “a real find, a the Chicago Symphony under the late singer of elegance, grace Sir Georg Solti and Varèse’s Ecuatorial with and conviction,” and the the ASKO Ensemble under Ricardo Chailly, San Francisco Chronicle both on Decca/London. Other releases praised him equally as “clearly a singer to include Bach’s B minor Mass and Handel’s watch.” This season, Shankle sang Nick in Acis & Galatea on Vox Classics and Dave La Fanciulla del West with Opera Colorado, Brubeck’s To Hope! with the Cathedral and returned to the Phoenix Symphony Choral Society on the Telarc label. for Handel’s Messiah. He also joined the

18 NATIONAL PHILHARMONIC PROGRAM NOTES

Wolfgang Amadeus Mozart Requiem in D minor (born on January 27, 1756 in Salzburg, Austria; died on December 5, 1791 in The story of how Mozart’s Requiem in Vienna, Austria) D minor, K.626, was commissioned is one of the most captivating tales in the history The last year of Mozart’s life was one of of Western music. The legends surrounding almost unbelievable productivity, all the the composition of the Requiem began more remarkable when one considers how with Mozart’s wife Constanze. It was he was later beset by health problems, she who first spread the story of the domestic difficulties, and humiliating mysterious stranger, a messenger from financial hardships that forced him to a wealthy patron who wanted Mozart to literally beg for money from his friends, compose the Requiem, but whose identity knowing very well that he would be unable could not be revealed. Constanze then to pay them back. One wonders where and elaborated the story, saying that, in his how he found the motivation and energy to distress, Mozart came to believe that he complete thirty-three new works, including would be composing the Requiem for major pieces such as two string quintets, his own funeral, and the messenger was his last two operas (Die Zauberflöte and someone from another realm. The story La Clemenza di Tito), a piano concerto, endured, but in the end the truth proved and the two magnificent works in tonight’s to be far simpler. The commissioner was program. Since his arrival in Vienna in the eccentric Count Franz von Walsegg 1781, Mozart had managed to establish (1763-1827), an amateur composer who himself as a renowned and financially was in the habit of commissioning works successful composer, fulfilling many of from famous composers in order to pass the dreams he brought with him when them off as his own. In the case of Mozart’s he abandoned his provincial job at the Requiem, von Walsegg wanted it to court of the Archbishop Colloredo in commemorate the anniversary of his wife’s Salzburg. However, a taste for easy and death, an occasion that would certainly luxurious living, coupled with an inability bring even more significance to “his” work. to deal with money (by both him and Despite any misgivings that Mozart may his wife Constanze) meant that the have had, and because he desperately couple’s finances were often teetering needed money, he plunged himself into on the edge of disaster. By the time the work, but was unable to finish it. Mozart was working on the Concerto As Mozart worked on the Requiem, his for Clarinet and the Requiem, his health health deteriorated exponentially, and was alarmingly precarious, his mental according to Constanze he began to state was deteriorating, and he was in a firmly believe that he had been poisoned. financial abyss from which there was little His body became painfully swollen, and hope he would climb out. Commissions he experienced constant fever. He kept for new works were not forthcoming, and working until his very last days, relying on his own performances—which in previous the help of his students and assistants to years had been a significant source of copy parts and take dictation for sections income—had trickled down dramatically. he was too weak to write down himself. A Scholarship by H.C. Robbins Landon has variety of causes have been advanced for suggested that Mozart’s last year wasn’t as Mozart’s death, including complications hopeless as has often been portrayed, but from syphilis, rheumatic fever, trichinosis it is clear that his luck and fortunes were from eating undercooked pork, and renal declining. Then, one day, a mysterious failure. The exact cause of his death is stranger knocked on his door… likely to remain unknown.

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The autograph manuscript of the Requiem Concerto for Clarinet and Orchestra contains almost all the sections in the in A Major Requiem, in different stages of completion, but it is unclear what other materials may The Concerto for Clarinet and Orchestra have existed and have been lost. Mozart’s in A Major, K.622, was Mozart’s last student Franz Xaver Süssmayr completed completed instrumental work, which the Requiem in 1792, following detailed he finished only two months before he sketches and instructions that Mozart had died. Contrary to the gloomy atmosphere left for the parts that remained unfinished surrounding the Requiem, the Concerto at the time of his death. Later, Süssmayr for Clarinet seems to exist in a rarefied claimed that the “Sanctus” and the air of sublime and transparent beauty, “Agnus Dei” were his own compositions. the epitome of Classical poise, elegance, Throughout the centuries, composers and refinement. It was composed for have set the text of the Requiem Mass Mozart’s friend Anton Stadler, a virtuoso (the official Catholic service for the clarinetist and basset horn player, for death) with some personal variations to whom Mozart had also composed his emphasize different sections, and even Clarinet Quintet, K.581. The Concerto was omitting large portions of the text. In originally conceived for the basset horn, Mozart’s version, one cannot help noticing an instrument that was extremely rare the highly elaborate treatment he gave to at the time (more so than the clarinet), the sequence “Dies Irae” (Day of Wrath), but he eventually agreed to use the which is the defining text of the Requiem clarinet instead. In its final incarnation, Mass. The original sequence (a liturgical the Concerto for Clarinet can be seen hymn composed for a specific feast or as Mozart’s summation of a genre occasion) is attributed to the Franciscan (the concerto for solo instrument and monk Thomas of Celano (1200—ca. 1265) orchestra) in which he excelled more than and has been used in other contexts in any other composer from the Classical Western music (the Russian composer period. Its layout in three movements, Serge Rachmaninoff, for instance, was with the first movement in sonata form, obsessed with it). Mozart’s treatment of the second movement in a binary song the text of the “Dies Irae” runs through form, and the third movement in rondo an enormous variety of moods, textures, form, is thoroughly conventional. But, as is and emotional expression, in effect always the case with Mozart, the internal generating a multi-movement piece in the structure of each movement is packed heart of the Requiem. The techniques of with interesting and surprising details instrumentation and orchestration propel that enliven the texture in seemingly the work into a sound environment that infinite ways. Although it was extremely is clearly no longer Classical, but rather difficult to perform using the clarinets of looks forward to the tumultuous Romantic the time, which had only five or six keys, century. It remained one of Mozart’s Anton Stadler’s extraordinary abilities most often performed works, benefiting guaranteed that the premiere in Prague from a continuous performance tradition on October 16, 1791 was an unqualified that remains unabated. In addition to success. Interestingly, considering the the version completed by Süssmayr, technical level of the writing for the there have been a number of alternative clarinet part, there are no cadenzas for completions prepared by several this concerto. Nevertheless, the iconic first musicologists throughout the 20th century. solo of the clarinet, in the exposition of the Regardless of the version performed, first movement, has become a standard Mozart’s Requiem is unquestionably one test piece for clarinetists auditioning for of those pinnacles of Western music, orchestra positions worldwide. about which the first response is one of unguarded admiration and awe. @ James Melo TEXT AND TRANSLATIONS

Requiem in D minor Wolfgang Amadeus Mozart

Introitus: Requiem aeternam

Requiem aeternam dona eis, Domine. Eternal rest give unto them, O Lord Et lux perpetua luceat eis. And let perpetual light shine upon them. Te decet hymnus, Deus, in Sion, A hymn, O God, becometh Thee in Zion Et tibi reddetur votum in Jerusalem And a vow shall be paid to thee in Jerusalem Exaudi orationem meam Hear my prayer Ad te omnis caro veniet. All flesh shall come before you.

Kyrie

Kyrie, eleison. Lord, have mercy on us. Christe, eleison. Christ, have mercy on us. Kyrie, eleison. Lord, have mercy on us.

Sequentia: Dies Irae

Dies irae, dies illa This day, this day of wrath Solvet saeclum in favilla, shall consume the world in ashes, Teste David cum Sibylla. as foretold by David and the Sibyl.

Quantus tremor est futurus What trembling there will be Quando judex est venturus When the judge shall come Cuncta stricte discussurus! to weigh everything strictly!

Tuba mirum

Tuba mirum spargens sonum The trumpet, scattering its awful sound Per sepulcra regionum Across the graves of all lands Coget omnes ante thronum. Summons all before the throne.

Mors stupebit et natura Death and nature shall be stunned Cum resurget creatura When mankind arises Judicanti responsura To render account before the judge.

Liber scriptus proferetur The written book shall be brought In quo totum continetur In which all is contained Unde mundus judicetur. Whereby the world shall be judged

Judex ergo cum sedebit When the judge takes his seat Quidquid latet apparebit. all that is hidden shall appear. Nil inultum remanebit. Nothing will remain unavenged.

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Quid sum miser tunc dicturus, What shall I, a wretch, say then, Quem patronum rogaturus, To which protector shall I appeal, Cum vix justus sit securus? When even the just man is barely safe?

Rex tremendae

Rex tremendae majestatus King of awful majesty qui salvandos salvas gratis You freely save those worthy of salvation sale me, fons pietatis Save me, found of pity

Recordare

Recordare, Jesu pie, Remember, gentle Jesus Quod sum causa tuae viae, that I am the reason for your time on earth, Ne me perdas illa die. do not cast me out on that day.

Quaerens me, sedisti, lassus, Seeking me, you sank down wearily, Redemisti crucem passus, you saved me by enduring the cross, Tantus labor non sit cassus. such travail must not be in vain.

Juste Judex ultionis Righteous judge of vengeance Donum fac remissionis award the gift of forgiveness Ante diem rationis. before the day of reckoning.

Ingemisco tanquam reus, I groan as one guilty, Culpa rubet vultus meus, my face blushes with guilt, Supplicanti parce, Deus. spare the suppliant, O God.

Qui Mariam absolvisti Thou who didn’t absolve Mary [Magdalen] Et latronem exaudisti and hear the prayer of the thied Mihi quoque spem dedisti. hast given me hope, too.

Preces meae non sunt dignae, My prayers are not worthy, Sed tu, bonus, fac benigne, but Thou, O good one, show mercy, Ne perenni cremer igne. lest I burn in everlasting fire.

Inter oves locum praesta, Give me a place among the sheep, Et ab hoedis me sequestra, and separate me from the goats, Statuens in parte dextra. placing me on Thy right hand.

Confutatis

Confutatis maledictis When the damned are confounded Flammis acribus addictis, and consigned to keen flames, Voca me cum benedictus. call me with the blessed.

Oro supplex et acclinis, I pray, suppliant and kneeling, Cor contritum quasi cinis, a heart as contrite as ashes, Gere curam mei finis. take Thou my ending into Thy care.

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Lacrimosa

Lacrimosa dies illa, That day is one of weeping, Qua resurget ex favilla on which shall rise again from the ashes Judicandus homo reus. the guilty man, to be judged.

Huic ergo parce, Deus, Therefore spare this one, O God, Pie Jesu Domine, merciful Lord Jesus, Dona eis requiem. Amen. Give them rest. Amen.

Offertorium

Domine Jesu Christe

Domine, Jesu Christe, Rex gloriae, Lord Jesus Christ, king of glory, libera animas omnium fidelium deliver the souls of all the faithful defunctorum departed de poenis inferni from the pains of Hell et de profundo lacu. and the bottomless pit. Libera eas de ore leonis Deliver them from the jaws of the lion, ne absorbeat eas tartarus, lest hell engulf them, ne cadant in obscurum; lest they be plunged into darkness; Sed signifer sanctus Michael but let the holy standard-bearer Michael repraesentet eas in lucem sanctam, lead them into the holy light, Quam olim Abrahae promisisti as once you promised to Abraham et semini eius. and to his seed.

Hostias

Hostias et preces tibi, Domine Lord, in praise we offer you laudis offerimus Sacrifices and prayers, tu suscipe pro animabus illis, accept them on behalf of those quarum hodie memoriam facimus. who we remember this day: Fac eas, Domine, de morte Lord, make them pass transire ad vitam. from death to life, Quam olim Abrahae promisisti as once you promised to Abraham et semine eius. and to his seed.

Sanctus

Sanctus, sanctus, sanctus Holy, holy, holy Dominus Deus Sabaoth! Lord God of hosts! Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest.

Benedictus

Benedictus qui venit in nomine Domine. Blessed is he that cometh in the name of Hosanna in excelsis. the Lord. Hosanna in the highest.

NATIONAL PHILHARMONIC 23 TEXT AND TRANSLATIONS

Agnus Dei

Agnus Dei, qui tollis pecatta mundi O Lamb of God, that takest away the sins dona eis requiem. of the world, Agnus Dei, qui tollis peccata mundi, Grant them rest. dona eis requiem sempitername. O Lamb of God, that takest away the sins of the world, Grant them eternal rest.

Communion: Lux aeterna

Lux aeterna luceat eis, Domine, Let everlasting light shine upon them, Lord, cum sanctis tuis in aeternum, with Thy saints for ever, quia pius es. for Thou art merciful. Requiem aeternam dona eis Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis, and let perpetual light shine upon them, quia pius es. for Thou art merciful.

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24 NATIONAL PHILHARMONIC MUSIC + PROSE

SATURDAY, APRIL 18, 2020, 8PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor

MUSIC + PROSE

Danielle Talamantes, soprano Zuill Bailey, cello Piotr Gajewski, conductor

Overture to the School of Scandal Samuel Barber (1910-1981)

The Love Song of J. Alfred Prufrock: Henry Dehlinger (1966-) A Rhapsody for Voice and Orchestra (orchestral premiere) INTERMISSION

Concerto for Cello and Orchestra, “Awakenings” Alistair Coleman (1998-)

Tales of Hemingway Michael Daugherty (1954-) Big Two-Hearted River (1925, Seney, Michigan) For Whom the Bell Tolls (1940, Spanish Civil War) The Old Man and the Sea (1952, Cuba) The Sun Also Rises (1926, Pamplona, Spain)

Sponsored by the Prufrock Fund

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

The Music Center at Strathmore Marriott Concert Stage

NATIONAL PHILHARMONIC 25 ARTIST BIOGRAPHIES

Piotr Gajewski, Last season, Talamantes performed the conductor role of Anna in Nabucco and Frasquita in Carmen with The Metropolitan Opera; (For Piotr Gajewski’s performed the soprano solo in Händel’s biography, please see Messiah and Brahms’ Requiem with page 11.) National Philharmonic; Mozart’s Requiem with Phoenix Symphony Orchestra; Photo credit Jay Mallin credit Jay Photo Verdi’s Requiem with the Choral Artists of Sarasota; and Barber’s Knoxville: Summer Danielle Talamantes, of 1915 with Manchester Symphony soprano Orchestra. Additionally, she was a featured soloist with the Philadelphia Chamber “It’s not often that a Music Society and Close Encounters fortunate operagoer Music festival. witnesses the birth of a star!” critics Other recent engagements include the hailed for Danielle soprano solo in Haydn’s Creation with Talamantes’ recent role début as Violetta Cathedral Choral Society; Händel’s in La traviata. This season she returns Messiah at Phoenix Symphony and to the Metropolitan Opera in the role of National Philharmonic; Haydn’s Lord Beatriz in the brand new Thomas Adès Nelson Mass, Beethoven’s Symphony No. 9 opera Exterminating Angel. Additional and Mozart’s Requiem and Exsultate performances include Mozart’s Requiem Jubilate at the National Philharmonic; with the Cathedral Choral Society of Haydn’s Creation with the Choral Artists Washington; the Villa-Lobos Bachianas of Sarasota; as the soprano soloist in Bob brasileiras No. 5, Bach Magnificat, and the Chilcott’s Requiem at Alice Tully Hall; role of Fiordilgi in Così fan tutte with the the soprano lead in a world première National Philharmonic; Handel’s Messiah production of Janice Hamer’s Lost with the U.S. Naval Academy and the Childhood with the National Philharmonic; Austin Symphony; Poulenc’s Gloria with Mozart’s Mass in C Minor with the City the Arizona State Symphony Orchestra; Choir of Washington; Dvořák’s Stabat Mimì in La Bohème with the Symphony Mater at North Carolina Master Chorale; of NW Arkanas; as well as guest solo and turns as Donna Anna in Don Giovanni, appearances with El Paso Pro Musica, Adina in L’elisir d’amore, Mimì in La bohéme, Close Encounters with Music in Scottsdale Violetta in La traviata and a début at and the Berkshires. Spoleto Festival USA as Sergente in Veremonda. After Ms. Talamantes’ critically-acclaimed debut album, Canciones españolas, was Ms. Talamantes performs courtesy of the released she got right to work on Heaven Metropolitan Opera. and Earth: A Duke Ellington Songbook, a luscious collection of brand-new arrangements of Duke Ellington standards and irreplaceable gems of the American Songbook—written especially for Ms. Talamantes. Both albums are available on the MSR Classics record label.

26 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Zuill Bailey, cello Mr. Bailey is an internationally renowned recording artist with over 20 titles. Zuill Bailey, widely Mr. Bailey’s extensive discography includes considered one of the the “Bach Cello Suites” and the recently premiere cellists in the released Britten Cello Symphony/Sonata world, is a Grammy with pianist Natasha Paremski, both of winner, distinguished which immediately soared to the number- soloist, recitalist, Artistic one spot on the Classical Billboard Director and teacher. His rare combination Charts. Mr. Bailey won a best solo of celebrated artistry, technical wizardry performance Grammy Award in 2017 for and engaging personality has secured his his live recording of Tales of Hemingway, place as one of the most sought-after and by composer Michael Daugherty. The active cellists today. celebrated CD, recorded with the Nashville Symphony, Giancarlo Guerrero, A consummate concerto soloist, Mr. conductor, also won a Grammy for best Bailey has been featured with the composition, Tales of Hemingway, and Best symphony orchestras of Los Angeles, Compendium. Other celebrated releases Chicago, San Francisco, Dallas, Louisville, include the complete works for cello and Honolulu, Milwaukee, Nashville, Toronto, piano of Brahms, Beethoven and Barber Minnesota, Utah, Israel, Cape Town, and in addition to concertos of Prokofiev, the Bruckner Orchestra in Linz, Austria. Tchaikovsky, Shostakovich, Dvořák, Elgar, He has collaborated with such conductors Haydn, Schumann, Korngold, Saint-Saëns, as Itzhak Perlman, Alan Gilbert, Andrew Bloch, Brahms, Beethoven and the world Litton, James DePriest, Jun Markl, premiere recordings of the Muhly and Carlos Kalmar, Jacques Lacombe, Grant Daugherty Works for Cello and Orchestra. Llewellyn and Stanislaw Skrowaczewski. Kalmus Ludwig Masters has released his He also has been featured with musical musical editions of the core repertoire in luminaries Leon Fleisher, Jaime Laredo, celebration of his appearances the Juilliard String Quartet, Lynn Harrell and recordings. and János Starker. Mr. Bailey has appeared at Disney Hall, the Kennedy Center, the Mr. Bailey performs on the “Rosette” 1693 United Nations, Alice Tully Hall, the 92nd Matteo Goffriller Cello, formerly owned St. Y and Carnegie Hall, where he made by Mischa Schneider of the Budapest his concerto debut performing the U.S. String Quartet. He is the Artistic Director premiere of Miklos Theodorakis’ Rhapsody of El Paso Pro-Musica (Texas), the Sitka for Cello and Orchestra. Summer Music Festival/Series and Cello Seminar, (Alaska), the Northwest Bach Festival (Washington), guest Artistic Director of the Mesa Arts Center (Arizona), and Professor of Cello at the University of Texas at El Paso.

NATIONAL PHILHARMONIC 27 PROGRAM NOTES

In every culture that has ever existed, richly nuanced orchestra, which includes vocal music preceded instrumental a significant range of wind and percussion music, therefore pointing to an intimate instruments. Barber’s gift for melody is in relationship between music and language. full display, and the rhythmic and harmonic Even music’s expressive power, which can palette includes delightful surprises in the project emotions that may be inaccessible musical discourse. The Overture to The to words, has sometimes been understood School of Scandal premiered on August 30, as a sublimation or expansion of expressive 1933 as part of an outdoor concert, with elements that can also be found in the Philadelphia Orchestra conducted by language. The philosopher Jean-Jacques Alexander Smallens. Since then, it has been Rousseau (1712-1778), who was also a very popular as a concert opener. music theorist and composer, suggested that music evolved precisely as a means The Love Song of J. Alfred Prufrock of carrying the expressive elements of Henry Dehlinger language beyond what words could ever (born June 17, 1966 in achieve. The works in tonight’s program San Francisco, California) offer different solutions to this fruitful marriage between music and words. Henry Dehlinger has been one of the most successful practitioners of polystylism, a Overture to The School for Scandal distinctly 21st-century musical style that draws from multiple influences, genres, Samuel Barber traditions, and techniques. He is also a (born March 9, 1910 in West Chester, major champion of vocal and choral music, Pennsylvania; died January 23, 1981 in and his polystylism allows him to chart New York City) a wide range of emotions, allusions, and Samuel Barber was one of the most beloved images. The Love Song of J. Alfred Prufrock, American composers of the twentieth a rhapsody for voice and orchestra based century, and one of the most important on the eponymous poem by T.S. Eliot, was representatives of the lyric and Romantic composed specifically for the soprano styles in modern music. Barber studied Danielle Talamantes. The history of Western piano, composition, and conducting at music has been enriched beyond measure the prestigious Curtis Institute of Music in by composers who were inspired by specific Philadelphia, but after graduating in 1934 performers to write groundbreaking works he devoted himself entirely to composition. and, in some cases, to completely revive Many of Barber’s works contain literary their creative powers. In The Love Song of allusions and references, but he did not J. Alfred Prufrock, Dehlinger approaches write strictly programmatic music, in the voice as another instrument capable of which an instrumental musical work is the most varied and nuanced delivery. He intended as a “description” of a literary or took the stream of consciousness technique visual one. The Overture to The School of that is the basis of the poem by T.S. Eliot Scandal (1931) was Barber’s first work for and gave it musical expression through full orchestra, and the piece that launched a perpetually changing combination of his compositional career. Barber based the vocal and instrumental textures. The use work on the comedy The School for Scandal of leitmotivs (guiding motives) to represent by Richard Brinsley Sheridan (1751-1816), different emotional states of the protagonist but he did not compose it as incidental serves to weave the musical fabric and unify music for the play. Instead, it is a concert the various melodic and rhythmic strands overture, a genre that was cultivated in that course through the work. Dehlinger the nineteenth century as an independent also honors the internal structure of Eliot’s type of orchestral music. Barber recreates poem by using references to different the verve and wit of Sheridan’s play musical genres to articulate the various through an ingenious use of a vast and sections of the music, such as the complex

28 NATIONAL PHILHARMONIC PROGRAM NOTES

rhythms of the dance-like scherzo that both in the United States and in Europe. concludes the work, an example He has been closely involved with many among many. of the most important avant-garde and experimental movements in modern music, Concerto for Cello and Orchestra, but he fashioned a musical style that is a “Awakenings” highly personal blend of popular music, Alistair Coleman Romanticism, postmodernism, and extra- (born October 10, 1998 in Washington, D.C.) musical influences. Tales of Hemingway is, in many ways, a perfect example of The Concerto for Cello and Orchestra, Daugherty’s eclectic style. The work is “Awakenings,” by Alistair Coleman, currently clearly modeled on iconic genres of Western a student at the Julliard School, portrays music: it is a concerto for solo instrument the process of recovery and rebirth that (cello) and orchestra, with features of the defines universal struggles and aspirations symphony (it is in four movements, instead of human experience. Based on Oliver of three), and is an ingenious take on the Sacks’ seminal book Awakenings (1974), idea of program music, as it is based on which documents the lives of patients literary works that provide the narrative trapped in a catatonic state of trance and thrust of the music. Composed in 2015, paralysis, the concerto imagines their Tales of Hemingway was commissioned by recovery and awakening to a new life. The the Nashville Symphony and a consortium concerto captures the imagery of Sacks’ of several other American orchestras, and final message to the readers: “The terrors premiered in Nashville, Tennessee, on of suffering, sickness and death, of losing April 17, 2015, with the cellist Zuill Bailey ourselves and losing the world, are the most as soloist and the Nashville Symphony elemental and intense we know; and so conducted by Giancarlo Guerrero. Contrary too are our dreams of recovery and rebirth, to traditional types of program music, in of being wonderfully restored to ourselves which the entire musical work is often and the world.” In Coleman’s musical vision, based on a single literary or visual work, this process of rebirth is depicted through Tales of Hemingway is based on four the cello’s gradual emergence from a independent works by Ernest Hemingway, frozen, haunting, and alien world illustrated each of which provides the structural arch, through fleeting and fragmentary gestures mood, tone, and title of the individual in the orchestra. The opaqueness of the movements. This very procedure lends patients’ mental prison is slowly broken the work a certain epic character, as it through as the cello and the orchestra enter charts a sweeping range of emotions and a world of flux and engage in a tumultuous compositional techniques for expressing confrontation that mimics the struggle of those emotions. In the first movement, the individual and the world. At the climax a soldier works through his trauma by of the piece, the voice of the cello emerges reconnecting with nature and finding its from the tumult of the orchestra into healing power. The second movement awakened life. The orchestra subsides to offers a meditation on the drama of stillness invoking moments of reflection on the Spanish Civil War and the tragedy reacquainting oneself with the world. of personal loss. The third movement Tales of Hemingway dramatizes the perpetual struggle between man and nature. The fourth movement is Michael Daugherty an energetic, almost riotous depiction of (born April 28, 1954 in Cedar Rapids, Iowa) the festival of the running of the bulls in Michael Daugherty, one of the most Pamplona, the setting for the Hemingway performed contemporary American story that concludes the work. composers, had a very eclectic education, @ James Melo

NATIONAL PHILHARMONIC 29 MISSA SOLEMNIS

SATURDAY, MAY 30, 2020, 8PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor

MISSA SOLEMNIS

Esther Heideman, soprano Shirin Eskandani, mezzo-soprano Norman Shankle, tenor Kerry Wilkerson, baritone National Philharmonic Chorale Piotr Gajewski, conductor

Missa Solemnis in D Major, Op. 123 Ludwig van Beethoven (1770-1827)

Kyrie Kyrie – assai sostenuto: mit Andacht (with devotion) Christe – andante assai ben marcato Kyrie – tempo I

Gloria Gloria in excelsis – allegro vivace Qui tollis – larghetto Quoniam tu solus – allegro maestoso In Gloria Dei patris – allegro ma non troppo e ben marcato —poco più allegro—presto

Credo Credo in unum Deum – allegro ma non troppo Et incarnates est – adagio Et homo factus est – andante Crucifixus – adagio espressivo Et resurrexit – allegro Et ascendit in coelum – allegro molto Credo in unum Deum – allegro ma non troppo Et vitam venture – allegretto ma non troppo—allegro con moto—grave

30 NATIONAL PHILHARMONIC MISSA SOLEMNIS

Sanctus Sanctus – adagio: mit Andacht (with devotion) Pleni sunt coeli – allegro pesante Osanna in excelsis – presto Praeludium – sostenuto ma no troppo Benedictus – andante molto cantabile e non troppo mosso

Agnus Dei Agnus Dei – adagio Dona nobis pacem – allegretto vivace—allegro assai—tempo I—presto—tempo I

This performance of Missa Solemnis is dedicated to the memory of National Philharmonic Chorale member Charles (“Chuck”) Zachary Serpan (1934-2019).

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

The Music Center at Strathmore Marriott Concert Stage

NATIONAL PHILHARMONIC 31 ARTIST BIOGRAPHIES

Piotr Gajewski, National Philharmonic, Boston Baroque, conductor Amsterdam Symphony Orchestra, the U.S. Naval Academy, among others. (For Piotr Gajewski’s biography, please see In addition to performing the staples of page 11.) traditional concert repertoire, such as Beethoven’s Symphony No. 9, Mahler’s Photo credit Jay Mallin credit Jay Photo Symphony No. 2 or No. 4, Mozart’s c-minor Mass, Handel’s Messiah and Orff’s Carmina Esther Heideman, Burana, Esther Heideman has featured soprano prominently in the premieres of some of today’s most respected contemporary “Angelic” is the word that composer. These have included the role has most often been used of Jenny Lind in Libby Larsen’s opera to describe the silvery, Barnum’s Bird (Plymouth Music Series, pure, sweet tone of Esther Philip Brunelle), Sister Angelica in The Photo credit DevonPhoto Cass Heideman’s vocal artistry. Three Hermits by Stephen Paulus, and In 2000, she won the Metropolitan Opera The Revelation of St. John by Daniel National Council Auditions and the Licia Schnyder (with the Orquestra del Gran Albanese Competition. In 2001, she made Teatre del Liceu under Sebastian Weigel her Metropolitan Opera debut singing and Milwaukee Symphony under Andreas Pamina in Mozart’s Die Zauberflöte. Delfs), as well as Deus Passus by Wolfgang These performances were immediately Rihm (Rotterdam Philharmonic, Markus followed by her debut with the New York Stenz). Ms. Heideman lived in Beijing, Philharmonic in Bach’s Christmas Oratorio, China for 1.5 years, performing many and her European debut with the Prague concerts with the Beijing New Music Radio Symphony, singing in Mahler’s Ensemble. Since moving back to the Second Symphony. United States, Esther has also returned to the Aspen Music Festival every Esther was raised on a dairy farm in small summer to perform music with the Aspen town Wisconsin, and was involved in band, Contemporary Ensemble. choir and church music from a young age, but never took a voice lesson until she When not performing, Ms. Heideman was 18. Originally she attended college to enjoys teaching lessons and masterclasses become a band/choir teacher, but it was and sharing her knowledge and there she discovered her true passion for experience with young performers. singing, and has dedicated her life to it ever since. Shirin Eskandani, mezzo-soprano Ms. Heideman’s career began with her Carnegie Hall debut, singing Hailed by Opera Today Handel’s Messiah. Since this time, she for her “pleasing and has performed with major orchestras pliant voice,” Iranian- throughout World, such as the Baltimore Canadian mezzo-soprano Symphony, Pittsburgh Symphony, St. Louis Shirin Eskandani made Symphony, Atlanta Symphony, Saint Paul her Metropolitan Opera stage debut as Chamber Orchestra, Philadelphia Pops, Mercedes in Carmen. She is the recipient Beijing New Music Ensemble, Chicago of several prestigious awards, including Symphony Orchestra, Aspen Music first place at the Gerda Lissner Foundation Festival, Jacksonville Symphony, Vocal Competition and fourth place at the Licia Albanese-Puccini Competition.

32 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Career highlights include company having the ‘amber tone of a lyric baritone debuts with the Rossini Opera Festival, with the imposing weight demanded by Sarasota Opera and Opera Southwest. Handel’s low-lying writing’. He recently Ms. Eskandani’s recent roles include retired from an esteemed career with the Dorabella in Cosi fan Tutte; Sandrina in United States Army Chorus; singing and Un Avvertimento ai Gelosi; Angelina in conducting for world leaders, Supreme La Cenerentola; Zaida in Il Turco in Italia; Court Justices, politicians and dignitaries the Mother in Hansel and Gretel; and of many nations during official ceremony Ragonde in Le Comte Ory. and protocol events.

On the concert stage, Ms. Eskandani has In addition, Kerry has sung professionally performed in numerous works including with the United States Air Force Singing Bach’s Matthäus-Passion; Haydn’s Lord Sergeants and the critically acclaimed Nelson Mass; Handel’s Messiah; and Robert Shaw Festival Singers in many Duruflé’s Requiem. She has premiered of the most prestigious concert halls several works including The Oratorio throughout the United States and Canada. to End all Oratorios with the Vancouver Kerry is well known to Washington, DC Symphony Orchestra and the Royal audiences through his solo recitals and Winnipeg Ballet’s performance of regular guest appearances with choruses Handel’s Messiah. and orchestras including The Washington Chorus, the Handel Choir of Baltimore, Ms. Eskandani is a Midwest District the National Philharmonic Chorale and Finalist at the Metropolitan Opera National Orchestra, City Choir of Washington, Council Auditions and has worked as a Choralis, and the Oratorio Society of young artist with Merola Opera, Palm Virginia. Recent performances as featured Beach Opera, Opera Theatre of Saint soloist include Dvořák’s Stabat Mater Louis, Syracuse Opera, the Ash Lawn with the North Carolina Master Chorale, Opera Festival, and Banff Centre Opera. Vaughan Williams’ Dona Nobis Pacem She received her Bachelor of Music from with the Air Force Symphony Orchestra, the University of British Columbia and Vaughan Williams Five Mystical Songs her Master of Music from the Manhattan with the American University Choirs, School of Music. Messiah with the La Jolla (CA) Symphony, Rachmaninoff The Bells with Spokane Kerry Wilkerson, (WA) Symphony, Mozart’s Requiem baritone with City Choir of Washington, Duruflé’s Requiem with The Washington Chorus Kerry Wilkerson made his and Mendelssohn’s Elijah with Choralis. Carnegie Hall debut in The 2019/20 season includes appearances June 2017 to rave reviews with The Washington Chorus in Mozart’s as baritone soloist in the Requiem, the National Philharmonic in Vaughan Williams’ Sancta Einhorn’s Voices of Light, the INSeries as Civitas. His solo career has taken him King Herod in L’Enfance du Christ and the up and down the east coast performing featured soloist in the world premiere of renowned oratorios and exciting recitals. Kohelet, a new work by Washington, D.C. A resonant singer with unique evenness based composer, Henry Dehlinger, with in register, the Washington Post has the Santa Clara (CA) Chorale. described him as an ‘exuberant’ performer

NATIONAL PHILHARMONIC 33 ARTIST BIOGRAPHIES

Norman Shankle, tenor

(for Norman Shankle’s biography please see page 18.)

34 NATIONAL PHILHARMONIC PROGRAM NOTES

Missa Solemnis of religious music from the Renaissance, through the Baroque, and up to his time. Ludwig van Beethoven Prior to the Missa Solemnis, the only (baptized on December 17, 1770 in Bonn, work that had set the Ordinary of the Germany; died on March 26, 1827 in Mass in such a grand scale was Bach’s Vienna, Austria) equally monumental Mass in B minor. Today, both works stand side-by-side as Several years ago, while the conductor pinnacles of religious music in the West, Sir Roger Norrington was rehearsing for and more specifically, as the most complex an upcoming performance of Beethoven’s settings of the basic structure of the Missa Solemnis, a collaborator asked Catholic liturgy. The Ordinary of the Mass him whether it was “the greatest piece comprises five sections—Kyrie, Gloria, ever written.” Understandably, Norrington Credo, Sanctus, and Agnus Dei—which could not give a final answer (no one had been standardized since the Middle can) because such sweeping judgments Ages. The name “Ordinary” means that can never be applied to a work of art. It these five sections are present in any is easy enough to say what is the tallest celebration of the Catholic Mass, while building in the world, or the fastest car, or the other group of chants and texts (the the oldest living person. But a work of art “Proper”) varies according to the occasion, derives its greatness from a combination the saints’ feasts, and other calendar of objective and subjective elements, events in the liturgical year. Almost every the latter being in turn the result of major composer in the history of Western psychological, aesthetic, cultural, and music set the Ordinary of the Mass, either social factors. Our hyper-commercialized as the result of a direct commission or out age, prone to the commodification of of interest in the specific compositional not only objects, but also experiences, and aesthetic challenges that such an relishes a superlative. But to envelop a enterprise poses. Many of these settings, work such as Beethoven’s Missa Solemnis however, can no longer be performed with a single label, “the greatest,” actually as part of the Catholic liturgy due to impoverishes, rather than exalts it. It considerable practical issues: the length glosses over the complexities of the work, of some of the works, the great technical in favor of an easily assimilated concept difficulty of the vocal and instrumental that, ultimately, does not say anything. parts, and the aesthetic impact of the work, which may divert attention from the There are many things that can be purely religious nature of the occasion. objectively said about Beethoven’s Beethoven’s Missa Solemnis is obviously in Missa Solemnis. We know, for instance, this category. that Beethoven himself considered it to be his greatest achievement, an assessment The Missa Solemnis was composed that is obviously grounded on matters of with the intent of having it performed compositional technique and aesthetic during the ceremony where Rudolph, relevance which cannot be disputed. Archduke of Austria, was to be made The Missa Solemnis is a monumental, Archbishop of Olomouc in Moravia. The majestic, and transcendent work in which Archduke was a student of Beethoven Beethoven pulled all the stops in regard at the time, as well as one of his most to musical texture, thematic work, vocal dependable patrons. Beethoven had a and instrumental writing, and the sheer profound affection for the Archduke, and scale of the musical forms. In it, Beethoven dedicated a number of important works employed an enormous variety of old and to him in recognition of his patronage new styles, emulating the great tradition and friendship. We can imagine how

NATIONAL PHILHARMONIC 35 PROGRAM NOTES

honored and excited Beethoven must a bewildering variety of vocal and have been to embark in this project, instrumental techniques. The orchestral which was one of the few occasions in breadth of the Missa Solemnis can only his life when a direct connection can be be compared with that of the Symphony made between a specific event and the No. 9, which is also the only other work of composition of a work. Alas, the project Beethoven in which the vocal parts attain proceeded much slower than Beethoven the same level of virtuosity. had anticipated. Personal and health problems interfered with his creative Beethoven finally completed the Missa process, and the work itself began to Solemnis in 1823, and the work was metamorphose into something far more given its premiere on April 7, 1824 in complex and of a much larger scale than Saint Petersburg, Russia, in a concert the occasion required. The deadline for sponsored by Beethoven’s patron, the ceremony—March 9, 1820—came and Prince Nikolai Galitzin. Later that year, went, and Beethoven was still working on May 7, Beethoven himself conducted on the Missa Solemnis. As the deadline an incomplete performance in Vienna, passed and the pressure to complete the featuring only the Kyrie, Credo, and Agnus work eased off, Beethoven changed his Dei. Despite its importance and supreme approach to the composition. He literally stature in the canonical repertoire of took his time, and as he embarked on Western music, the Missa solemnis has other projects he continued to revise and never achieved the popularity of the refashion the Missa Solemnis in ways that Symphony No. 9 (which is performed were unprecedented in a work of this hundreds of times each year throughout type. To begin with, the vocal parts (both the world). The technical difficulties of for the chorus and for the soloists) are so the vocal and instrumental parts may be difficult at times that they seem to work part of the reason, but there are certainly against the voice. In addition to moments constraints of a religious and ideological of almost savage energy, in which the nature. With each performance, however, orchestra is unleashed with thunderous the work has another chance to bring to power in the Gloria, we find moments of the fore Beethoven’s own intentions as the most sublime introspection, such as he inscribed the copy that he presented, the delicate violin solo in the Benedictus. with his dedication, to Archduke Rudolf War-like music, infused with the sound of Austria and, by then, Archbishop of of the blaring trumpets in the Agnus Olomouc: “From the heart—may it return Dei gives way to complex fugal writing. to the heart!” The pure, diatonic sound of the Kyrie is contrasted with textures that explore @ James Melo

36 NATIONAL PHILHARMONIC TEXT AND TRANSLATIONS

Ludwig Van Beethoven’s Missa Solemnis Text

Kyrie

Kyrie eleison! Lord, have mercy upon us! Christe eleison! Christ have mercy upon us!

Gloria

Gloria in excelsis Deo, et in terra Glory be to God on high, and peace pax hominibus bonae voluntatis. on earth to men of good will.

Laudamus te, benedicimus te, We praise Thee, we bless Thee, adoramus te, glorificamus te. We adore Thee, we glorify Thee

Gratias agimus tibi propter magnam We give Thee thanks for Thy gloriam tuam. great glory.

Domine Deus, Rex cælestis! O Lord God! O heavenly King! Deus Pater omnipotens! O God, the Father Almighty! domine, Fili unigenite, Jesu Christe! O Lord Jesus Christ, the only- begotten Son!

Domine Deus! Agnus Dei! Filius Patris! O Lord God! Lamb of God! Son of the Father!

Qui tollis peccata mundi! miserere O Thou, who takest away the sins of nobis; suscipe depracationem nostram. the world! have mercy upon us; receive our prayer.

Qui sedes ad dexteram Patris, O Thou, who sittest at the right hand miserere nobis. of the Father! have mercy on us.

Quoniam tu solus sanctus, tu solus For Thou alone art holy, Thou alone Dominus, tu solus altissimus, Jesu art Lord, Thou alone art most high, Christe! cum Sancto Spiritu in gloria O Jesus Christ! together with the Dei Patris, Amen. Holy Ghost, in the glory of God the Father, Amen.

Credo

Credo in unum Deum, patrem I believe in one God, the Father omnipotentem, factorem cæli et Almighty, maker of heaven and terræ visibilium omnium et invisibilium. earth, of all things visible and invisible.

Credo in unum Dominum Jesum Christum, I believe in one Lord Jesus Christ,

NATIONAL PHILHARMONIC 37 TEXT AND TRANSLATIONS

Filium Dei unigenitum; et ex Patre the only-begotten Son of God; and natum ante omnia sæcula. born of the Father before all ages.

Deum de Deo, Lumen de Lumine: God of Gods, Light of Light,

Deum verum de Deo vero; true God of true God;

Genitum, non factum; consubstantialem begotten, not made; consubstantial Patri, per quem omnia facta sunt; to the Father, by Whom all things were made;

Qui propter nos homines, et propter Who for us men and for our nostram salutem, descendit de cælis, salvation, came down from heaven, et incarnatus est de Spiritu Sancto and became incarnate by the Holy Ghost ex maria Virgine, et homo factus est. of the Virgin Mary, and was made man.

Crucifixus etiam pro nobis; sub Pontio He was crucified also for us; suffered Pilato passus et sepultus est, under Pontius Pilate and was buried,

Et resurrexit tertia die, And the third day He arose again secundum Scripturas. according to the Scriptures.

Et ascendit in cælum, sedet ad And ascended into heaven, and sitteth at dexteram Patris. the right hand of the Father.

Et iterum venturus est cum gloria judicare And He is to come again, with glory, to vivos et mortuos; cujus regni non erit finis. judge both the living and the dead; of whose kingdom there shall be no end.

Credo in Spiritum Sanctum, I believe in the Holy Ghost, the Lord Dominum et vivificantem, and Giver of life, qui ex Patre Filioque procedit; qui Who proceedeth from the Father and the cum Patre et Filio simul adoratur et Son; Who, together with the Father and the conglorificatur; qui locutus est Son, is adored and glorified; Who spoke by per prophetas. the prophets.

Credo in unam sanctam Catholicam et I believe in one holy Catholic and Apostolicam Ecclesiam. Apostolic Church.

Confiteor unum Baptisma in remissionem I confess one baptism for the remission peccatorum. of sins.

Et expecto resurrectionem mortuorum, et And I expect the resurrection of the dead, vitam venturi sæculi. Amen. and the life of the world to come. Amen.

38 NATIONAL PHILHARMONIC TEXT AND TRANSLATIONS

Sanctus

Sanctus Dominus Deus Sabaoth. Holy is the Lord God Sabaoth.

Pleni sunt cæli et terra gloria tua. Heaven and earth are fully of Thy Glory.

Osanna in excelsis! Hosanna in the highest!

Benedictus qui venit in nomine Domini! Blessed is he who cometh in the name of the Lord!

Osanna in excelsis! Hosanna in the highest!

Agnus Dei

Agnus Dei, qui tollis peccata mundi, O Lamb of God, that takest away the miserere nobis, dona nobis pacem. sins of the world, have mercy upon us, grant us peace.

NATIONAL PHILHARMONIC 39 NATIONAL PHILHARMONIC ORCHESTRA

VIOLIN 1: Jennifer Rende BASS CLARINET: Laura Colgate, Tiffany Richardson Carolyn Alvarez-Agria Guest Concertmaster Derek Smith Hanbing Jia, Guest Elizabeth O’Hara Stahr BASSOONS: Concertmaster* Erich Hecksher*, Karen Johnson, CELLOS: Principal Guest Concertmaster Lori Barnet* Rebecca Watson Jody Gatwood, Barbara Brown April Chisholm-Studney CONTRABASSOON: Concertmaster Emeritus Nicholas Cohen Brenda Anna Jihea Choi Eva Cappelletti-Chao Kathryn Hufnagle FRENCH HORNS: Claudia Chudacoff Catherine Mikelson Michael Hall*, Doug Dube Sean Neidlinger Principal Lysiane Gravel-Lacombe* Todd Thiel* Justin Drew Laura Knutsen Fiona Thompson Evan Geiger Regino Madrid Kerry Van Laanen* Amy Horn Sara Matayoshi* Lauren Weaver Mark Wakefield* Matthew Richardson BASS: TRUMPETS: Jennifer Rickard Robert Kurz*, Chris Gekker*, Leslie Silverfine* Principal Principal Kei Sugiyama Shawn Alger Robert Birch*, Christian Tremblay Kelly Ali Robert and Margaret Olga Yanovich* Christopher Chlumsky Hazen Chair VIOLIN 2: Alec Hiller Neil Brown Linda Leanza*, Yoshi Horiguchi Carlton Rowe Principal Laura Ruas Mark Stephenson TROMBONES: Elise Blake David Sciannella*, Kay Budner* Brian Thacker Greg Watkins Principal Lisa Cridge James Armstrong Armine Graham* FLUTES: Jeffrey Cortazzo June Huang David Whiteside*, Patty Hurd Principal TUBA: Laura Knutson David LaVorgna Willie Clark Alexandra Mikhlin Nicolette Oppelt* TIMPANI & PERCUSSION: Laura Miller Tom Maloy*, Joanna Owen PICCOLO: David LaVorgna Principal Jennifer Shannon* Aubrey Adams Ning Ma Shi OBOES: Tony Asero Chaerim Smith Mark Hill*, Curt Duer Cathy Stewart* Principal Robert Jenkins VIOLAS: Katherine Ceasar-Spall * Nobue Matsuoka Julius Wirth, Fatma Daglar Gerald Novak Principal ENGLISH HORN: Bill Richards Judy Silverman* Fatma Daglar HARP: Associate Principal CLARINETS: Rebecca Smith Viola Emeritus Astrid Walschott-Stapp Catherine Amoury Cheryl Hill*, Phyllis Freeman Principal KEYBOARD: Jerome Gordon Carolyn Alvarez-Agria* Theodore Guerrant, Leonora Karasina* Suzanne Gekker Theodore M. Guerrant chair Jim Kelly + Personnel Manager Willian Neil Stephanie Knutsen Jeffrey Watson Mark Pfannschmidt* *=Core Orchestra The musicians employed in this production are members of and represented by Washington, D.C. Federation of Musicians, Local 161-710 of the American Federation of Musicians.

40 NATIONAL PHILHARMONIC NATIONAL PHILHARMONIC CHORALE

SOPRANO Sandra L. Daughton Eric Neff Rosalind Breslow Rachel DuChateau Tom Nessinger Cheryl L. Castner Deirdre Feehan Steve Nguyen Anne P. Claysmith Francesca Frey-Kim Andrew Sungwoo Park Nancy A. Coleman Mandy Fried Jason Saffell Sara Coleman Maria A. Friedman Dennis Vander Tuig Marilyn Singleton Dimas Julia Friend Lisa Edgley Elizabeth Bishop Gemoets BASS Meg Flanagan Sarah Gilchrist Ken Bogen Patrice Garnette Lois J. Goodstein Ronald Cappelletti Caitlin A. Garry ** Jacque Grenning Richard Chitty Stefanie Gray Glenda Grogan Stephen Cook Denise R. Harding Lynette Hamlin Michael Creeger Roma Hart Stacey A. Henning Bopper Deyton Kathleen Henry Martha Jacoby Hersman** Charles G. Edmonds Jessica Holden Jean Hochron Ronald P. Frezzo Jeanne Marie Kavinski Sara Michael Josey * J. William Gadzuk Rachel Lacoretz - HSF Marilyn Katz Robert Gerard Joanna Lam Irene M. Kirkpatrick Tom Hart Laurie Lane + Personnel Laurie Lee Filbert Hong Manager Jessica Lichtenfeld John Iobst Lydia Levy - HSF Melissa J. Lieberman * William W. Josey* Carolyn Rodda Lincoln ** Corinne Loertscher Gabriel Kengni, Jr. - HSF Laila Linden Eleanor Lynch Allan K. Kirkpatrick Anna Lipowitz Julie MacCartee Larry Maloney Amanda Liverpool-Cummins Karen G. Malley Benjamin Martinez - HSF Sharon Majchrzak-Hong Meg McCormick John Milberg Malina Markova Lee Mitchell Mason Molesky Anaelise Martinez Misato Miyamasu Kelly Nelson Natasha Maskaly Susan E. Murray Leif Neve Kathryn McKinley Sharon Neubauer Devin Osborne Allison Moses Martha Newman Dhruv Pai - HSF Sara W. Moses Sandra Opilla Alec Petkoff Cecilia Muñoz Patricia S. Pillsbury Carsten Portner - HSF Alexis Neff Ann E. Ramsey-Moor Joe Prendergast Katherine Nelson-Tracey * Sallie K. Roberts Anthony Radich Lisa Nevans Locke Lisa Rovin Harry Ransom, Jr. Mary Beth Nolan Laura Schlachtmeyer Edward Rejuney** Gloria Nutzhorn Deborah F. Silberman Frank Roys Juliana S. O’Neill Carol A. Stern Scott Simon Leila Rao Jennifer L. Taylor Jason Smoker Stephanie Reuer Virginia Van Brunt Angel Soriano Lara - HSF Lisa Romano Sarah Wagoner Moore ** Yale Sosin Amy Rosander Wendy J. Weinberg Logan Tarwater Theresa Roys Donald A. Trayer Shanti Satyapal TENOR Weeun Wang Katherine Schnorrenberg Kenneth Bailes Wayne Williams Marlene Skopec J.I. Canizares Paul Zoccola Carolyn J. Sullivan Colin Church Maggie Sullivan - HSF Gary R Correll ACCOMPANIST Cathlin Tully * Douglas Cowart Theodore M. Guerrant Ellen van Valkenburgh Robin Drake Gillian Vander Tuig Ruth W. Faison ** CHORALE ARTISTIC Susanne Villemarette Robert Ford DIRECTOR Cindy Williams Edward Grossman Stan Engebretson Don Jansky Tyler A. Loertscher ALTO *= Section Leader Helen R. Altman Jane Lyle Jeff McCasland **= Assistant Leader Pascale Brady HSF=High School Fellow Carol Bruno Michael McClellan Ellen L. Carleton Chantal McHale Carolyn Chuhta Duncan McHale Samantha Cox Wayne Meyer * Janet Crossen Joel C. Miller

NATIONAL PHILHARMONIC 41 NATIONAL PHILHARMONIC BOARD OF DIRECTORS

BOARD OF DIRECTORS Albert Lampert BOARD OFFICERS Nancy Abeles Chair Emeritus Harris Miller, Chair Paul Dudek Marie Lee Julie Pangelinan, Carol Evans Dr. Wayne Meyer Vice Chair & Treasurer Ruth Faison Thaddeus Mirecki Paul Dudek, Secretary Michele Farquhar Dr. Roscoe M. Moore, Jr. Joan Fidler Lisa Richardson Alison Fultz Elzbieta Vande Sande Dieneke Johnson Katya Vert-Wong

SUPPORTERS OF THE NATIONAL PHILHARMONIC

As of December 31, 2019 The National Philharmonic takes this opportunity to gratefully acknowledge the following businesses, foundations and individuals that have made the Philharmonic’s ambitious plans possible through their generous contributions. Maestro Circle $100,000+ Sustainer Circle $2,500 to $4,999 President Circle $20,000 to $99,999 Patron Circle $1000 to $2,499 Concertmaster Circle $10,000 to $19,999 Contributor $500 to $999 Principal Circle $7,500 to $9,999 Fellow $250 to $499 Benefactor Circle $5,000 to $7,499 Friend $125 to $249

ORGANIZATIONS Capital Bank The Dallas Morse Coors Foundation MAESTRO CIRCLE for the Performing Arts Arts and Humanities Council Dimick Foundation of Montgomery County Maryland State Arts Council PATRON CIRCLE American Council for Polish Culture PRESIDENT CIRCLE Community Foundation for Greater Washington The Morris and Gwendolyn Cafritz Foundation Executive’s Ball Montgomery County, MD Charles and Margaret Levin Family Foundation Potter Violins Metro Washington DC Federation of Musicians Nora Roberts Foundation CONCERTMASTER CIRCLE Walbro, Inc. Clark-Winchcole Foundation Paul M. Angell Family Foundation FELLOW National Endowment for the Arts Brobst Violin Shop Friends of Brookside Gardens BENEFACTOR CIRCLE Gailes Violin Shop, Inc. Ameriprise Financial Lashof Violins A. James & Alice B. Clark Foundation American String Teachers Association, Inc. Carl M. Freeman Foundation Music & Arts Center Kolar Charitable Foundation of BuckleySandler Violin House of Weaver The Kresge Foundation

SUSTAINER CIRCLE Jim and Carol Trawick Foundation, Inc. Open Society Institute Henry Luce Foundation Johnson & Johnson

42 NATIONAL PHILHARMONIC INDIVIDUALS Gloria & Steven Seelig Ms. Deborah Silberman* MAESTRO CIRCLE Mr. & Mrs. Carl Tretter Anonymous Ms. Katya Vert-Wong

PRESIDENT CIRCLE SUSTAINER CIRCLE Anonymous Anonymous Mr. Edward Brinker & Ms. Jane Liu Fred & Helen R. Altman* Dr. Stan Engebretson Mr. Gaspare V. Castellano Tisha & Piotr Gajewski Mr. Steven C. Decker & Ms. Deborah W. Davis Ed Grossman* & Rochelle Stanfield Ms. Corinne Dougherty Doug and Emily Jacobson Mr. & Mrs. David Fulton Jim Kelly & Mark Baird Mr. Devin M. Gajewski Mr. Thaddeus Mirecki, Ms. Michelle Gajewski in memory of Irene Mirecki Darren & Elizabeth* Gemoets Mrs. Patricia Haywood Moore & Dr. Joseph E. Gootenberg & Dr. Roscoe M. Moore, Jr. Dr. Susan Leibenhaut RADM & Mrs. Kenneth P. Moritsugu CONCERTMASTER CIRCLE David & Lottie Mosher Anonymous Mr. & Mrs. William E. Pairo Anne Claysmith* Mr. & Mrs. Jim Richardson Mr. & Mrs. Paul Dudek Michael & Janet Rowan Mr. & Mrs. Richard Fidler Mr. & Mrs. Peter Ryan Robert & Margaret Hazen Rick & Berit Silva Dr. & Mrs. Val G. Hemming Dr. Charles B. Toner & Dr. Cecile M. Toner Ms. Dieneke Johnson John & Heather Ketchpaw PATRON CIRCLE Ms. Kathleen Knepper Anonymous Mr. Stephen Langer & Ms. Allison Fultz Mr. Kenneth Bailes* Mr. & Mrs. Richard F. Larkin Mr. & Mrs. Roger Berliner Ms. Marie Lee Ms. Laurie Borman Harris Miller & Deborah Kahn Pascale Brady* Gloria Miner Music Fund Mr. Bill Catherwood & Ms. Jean Sperling Ms. Lori J. Sommerfield Mr. & Mrs. Colin B. Church* Mrs. Elzbieta Vande Sande, Ms. Susan Collinson in memory of George Vande Sande, Esq. Mr. & Mrs. Gary R. Correll* Ms. Theodora Vanderzalm, Mr. & Mrs. J.R. Crout in honor of Dieneke Johnson Mr. Eric de Waardt Ms. Carla Wheeler & Mr. Jeffrey P. Naimon Dr. Lawrence Deyton* & Dr. Jeff Levi Ms. Marietta Ethier PRINCIPAL CIRCLE Mr. Justin Fidler Anonymous Mr. & Mrs. Voytek Fizyta Mr. & Mrs. Todd R. Eskelsen Dr. Maria A. Friedman Dr. & Mrs. John V. Evans Allison Fultz Mrs. Joan M. Levenson Michelle Gajewski Dr. Robbie Gerard & Ms. Carol Goldberg BENEFACTOR CIRCLE Mr. & Mrs. John Hagner Anonymous Mr. Kenneth G. Hance Nancy Abeles Ms. Anna Helm Mrs. Ruth B. Berman Susan Helsel Ms. Sheila Cohen Dr. Stacey Henning* Mr. Robert Dollison, Ms. Martha Jacoby Hersman* in memory of Krystyna Dollison Jean* & Jim Hochron Lisa and Bob Edgley Mr. & Ms. Gerald Hoefler Ms. Michele Farquhar Carol Horn Mr. Bruce Gilchrist & Ms. Sarah Gilchrist* Ms. May Ing John & Julie Hamre Ms. Tanjam Jacobson Mr. & Mrs. David Hofstad Mr. & Mrs. Donald Jansky* Kenneth Hurwitz & Susan Weiss Dr. & Mrs. Andrew Kang Mr. & Mrs. Albert Lampert Mr. & Mrs. John R. Larue Mr. William A. Lascelle & Ms. Blanche Johnson Mr. Pardee Lowe, Jr. Ms. Florentina Mehta Ms. Jane Lyle* Dr. Oliver Moles, Jr. Mr. & Mrs. Kevin MacKenzie Mr. Thomas Nessinger* Dr. Gail E. Makinen Mr. & Mrs. Edward Portner, Jr. Mr. Larry Maloney* Mr. & Mrs. Matthew Riddle Dr. Elizabeth Marchut-Michalski

NATIONAL PHILHARMONIC 43 Mr. Winton E. Matthews, Jr. Mr. & Mrs. Richard O. Gilbert Ms. Claire Schwartz-Menyuk & Ms. Gail Goldstein Mr. Curtis Menyuk Dr. Renata Greenspan Dr. Wayne Meyer* Ms. Holly Hamilton Mr. & Mrs. Kent Mikkelsen Dr. & Mrs. John Helmsen Ms. Laura W. Miller Mr. & Mrs. William L. Hickman Dr. Robert Misbin Ms. Jessica Holden* Jane & Paul Molloy Mr. Neil Inglis Mr. Kevin Montgomery Ms. Ann R. Johnson Mr. & Mrs. Raymond Mountain William W. & Sara M. Josey* Susan* & Jim Murray Dr. Laura Kafka Mr. Thomas Murray Ms. Francesca Kim Ms. Katherine Nelson-Tracy* Mr. David E. Kleiner & Ms. Mary Bentley* Mr. & Mrs. Lloyd Neve Dr. Mark A. Knepper & Dr. Cathy D. Knepper Mr. Leif Neve* Mr. & Mrs. Joseph Kolar Dr. & Mrs. Goetz Oertel Mr. & Mrs. Willard D. Larkin Ms. Julie Pangelinan Mr. & Mrs. Michael Madden Paul & Robin Perito Mr. Chase Maggiano Evelyn & Pete Philipps Mr. & Mrs. James Malley Dr. Michael Sapko & Ms. Kari Wallace Mr. & Mrs. James Mason Ms. Jan Schiavone Sandra McLaskey Ms. Kathryn Senn Ms. Rachel Mumford Mr. Charles Z. Serpan* Mrs. Jeanne Noel Carol A. Stern* Mr. Carsten Oertel Ms. Peggy Tevis Dr. & Mrs. Joram Piatigorsky Mr. Alan Thomas Mr. & Mrs. Edward M. Portner Ms. Frances E. Thompson Mrs. Dorothy Prats P. Turkeltaub Mr. John Roberts Frances Usher Lois Romano Ms. Ellen van Valkenburgh* Mr. & Mrs. Charles Rothwell Mr. Hruaia Vanlal Dr. Hanna Siwiec & Mr. Spencer Meyer Ms. Sheralyn Watkins David Slobodien Mrs. Royce Watson Mr. Stanley Stoller Drs. Jack & Susan Yanovski Mr. Michael Sullivan & Ms. Angela Campbell Mr. & Mrs. Bernard J. Young Mr. Alan Thomas Mr. and Mrs. Gerald Vogel CONTRIBUTOR Ms. Jane Von Maltzahn Anonymous Ms. Krystyna Wasserman Ms. Marsha Nye Adler Mr. and Mrs. John F. Wing Ms. Ann E. Albertson Ms. Angela Wu Mr. & Mrs. Joel Alper Mr. David Zelinsky Mr. & Mrs. Benjamin Audet Ms. Rosalind T. Zuses Mr. Fred Bader Ms. Elisabeth Bahl FELLOW Mr. Steve Baldwin Anonymous Mr. Robert Barash Mr. Edco Bailey Lori Barnet Mr. Paul Bennett & Ms. Carol Herndon Drs. John E. & Shirley Bennett Mr. & Mrs. Brian Benoit Mr. & Mrs. Brian Benoit Mr. & Ms. Jeffrey Birnbaum Ms. Eileen Binns Mr. & Mrs. Jerome Breslow* Ms. Sara D. Brown Mr. & Mrs. Frederick Brown Dr. Ronald Cappelletti* Ms. Nancy P. Broyhill Ms. Nancy Chesser & Mr. J. Michael Rowe Ms. Maria G. Carmona & Mr. Arl Q. Fitzgerald Dr. & Mrs. Gordon M. Cragg Mr. Michael Casassa & Mrs. Joan Schmader Ms. Sandra Daughton* Mr. Richard Chitty* Ms. Ann Dean Dr. Mark Cinnamon & Ms. Doreen Kelly Ms. Emily Dieker Eleanor Collinson Ms. Margretta Diemer Ms. Janet S. Crossen* Ms. Yin-Ying Djuh Mr. Dean Culler Mr. John Eklund Mr. Joel Dorfman Ms. Ruth Faison* Mr. & Mrs. J. Steed Edwards Mr. Douglas Forrest Ms. Caroline Elton Ms. Julia Friend Ms. Michelle Fabian J. William* & Anita Gadzuk Dr. & Mrs. Mayo Friedlis Ms. Caitlin A. Garry* Ms. Lori Galletto Dr. Robert Gerard* & Ms. Carol Goldberg Ms. Narendra Ganti Mr. & Ms. Bruce Gibbs Mr. Brian Ganz

44 NATIONAL PHILHARMONIC Mr. & Mrs. William Garry, Ms. Victoria J. Perkins in honor of Caitlin Garry Mr. & Mrs. Robert B. Pirie Mr. Bernard Gelb Dr. and Mrs. Manuel Porres Mr. James Gray Mr. Kazimierz Pukownik Mr. & Mrs. Mitch Green Mr. James Reed Mr. Ulf Griesmann & Ms. Gillian Nave Ms. Maggie Rheinstein Mr. Plamen Gurov Mr. William Richards Mrs. Janice Hamer Ms. Sandra Trent Rothwell Ms. Shelly Hara Ms. Joanne Schmader Mrs. Denise R. Harding* Ms. Allison Shelby Mrs. Roma Hart* Ms. Lilian Silva Nancy Hauser Mr. Raymond Soukup Mrs. Rue B. Helsel Mr. Brian Thiel Mr. Kenneth L. Hill Mr. Scott Thompson & Ms. Rebecca Thompson Michi Hoban Mr. William Mark Thompson Lisa L. Helling Mr. & Mrs. Dennis Torchia Dr. & Mrs. J. Terrell Hoffeld Dr. Julia Tossell Mr. Victor S. Hogan & Mr. Ellen Tamagna Ms. Virginia W. Van Brunt* Mr. Nicholas Ialongo Mr. & Mrs. John F. Wing Mr. & Mrs. Douglas Jacobson Ms. Michelle Wong Barbara Jarzynski Mr. Michael Wu Beth and Andy Jewell Dr. David Yaney Ms. Carla H. Jones Terry Zerwick Mrs. Marilyn Katz* Ms. Sheila Kautt FRIEND Ms. Helen Kavanagh Anonymous Mr. & Mrs. David Keaton Mr. Daniel Abbott Mr. Mark Kindig Ms. Kathleen Abernathy Mrs. Elizabeth King Mr. Fritz Andersen Mr. & Mrs. Allan Kirkpatrick* Mr. David Balash Mr. Robert Klayman Mr. & Mrs. Stephen Baldwin Peter Kolker Ms. Nancy Balph The Kranzdorf Family Foundation Mike & Cecilia Ballentine Nicholas Lalongo Ms. Sharon Bauer Ms. Jennifer Letowt Mrs. Carol Besozzi Ms. Laura Letson Ms. Cheryl Beversdorf Mr. Richard H. Levin Ms. Mary Bliss Mr. & Mrs. Harry F. Lincoln Ms. Katherine Bowdring Ms. Carolyn Lincoln* Mr. Mark Brennan Dr. Marcia D. Litwack Dr. Rosalind Breslow Ms. Mary Lowcock Ms. Nancy Bridges Mr. & Mrs. Jerald C. Maddox James K. Queen & Katherine Budner Ms. Mary Malhiot Ms. Patricia Bulhack Mr. David E. Malloy and Mr. John P. Crockett Ms. Sunhee Carpio Ms. Jennifer Manner Ms. Cheryl Castner* Mr. Alphonsus J. Marcelis Ms. Reena Chakraborty David Mayger Ms. Irene Chi Ms. Partha Mazumdar Ms. Wendy Cimmet Mr. Jim McIntyre Dr. F. Lawrence Clare Kristi Merritt Ms. Nerissa Cook April Merryman Mr. Selden F. Cooper Ms. Laura Mielke Mr. William Copper Ms. Lori Minasian Ms. Elisabeth Courtner Mr. Robert Moore Mr. Alan T. Crane Ms. Judith Mroczka Ms. Karen Cyr Dr. Stamatios Mylonakis & Mr. & Mrs. William D’Antonio Ms. Maureen O’Connor Mr. Mathew Daniels Mr. William Newhouse Ms. Jennifer Darnell Dr. Ruth S. Newhouse Mary Davidson Ms. Sally Oesterling Mr. Kamer Davis Dr. Richard Z. Okreglak & Mr. & Mrs. William Davis Dr. Edwarda Buda-Okreglak Ms. Catherine Dehoney Ms. Clare O’Meara Ms. Suzanne Donovan Ms. Juliana O’Neill* Mr. & Mrs. Paul Dragoumis Ms. Sima Osdoby & Mr. Arthur Katz Mr. Andrzej Drozd Ward Parr Ms. Jennifer Dubesa Ms. Dolores Patrizio Ms. Joyce Dubow

NATIONAL PHILHARMONIC 45 Ms. Harriet L. Duleep David R. & Deborah S. Lambert Charitable Trust Ms. Carla V. Durney Ms. Luisa Lancetti Ms. Elaine Dynes Ms. Laurie Lane* Helen Edwards Mr. George Laudato Ms. Linda Edwards Mr. & Mrs. Allan Laufer Mr. Sherman Edwards & Ms. Melinda Salzman Samuel Lawrence Naomi Engle Mr. Douglas Leavens and Ms. Judith David Mrs. Nancy A. English BK Lee Ms. Dianne Epperson & Mr. Keith Roberts Mr. Michael J. Lee Ms. Nancy Fallgren Ms. Elisabeth Lejman-Jaworski, M.D. Dr. Ingrid Farreras John Lemmerman Ms. Dianne Favre Mr. Michael Leonesio Peter Flory Marc Levitan Maria Keehan Mr. Eliot Lieberman & Ms. Melissa Lieberman* Mr. Harold Freeman Ms. Carolyn Lincoln* Mr. & Mrs. Ronald Frezzo* Ms. Sarah Livingston Ms. Else H. Froberg Mr. Dean Lohmeyer Ms. Wendy Frosh Mr. Wlodek Lopaczynski Linda Fuller Mr. & Mrs. Peter Lovell Christopher Hanson Ms. Eleanor Lynch* Dr. John Galotto Ms. Renee Maccoon Ms. Livia N. Gatti Mrs. Dorothy MacPherson Ms. Katherine Gekker Ms. Anne Marie Malecha Dr. Daniela S. Gerhard Mr. & Mrs. Forbes Maner Mr. & Mrs. Michael Gold Mr. & Mrs. Warren Manison Ms. Barbara Gold Mr. Kenneth Manning Sandra & Jay Gordon Mr. Robert Martin Mr. William Gordon & Ms. Linda Currie Mrs. Nancy C. May Mr. & Mrs. Barry Gorman Mr. & Mrs. Robert McGuire Mr. Rolf Grafwallner Mr. & Mrs. Duncan McHale* Ms. Jacqueline Grenning* & Mr. John Mulcahy Ms. Pamela Melroy Dr. & Mrs. Richard F. Grimmett Arthur Menis Ms. Nancy Grissom Mr. & Mrs. Michael Merchlinsky Ms. Eileen M. Guenther Mr. & Mrs. James Mielke Mildred Hamer Ms. Donna Mikelson Mr. & Mrs. Jordan Harding Mr. & Mrs. Marvin Miller Ms. Holly Harrison Mr. & Mrs. Milton L. Miller Ms. Lisa W. Harter* Mr. & Mrs. Edward Mills Mr. Mark Hatzilambrou Ms. Jackye Milne Mrs. Jacqueline Havener Mr. & Dr. Misato Miyamasu* Ms. Lisa Helling Mrs. M. Elizabeth Moore & Mr. L. Wayne Porter Mr. Clifford Hendler & Ms. Deborah Neipris Dr. Herbert Morais Ian Hill Steven Moses Melane K. Hoffman Mr. Russell Munk Mr. Myron Hoffmann Ms. Stephanie Murphy Walter Houser Ms. Deborah Neipris Ms. Carla Holt Ms. Julianne Nelson Mr. Smiley Hsu Ms. Janet Nelson Mr. Richard H. Israel, Ph.D., P.A. Ms. Barbara Nelson Mr. Benjamin Ivins Ms. Martha Newman* Mr. & Mrs. Bill Iwig Ms. Melissa Newman Mr. & Mrs. Harold Jaffe Ms. Raquel Noriega Mr. Robert Jordan Mr. Charles A O'Conner & Mrs. Susan Plaeger Mr. & Mrs. Charles Kailber Mr. Lloyd Oliver Mr. & Mrs. Gerald Kaiz Ms. Paula Pappas Ms. Helen Kavanagh Mr. & Mrs. Edward Parr Ms. Kari Keaton* Ms. Sue Petito Maria Keehan Ms. Patricia Pillsbury* Dr. & Mrs. Meir Kende Mr. Luke Popovich Ms. Marianna Ketchpaw Mr. James Porter Mr. James Kleiler Mr. Mark Price, Mr. Ron Kline in memory of Dale Collinson Ms. Nancy Kopp Ms. Alyssa Prorok Mr. & Mrs. Steven Krasnow Judy L. Ransom Mrs. Dorothy Schlotthauer Krass Ms. Leila Rao* Mr. Warren La Heist Ms. Annette Rauh Mr. Sautsen Lam Mr. Daniel Razvi

46 NATIONAL PHILHARMONIC Mr. & Mrs. James M. Render Mrs. Carol Trawick Ms. Sallie K. Roberts* Mr. Chengbiao Tu Ms. Janet Rochlin Mr. Anand Vaishnav Dr. & Mrs. Theodore R. Rosche Mr. & Mrs. Harold J. Ms. Beryl Rothman Vander Molen Ms. Lisa Rovin* Mr. & Mrs. Dennis C. Mr. Peter Ryan Vander Tuig* Mr. Steven Sabol Mr. Edward Vernon David Sacks Mr. Michael Wajda Tamara Saltman Ms. Mary E. Walsh Mr. Mark Sandstrom Mr. Weeun Wang* Ms. Katherine Schnorrenberg* Ms. Alexandra Warhol Mr. Michael Schrader Sharon Weaver Ms. Virginia Schultz Ms. Kate Westra Mr. Werner Schumann Mr. Fred Wheeler, Mr. & Mrs. David Scott in memory of Leo Driehuys Ms Jennifer Shannon Mr. Roy White Ms. Katherine Sheinkman Ms. Elizabeth Whitman Mr. Michael Shrader Mr. Stephen Whitney Mr. & Mrs. Jay Silberg Mr. Rienhard Wieck Scott Simon Ms. Anna Wilczynski Mr. Alexander Stall Mr. Wayne R. Williams* The Stempler Family Foundation Mr. John Wilson Dr. Tom Stocker and Dr. Pat Stocker Dr. & Mrs. Kevin Woods Mr. & Mrs. John R. Stoner Mrs. Doris E. Wright Mr. Steven Stosny Mr. Hans Wyss Mr. Tom Stroup Mr. & Mrs. Brad Yoder Bonnie Temple Mr. Enrique Zaldivar Ms. Irma Tetzloff Mr. Thomas Zellers Ms. Elizabeth Thom Dr. Maria M. Tomaszewski *Chorale Member Edmund Tramont HERITAGE SOCIETY

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

NATIONAL PHILHARMONIC STAFF

Piotr Gajewski, Phyllis Freeman, Music Director & Conductor Director of Education Stan Engebretson, Lauren Weaver, Chorale Artistic Director Orchestra Librarian Jim Kelly, Laurie Lane, President & Orchestra Personnel Manager Choral Personnel Manager Tiffany Jordan, Quinton Braswell Director of Development Patron Services Manager Kyle Schick, Eileen Rappoport Operations and Production Manager Marketing & Communications Director Tiffany Richardson, Ann Morrison Institutional Relations Manager Major Gift Officer NATIONAL PHILHARMONIC 47 GENERAL INFORMATION

GENERAL INFORMATION CHILDREN 5301 Tuckerman Lane For ticketed events, all patrons are required North Bethesda, MD 20852-3385 to have a ticket regardless of age. Patrons are www.strathmore.org urged to use their best judgment when bringing Email: [email protected] children to a concert that is intended for adults. Ticket Office Phone:(301) 581-5100 There are some performances that are more Via Maryland Relay Services for MD residents appropriate for children than others. Some at 711 or out of state at 1(800) 735-2258 presenters do not allow children under the age of six years to non-family concerts. As always, TICKET OFFICE HOURS if any person makes a disruption during a Monday, Tuesday, Thursday, concert, it is appropriate that they step outside Friday 10 a.m. – 5 p.m. to accommodate the comfort and convenience Wednesday 10 a.m. – 9 p.m. of other concert attendees. Saturday 10 a.m. – 2 p.m. Sixty minutes prior to each performance in the PARKING FACILITIES Music Center through intermission. Concert parking is located in the Grosvenor- Strathmore Metro garage off Tuckerman Lane. GROUP SALES At the end of each ticketed event in the Music Shruthi Mukund Center at Strathmore, the exit gates to the Phone: 301-581-5199 garage will be open for 30 minutes to exit the [email protected] garage. If you leave before, or up to 90 minutes TICKET POLICIES after this 30-minute period, you must show your Tickets may only be exchanged for shows ticket stub to the stanchion video camera at the presented by Strathmore or its resident partner exit gate to exit at no cost. For all nonticketed organizations at the Music Center. Tickets events, Monday-Friday, parking in the garage is for National Philharmonic concerts can be $5.20 and may be paid using a Metro SmarTrip exchanged at any time for any concert, up to card or major credit card. Limited short-term four hours before the performance through the parking also is available at specially marked Strathmore Ticket Office (subject to availability). meters along Tuckerman Lane. To access the Music Center from the Grosvenor-Strathmore If a performance is cancelled or postponed a Metro garage, walk across the glass-enclosed full refund of the ticket price will be available sky bridge located on the fourth level. Valet through the Ticket Office for 30 days after the Parking is $15 per vehicle for all public Concert original scheduled performance date. Hall performances. Valet drop-off and pickup TICKET DONATION is located at the Circle Plaza entry to the Music If you are unable to use your tickets, they may Center at Strathmore at 5301 Tuckerman Lane. be returned for a tax-deductible donation prior PUBLIC TRANSPORTATION to the performance. Donations can be made Strathmore is located immediately adjacent to by mail, fax or in person by 5 p.m. the day of the Grosvenor-Strathmore Metro station on the the performance. Red Line and is served by several Metro and All tickets are prepaid and nonrefundable. Ride-On bus routes. See www.strathmore.org for detailed directions. WILL CALL Patrons must present the credit card used to DROP-OFF purchase tickets or a valid ID to obtain will There is a patron drop-off circle off Tuckerman call tickets. Lane that brings patrons to the Discovery Channel Grand Foyer via elevator. No parking is MISPLACED TICKETS allowed in the circle, cars must be moved to the If you have misplaced your tickets to any Metro garage after dropping off patrons. Both performance at Strathmore, please contact the main entrances have power-assisted doors. Ticket Office for replacements. GIFT CERTIFICATES Gift certificates may be purchased at the Ticket Office.

48 NATIONAL PHILHARMONIC