September/November | 2019-2020

HARTFORDTable SYMPHONY of Contents ORCHESTRA

HARTFORD SYMPHONY ORCHESTRA 166 Capitol Ave. Hartford, CT 06106 Phone: 860-246-8742 | Fax: 860-247-1720 Ticket Services: 860-244-2999 | Fax: 860-249-5430 www.hartfordsymphony.org Bright Lights Design, Cover Art

The programs of the Hartford Symphony Orchestra are funded in part by donors to the Greater Hartford Arts Council’s United Arts Campaign, the Hartford Foundation for Public Giving, and with support from the Department of Economic and Community Development, Connecticut Office of the Arts which also receives support from the National Endowment for the Arts, a federal agency.

HARTFORDAbout theSYMPHONY Symphony ORCHESTRA

he mission of the The Hartford Symphony Hartford Symphony Orchestra was founded in Orchestra is to enrich 1934 and formally established Tlives and community through as the Symphony Society of great music. Marking its Greater Hartford in 1936. 76th season in 2019-2020, the Angelo Coniglione, Jacques HSO is Connecticut’s premier Gordon, Leon Barzin, Moshe musical organization, the Paranov, and George Heck second largest orchestra in New were the Orchestra’s first England, and widely recognized music directors. With the as one of America’s leading appointment of Fritz Mahler regional orchestras. in 1953, the HSO began its HSO captivates and Young People’s Concerts and inspires audiences of all made several highly acclaimed ages by presenting more recordings for Vanguard. than 100 concerts annually, In 1964, Arthur Winograd including the Masterworks became music director and Series, POPS! Series, HSO: the Orchestra grew in artistic Intermix, Sunday Serenades, Discovery stature, performing at Carnegie Hall and other Concerts, Symphony in Schools, Musical New York locations to highly favorable Dialogues, the Talcott Mountain Music Festival reviews. Under the artistic leadership of at the Simsbury Meadows Performing Arts Michael Lankester from 1985–2000, the Center, and more. The HSO aims to deliver HSO received national recognition for its uniquely powerful and emotional experiences programming innovations, including the popular that lift and transform the spirit, and to give Classical Conversations and Family Matinees, back and help create vibrant communities in as well as a series of landmark theatrical the Greater Hartford area. productions. From 2001–2011, Edward The Hartford Symphony Orchestra named Cumming led the HSO to new levels of artistic Carolyn Kuan as its tenth music director excellence and innovative programming. in January 2011; she is the first woman and Each season, the HSO plays to audiences youngest person to hold this title. Since numbering approximately 75,000 statewide. The beginning her tenure in 2011, she has led the Hartford Symphony Orchestra’s extensive array HSO to new artistic heights with community- of Education and Community Activities serves minded concerts and innovative programming. more than 15,000 individuals in Hartford and In 2015, Kuan signed a new, six-year contract, surrounding communities annually. extending her commitment to the orchestra until May, 2022.

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ecognized as a conductor death, and rebirth as symbolized of extraordinary versatility, by the ancient Greek icon of Carolyn Kuan has a serpent eating its own tail. Renjoyed successful associations Working with composer Scott with top tier orchestras, opera Wheeler, she directed Naga, one companies, ballet companies, of the three operas commissioned and festivals worldwide. Her for the trilogy. For her debut commitment to contemporary with the Santa Fe Opera, she music has defined her approach conducted the premiere of Huang to programming and established Ro’s Dr. Sun Yet-Sen with director her as an international resource James Robinson, and a mixed for new music and world premieres. cast of east and west singers and Appointed Music Director of the instrumentalists, which garnered Hartford Symphony Orchestra great critical acclaim. Her debut in 2011, she has signed a six- with the Washington National year contract extending their Opera at the Kennedy Center creative collaboration through was a production of Daniel May 2022. Catan’s Florencia en el Amazonas, Highlights of Ms. Kuan’s directed by Francesca Zambello. 2018/2019 season included debuts with the Singapore During Ms. Kuan’s long tenure with the Cabrillo Symphony; Santa Barbara Symphony, featuring Festival of Contemporary Music, some of her John Corigliano’s Red Violin; and the Portland finest successes bridged the gap between cultural Opera, conducting a production of Rossini’s and social issues, as in her work raising awareness La Cenerentola; as well as engagements with two of conservation and the environment through her of the top conservatory orchestras in the U.S., the performances around the globe of the multimedia Cleveland Institute of Music Orchestra, and Yale project Life: A Journey Through Time. Developed by Philharmonia. She ended her season with a world the Cabrillo Festival of Contemporary Music and premiere of Iain Bell’s Stonewall with the New music director Marin Alsop, the project featured York City Opera at Jazz at Lincoln Center’s Rose music by Philip Glass and images by famed National Theater. Upcoming engagements in her 2019/2020 Geographic photographer Frans Lanting. season include the world premiere of Augusta Read Carolyn Kuan’s previous positions include Thomas’s Sweet Potato Kicks the Sun with the Santa Associate Conductor of the Seattle Symphony Fe Opera; her debut with the Arkansas Symphony Orchestra; Artist-in-Residence at the New York Orchestra; and a return engagement with the City Ballet; and Assistant Conductor for the Baltimore Symphony Orchestra. Baltimore Opera Company. In her 2012 debut Ms. Kuan’s North American engagements have album for the Naxos label, Ms. Kuan conducted included performances with the symphonies of the New Zealand Symphony Orchestra in various Baltimore, Detroit, Milwaukee, Omaha, San works by Chinese composers. Francisco, Seattle, and Toronto; the Florida and Recipient of numerous awards, Ms. Kuan holds the Louisville orchestras; the New York City Ballet; distinction of being the first woman to be awarded the Colorado Music Festival and Glimmerglass the Herbert von Karajan Conducting Fellowship by Festival; the New York City Opera, Santa Fe the Herbert von Karajan Centrum and American Opera, and Washington National Opera. Recent Austrian Foundation in 2003, resulting in her international engagements have included concerts residency at the 2004 Salzburg Festival. Winner of with the Bournemouth Symphony, Hong Kong the first Taki Concordia Fellowship, she has received Philharmonic, National Symphony of Taiwan, additional awards from the Women’s Philharmonic, Orchestre de la Suisse Romande, Residentie Orkest, Conductors Guild, and Susan W. Rose Fund for Orquesta Sinfonica de Yucatan, Royal Danish Music. Ms. Kuan graduated cum laude from Smith Ballet, and the West Australian Symphony. College, received a Master of Music degree from the Other career highlights include a project University of Illinois, and a Performance Diploma sponsored by Beth Morrison Projects called from the Peabody Conservatory. Ouroboros Trilogy, a three-part exploration of life, www.carolynkuan.com HARTFORDAssistant SYMPHONY Conductor ORCHESTRA

dynamic and versatile Recent guest engagements conductor, A d a m include concerts with the Tucson K erry Boy les is a Symphony Orchestra, Ocean City Anotable figure in the musical Pops Orchestra, Charlottesville life of New England. Boyles is Symphony Orchestra, and honors currently Director of Orchestras orchestras in Massachusetts, at the Massachusetts Institute Nevada, Tennessee, Oregon, of Technology, and Assistant and Rhode Island. Boyles was a Conductor of the Hartford guest clinician with Manhattan Symphony Orchestra. In the Concert Productions for the past 2019/2020 season, he will be three seasons. Visiting Assistant Professor/ An accomplished vocalist, Co-Director of Orchestras at Boyles performed in numerous the University of Kansas City- operas with the Indiana Missouri Conservatory of University Opera Theater, and Music. Previous Music Director in Arizona Opera’s first complete positions include six seasons presentation of Wagner’s Der with the Brookline Symphony Ring des Nibelungen. He has Orchestra, three seasons with sung with many professional the Southern Arizona Symphony Orchestra, five choral ensembles across the country such as seasons with Opera in the Ozarks, and five seasons Conspirare, True Concord, Apollo’s Voice, Mon with MetroWest Opera. Boyles served on the Choeur, Cantique, and the Tucson Chamber Artists. faculty at The University of Texas at Austin and In 2010, Boyles was featured as a guest soloist with The University of Arizona. the Tanglewood Festival Chorus. With the Hartford Symphony Orchestra, Boyles Boyles received his Doctor of Music in Orchestral conducts a wide variety of Masterworks, Pops, Conducting degree from The University of Texas Talcott Mountain Music Festival, and Educational at Austin, his Master of Music in Orchestral concerts. He conducted the entirety of the Conducting degree from The University of Arizona, orchestra’s 2018 summer season, including a concert and his Bachelor of Music in Vocal Performance in collaboration with Doc Severinsen. degree from Indiana University.

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MUSIC DIRECTOR Carolyn Kuan Endowed by the Beatrice Fox Auerbach Foundation at the Hartford Foundation for Public Giving

ASSISTANT CONDUCTOR Adam Boyles

FIRST VIOLIN VIOLA OBOE TIMPANI Leonid Sigal, Michael Wheeler, Heather Taylor, Eugene Bozzi, concertmaster principal principal principal In memory of Patricia Daly Vance Stephen Wade, Sponsored by Carlotta & Paul Rosenblum, Ann Drinan assistant principal Bob Garthwait, Jr. HSO Concertmaster, Sponsored by by Karl & Muriel The Verney Family ENGLISH HORN PERCUSSION Fleischmann, Gretchen Frazier Marilyn Krentzman Robert McEwan, Gabriel Halevi James Gustafson principal Lisa Rautenberg, Bethany Hargreaves CLARINET Martin J. Elster associate concertmaster Aekyung Kim Curt Blood, Linda Beers Martha Knieriem principal HARP Perry Elliot Charlotte Malin Eddie Sundra, Susan Knapp Thomas, Jung Eun Kang Arthur Masi assistant principal principal Romina Kostare Georgina Rossi Nuri Lim Sponsored by Chloe & BASS CLARINET PIANO Allyson Michal Wes Horton Margreet Francis Millie Piekos BASSOON Sponsored by Jerry & Mickey Reisman CELLO Yeh-Chi Wang, Barbara Hess Cyrus Stevens Jeffrey Krieger, principal Deborah Tyler principal STAGE MANAGER Katalin Viragh Peter Zay CONTRABASSOON Jeremy Philbin, I.A.T.S.E. Carole Olefsky Rebecca Noreen SECOND VIOLIN Laura Kane *On Leave for the 2019-20 Season Jaroslaw Lis, Fran Bard HORN +Indicates one-year appointment assistant principal Cara Cheung Barbara Hill, for the 2019-20 Season Martha Kayser Jennifer Combs principal Lu Sun Friedman Tom Hudson John Michael Adair, After the first two desks of violins Simon Bilyk assistant principal and cellos, and the first desk of Gary Capozziello BASS Sponsored by Bernard violas and basses, the remaining string musicians participate in Karin Fagerburg Edward R. Rozie, Jr., & Gale Kosto rotational seating and are listed Diane Frederickson principal Hilary Ledebuhr in alphabetical order. Krzysztof Gadawski The Claire & Millard Nick Rubenstein Yuri Kharenko-Golduber Pryor Orchestra Joshua Michal The musicians of the Hartford Virginia Kramer Committee Chair Symphony Orchestra are Candace M. Lammers Sponsored by Brook & TRUMPET members of the American Alicia Rattin Charlotte Jason Scott McIntosh, Federation of Musicians of the Yue Sun Robert Groff, principal United States and Canada. assistant principal John Charles Thomas, James Carroll assistant principal Tony Connaway Jerry Bryant Joseph Messina Julianne Russell TROMBONE Stagehands Local 84 Mark Zechel Brian L. Diehl, The Stagehands of the Hartford principal Symphony Orchestra are FLUTE members of the International Alliance of Theatrical Stage Emma Resmini, BASS TROMBONE Employees (I.A.T.S.E.). principal Aaron Albert Barbara A. Hopkins, assistant principal TUBA Stephen B. Perry, PICCOLO principal 8 Jeanne Wilson HARTFORDAdministrative SYMPHONY ORCHESTRA Staff

Stephen Collins, Executive Director

ARTISTIC OPERATIONS EXECUTIVE Dr. Colette Hall, Artistic Operations Manager Julie Jarvis, Assistant Manager, Doug Donato, Assistant Manager, Production Executive and Board Relations Jaroslaw Lis, Personnel Manager Scott Switzer, Librarian FINANCE Steve West, Senior Accountant DEVELOPMENT Ruth Sovronsky, Director of Development MARKETING Ted Bruttomesso, Jr., Capital Amanda Savio, Marketing and Campaign Manager Public Relations Manager Jennifer Galante, Annual Fund and Ashley Overton, Marketing and Special Events Manager Digital Media Coordinator Joyce Hodgson, Corporate and Foundation Relations Manager TICKET SERVICES Emily Holowczak, Development Assistant Jennifer Berman, Ticket Services Representative EDUCATION & COMMUNITY Charles Feierabend, Ticket ENGAGEMENT Services Representative

9 HARTFORDBoard SYMPHONY of Directors ORCHESTRA

Jeffery Verney Rosemary A. Gaidos CONDUCTOR Chairman Bob Garthwait, Jr. LAUREATE Angela D. Griffin Arthur Winograd Mathew P. Jasinski, Esq. Mark Hayes Vice Chair Gerald L. Hess PAST BOARD Diane W. Whitney Kenneth A. Jacobson, Esq. PRESIDENTS/CHAIR Vice Chair Mathew P. Jasinski, Esq. 1937–41 Francis Goodwin II Brook R. Jason 1941–51 Willard B. Rogers Mark Hayes Harvey Kelly 1951–53 John E. Ellsworth Chair–Development Rebecca K.C. Loree 1951–55 Henry P. Bakewell Gerald L. Hess Pamela Lucas 1955–56 Albert E. Holland Chair–Finance Matthew H. Lynch 1956–58 Edward N. Allen Robert Murray 1958–60 Charles A. Spoerl Bernard Clark, M.D. Esther A. Pryor 1960–62 Francis Goodwin II Chair–Governance Stephen F. Roche 1962–64 Charles B. Milliken John H. Beers, Esq. David M. Roth 1964–65 Henry S. Beers Chair–Administration & Andrew L. Salner, M.D. 1965–68 Charles E. Lord Human Resources; Secretary Edwin S. Shirley 1968–71 Gordon N. Farquhar Karen J. Sprout 1971–73 Paul A. Benke Matthew H. Lynch Jeffery R. Verney 1973–75 Christopher Larsen Chair–Investment Diane W. Whitney 1975–78 Henry S. Robinson, Jr. Edwin Shirley Mary Woods 1978–79 Harold C. Kraus 1978–81 Robert J. von Dohlen Audit & Diversity, Equity DIRECTORS and Inclusion 1981–83 John C. Parish EMERITUS 1983–85 Robert J. Birnbaum Pamela Lucas Coleman H. Casey, Esq. 1985–87 Coleman H. Casey Chair–Education and Hermine J. Drezner 1987–89 Morton E. Handel Community Engagement Muriel Fleischmann 1989–91 Arthur L. Handman Robinson A. Grover* 1991–93 Peter S. Burgess Suzanne Bourdeaux Pierre Guertin 1993–94 Arthur L. Handman Chair–Marketing Morton E. Handel 1994–96 Dwight Johnson Rebecca K.C. Loree John K. Jepson, Esq. 1996–99 Margery S. Steinberg Chair–Music Builds Dwight A. Johnson, Esq. 1999–02 Millard H. Pryor Community Campaign Christopher Larsen 2002–04 Thomas R. Charles B. Milliken, Esq. Wildman, Esq. Bruce Barth, Esq. Mrs. Millard H. Pryor, Jr. 2004–07 David M. Roth Robert C. Bausmith James S. Remis 2007–09 Kenneth A. John H. Beers, Esq. Mary Sargent Jacobson, Esq. Suzanne Bourdeaux Margery Steinberg 2009–10 Pierre H. Guertin D. Weston Boyd Stephen J. Raffay* 2010–11 David M. Roth Alfred R. Casella H. Alex Vance, Jr. 2011–15 James S. Remis Bernard Clark, M.D. Robert J. von Dohlen Abraham L. Davis Thomas R. Wildman, Esq. Luis Federico Diez-Morales, M.D. *deceased

Board list through 8/31/19. 10 Letter from the Chairman and

HARTFORDExecutive SYMPHONY Director ORCHESTRA

ear friends, Welcome to the Hartford DSymphony Orchestra’s 76th season! This season’s theme is “Ode to Joy,” and sharing the transcendent joy of music with you, our HSO family, is what we love to do best. Before we say farewell to the warmer months, we want to thank the many thousands of you who came out to the Talcott Mountain Music Festival this summer. We are thrilled to announce that it was a record- breaking year for the festival — and before you know it, we will be packing our picnic baskets and heading out to Simsbury Meadows again! We also wanted to give you an update on our Music Builds Community Campaign, our $10 million effort to expand the Hartford Symphony’s innovative music programs and educational opportunities, and build its endowment. As of today, we have raised more than $8.4 million, thanks to our incredible donors. If you want to find out more information about this campaign, and how you can get involved, please visit hsombc.org. If you attended the Friday evening performance of our final Masterworks concert last season, Mahler 5, you probably noticed the CT Public film crew that was capturing the concert from all angles of the Belding Theater. In addition to filming the concert itself, the CT Public team conducted interviews with HSO Music Director Carolyn Kuan, HSO musicians, production staff, and audience members, and we think you’re going to love the resulting four videos that provide a unique and fun look at the HSO. Keep an eye on our website and social media platforms this fall! Also coming this fall is our 2019 Annual Message, a comprehensive look back at the 2018–2019 season, including a financial update, and a review of all of our activities, from concerts to education programs to fundraising and more — including our hugely successful Sparkle gala. A link to this year’s report will be available on hartfordsymphony.org at the end of October. And now, please sit back, relax, and enjoy the joyful music of the Hartford Symphony Orchestra — we are so happy you’re here!

Jeff Verney Chairman, Hartford Symphony Orchestra Board of Directors

Steve Collins Executive Director, Hartford Symphony Orchestra

11 HARTFORDSpecial SYMPHONY Event ORCHESTRA

HARTFORD SYMPHONY ORCHESTRA Carolyn Kuan, music director MUSIC FOR GRAND ORGAN AND ORCHESTRA The Opening Concert of the 2019 Albert Schweitzer Organ Festival Hartford Friday, September 27, 2019 / 8:00 p.m. Sunday, September 29, 2019 / 3:00 p.m. Trinity College Chapel

CAROLYN KUAN, conductor CHRISTOPHER HOULIHAN, organ JOHN NOWACKI, narrator

CHARLES-MARIE WIDOR Symphony No. 6 for Organ and Orchestra, Op. 42 bis (1844-1937) I. Allegro maestoso Christopher Houlihan, organ

JOHANN SEBASTIAN BACH Toccata, Adagio and Fugue in C Major, BWV 564 (1685-1750) Christopher Houlihan, organ

GENE SCHEER Albert Schweitzer Portrait (b. 1958) John Nowacki, narrator

FELIX MENDELSSOHN Symphony No. 5 in D Major, Op. 107 (1809-1847) IV. Chorale: Andante con moto – Allegro vivace

-INTERMISSION-

JOSEPH JONGEN Symphonie Concertante for Organ and Orchestra, Op. 81 (1873-1953) I. Allegro, molto moderato (In modo dorian) II. Divertimento: Molto vivo III. Molto lento: Lento misterioso IV. Toccata (Moto perpetuo): Allegro moderato Christopher Houlihan, organ

The post of Music Director is endowed by The Beatrice Fox Auerbach Foundation. Cameras and recording equipment are not permitted during the performance. As a courtesy to the performers and other audience members, please turn off watch alarms and cell phones. The Hartford Symphony Orchestra receives major support from the Greater Hartford Arts Council, the Hartford Foundation for Public Giving, and with support from the Department of Economic and Community Development, Connecticut Office of the Arts which also receives support from the National Endowment for the Arts, a federal agency. HARTFORDAbout SYMPHONY the Artists ORCHESTRA

he organist Christopher CHRISTOPHER recordings include Christopher Houlihan has established HOULIHAN, Houlihan plays Bach (Azica), an international reputation organist recorded at Trinity College in Tas an “intelligently virtuoso Hartford, Connecticut. The CD musician” (Gramophone), hailed was praised by The Whole Note as for his “glowing, miraculously “playful, celebratory and sparkling life-affirming performances” (Los with color” and by the American Angeles Times). Record Guide, which stated, Houlihan has performed “there’s no denying Houlihan’s at Disney Concert Hall with extraordinary achievement.” principal brass of the Los Angeles Christopher Houlihan was Philharmonic; the Kimmel Center appointed the John Rose College in Philadelphia; Davies Symphony Organist-and-Directorship Hall in San Francisco; and at the Distinguished Chair of Chapel Kennedy Center in Washington, Music at Trinity College in 2017. D.C. The Los Angeles Times raved More information may be found about his Disney Hall debut, at ChristopherHoulihan.com. proclaiming, “Houlihan is the next big organ talent.” He has ew England Public Radio’s been featured as organ soloist with JOHN NOWACKI, John Nowacki has been the Hartford Symphony (2008), narrator on-air for over 35 years. Columbus (GA) Symphony, and NOriginally from the Midwest, the Boston Chamber Orchestra. John’s interest in classical music This season Houlihan presents began while he was a high school recitals in venues throughout the student, having discovered organ United States and appears as soloist music recordings by E. Power Biggs in performances of Joseph Jongen’s and singing in the high school’s Symphonie Concertante with the choirs. His radio career began in Hartford Symphony as well as with 1982 at WILL-FM in Champaign- the Saint Ann Festival Orchestra, Urbana, Illinois, where he started Washington, D.C., conducted by as a board operator for local Jeffrey Silberschlag. programming, then became a Houlihan’s breakout “Vierne classical music host. He worked 2012” tour attracted international for stations in Illinois, Wisconsin, attention and critical acclaim and Indiana before making the for his performances of Louis move to the Northeast in 1990. Vierne’s six organ symphonies in six major North After a short hiatus, he became New England American cities. The Los Angeles Times called Public Radio’s Morning Classical host in March, his performance there “a major surprise of the 2014. John lives in Hartford, Connecticut with summer, a true revelation.” He has performed at his husband Don and Myles the cat. He sings as a numerous conventions of the American Guild of bass/baritone in the choir of St. John’s Episcopal Organists and the Organ Historical Society. He Church, West Hartford. He also enjoys reading was a featured recitalist at the 2018 AGO national good science fiction, and biographies of 16th- and convention in Kansas City, and presented six all- 17th-century historical figures. Bach lecture recitals for the 2018 Bay Chamber Concerts Summer Series in Camden, Maine. His

13 HARTFORDNotes on SYMPHONY the Program ORCHESTRA

CHARLES-MARIE WIDOR Widor’s Organ Symphony No. 6 is an ecstatic and (Born February 21, 1844, in Lyon, France; comprehensive expression of love and reverence died March 12, 1937, in Paris) for the organ, asking the organist to do just about everything humanly possible to demonstrate its Symphony for Organ power, its extraordinary range of color, and its and Orchestra (No. 6), Opus 42 bis enormous expressive and dynamic range. It was 1. Allegro maestoso thus only natural that, when Widor was asked in 1880 by the Prince of Wales to write a grand work for organ and orchestra for the Royal Albert Hall When Albert Schweitzer (1875-1965), in London, he simply took this organ symphony theologian, organist, physician and humanitarian, (together with one movement from an earlier work) was detained as an enemy alien at Saint-Rémy and expanded it to create the Symphony for Organ during the First World War, he was left for a and Orchestra, Opus 42 bis. considerable period without access to a keyboard, For the work’s first movement, heard in this unable to play the music that might have performance, Widor changed very little in the helped sustain him through that difficult time. organ writing; the organ solo in the new work is Schweitzer tells us how he survived: He spent almost identical with its earlier incarnation. There’s hours memorizing music in his head, “playing” a reason for this: it is a superb conception, an one extremely difficult work in particular over innovative and deeply-affecting movement rivaled and over, so that once he was released he might only by the famous Toccata for popularity among be able to execute it flawlessly. The work:Organ Widor’s works. Formally, its tripartite structure Symphony No. 6 in G minor by his teacher, Charles- signals traditional Sonata-Allegro form, yet it plays Marie Widor. out to the ear more as a Theme and Variations. This poignant snapshot offers a brief glimpse The theme, instantly memorable, resembles a dark, into the deep, multi-layered friendship between insistent chorale in thickly-voiced block chords. these two men. Widor, the elder by about thirty It’s followed by a cascading passage that could be years, was for many years Schweitzer’s teacher. Yet considered a “second theme,” but which functions Widor himself tells us how often master wound up mostly to lead us back to another iteration of the as student; how regularly and how naturally these chorale. As the movement plays out, the composer roles were reversed as two kindred spirits found finds endless ways to weave his chorale theme in each other in their shared love and reverence for and out of the musical texture, playfully throwing it Bach, for balance, for beauty, and, most of all, to the organ pedals, then to the left hand, speeding for the organ. Widor was taken by his student’s it up and slowing it down, using snippets of it as unusual insight and compassion; Schweitzer countermelody or as passage work. Through it all, was touched by his teacher’s innate generosity. Widor maintains a firm grasp on structure, making He would later write: “Many a time, if [Widor] us wait just long enough for the inevitable moment got the sense that my purse was rather slender, he when the chorale returns ever more triumphantly, would take me after our lesson to his favorite haunt giving us the double sonic thrill that Berlioz and invite me to eat my fill.” The two men would called “the Emperor and the Pope” — the full ultimately collaborate on a new edition of Bach’s organ matched by the lush orchestral voices the complete works for organ solo; for generations, composer’s score demands. it was the leading authority for organists seeking a deeper understanding of Bach’s enormously complex music and how to play it.

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JOHANN SEBASTIAN BACH For Widor, this was a game-changing insight. (Born March 21, 1685 in Eisenach, Germany; Near quotes him: “I could now see that these died July 28, 1750 in Leipzig) small pieces really were less models of correct counterpoint than poems of an elegance and Toccata, Adagio, and Fugue emotional intensity without parallel.” in C Major, BWV 564 Schweitzer’s goal, over time, was to present Bach anew to the world not just as a musical genius, but as a mystic. He saw Bach less as the dutiful cantor Widor called Bach “the father of us all.” For writing German music for the Lutheran church Schweitzer, too, Bach was the one essential. than as a comprehensive composer synthesizing Widor loved telling the story of Schweitzer’s first French, Italian, and German styles to craft organ lesson, at which the 18-year-old sat down something we might call “universal” in its scope at the organ and announced, “I’d like to play and comprehension. something for you.” Widor asked, “Sure. Play The Bach of Schweitzer’s synthesis is fully what?” Schweitzer responded, “Bach, of course.” on display in the Toccata, Adagio and Fugue in It was in their shared exploration of Bach that C Major, BWV 564. The work is as Italian as Widor wound up, to his surprise and delight, it is German, as worldly as it is introspective, learning from his unusually gifted and insightful as infectious as it is reflective, as virtuosic as it student an elusive interpretative secret Widor had is simple. Bach wrote it when he was fully in sought for years. Musicologist John Near tells Vivaldi’s thrall: the beat is driving and insistent, the story in his study Widor: A Life Beyond the the melodies are clear and memorable, and the Toccata. Widor had for years admired Bach’s chorale harmonies are simple; much like Vivaldi’s, Bach’s preludes as “models of pure counterpoint.” Yet tunes follow sweet, swaying, predictable patterns. he had been perplexed by Bach’s musical choices, And the performer has a chance to show off, just some of which he found mercurial, odd, quixotic, as the violinist, flutist, lutenist, or trumpeter might mystifying. Why would Bach suddenly shift from in any of Vivaldi’s myriad, enchanting concerti. In one texture to another, seemingly without adequate fact, showing off may have been a primary catalyst preparation? Why would Bach, in short, violate his for the work’s inception, for Bach composed this own rules so regularly? early in his career, when he needed showpieces One day, according to Near, Widor threw to demonstrate his — and the organ’s — ability the question to Schweitzer as they examined a to dazzle. This is, of course, far from the Bach of particularly abstruse prelude. And Schweitzer myth, the dour Lutheran who turned out music to responded. Bach, as Schweitzer articulated it, was satisfy the clergy, following the rules unsmilingly. a musical “painter.” While we hear counterpoint And that was precisely Schweitzer’s point. and know that rules underlie Bach’s writing, those rules tell only part of the story. Bach painted colors and textures with a palette inspired by the chorales themselves. Each chorale, as Schweitzer saw it, sprang originally from a thought, an idea, a prayer. Bach’s choices were inspired by these thoughts, these prayers, and in his musical responses his choices as “painter” were pre-eminent. For Bach, as Schweitzer saw it, the thought or prayer that lay behind a chorale ultimately took precedence over accepted compositional “rules.”

15 HARTFORDNotes on SYMPHONY the Program ORCHESTRA

GENE SCHEER FELIX MENDELSSOHN (born April 2, 1958, New York) (Born February 3, 1809 in Hamburg, Germany; died November 4, 1847 in Leipzig) Albert Schweitzer Portrait Symphony No. 5 in D Major, Sandwiched among the music on this program, Opus 107 (“Reformation”) all linked so closely to Albert Schweitzer, is a much IV. Chorale: Andante con moto — more recent work even more explicitly evocative Allegro vivace of Schweitzer’s life and work. The selections by Widor, Bach, and Mendelssohn echo Schweitzer’s Much as Schweitzer worked to correct what musical passions. Gene Scheer’s Albert Schweitzer he saw as misunderstandings of Bach, the man Portrait, for orchestra and narrator, goes in another and composer, he sought to do the same for Felix direction entirely, focusing instead on Schweitzer’s Mendelssohn. For Schweitzer, Mendelssohn was humanitarian efforts and his personal philosophy, not primarily the creator of drawing-room pieces grounded, as Schweitzer articulated it, in a guiding for the domestic market, the cozy composer of sweet “reverence for life.” and safe melodies. For Schweitzer, Mendelssohn Schweitzer had frustrated Widor for a time by was, more than anything else, a mystic and a lover leaving behind their collaborative Bach project of Bach. And that’s all Schweitzer needed to feel in order to build a hospital in French Equatorial close kinship with yet another musical “father.” Africa. Widor knew his friend well enough to Schweitzer included Mendelssohn’s organ works in understand that this call to service was as essential his concert programs and recordings. His favorites? to Schweitzer as his call to music. “What can you Those based on chorales, of course: Schweitzer do,” Widor said at the time, “when a man says saw in Mendelssohn the same devotional impulse to you ‘God calls me?’” Scheer’s Portrait serves as and the same ability to “paint” that he’d discerned something of a musical travelogue as it takes us up in Bach, fused with similar contrapuntal fluency. the Ogooué River in Gabon, to a time and place in Schweitzer enjoyed telling the story of the Schweitzer’s life in which he discerned his growing young Mendelssohn who, at age nine, found belief in the spirit of compassion that he felt was errors in Bach’s counterpoint, including the common to all humans, in the call to reverence for transgressions known as “parallel fifths and life in all its forms, in our ultimate and essential octaves.” Mendelssohn’s teacher, Carl Zelter, was human connectedness. stunned. Within just a few years, Mendelssohn Schweitzer is so well known to us as musician, would begin producing regular motets in the theologian, and humanitarian that it’s easy to forget “ancient style,” alongside multi-movement sacred that he was also a medical doctor. In 1913, he cantatas based on chorale melodies. founded a hospital in Lambaréné, in the region And, of course, when he was just beyond now called Gabon. A special focus of the hospital his teens, Mendelssohn assembled choral and was its care for patients shunned for having highly orchestral forces for a grand public performance infectious diseases such as leprosy. He served as of Bach’s transcendent Passion According to Saint its director for the rest of his life, and in 1952 he Matthew. The performance was a triumph and little was awarded the Nobel Peace Prize in recognition short of an inaugural moment in the “rediscovery” of his achievement. Wonderfully and fittingly, of Bach. Widor would go on to do the same in Gene Scheer’s Albert Schweitzer Portrait was France several decades later, leading his Concordia commissioned by the Albert Schweitzer Fellowship Chorale in a comprehensive Bach revival for and the Longwood Symphony Orchestra, and was audiences who (hard as it is for us to understand) given its first performance in 2009 by the LSO, knew virtually nothing of Bach’s life or music. a Boston-based ensemble composed primarily of healthcare professionals. 16 HARTFORDNotes on SYMPHONY the Program ORCHESTRA

While preparing to perform Bach’s Passion, it never happened, and the work finally got its U.S. Mendelssohn worked on a commission for a premiere at Carnegie Hall ten years later. Those in symphony commemorating the 300th anniversary attendance were treated to program notes written of the moment that had, essentially, introduced by the composer himself, wherein Jongen wrote that Protestantism to the world. How else to go his goal in writing the Symphonie Concertante was to about such a project than to ground the work in find “the best possible union of organ and orchestra.” a mighty Lutheran chorale? And one, moreover And that is precisely what he found indeed, in that Bach had set so memorably? The chorale this stirring, tuneful, engaging, powerful work that Ein feste Burg ist unser Gott (sung in English as organist Christopher Houlihan considers “the best “A Mighty Fortress is our God”) is still among the 20th-century work of its kind.” In each of the work’s best-known and frequently-sung hymns, across four movements, orchestra and organ trade roles all denominational lines. In his “Reformation” as soloists, and organ “strings” share duties with Symphony, Mendelssohn waits until the last orchestral strings in providing a lush backdrop for movement to introduce the melody, at first in the the work’s constant stream of melodies. timorous voice of the solo flute. It’s not long before The first movement opens, surprisingly, with a each set of orchestral voices joins in, with increasing fugue and also surprisingly, in the ancient Dorian enthusiasm, as Mendelssohn builds inexorably mode. Jongen’s historicism is short-lived, however, toward the tune’s climactic final statement, rung as the fugal passage leads in short order to the out in powerful octaves by the full orchestra. movement’s jaunty main theme. The piquant harmonies and gently insistent pulse place us JOSEPH JONGEN firmly in the 1920s. A divertimento follows (Born December 14, 1873, Liège, Belgium; that is somehow simultaneously devotional and died July 12, 1953, Sart, Jalhay, Belgium) coquettish, paying homage to the organ’s traditional liturgical role and setting while juxtaposing its Symphonie Concertante, Opus 81 ecclesial overtones with playfulness and hints of I. Allegro molto, moderato (In modo dorian) the dance. A slow third movement follows that II. Divertimento: Molto vivo Jongen called “the expressive climax of the work.” III. Molto lento: Lento misterioso One hears strong echoes of Richard Strauss in this movement. As a young man Jongen had IV. Toccata (Moto perpetuo): Allegro moderato met Strauss, playing a few sketches for him and inviting the composer’s commentary. Jongen told Widor’s Symphony for Organ and Orchestra his brother afterward that Strauss’s comments had (heard at the beginning of this program) received been revelatory, “like shafts of light — it was as its American premiere in 1919 before an audience if a heavy curtain had been lifted from before my of about 12,000. John Wanamaker’s palatial eyes.” The work concludes with a justly-famous department store in Philadephia (designed as a finale, a brilliant toccata in the French tradition of destination shopping experience, and now owned organist-composers Dubois, Gigout, and Widor, by Macy’s) accommodated not only this enormous as taxing as it is thrilling, that brings the work to crowd, but the entire Philadelphia Orchestra, led its sweeping, cinematic, ecstatic close. in those days by Leopold Stokowski. In 1926, Wanamaker commissioned Joseph Jongen to write a work for similar forces, expecting a similarly Program notes by Alan Murchie spectacular premiere on the store’s gigantic 455- rank, 28,500-pipe organ. For a variety of reasons,

17 Trinity College, Chapel Music,

HARTFORDand SYMPHONYIts Organs ORCHESTRA

xtraordinary Chapel music is a tradition organ faculty, students have numerous solo and as old as Trinity College itself, which was collaborative performance opportunities in the founded in 1823. In fact, Trinity’s oldest Chapel, including accompanying The Chapel Estudent organization, The Chapel Singers, was Singers in their offerings on campus as well as on founded to sing for Chapel services at the college’s occasional national and international tours. first campus in downtown Hartford, where the The Chapel’s current organ was given in Connecticut State Capitol is now situated. The memory of Newton Brainard (1880–1964), a college moved to its current location in 1878; trustee of Trinity College for over forty years and construction of the Chapel began in 1930. For a mayor of Hartford. The instrument was built in more than 85 years, the Trinity College Chapel 1971 by the Austin Organ Company of Hartford, has been a landmark venue for music making in a nationally known firm which also built the concerts and services that enrich the life of the 1929 pipe organ in The Bushnell’s William H. college and the Greater Hartford community. The Chapel’s first pipe organ was built by Mortensen Hall. Clarence Watters, who worked the Aeolian-Skinner Organ Company, formerly with Austin to design the instrument, described of Boston, and was located in the now empty it as a “neo-classic” organ that employs the chamber at the northwest corner of the building. best principles of the past three centuries of With this instrument and the appointment of organ building. With more than 4,400 pipes Clarence Watters (college organist from 1932– that range in size from that of a pencil to a 1969) the college’s reputation as a center of organ small tree, the organ can match the power study and performance was firmly established. and variety of an orchestra, evoking the colors This distinction has continued in Watters’ of many instruments as well as those sounds successors, especially John Rose, (from 1977 unique to an organ. The organ’s casework was until his retirement in 2017), and current college designed by Charles Nazarian, Trinity College organist, Christopher Houlihan ’09. In 2016, a ’73 and inspired by classical French organ cases. bequest from the estate of Marjorie Van Eenam Detailed organ specifications are available at Butcher, professor of mathematics, emeritus, bit.ly/TrinityChapelOrgan. endowed this position in Rose’s honor as the The Chapel itself, designed by the firm of John Rose College Organist-and-Directorship Frohman, Robb & Little (also architects of Distinguished Chair of Chapel Music. Washington National Cathedral), is a Hartford Trinity’s unique history and ongoing landmark and a building of national significance commitment to Chapel music positions it as one because of its pre-eminence among neo- of the few colleges in the country where students Gothic structures in America. The Chapel was may study organ music within the context of a consecrated in 1932 by the Episcopal Bishop world-class liberal arts education. In addition of Connecticut. to their lessons with Trinity’s distinguished More information may be found at www.trincoll.edu/chapelmusic

18 About The Albert Schweitzer

OrganHARTFORD Festival SYMPHONY Hartford ORCHESTRA

amed for humanitarian and organist Albert Schweitzer, and now in its twenty-third year, the Albert Schweitzer Organ Festival Hartford features an annual international competition for young organ students, with the winners receiving significant monetary awards to further their Nmusic education. The dual purpose of the Festival is to encourage young organists and to enhance the area of organ education, both to support young people studying the organ and to increase general appreciation of organ music of the past and present. Competitors benefit from expert evaluations by recognized judges, compete for monetary awards for their work, advance their resumes, and develop close and lasting bonds with their peers. The Albert Schweitzer Organ Festival in the Netherlands, founded in 1979 by the Albert Schweitzer Institute, enabled many young European organists to become leaders in their field. This U.S. version of the Festival, established in 1996, energizes organ musicianship in North America and offers a unique opportunity to music lovers in the region and beyond to enjoy this annual opportunity to hear emerging artists perform outstanding organ music on the highly-regarded Austin organ in Trinity College Chapel. Board of Directors Staff Robert Bausmith, President Vaughn Mauren, Artistic Director Phillip Truckenbrod, Vice President Ann Drinan, Grants Writer Claire Burnett, Secretary Sarah Hager Johnston, Marketing Director Richard Kubica, Treasurer Curtis Farr, Webmaster James Barry Stewart Battle, JD Contact information Alan Bruce, PhD www.asofhartford.org Chelsea Chen, AD [email protected] Leslie Desmangles, PhD Phone: 860-578-8730 John Gorton Join the conversation on Facebook Christopher Houlihan and Twitter (@asofhartford) Ezequiel Menendez, DMus Kari Miller, DMus Competition Venue: John Rose Trinity College Chapel Albert Tomasso 300 Summit Street Hartford, CT 06106 Honorary Board Marilyn Austin Mailing Address: Dana Spicer 19 Walden Street West Hartford, CT 06107

19 From The Artistic Director of The Albert Schweitzer

OrganHARTFORD Festival SYMPHONY Hartford ORCHESTRA

elcome to the opening concert of the 23rd annual Albert Schweitzer Organ Festival Hartford! Co-founded in 1996 by David Spicer (1946-2017), a brilliant organist with a passion for mentoring musicians of all ages, ASOF Hartford features annual competitions in organ performanceW and hymn playing with divisions for young professionals and high school students in alternating years. It has grown to become one of the top organ competitions in North America and has attracted applicants from South America, Europe and Asia to compete right here in Hartford, on one of the best pipe organs in the region, the Austin Organ at Trinity College Chapel.

The 2019 festival features our Young Professional Division competition, held biennially in odd years. This year we will award $28,500 in prize money, the largest single-year sum in Festival history. These prizes are truly artistic grants, easing the burden of student loans and living expenses, while providing our laureates the means to pursue additional musical opportunities. I invite you to attend this weekend’s competition, held on Saturday in Trinity College Chapel beginning at 10:00 a.m. The finalists’ performances are free and open to the public, and you are welcome to attend any or all of the competition recitals and associated events. A complete Festival schedule is shown on the next page and at www.asofhartford.org.

Outreach is also an important component of the Festival. This year we are thrilled to present this pair of concerts with the Hartford Symphony Orchestra and Carolyn Kuan, Music Director. We are especially proud to feature Christopher Houlihan, an acclaimed concert organist and member of the faculty at Trinity College in Hartford who is also a member of the Festival’s Board of Directors and a local leader in the arts.

On behalf of our dedicated Board of Directors and staff, I would like to express my gratitude to the many institutions, patrons, and foundations who have made it possible to create a world-class organ festival right here in Connecticut. Please visit our website www.asofhartford.org, follow us on Facebook and Twitter, and join our newsletter to learn about this year’s competition and finalists, get details on future events, and discover how you may support the Festival.

Vaughn Mauren, Artistic Director Albert Schweitzer Organ Festival Hartford

The Albert Schweitzer Organ Festival Hartford is made possible by the generosity of our funders, including:

Presenting Sponsor ($25,000) Community Sponsors ($1,000 - $4,999) The Marjorie Jolidon Fund at the Greater Austin Organs Hartford Chapter AGO State of Connecticut Office of the Arts, which receives funding from the National Supporting Sponsors ($5,000 - $24,999) Endowment for the Arts, a federal agency Hartford HealthCare Greater Hartford Arts Council Richard P. Garmany Fund at the Hartford William and Alice Mortensen Foundation Foundation for Public Giving New York City AGO Centennial Greater Hartford Chapter of the American Millennium Fund Guild of Organists Edward C. & Alice T. Roberts Foundation Maximillian E. & Marion O. Hoffman Foundation Albert Schweitzer Institute at Quinnipiac University Trinity College Phillip Truckenbrod Concert Artists The 23rd Annual Albert Schweitzer

HARTFORDOrgan Festival SYMPHONY Hartford ORCHESTRA

Now in its 23rd season, the Albert Schweitzer Organ Festival Hartford brings some of the world’s best young organists to Hartford to perform — and compete — on the renowned 4,429-pipe Austin organ at Trinity College Chapel. All events are held at Trinity College Chapel, 300 Summit Street, Hartford. Events on Saturday, September 28 are free and open to the public. Friday, September 27, 2019 8:00 p.m. Music for Grand Organ and Orchestra – The Opening Concert of the 2019 Albert Schweitzer Organ Festival Hartford. A concert featuring the Hartford Symphony Orchestra, Carolyn Kuan conducting, and Christopher Houlihan, Trinity College Organist. Join Music Director Carolyn Kuan, Christopher Houlihan, and Schweitzer expert Lisa Wong, M.D. in the Admissions Building for a 30 minute pre-concert talk at 7:00 p.m. Saturday, September 28, 2019 10:00 a.m. – 2:00 p.m. The Young Professional Competition – Each of three finalists performs a 45 minute recital with repertoire of their choosing. The competition will be judged by renowned organists Diane Meredith Belcher, Thomas Murray, and John Rose. Listeners may choose to attend any or all of the recitals. Elena Baquerizo opens the competition at 10:00am, followed by Alexander Pattavina at 11:00 a.m. and Joseph Russell at 12:45p.m. 4:30 p.m. – 5:00 p.m. Winner’s Recital – The First Prize recipient presents an encore performance of selected repertoire. 5:00 p.m. – 6:00 p.m. Choral Evensong – This ancient service of sung evening prayer is open to all. Come and hear the organ as liturgical art form, blending with our Festival Choir to present great choral music from the English cathedral tradition. The Chapel Singers of Trinity College join with the choirs of St. James’s Episcopal Church, and St. John’s Episcopal Church (both in West Hartford) under the direction of Vaughn Mauren and Scott Lamlein, choirmasters. The service will be accompanied by the Rev. Benjamin Straley, former Organist of Washington National Cathedral. 6:00 p.m. Hymn Playing Competition – Our three finalists compete once more, this time for the $2,500 David Spicer Hymn Playing Award, demonstrating their ability to inspire and lead several hundred people in song. This is an especially fun event with lots of audience participation! Sunday, September 29, 2019 3:00 p.m. Music for Grand Organ and Orchestra – An encore presentation of the Opening Concert, featuring the Hartford Symphony Orchestra, Carolyn Kuan conducting, and Christopher Houlihan, Trinity College Organist. J Join Music Director Carolyn Kuan, Christopher Houlihan, and Schweitzer expert Lisa Wong, M.D. in the Admissions Building for a 30 minute pre-concert talk at 2:00 p.m.

21 HARTFORDMasterworks SYMPHONY SeriesORCHESTRA

HARTFORD SYMPHONY ORCHESTRA Carolyn Kuan, music director RHAPSODY IN BLUE Friday, October 11, 2019 / 8:00 p.m. Saturday, October 12, 2019 / 8:00 p.m. Sunday, October 13, 2019 / 3:00 p.m. Belding Theater, The Bushnell Center for the Performing Arts

CAROLYN KUAN, conductor KEVIN COLE, piano

LEONARD BERNSTEIN Candide Overture (1918-1990)

GEORGE GERSHWIN Rhapsody in Blue (1898-1937) Kevin Cole, piano

GEORGE GERSHWIN “I Got Rhythm” Variations (1898-1937) Kevin Cole, piano

-INTERMISSION-

AARON COPLAND Symphony No. 3 (1900-1990) I. Molto moderato; with simple expression II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato – Allegro risoluto

The 2019-20 Masterworks Series is presented by

22 HARTFORDAbout SYMPHONY the Artists ORCHESTRA

evin Cole is an award- Orchestra (Australia) Vietnam KEVIN COLE, winning pianist, vocalist, National Symphony Orchestra; piano musical director, arranger, New Zealand Symphony and Kcomposer, and archivist who many others. Kevin was featured garnered the praises of Irving soloist for the PBS special, Berlin, Harold Arlen, E.Y. Gershwin at One Symphony Place Harburg, Hugh Martin, Burton with the Nashville Symphony. He Lane, Stephen Sondheim, wrote, directed, and co-produced Marvin Hamlisch and members a multimedia concert for the of the Jerome Kern and Gershwin Gershwins called Here to Stay-The families. Engagements for Cole Gershwin Experience as well as include sold-out performances You’re the Top-Cole Porter’s 125th with the Los Angeles Philharmonic Birthday Celebration and I Love to at the Hollywood Bowl; BBC Rhyme–An Ira Gershwin Tribute Concert Orchestra at Royal Albert which premiered with Chicago Hall; National Symphony at the Symphony at Ravinia Festival. He Kennedy Center; San Francisco currently has the official Marvin Symphony, Chicago Symphony, Philadelphia Hamlisch symphonic tribute concert, Play it Again Orchestra, Minnesota Orchestra, Pittsburgh Marvin! which debuted with the Pittsburgh and Symphony, Philharmonia Orchestra (London); Chicago Symphonies and continues to tour. Kevin Hong Kong Philharmonic; Adelaide Symphony made his Carnegie Hall debut in May 2013.

23 HARTFORDNotes on SYMPHONY the Program ORCHESTRA

World Premiere: January 26, 1957 else’s, and was allowed to remain silent, though Most Recent HSO Performance: she was blacklisted for a time by Hollywood. She February 16, 2014 vented her rage in an anti-establishment adaptation Instrumentation: 2 flutes, piccolo, 2 oboes, 2 of The Lark by Jean Anouilh, based on the story clarinets, E-flat clarinet, bass clarinet, 2 bassoons, of Joan of Arc, for which the young composer contrabassoon, 4 horns, 2 trumpets, 3 trombones, and conductor Leonard Bernstein supplied the tuba, timpani, bass drum, cymbals, snare drum, incidental music. Hellman’s next artistic reaction to tenor drum, triangle, glockenspiel, xylophone, harp, her political harassment was a theatrical rendering and strings: violin I, violin II, viola, cello, and bass of Voltaire’s Candide. Duration: 5' Lillian Hellman conceived a contemporary stage version of Candide as early as 1950, but it was not until 1956 that the project materialized. She LEONARD BERNSTEIN originally intended the piece to be a play with (born August 25, 1918 incidental music, which she asked Bernstein to in Lawrence, Massachusetts; compose, but his enthusiasm for the subject was died October 14, 1990 in New York City) so great after re-reading Voltaire’s novel that the venture swelled into a full-blown comic operetta; Overture to Candide (1956) Tyrone Guthrie was enlisted as director and Richard Wilbur wrote most of the song lyrics François Marie Arouet de Voltaire (1694-1778) (after that task had passed through several other was the leading figure of the French Enlightenment hands). Candide was first seen in a pre-Broadway and one of the 18th century’s most vitriolic tryout at Boston’s Colonial Theatre on October 29, intellectual iconoclasts. He railed throughout his 1956 (just days after Bernstein’s appointment as long career against absolutism and persecution and co-music director of the New York Philharmonic dogmatism, extolling rationalism and skepticism as had been announced for the following season), the proper foundations for human society. Among and opened at the Martin Beck Theatre in New the best-known of his vast number of writings York on December 1st. Reviews in both cities were is the “philosophical novel” Candide of 1759, a mixed. All agreed that the production, designed swift and pointed satirical finger in the eye of by Oliver Smith, was opulent and attractive, but unthinking convention that flattens the notion that the show itself was disjointed and clumsy. that “this” (whenever and wherever “this” is) is (“Three of the most talented people our Theatre “the best of all possible worlds.” One such less- possesses — Lillian Hellman, Leonard Bernstein than-best world was created in the United States and Tyrone Guthrie — have joined hands in the early 1950s by Senator Joseph McCarthy, transforming Voltaire’s Candide into a really whose ideological witch-hunt targeted some of spectacular disaster,” wrote Walter Kerr in the New the country’s most creative and independent York Herald Tribune.) Bernstein’s music, however, personalities. Among those who became ensnared received nothing but praise, which Guthrie neatly in McCarthy’s machinations was the writer Lillian summarized in his autobiography: “Bernstein’s Hellman, who had visited Russia in the 1930s facility and virtuosity are so dazzling that you are and been involved with Communist activities almost blinded ... if ever I have seen it, the stuff of during the following decade. In 1951, her lover, genius is here.” Though the show closed after just the mystery writer Dashiell Hammett, was called 73 performances, Godard Lieberson of Columbia before the congressional committee, refused to Records produced a splendid original cast album answer its questions, and was sentenced to prison. that won for Candide, or at least for Bernstein’s Hellman was subpoenaed, wrote to the committee score, an inextinguishable following. that she would testify about her politics but no one

24 HARTFORDNotes on SYMPHONY the Program ORCHESTRA

An occasional brave production was mounted World Premiere: February 12, 1924 during the following years, but it was not until Most Recent HSO Performance: May 12, 2013 director Harold Prince took the piece in hand in Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 1973, stripped it of Hellman’s proselytizing text bass clarinet, 2 bassoons, 3 horns, 3 trumpets, 3 and gave it a riotous new book by Hugh Wheeler trombones, tuba, timpani, snare drum, suspended based more faithfully on Voltaire’s novel (and with additional lyrics by Stephen Sondheim) that cymbal, glockenspiel, triangle, bass drum, tamtam, Candide at last became a popular success, though and strings: violin I, violin II, viola, cello, and bass at the expense of the loss or reshuffling of some Duration: 16' of Bernstein’s music as well as the submerging of the dramatic structure and ethical core of the GEORGE GERSHWIN original work. In 1982, the brilliant and eclectic (born September 26, 1898 in Brooklyn; conductor John Mauceri, a Bernstein protégé, died July 11, 1937 in Hollywood) revised Candide for performance at the New Orchestrated by Ferde Grofé York City Opera, restoring several cuts, enlarging (born March 27, 1892 in New York City; the orchestration and reworking Wheeler’s book died April 3, 1972 in Santa Monica, California) into the conventional two acts. For a Scottish Opera production in 1988, Mauceri prepared Rhapsody in Blue for Piano and with John Wells yet another version of Candide, Orchestra (1924) which included virtually all of the music that Bernstein had written for the show over the years and reassigned numbers to their original For George White’s Scandals of 1922, the intended characters and situations. Bernstein used 24-year-old George Gershwin provided something this Scottish Opera version, with a few additional a little bit different — an opera, a brief, somber revisions and restorations, for his London concert one-acter called Blue Monday (later retitled th performances and his Deutsche Grammophon 135 Street) incorporating some jazz elements recording in 1989, just a year before his death. that White cut after only one performance on Candide, like its title character, had made a long the grounds that it was too gloomy. Blue Monday, journey before reaching its settled state. however, impressed the show’s conductor, Paul The Overture to Candide was taken almost Whiteman, then gaining a national reputation as immediately into the concert hall— Bernstein the self-styled “King of Jazz” for his adventurous conducted it with the New York Philharmonic only explorations of the new popular music styles with six weeks after the play opened on Broadway — and his Palais Royal Orchestra. A year later, Whiteman it has remained one of the most popular curtain- told Gershwin about his plans for a special program raisers in the orchestral repertory. Its music, largely the following February in which he hoped to drawn from the show, captures perfectly the wit, show some of the ways traditional concert music brilliance and slapstick tumult of Voltaire’s novel. could be enriched by jazz, and suggested that the The group of first themes (the work is disposed, young composer provide a piece for piano and like many of Rossini’s overtures, in sonatina form) jazz orchestra. Gershwin, who was then busy with comprises a boisterous fanfare, a quicksilver galop, the final preparations for the upcoming Boston and a brass proclamation, used later in the show tryout of Sweet Little Devil and somewhat unsure to accompany the destruction of Westphalia, the about barging into the world of classical music, hero’s home. Lyrical contrast is provided by a did not pay much attention to the request until broad melody from the duet of Candide and his he read in The New York Times on New Year’s beloved Cunegonde, Oh, Happy We. These musical Day that he was writing a new “symphony” for events are recounted, and the Overture ends with Whiteman’s program. After a few frantic phone a whirling strain from Cunegonde’s spectacular calls, Whiteman finally convinced Gershwin to coloratura aria, Glitter and Be Gay.

25 HARTFORDNotes on SYMPHONY the Program ORCHESTRA undertake the project, a work for piano solo (to be one of the great nights in American music. With played by the composer) and Whiteman’s 22-piece this concert, billed as an “Experiment in Modern orchestra — and then told him that it had to be Music,” Whiteman wanted to demonstrate both finished in less than a month. George thought that the historical development of jazz as a particularly he could complete the short score in time, but, American phenomenon and the manner in which since he was unfamiliar with the techniques of the jazz style might be utilized in modern concert writing for instrumental ensemble, he asked that compositions. The program included piano solos Whiteman’s arranger, Ferde Grofé (whose greatest by Zez Confrey (notably his deathless Kitten on fame came as composer of the 1931 Grand Canyon the Keys), arrangements for the full orchestra of Suite), do the orchestration. such pop tunes as Alexander’s Ragtime Band and Themes and ideas for the new piece immediately Limehouse Blues, examples of various jazz treatments began to tumble through Gershwin’s head, but it of well-known songs, a Suite of Serenades by Victor seems that the vision of the work’s finished form Herbert, and, as the center piece for the evening, did not appear until he was on a train to Boston Gershwin’s Rhapsody in Blue. Many of the era’s for the tryouts of Sweet Little Devil: “It was on most illustrious musicians attended: Mischa Elman, the train, with its steely rhythms, its rattlety- Fritz Kreisler, Jascha Heifetz, Moriz Rosenthal, bang that is often so stimulating to a composer.... Sergei Rachmaninoff, Walter Damrosch, Leopold I frequently hear music in the very heart of Stokowski, Willem Mengelberg. Critics from far noise. And there I suddenly heard — and even and near assembled to pass judgment; the glitterati saw on paper — the complete construction of of society and culture graced the event. Gershwin the Rhapsody, from beginning to end. No new fought down his apprehension over his joint debuts themes came to me, but I worked on the thematic as serious composer and concert pianist, and he material already in my mind and tried to conceive and his music had a brilliant success. “A new talent the composition as a whole. I heard it as a sort of finding its voice,” wrote Olin Downes, music critic musical kaleidoscope of America — of our vast for The New York Times. Downes’ predecessor at melting pot, of our unduplicated national pep, the Times, Carl Van Vechten, wrote to Gershwin, of our blues, our metropolitan madness. By the “You crowned the concert with what I am forced to time I reached Boston, I had a definiteplot for the regard as the foremost serious effort by an American piece, as distinguished from its actual substance.” composer.” Conductor Walter Damrosch told Late in January, only three weeks after it was Gershwin that he had “made a lady out of jazz,” begun, Gershwin completed the Rhapsody in Blue, and then commissioned him to write the Concerto except for some solo piano figurations. “I was so in F. There was critical carping about laxity in the pressed for time,” he wrote, “that I left them to structure of the Rhapsody in Blue, but there was be improvised at the first concert. I could do that none about its vibrant, quintessentially American as I was to be the pianist.” Grofé completed the character or its melodic inspiration, and it became orchestration on February 7th. an immediate hit, attaining (and maintaining) a The premiere of the Rhapsody in Blue — New position of popularity almost unmatched by any York, Aeolian Hall, February 12, 1924 — was other work of a native composer.

26 HARTFORDNotes on SYMPHONY the Program ORCHESTRA

World Premiere: January 14, 1934 It was for a concert tour in 1934 that Gershwin Most Recent HSO Performance: May 12, 2013 immortalized some of his informal extemporizations Instrumentation: 2 flutes with second doubling as the Variations on “I Got Rhythm,” the hit song piccolo, 2 oboes with second doubling English horn, from his 1930 Broadway show, Girl Crazy. The 3 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 tour was a series of one-night stands with the trumpets, 3 trombones, tuba, timpani, glockenspiel, thirty-piece Leo Reisman Orchestra, conducted xylophone, snare drum, ratchet, suspended cymbal, by Charles Previn (great-uncle of André and later director of music at Universal Studios), that began tamtam, woodblock, bass drum, muffled drum, th and strings: violin I, violin II, viola, cello, and bass at Boston’s Symphony Hall on January 14 , wound Duration: 9' through Toronto, Omaha, Richmond and two- dozen other cities, and ended, after 12,000 miles, at Brooklyn’s Academy of Music on February GEORGE GERSHWIN 10th. On each concert, Gershwin conducted (1898-1937) An American in Paris, was soloist in the Concerto in F and the Rhapsody in Blue, and accompanied Variations on “I Got Rhythm” for Piano tenor James Melton in a selection of his songs. The and Orchestra (1933-1934) “I Got Rhythm” Variations, written expressly for the tour, gives some indication of the breadth and The celebrated stage director Rouben imagination that Gershwin must have displayed in Mamoulian, who directed the original 1927 stage his improvisations — hot jazz, mock Orientalism, version of DuBose Heyward’s Porgy on which coy waltz, virtuoso bravura and grand symphonism George Gershwin based his opera Porgy and Bess, all find a place here. Most of the composition was once said of Gershwin, “I’ve heard many pianists and written in December 1933 in Palm Beach; the composers play for informal gatherings, but I know orchestration (which Gershwin bragged to his of no one who did it with such genuine delight and friends that he did himself) was completed on verve. George at the piano was George happy. He January 6, 1934 in New York. The “I Got Rhythm” would draw a lovely melody out of the keyboard Variations was his last concert work. like a golden thread, then he would play with it and juggle it, twist it and toss it around mischievously, weave it into unexpected, intricate patterns, tie it in knots and untie it and knit it into a cascade of ever-changing rhythms and counterpoints.... He could play I Got Rhythm for the thousandth time, yet do it with such freshness and exuberance as if he had written it the night before.”

27 HARTFORDNotes on SYMPHONY the Program ORCHESTRA

World Premiere: October 18, 1946 Spring, Billy the Kid, Rodeo, the Lincoln Portrait and Most Recent HSO Performance: October 13, 1993 other works of the early 1940s are clear evidence Instrumentation: 3 flutes with third doubling that he succeeded. piccolo, piccolo, 3 oboes with third doubling English The Third Symphony brings together the two horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 dominant strains of Copland’s musical personality: bassoons, contrabassoon, 4 horns, 4 trumpets, 3 the abstract style of the earlier symphonies trombones, tuba, timpani, bass drum, cymbals, is particularly evident in the first and third suspended cymbal, snare drum, tenor drum, movements, while the influence of folk song and triangle, tamtam, glockenspiel, xyolophone, chimes, New England and Quaker hymnody is strongest woodblock, whip, ratchet, claves, anvil, 2 harps, in the second and fourth. Though he quoted no celeste, piano and strings: violin I, violin II, viola, existing tunes in the Symphony, much of the work’s cello, and bass thematic material is cut from the same cloth as the Duration: 43' native music that played such a vital part in the ballets of the preceding years. This “American” quality is just as undeniable as it is difficult to AARON COPLAND define: the wide-spaced sparseness of much of (born November 14, 1900 in the Symphony’s texture; the tunefulness of its Brooklyn, New York; themes; the sturdy, clear quality of its harmony; died December 2, 1990 in the open-faced optimism and simple sincerity North Tarrytown, New York) of its heroic close — all these, and much else, sound as though they grew from the very native Third Symphony (1944-1946) soil. Especially in the finale, which is based on Copland’s famous Fanfare for the Common Man A search through the catalog of Aaron Copland’s of 1942, there is a summarizing of much of the works will reveal the absence of a “Symphony music of his “Americana” period. This is a work No. 1” and a “Symphony No. 2.” The composition about which Sergei Koussevitzky, Music Director that Copland considered his first in the symphonic of the Boston Symphony Orchestra and conductor genre was the infamous Symphony for Organ and of its premiere, paraphrased the inscription on Orchestra of 1924, a piece about which Walter Beethoven’s Missa Solemnis: “The greatest American Damrosch, the conductor of its premiere, said, symphony — it goes from the heart to the heart.” “If a young man at the age of 24 can write a The opening movement, in moderate tempo, symphony like that, in five years he will be ready eschews traditional symphonic sonata form in favor to commit murder.” Damrosch was (thankfully) of a structure in two large musical paragraphs with wrong, but the Organ Symphony does remain a benedictory coda. The first section presents the one of the most challenging works in Copland’s movement’s three themes, each introduced with the creative output. Much the same may be said of simplicity and economy that mark Copland’s best the style of the composition that came second in music: a smooth melody in wide-spread octaves for Copland’s symphonic parade, the 15-minute Short violins, clarinets and flute; a theme in similar style Symphony (1933). Both of these early symphonic initiated by oboes and clarinets; and a broad phrase efforts show Copland as a serious composer in the of unsettled tonality intoned by the trombones. most modern idiom of those years, a style which, The trombone phrase is worked out at some length, despite the splendid quality of the music, listeners and rises to a mighty climax before a sudden quiet found difficult to accept. During the Depression ushers in the briefer second section, in which the years, Copland started to search for a language that first two themes are ingeniously combined to lead would be both closer to his American roots and to an even more violent outburst based on the more accessible to wide audiences. Appalachian trombone motive. Another abrupt hush begins the

28 HARTFORDNotes on SYMPHONY the Program ORCHESTRA coda, which is built from variants of the first and The Finale follows without pause. The Fanfare for second themes exquisitely suspended in a musical the Common Man, written in 1942 at the invitation setting of unaffected beauty and sweet melancholy. of Eugene Goossens for a series of wartime fanfares The Scherzo begins with a boisterous brass introduced under his direction with the Cincinnati preview of the movement’s principal theme. The Symphony, provides the thematic material for theme is presented in full by horn, clarinets and the introduction. The well-known strains are violas in a more deliberate tempo, and recurs twice first heard, softly, in the high woodwinds and (unison low strings and, in augmentation, in the then given in their familiar stentorian guise by low brass) with intervening episodes. The trio the brass and percussion. The main portion of is given over to a folksy little waltz melody that the movement begins with the presentation of would not be out of place in Rodeo or Billy the an animated, syncopated theme by the oboe. A Kid. After a truncated return of the first section, broad restatement of the Fanfare motive by the a grandiloquent presentation of the waltz theme trombones opens the development section, which and a striding transformation of the Scherzo theme is unusual in that the structural second theme, close the movement. a lyrical strain of swaying metric configuration, The main part of the Andantino is occupied by is embedded within it. The development builds what Copland called a “close-knit series of variations” to a galvanic climax. The recapitulation weaves on a graceful theme presented by the solo flute. The together the finale’s principal theme, fragments melody, he continued, “supplies thematic substance of the Fanfare and the opening motive of the first for the sectional metamorphoses that follow: at first movement. A magnificent peroration capped by with quiet singing nostalgia; then faster and heavier another return of the theme that began the entire — almost dance-like; then more child-like and work closes this great American Symphony. naive; and finally vigorous and forthright.” Framing these variations as introduction and postlude are austere, almost mysterious transformations of the ©2019 Dr. Richard E. Rodda trombone theme from the first movement hung high in the violins.

29 HARTFORDPops! SYMPHONY Series ORCHESTRA

HARTFORD SYMPHONY ORCHESTRA Carolyn Kuan, Music Director RAIDERS OF THE LOST ARK IN CONCERT Saturday, November 2, 2019 / 7:30 p.m. Mortensen Hall, The Bushnell Center for the Performing Arts

CAROLYN KUAN, conductor

PARAMOUNT PICTURES Presents A LUCASFILM LTD Production A STEVEN SPIELBERG Film RAIDERS OF THE LOST ARK

Starring HARRISON FORD KAREN ALLEN PAUL FREEMAN RONALD LACEY JOHN RHYS-DAVIES DENHOLM ELLIOTT

Music by JOHN WILLIAMS Executive Producers GEORGE LUCAS and HOWARD KAZANJIAN Screenplay by LAWRENCE KASDAN Story by GEORGE LUCAS and PHILIP KAUFMAN Produced by FRANK MARSHALL Directed by STEVEN SPIELBERG

Tonight’s program is a presentation of the complete film Raiders of the Lost Ark with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. 30 HARTFORDPops! SYMPHONY Series ORCHESTRA

“RAIDERS OF THE LOST ARK” Licensed by LUCASFILM LTD and PARAMOUNT PICTURES. This program licensed by LUCASFILM LTD and PARAMOUNT PICTURES. Motion Picture, Artwork, Photos ©1981 Lucasfilm Ltd. All Rights Reserved.

Raiders of the Lost Ark in Concert is produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc.

Producers: Steven A. Linder and Jamie Richardson Director of Operations: Rob Stogsdill Production Manager: Sophie Greaves Production Assistant: Elise Peate Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice

Music Composed by John Williams

Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Raiders of the Lost Ark has been adapted for live concert performance.

With special thanks to: Paramount Pictures, Lucasfilm Ltd, Steven Spielberg, Frank Marshall, John Williams, Alan Bergman, Howard Roffman, Chris Holm, Chip McLean, Darryl J. Franklin, Dan Butler, Pat Woods, Mark Graham and the musicians and staff of the Hartford Symphony Orchestra.

The 2019-20 POPS! Series is presented by

The 2019-20 POPS! Series is also sponsored by

Cameras and recording equipment are not permitted during the performance. As a courtesy to the performers and other audience members, please turn off watch alarms and cell phones. The Hartford Symphony Orchestra receives major support from the Greater Hartford Arts Council, the Hartford Foundation for Public Giving, and with support from the Department of Economic and Community Development, Connecticut Office of the Arts which also receives support from the National Endowment for the Arts, a federal agency.

HARTFORDSunday SYMPHONY Serenades ORCHESTRA

HARTFORD SYMPHONY ORCHESTRA Carolyn Kuan, Music Director Sunday Serenades at the Wadsworth Atheneum Leonid Sigal, Artistic Director COLOR & TEXTURE: BEETHOVEN & IVES Sunday, November 10, 2019 / 2:00 p.m. Wadsworth Atheneum Museum of Art

LEONID SIGAL, violin LISA RAUTENBERG, violin MICHAEL WHEELER, viola TBD, cello TBD, cello

CHARLES IVES String Quartet No. 1 “From THe Salvation Army” (1874-1954) I. Andante con moto II. Allegro III. Adagio cantabile IV. Allegro marziale

-PAUSE-

LUDWIG VAN BEETHOVEN Quintet in A Major, Op. 47 “Kreutzer” (1770-1827) I. Adagio sostenuto – Presto II. Andante con variazioni III. Finale. Presto

This concert is made possible in part by Saunders Foundation Music Endowment at the Wadsworth Atheneum.

33 HARTFORDAbout SYMPHONY the Artists ORCHESTRA

SO Concertmaster prestigious orchestral fellowship Leonid Sigal has LEONID SIGAL, at the New World Symphony. enjoyed a multi-faceted violin Mr. Sigal’s vast performing Hcareer as recitalist, chamber experience includes appearances musician, orchestra leader and in the U.S., Canada, Brazil, soloist, as well as conductor. He Russia, Japan, South Korea and has been praised by audiences throughout Europe. Recent and and critics for his virtuosity upcoming seasons’ highlights and musical sensitivity. The include solo performances of Miami Herald wrote: “He Brahms’ Double Concerto demonstrated what a fine violinist with cellist David Finckel, he is, playing passionately and concertos by Mozart, Beethoven, cleanly with a soaring tone”; Mendelssohn and Glazunov. and the Hartford Courant He founded and has served echoes: “His tone is consistently as Artistic Director of the sweet. He brings a clear sense celebrated Sunday Serenades, a of phrasing, articulation and popular chamber music series effortless virtuosity.” And most at the Wadsworth Atheneum in recently: “The richness of his interpretive voice Hartford, now in its 12th season. remains fascinating.” Besides his HSO duties, he has served as Born in Moscow, Russia into a musical Concertmaster and Assistant Conductor of family, Mr. Sigal began violin studies at age the Atlantic Classical Orchestra. Since 2012, five and was accepted to the renowned Gnessin at the invitation of Music Director Gerard School of Music. He went on to graduate with Schwarz, he has been part of The All-Star excellence from the Moscow Conservatory, Orchestra alongside fellow principals from major where he studied with Maya Glezarova. American orchestras. Previously Associate Winner of several violin competitions and Concertmaster of the Florida Philharmonic, he recipient of the Meadows Artistic Scholarship has performed with the San Diego Symphony Award, he moved to the U.S., where he and Boston Symphony. He served as Artistic continued his studies and in 1995 he was Director of the Miami Chamber Symphony, invited by Michael Tilson Thomas to join a and has made frequent returns to the podium.

34 HARTFORDAbout SYMPHONY the Artists ORCHESTRA

n addition to her role as Four Seasons by Antonio Vivaldi Fanfare Consort Leader, LISA RAUTENBERG , , has won numerous awards, as Lisa Rautenberg performs violin well as another Sony recording of Ias a soloist, chamber musician and the Schubert string quintet and recording artist. She gave her New five other recordings using the York City solo concerto debut famous Stradivari quartet from with Concert Royale at the Mostly the Smithsonian. Ms. Rautenberg Mozart festival in Alice Tully Hall has performed concertos in at Lincoln Center. She performed many of the major halls in her New York City recital debut America and Europe including in Merkin Hall playing virtuoso Carnegie Hall, Alice Tully Hall, masters for the baroque violin. The Kennedy Center, Orchestra Hall recital included the first modern- Chicago, Boston Symphony Hall, day performances on original Hercules Hall, Concertgebow, instruments of works by Paganini. BBC London, and at the Proms Lisa can be heard on over 100 festival. Ms. Rautenberg holds recordings on labels such as a degree in violin performance SONY Classical, Virgin Classics, with distinction from Indiana Newport Classics, MCA, Decca, University, where she was a Nonesuch, Telarc, Champignon International student of Josef Gingold. She also studied early and Deutsche Grammophone, including solo violin techniques with Marilyn McDonald. violin work on her recording of Bach’s complete Lisa is the Associate Concertmaster of the Brandenburg Concertos. Her album on Sony of the Hartford Symphony.

35 HARTFORDAbout SYMPHONY the Artists ORCHESTRA

ichael Wheeler, In addition to the Wadsworth currently the HSO MICHAEL WHEELER, , Atheneum series, Michael has MPrincipal Viola, viola been a recitalist and chamber began his professional career music collaborator throughout in the New World Symphony Connecticut including in Miami under the leadership performances at Wesleyan of Michael Tilson Thomas. He University, Central Connecticut was a frequent participant in the State University, Simsbury and chamber music series as well as Cheshire Libraries, The American section leader there. Following Museum of Art in New Britian his tenure in New World, he and the Hillstead Museum. He returned to New England where is a faculty member of the Hartt he was Assistant Principal Viola School Community Division. in the Portland Symphony as well He studied at Indiana as Assistant Principal Viola of the University, Juilliard, and the New Boston Classical Orchestra. Prior England Conservatory and lives to joining the HSO in 1995-96 in West Hartford with pianist, season he was a member of the Ruriko Kagiyama, and their San Antonio Symphony. three daughters.

CorporateHARTFORD and SYMPHONY Foundation ORCHESTRA Donors

The Hartford Symphony Orchestra thanks the businesses, corporations, foundations, government agencies and others who contributed to the HSO’s programs, projects and services in the community, as of 7/30/2019.

Ana’s Kitchen The Richard P. Garmany Fund Price Chopper’s Golub Foundation Anthology of Simsbury at Hartford Foundation for at Prudential Asylum Hill Hartford Foundation for Red Stone Pub Congregational Church Public Giving Reid and Riege, P.C. The Koopman Share of the Gawlicki Family Foundation Renbrook School Beatrice Fox Auerbach Global Atlantic The Edward C. and Foundation Fund at the Greater Hartford Arts Council Ann T. Roberts Foundation Hartford Foundation for Greater Hartford Automobile Robinson & Cole LLP Public Giving Dealers Association Foundation Charles Nelson Robinson Fund Barnes Group Foundation Hartford Business Journal Saint Francis Hospital and Medical BeanZ & Co. The Hartford Financial Services Center/Trinity Health Care Bemis Associates, LLC Group, Inc. Salter’s Express Co., Inc. J. Walton Bissell Foundation Hartford Foundation for Saunders Foundation Music Black Eyed Sally’s Public Giving Endowment at the Bloomfield Discount Liquors Hartford HealthCare Wadsworth Atheneum BlumShapiro Hartford Steam Boiler Inspection The Saunders Fund for Bradley, Foster & Sargent, Inc. and Insurance Company Innovative Programming Brown Sugar Catering Harvest Café and Bakery SBM Charitable Foundation Cantor Colburn LLP Robert Hensley & Associates, LLC Seabury Active Life Plan Elizabeth Carse Foundation, Highland Park Families Community Bank of America, N.A., Trustee Foundation Select Physical Therapy Christensen Insurance, LLC Highland Park Market Simsbury Bank Cigna Hoffman Auto Group Simsbury Meadows Performing Citizens Bank of Connecticut Kane’s Market Arts Center Classic Hotels of Connecticut Land Rover Hartford Show Lighting The CLY-DEL Law Offices of Solinsky EyeCare LLC Manufacturing Company Donna L. Buttler, LLC Solinsky Hearing Center Department of Economic and Legrand North America South Ocean Capital Partners Community Development, Leete, Kosto & Wizner, LLP Specialty Printing, LLC Office of the Arts Lincoln Financial Foundation, Inc. Stanley Black & Decker, Inc. Dornenburg | Kallenbach The George A. & Grace L. Long TD Bank Advertising Foundation Travelers Duncaster Mahoney Sabol & Company, LLP Trinity College The Ensign Bickford Foundation Make it GF UBS Realty Investors, LLC The Ensworth McCarter & English UCONN School of Business Charitable Foundation McLean Health Care UCONN School of Fine Arts Eversource William and Alice Mortensen United Bank Falcetti Pianos Foundation United Bank Foundation Federman, Lally & Remis LLC Motley Rice LLC United Healthcare Fiduciary Investment Advisors The Musical Club of Hartford, Inc. United Technologies Corporation Fitzgerald’s Food Stores National Endowment for the Arts Viking Fuel Oil Company, Inc. Mr. & Mrs. William Foulds Nordstrom Wadsworth Atheneum Family Foundation Paine’s Recycling and Webster Bank Foxwoods Resort Casino Rubbish Removal Wells Fargo People’s United Bank Women’s Health Connecticut, Inc.

38 2019-2020HARTFORD Annual SYMPHONY Fund ORCHESTRA Donors

ANNUAL FUND INDIVIDUAL DONORS We thank the following individuals who contributed to the HSO’s Annual Fund in the last 15 months as of July 18, 2019. Francis Goodwin Circle Platinum Circle Mr. John Nealon & ($25,000 and above) ($7,500 – $9,999) Ms. Pamela Lucas Mr. & Mrs. Bob Garthwait, Jr.* Brook & Charlotte Jason** Arthur Masi & Brian Hentz* The Katharine K. McLane and Paula Gladu Bob and Lynn Murray Henry R. McLane The John and Gail Langenus Arlene & Daniel Neiditz Charitable Trust Family Fund Michael & Genevieve Pfaff* Mrs. Millard H. Pryor, Jr., Mr. & Mrs. Robert J. Gary & Diane Ransom** Ms. Esther A. Pryor & von Dohlen** Dr. & Mrs. Allan Reiskin** The Pryor Foundation** The Alexander M. & Elizabeth S. Russell** David & Linda Roth* Catherine Maus Wright Patricia & Andrew Salner** Elizabeth Schiro & Charitable Trust Ms. J. Schermerhorn* Stephen Bayer** Gary & Diane Whitney* Gold Circle Bernard J. Zahren** President’s Circle ($5,000 – $7,499) ($10,000 – $24,999) Peter L. Anderson Maestra’s Society The William H. & Bruce Barth & ($2,500 – $4,999) Rosanna T. Andrulat Pamela Yeomans Barth Mill River Foundation* Charitable Foundation Robert C. Bausmith & Maxwell & Sally Belding* Suzanne and John Bourdeaux Jill M. Peters-Gee, M.D. Nancy P. Bernstein Bob & Frankie Goldfarb* John & Susan Beers** Kenneth & Judith Boudreau* MaryEllen M. & Eleanor N. Caplan** Wes & Joann Boyd Pierre H. Guertin** The Cheryl Chase and Joyce & Harold Buckingham** Jerry & Barbara Hess* Stuart Bear Family Bill Cannon & Kent Holsinger Jeffrey S. & Nancy Hoffman Foundation, Inc.** Dr. Alexandre Carre Chloe & Wesley Horton** The Rhoda and David Chase Coleman H. & The Elizabeth M. Landon Family Foundation, Inc.** Jo Champlin Casey** & Harriette M. Landon Dr. & Mrs. Bernie Clark* Karen Saunders & David Cass Foundation Robert H. Connell & Nancy & Ron Compton** Mr. Christopher Larsen** Michelle Duffy Carol & Tim Covello* Mr. Matthew H. Lynch & Barbara O. David* Dr. Michael E. Cucka* Ms. Susan M. Banks* Ruth Ann & Joel Davis** Dr. & Mrs. Arthur C. DeGraff, Jr.** Charlie and Sandy Milliken** Abraham and Denise Davis Patrick & Christine Egan Mary T. Sargent** Luis Federico Diez-Morales Stanley & Susan Fellman* Sharon and Frank Travis and Rev. Hope Eakins & Anita & Tony Ferrante* the Travis Foundation* Rev. William Eakins Susan & Robert Fisher** Alex & Patricia Vance** Kenneth W. Elligers Rosemary A. Gaidos Jeff and Pam Verney Muriel & Karl Fleischmann** Ms. Rona B. Gollob Ms. Hermine Drezner & The Beatrice Fox Auerbach Ruth Ann Woodley & Mr. Jan Winkler & the Foundation at HFPG, Peter Gourley Drezner/Winkler Fund at Recommended by Peter Grzybala & the Hartford Foundation Linda & David Glickstein Diane Korntheuer The Zachs Family** Arnold & Beverly Greenberg Gail & Kenneth Hamblett Nancy Grover** Neale & Carol Hauss** Dr. Margaret L. Grunnet Mark & Marianne Hayes Mathew & Valerie Jasinski Richard & Christiane Heath Mr. Steven Konover Herbert Hirsch Bernard & Gale Kosto** Alyce & David Hild* Jim & Rebecca Loree Jeffrey S. & Nancy Hoffman

* 10+ years of consecutive giving 39 ** 20+ years of consecutive giving 2019-2020HARTFORD Annual SYMPHONY Fund ORCHESTRA Donors

Susan & Bob Izard* Linda P. and Theodore J. Bette & Larry LaPenta Ken & Ruth Jacobson** Bruttomesso, Jr. Margaret W. Lawson Anne & George Kan Jared Chase Dr. & Mrs. Charles N. Leach, Jr. Sylvia & Harvey Kelly* Christopher and Nancy & Jerry Lemega Kohn-Joseloff Foundation Joanne Chiulli David R. Lesieur Lois & Charles Koteen Steve and Kim Collins Dr. Carolyn W. Lester Coleman & Judie Levy Mary J. Converse Mike and Sally Levin Irene Loretto** Michele & Halsey Cook Mrs. Louise P. Lostocco Anita & William Mancoll Tim Cresswell Henry & Wei Low** Nick Mason Kim Curtin Gerry Lupacchino & In Memory of George Merrow Barry & Pauline Dickstein Lynn Beaulieu Dr. M. Stephen & Kate & Jon Dixon Ms. Bonnie Malley Miriam Miller Betty Domer Mrs. Leta Marks Bob & Ami Montstream** Hollis G. Dorman Barri Marks and Woody Exley* Janet U. Murphy** Drs. Geoffrey and Steven & Pamela Maynard Robert & Margaret Patricelli Karan Emerick Walter & Anne Mayo Family Foundation Peggy Beley and David Fay Nancy McEwan Agnes & Bill Peelle Dan & Joni Fine Peggy and Alan Mendelson Andrew Ricci, Jr., M.D. & Mr. Lawrence R. Fish* Judith and Jeffrey Moeckel Ms. Jacqueline Ann Muschiano** Eve & Edward Fishman Lois Muraro and Douglas H. Robins* Anne Fitzgerald Carl Elsishans* Mr. and Mrs. Stephen F. Roche Mike Foley Giuliana Musilli & Hon. Howard Scheinblum & Paul & Mary Fox Scott Schooley Ms. Susan R. Fierberg* Alan & Margreet Francis* Anthony Myers Mr. & Mrs. Edwin S. Shirley William Fuller Reba & Arthur Nassau Mr. & Mrs. James B. Slimmon, Jr.** Aaron & Sandy Gersten Mrs. Sarmite F. Nielsen Karen & Howard Sprout* Peter & Connie Gillies Paul & Arlene Norman The Sorenson-Pearson Dr. Sid & Joy Glassman Diane L. Northrop** Family Foundation Jean Cadogan & Alden Gordon Ms. Jill O’Hagan Bill & Judy Thompson Cate & John Grady-Benson Mrs. John C. Owen Dr. & Mrs. Dean F. Uphoff* Angela D. Griffin Ray & Liz Payne** Elizabeth White** Charles & Bette-Jane Hardersen Agnes & Bill Peelle Helen & Alfred G. Wilke Lawrence & Roberta Harris** Mr. and Mrs. Brewster Perkins Jessica & Eric Zachs* Louise Healey Mary and Charles Petras Anonymous The David & Francie Horvitz Mrs. Emily W. Rankin Family Foundation Dr. Wayne Rawlins & Concertmaster’s Club Jay & Mimi Hostetter Janet Flagg ($1,000 – $2,499) Richard & Beverly Hughes Lucia & James Rees Acorn Alcinda Foundation, Inc. Don & Helen Hughlett Linda & Stephen Revis Chris & Gay Adams Jackie & Albert Ilg Mrs. Belle K. Ribicoff Mr. & Mrs. Bryant Andrews Mr. & Dr. Richard Johnston Mr. & Mrs. John H. Riege** Nora B. Anthony David & Carol Jordan Blair Childs Jane & Daniel Arnold Brooks & Carol Lee Joslin Dr. and Mr. Elisabeth Robinson Duffield Ashmead and Mark & Janet Keough John & Laura Roche Eric D. Ort Barbara & Paul Kiefer June Miller Rosenblatt Nikali and Lisa Benkert Nancy Kline & James Trail Dr. James C. Rouman Jim & Joan Betts** Dr. Jeffrey & Virginia Kluger The family of Julie & Ken Saffir Dr. & Mrs. Jack Blechner Carol & Yves Kraus Doug & Liz Sansom Robert & Christine Bogino Lisa Kugelman, M.D. & Philip & Starr Sayres Ms. Nancy A. Brennan Roy Wiseman Max and Ginny Scheller Alice Kugelman Ronald & Judy Schlossberg Irma C. Lange Jeanne & Erling Schmidt* * 10+ years of consecutive giving 40 ** 20+ years of consecutive giving 2019-2020HARTFORD Annual SYMPHONY Fund ORCHESTRA Donors

Scott Schooley & Rebecca Swanson-Bowers & Kristine Barbara Guest Giuliana Musilli James Bowers Memorial Fund Celeste & John Senechal Ann & David Brandwein Mr. & Mrs. Martin D. Guyer Peter & Barbara Setlow Anne & Kenneth Brock Fund of Andrew R. Hahn & Peggy & Ruben Shapiro the Cape Cod Foundation Cathy J. Hitchcock Amy Lynn Silverman** John & Arlene Buckey Ms. Joyce Hall Bradford and Cara Smith Sarah & Jeffrey Burns Wendy M. Haller Elizabeth Snow Dr. Alicia Carmona-Levy Merle & David Harris Ruth & Howard Sovronsky Elizabeth B. Casasnovas Ms. Laura R. Harris Mark D. & Linda L. Sperry Bob & Judy Chusmir Steve & Ellen Harris Henry “Skip” Steiner* Patricia A. Ciccone & Hartman Family Keith & Catherine Stevenson JoAnn Freiberg Edie and John Hathorn Carrie and Mike Stockman Henry Coelho and Marcia D. & Jonas V. Strimaitis, Esq. Debra Rizzo Samuel T. Hinckley Dr. Alan Schwartz and Ciara Cohen Shepherd M. Holcombe, Jr. Ms. Sheila Sweeny Naomi & Michael Cohen James & Mary Hourdequin Allan & Sally Taylor Mr. & Mrs. Robert Collins Don & Joanne Huelsman J & K Thomas Foundation* Donna A. Collins Mr. & Mrs. S. Edward Jeter Mrs. Beverly Thomas Dr. Roger D. Coutant The Joseloff-Kaufman Family Merle & David Trager Mary H. Crary** Mr. Michael Kasperski Edith & Jim Tresner David & Margaret Crombie John & Sharon Kelly Dougie & Tom Trumble Cheryl Czuba Bob and Candace Killian Betsy & Matthew Udal John & Sheila D’Agostino Hannie O. Kowal James D. and Susan Vincent Donald Davidson Zadelle Krasow Greenblatt Dr. and Mrs. Thomas Ward Paul & Nancy Dean Jeff Lamo Dr. & Mrs. Dudley T. Watkins Guy and Lori DeFrances Mr. & Mrs. Martin Legault Jon and Marilyn Webber Joseph & Rachel DePaolo Ms. Helen Lewtan Joseph and Sandra Weicher Dr. Leslie and Meredith E. Libbey Thomas & Patricia Wildman** Gertrude Desmangles Doreen Linton Ruth Woodford Christopher DiMartino Dr. and Mrs. Edison Liu Dan Yee and Karen Eisenbach Drs. Peter & Ellen Donshik Elaine Title Lowengard** The Dauber Memorial Fund Phil Doyle Dr. V. Everett Lyons Anonymous Donna & Kevin Edwards William A. MacDonnell, D.D.S. Ellsworth Family: Starr and Sandra MacGregor Principal’s Club Phil Sayres & Timothy and Tom Martin & Susan Spiggle ($500 – $999) Janet Ellsworth Christine Martyn Vicki & Leonard Albert Gilda S. Brock & Ann M. McKinney Ms. Virginia Allen and Robert M. Fechtor Steve & Nancy Metcalf Mr. Zean Gassmann Linda & John Fiske Timothy and Barbara Michaels Joanne E. Beers & Thomas C. Flanigan Ron & Jody Morneault Earl C. Cree, II Larry & Beverly Fleming Don Noel James & Dana Bennett Karen L. Fritsche Chibuzo and Charlotte Obi Jenefer & Frank Berall Mr. & Mrs. Jay G. Fromer Mark & Dianne Orenstein Dr. & Mrs. Abraham Bernstein The Gabree Family Douglas & Stacie Osber Doris B. Johnson & Suzanne Gates Katherine Papathanasis Charles Billmyer Joan & David Geetter Sarah & Samuel Paul Mr. and Mrs. Michael Blair and Dr. John A. Gettier Constance & Robert Porter their children Mr. & Mrs. David Goldberg Scott & Beth Powell Mrs. Arthur Blumberg Donald C. & Carolyn D. Gray Drs. Steven & Priscilla Price Dr. Nelson and Diane & Larry Greenfield Dr. Peter Prowda Mrs. Sandra Bondhus George and Deborah Grenier Edward C. Raymond Janna S. and Jeffrey B. Gross George & Carol Reider * 10+ years of consecutive giving ** 20+ years of consecutive giving 41 2019-2020HARTFORD Annual SYMPHONY Fund ORCHESTRA Donors

Alvin B. Reiner Gaetano & Jayne Dean Albani Carol Crosset James S. & Ruth Alexander Peter K. Dane Nancy Taggart Remis** Katrina Ali Barbara Davis Howard* Linda & Stephen Revis Dr. and Mrs. David J. Anderson Joe & Carolyn Dawkins Martey Rhine Gianna Ardito Didi & John Deans Linda & Ian Rickard Theodore Athanas Mark and Cathryn DeCaprio Louis & Mary Rodier Christian and Jennifer Auger Bill and Joan Delaney Carlos and Linda Rodriguez Kathy & Keith Baksa Jennifer and Marc DiBella Irene & Paul Romanelli Veron Beaulieu Ms. Karen DiMenna Robert & Marguerite Rose Mr. Jonathan Beck Mr. and Mrs. Michael Herpst Dr. Jeffrey Rudikoff and Margaret Beers Mr. & Mrs. John Dolan Edee Tenser Mr. & Mrs. Edward H. Mr. Richard Don Marshall & Sandra Rulnick Bengelsdorf Robert & Gretchen Droesch Terry & Judy Schmitt Larry and Corinne Berglund Mrs. Nathan Dubin Terry & Andrea Schnure Dr. & Mrs. Robert Berland William & Elaine Ellis Sonia & Mark Shipman Dr. & Mrs. Bert B. Berlin Jean Ensling Village Auto Repair LLC Gerard Bernier Jean Esselink The Shulansky Seymour Bloom & Steve and Emmy Fast Foundation, Inc.** Deborah Elcock John & Amanda Fecteau John & Nancy Silander Phillip & Ellen Blumberg Phil & Beth Ferrari Mr. & Mrs. Nelson A. Sly John & Susan Boland Mrs. Eileen Figueroa Stuart & Arline Small Sadaka Mr. & Mrs. Robert H. Boone Bella & Judd Fink Foundation, Inc. Danielle Bousquet Dr. Christine Bartus and Yolande Spears Maureen & Jerrod Bowman Mr. Clark Finley Anne F. & Gordon Stagg Beth Bracken John Flagge Michael Steinberg & Dr. John Brancato & Nicole Ford Felice Heller Mr. Thomas Richardson Mary-Jane Foster Eleanor A. Sulston Paige Bray Howard & Sandy Fromson Usha and Stephen Wade The Breinan Family Darcie Fuller Lyn Walker & Tyler Smith Richard & Patti Broad Mr. and Mrs. John J. Gaffney M. D. Walsh Bellingham Dr. & Mrs. James Brodey Janice D. Gauthier Cynthia & David Ward The Honorable Luke & Andrew Geaslin Dr. & Mrs. John R. Waterman Sara Bronin Robert & Shirley Gerrol Judith & Joel Weisman Mrs. Miriam B. Butterworth Oscar Peyser Foundation Greg & Kay Werk Dr. & Mrs. John A. Calogero Mrs. Carolyn Gifford Carol & Lee West Ms. Rosamond Campbell Chip Glanovsky Richard C. & Carla S. Wilde Dr. & Mrs. J.T. Cardone Sarah & Jim Gobes Carlisle Wildeman Mr. Joseph R. Carlson Ms. Carol D. Gould Mr. Michael S. Wilder Alfred & Karen Casella James Grady David & Phyllis Winer* Castonguay Family John M. Graff Raymond & Sarah Winter Betsy Chaffet Delores P. Graham Elizabeth B. Woodard Polly U. Champ Mr. & Mrs. Joseph E. Green Jill & Jack Woodilla** Patricia J. Checko & Karen Gross Mr. William H. Wulftange Edward Caffrey Doris & Ray Guenter Mr. Jeffrey A. Zyjeski Gregory and Lillian & Welles Guilmartin Anonymous Elizabeth Chicares Mrs. Joan K. Hagan Don and Nancy Clark Dr. & Mrs. Robert S. Hall Player’s Club Meredith & Kathleen Colket Dr. Colette Hall ($250 – $499) Moira and Dominic Conlan Jane A. Harris Cynthia Abrams Alan & Marcia Cornell Charles and Mary Harvell William & Susan Ackerman Frank F. Coulom, Jr. Jo Ann Hewett Mr. and Mrs. Manuel D. Aguiar Ms. Judith G. Cramer Marcia & John Hincks * 10+ years of consecutive giving 42 ** 20+ years of consecutive giving 2019-2020HARTFORD Annual SYMPHONY Fund ORCHESTRA Donors

Ms. Joan Hultquist* Maria Nickle Andrew & Feather Spearman Priscilla Hurley Ilse M. Nigro Alan and Roz Spier Stephen & Jacqueline Jacoby Ms. Jenifer Noble Judith Stearns Scott and Karen Kaeser* Sara Cree Norris Ronni G. Stein, M.D. Harriet and Bill Katz Julia & Jim O’Brien Mary E. Stoughton R.J. & Bridget Keady Lori O’Connell Jack Summers David & Barbara Kelley Warren & Florence Packard Marcia & James Sutton Elizabeth Kennard and Nancy Macy & Robert Painter Stephen & Margery Swigert Douglas Pease Laura Parzynski Dr. & Mrs. John Sziklas Jim Kew The Pearlman Family Haibo Tang Ralph & Lin Klumb Brian Pendergast Dr. & Mrs. William R. Taylor Jim & Deb Knorr Mr. and Mrs. Justino G. Penna E. Renee Tehi & Jane & James Knox Clare Philips Jeffrey Hughes Nancy A. Kramer Dr. and Mrs. Arthur O. Phinney Jr. Priyanka Templeton Walter O. Krawec Mr. & Mrs. David E. Polk Mr. and Mrs. Richard Thomas David & Ruth Krugman Mr. and Mrs. Bruce Powell Jim & Colburn Thompson Ms. Judy Kulick Mr. Mark R. Prisloe Paula Thrasher Laurie Labato-Ditomasso Dougla Pyrke & Jack Fairchild Chris and Kathy Tolsdorf David C. Lacoss John & Rebecca Rafferty Douglas and Mildred Unfried Sandra & Richard Ladieu Bob & Carol Rentz Mr. Anthony L. Urillo Mr. and Mrs. Michael LaFrancis Dale & Sally Richter Elizabeth Van Gemeren Lauren Lang Celia Ann Roberts Lynn & John Wadhams Mr. & Mrs. Doug Lescarbeau Michael Robinson Hans Walser Bill and Barbara Lewis Esteban Roncancio The Rev. & Aurelle & Art Locke Ms. Michele L. Rosenberg Mrs. Richard Watson Peter & Rosemary Lombardo Maria Ross Elizabeth L. Webster Ken & Karen Loveland Joanne E. Russell John Weikart & Jennifer Chu Mary & Dick Loyer Ms. Patricia Sagal Mr. and Mrs. Jeffrey Welch Mrs. Sarah Heflin Lynn Cheryl & Nild Sansone Mr. and Mrs. Olin and Linda and Mark MacGougan Judith & David Satlof Shauna West Mike & Trish Magee Philip & Starr Sayres Caroline White Gavin McKay Jacqueline Scheib Eleanor Wight and Edward Meigs Ruth Schloss Rayda Bouma Mr. & Mrs. Richard C. Meyer John R. Schroeder, AIA Karen & Philip Will Jim & Cathie Mirakian Ellen & Ted See Mr. and Mrs. Lynn Willsey Ali Mitchell Janet & Steven Selden Mr. and Mrs. Robert G. Woodward Rafael Mora-Dejesus PHD Jeffrey Alan Johnson Donald and Jane Workman The Moreland Family Michael J. and David A. & Martha R. Yutzey Rebecca Morris Jennifer F. Sheehan Daniel Zakin Jane Murdock Lisa Shelanskas Diane Zannoni Mr. & Mrs. Richard C. Murphy Sara L. Bernstein & David & Sabine Zell Lawrence & Donna Myers Joseph M. Shortall Lawrence Zemel, M.D. & Judith T. Nellen Lawrence Silverman Eliane Sandler Willa M. Nemetz Winthrop & Anne Smith Anonymous Mr. & Mrs. Howard Neuschaefer Mr. Joseph Spada

* 10+ years of consecutive giving ** 20+ years of consecutive giving 43 MusicHARTFORD Builds SYMPHONY Community ORCHESTRA

MUSIC BUILDS COMMUNITY DONOR LIST The Hartford Symphony Orchestra gratefully acknowledges and thanks all the donors to Music Builds Community.

Symphony $1,000,000 and above Sharon and Frank Travis and Steven M. Konover Fund at Anonymous The Travis Foundation Vanguard Charitable The Edgemer Foundation, Inc. Alex and Patricia Vance Carolyn Kuan Jeff and Pam Verney Pamela Lucas and John Nealon Rhapsody $500,000 – $999,999 Jim and Nancy Remis Hermine J. Drezner and Serenade $50,000 – $99,999 Patricia and Andrew Salner Jan Winkler* Anonymous Mary T. Sargent David M. and Linda Roth Bruce Barth and Betsy and Matthew Udal Stanley Black & Decker Pamela Yeomans Barth Webster Private Bank Travelers Kenneth and Judith Boudreau Coleman H. and Sonata $15,000 – $24,999 Concerto $250,000 – $499,999 Jo Champlin Casey D. Weston and Joann H. Boyd Hartford Foundation for Arnold and Beverly Greenberg Andrea and Bernie Clark Public Giving Herbert Hirsch in memory of Marta and Luis Diez-Morales The Hartford Ilana Hirsch Rona Gollob United Technologies Corporation In memory of Isador Janowsky Mark and Marianne Hayes – HSO Principal Bass from Neale and Carol Hauss Overture $100,000 – $249,000 1939-1974 Richard and Beverly Hughes Donald and Marilyn Allan Brook and Charlotte Jason Dr. Bernard and Gale Kosto Anonymous John and Gail Langenus Sylvia and Harvey Kelly Ruth Ann and Joel* Davis Christopher Larsen & Larsen Fund The Katharine K. McLane and Eversource Energy Audree E. Raffay* Henry R. McLane In Memory of Paul Rosenblum, Gary and Diane Ransom Charitable Trust HSO Concertmaster by Mrs. Peter Russell Marshall and Sandra Rulnick Karl and Muriel Fleischmann, Zachs Family Foundation Judith A. Stearns Gabriel Halevi Tom and Dougie Trumble Robert and Francine Goldfarb Capriccio $25,000 – $49,999 Pierre and Mary Ellen Guertin Thomas and Melanie Barnes Cadenza $5,000 – $14,999 Mort and Irma Handel Family Fund at Main Street Anonymous Gerald and Barbara Hess Community Foundation Keane and Rebecca Aures Chloe and Wes Horton Barnes Group Foundation, Inc. John and Susan Beers The Elizabeth M. Landon and Robert Bausmith and Linda P. and Harriette M. Landon Jill Peters-Gee, M.D. Theodore J. Bruttomesso, Jr. Charitable Foundation Jay S. and Jeanne Benet Eleanor Caplan The Jim and Rebecca Loree Joyce and Harold Buckingham Jared Chase Foundation The Carre’s Robert H. Connell and Charles B. Milliken Karen Saunders and David Cass Michelle Duffy Robert and Lynn Murray Richard P. Garmany Fund at the Patrick and Christine Egan Bob and Margaret Patricelli Hartford Foundation Stanley and Susan Fellman Saint Francis Hospital and for Public Giving Anita and Anthony Ferrante Medical Center Dr. and Mrs. Arthur C. DeGraff, Jr. Lawrence R. Fish The Bushnell Center for the Nancy D. Grover in Memory of Richard and Ruth Grobe Performing Arts Robinson A. Grover Angela D. Griffin The Saunders Foundation Susan and Bob Izard Bob Hewey and Carol Simpson

This list represents commitments made as of July 19, 2019. For more information, kindly contact Ted Bruttomesso, Jr. at 860-760-7309 or [email protected]

44 MusicHARTFORD Builds SYMPHONY Community ORCHESTRA

Alyce and David Hild Adam and Abby Boyles Joanne and David Marriott Marcia and John Hincks John F. and Marla Byrnes Nicholas and Cornelia Mason Ken and Ruth Jacobson Alfred R. Casella Kent May Mathew and Valerie Jasinski Susan and Brian Clemow Carle and Larry Mowell in honor David and Sharon Jepson The CLSJ Foundation of Dr. and Mrs. Andrew Salner Elliot and Carolyn Joseph The Collins Family Lois Muraro and Carl Elsishans Mark and Janet Keough Rebecca Derby Brad and Don Noel Family Fund Margaret W. Lawson Doug Donato Warren and Florence Packard Mr. Arthur Masi and Ann Drinan & Algis Kaupas Katherine Papathanasis Dr. Brian Hentz John Eason Stephen Perry and Ann M. McKinney Miriam Engel Sharon Dennison Lois Muraro and Carl Elsishans Karin Fagerburg Jeremy Philbin William H. and Anne C. Fitzgerald Carole A. Olefsky Nancy E. Narwold Daniel and Joan Fine Janet Flagg and Wayne Rawlins Sam Paul Dr. and Mrs. R. L. Fisher Dr. James C. Rouman Tom and Amy Rechen French Cleaners Margaret Salovsti Brewster and Judith Perkins General Electric Matching Gifts George J. Sanders Andrew Ricci, Jr., M.D. and Dr. Colette Hall Amanda Savio Jacqueline Ann Muschiano Joyce Hodgson Toby Scheel Edwin S. and Patricia C. Shirley Albert and Joan Hurwit Marina and Leonid M. Sigal Linda Bland Sonnenblick Patti and Dave Jackson Howard and Ruth Sovronsky Karen and Howard Sprout Julie Jarvis Lewis Steinberg – Viking Fuel Jan and Dan Tracy John K. and Andi Jepson Oil Co. Gary and Diane Whitney David Jones Joel and Amy Steinman Thomas and Patricia Wildman Russell and Barbara Jones Cyrus Stevens Dr. Jeffrey and Llyn Kaimowitz Jonas Strimaitis Minuet $1 – $4,999 George and Anne Kan Margery and Stephen Swigert Anonymous Diana J. Kelly David P. and Cynthia D. Ward Alexander Aponte Jack Kelly and Buck Rogers Elizabeth Weber Jillian Baker David and Virgina Kramer David and Phyllis Winer Jennifer Berman James and Jane Knox Steve West Simon Bilyk Gerald and Nancy Lemega Michael and Ruriko Wheeler Robert and Christine Bogino Irene Loretto Barbara and Jack Blechner

45 HARTFORDEncore SYMPHONY Society ORCHESTRA

Planned gifts are the resources that help preserve and ensure the successful future for the Hartford Symphony Orchestra. We acknowledge our friends who make a planned gift to us through our Encore Society. We thank the following Encore Society Members: Mr. Sheldon Agdens* Virginia Farquhar* Carole A. Olefsky Ivan Backer Muriel Fleischmann LeonaMae Page Susan Block* Karen L. Fritsche David & Christa Pannorfi G. P. Bodozian Dr. Sid & Joy Glassman Dr. Peter M. Prowda Lori Poggi Bourret and Irma & Mort Handel Nancy and James Remis Robert L. Bourret, Sr. Jerry & Barbara Hess Dr. James C. Rouman Nancy Braender* John & Sharon Kelly Marshall & Sandra Rulnick Joseph R. Carlson Jan* and Chris Larsen Carol Wills Scoville Coleman H. & David Lesieur Karen and Howard Sprout Jo Champlin Casey Dr. Carolyn W. Lester Margery and Lewis Steinberg Naomi & Michael Cohen Ellis & Marjorie Levenson Carol & Lee West Joseph Cohn Concettina L. Lewis* Helen S. Wills* Ruth Ann and Joel Davis Dorothy K. McCarty* Louise Willson* Ann Drinan & Algis Kaupas Mr. Charles B. Milliken Susan L. Winter* The Reverend William Eakins Dr. Andrew Ricci, Jr. & Henry M. Zachs and The Reverend Hope Eakins Ms. Jacqueline Ann Muschiano Anonymous Contributors as of July 18, 2019 *deceased

ChamberHARTFORD SYMPHONY Music ORCHESTRASociety

Wes & Joann Boyd Sheila & John D’Agostino Martha and Ozzie Inglese Coleman H. and Nancy Grover Marilyn Mehr Jo Champlin Casey Stephen and Ellen Guest Judith & David Satlof Gregory and Elizabeth Chicares Mr. and Mrs. Gerald L. Hess Anonymous

46 HARTFORD TributesSYMPHONY ORCHESTRA

We thank the following individuals who contributed to the HSO’s Annual Fund between 7/19/2018-7/19/2019. IN HONOR OF Scott Kluger and IN MEMORY OF All the HSO Musicians Katherine Ortiz, a wedding Moses Abrahams Ms. Patricia W. Underwood is the beginning as paint on Richard Abrahams a canvas to create a beautiful Harald and Marj Bender’s and everlasting picture Alfred F. Ash th 50 Wedding Anniversary of happiness William Borchert Dick and Jeannie Parker Dr. Jeffrey & Virginia Kluger Phil Doyle Ellsworth Family: Starr and Jennifer Berman Ron Krentzman’s Retirement Phil Sayres & Timothy and Dennis & Donna Randall Dr. Sid & Joy Glassman Janet Ellsworth Albert Hahn Curt Blood Jeff Krieger Ruth & Howard Sovronsky Janice & Steve Barshay Peggy & Bob Clark Mr. and Mrs. George D. Van Wormer Suzanne Bourdeaux’s Music Director Carolyn Kuan, Board Service for her superb artistry Dr. Bruce A. Bellingham Adobe and leadership M. D. Walsh Bellingham The Alsop Family Foundation Kenneth Brooks Ruth & Howard Sovronsky Susan and Donald Block Katherine Brooks Jeannotte The family of Peter & Lisa Block Stuart and Phyllis Lehman’s Steve Collins The family of Julie and Ken Saffir 50th Wedding Anniversary Mary-Jane Foster Melanie and Malcolm Galen MD Eric Dahlin Carol Henry Bennett Maite Coyotl Irene Loretto Jeffrey Alan Johnson Ms. Felice Goldman Margaret Winters Dr. Carolyn W. Lester Gerry Lupacchino & Carol Crosset David Roth’s Birthday Mr. and Mrs. Jeffrey Welch Lynn Beaulieu David and Francie Horvitz Dr. & Mrs. Allan Reiskin Sharon Dennison for 40 Years Family Foundation, Inc. David & Linda Roth of Friendship, Leadership The David Roth Family Ms. Kathleen Scotti and Artistry for the Holidays Ruth & Howard Sovronsky The HSO Viola Section River Oaks Foundation, Inc. Andrew & Feather Spearman Carrie and Mike Stockman Karl and Muriel Fleischmann’s Dr. and Mr. Andrew Salner Jack Summers 60th Anniversary Mr. & Mrs. Lawrence Mowell Lynn & John Wadhams Eleanor N. Caplan Dr. Burton and Carol Cunin Ruth Sovronsky Eric Dahlin, fabulous cellist, Howard & Shirley DeLong Dennis & Donna Randall excellent teacher, and lovely Eve & Edward Fishman human being. Arnold & Beverly Greenberg Ann Stowe’s Retirement David & Phyllis Winer Sylvia and Roy Hammer Dr. Sid & Joy Glassman Joan & Robert Hecker Our beloved colleague, Leta Marks Lee & Dick Thomas Eric Dahlin Arlene & Daniel Neiditz Ellen McCabe & Joseph Zibbideo The Musicians of the Hartford Symphony Orchestra Rosemary Gaidos Elizabeth White David Barnes Laurie Sellars Jean-Claude Desmangles Susan Sellars Dr. Leslie and Bud and Charlotte Jason Christopher White Gertrude Desmangles Carole Olefsky

47 HARTFORD TributesSYMPHONY ORCHESTRA

Maria Digirolamo Attorney and Ruth & Howard Sovronsky Claire M. Friedman Mrs. Hugh M. Joseloff Lynn & John Wadhams The Joseloff-Kaufman Family Tracey Gabree Brad Noel The Gabree Family Alice Karlowitsch Ruth & Howard Sovronsky Jon Van Allen Robert Garthwait, Sr. Mary Osborn Ruth & Howard Sovronsky Dr. Robert A. Kramer Katie & Phil Reynolds Nancy A. Kramer Richard and Joanne Gates Marta Reguero Perez Suzanne Gates Ted Labedzki Ruth & Howard Sovronsky Diane Labedzki Emma Giel Audree Raffay Shirley Murtha Bruce H. Levy, MD Jane M. Bartlett Francis and Marilyn Cosgrove Muriel & Karl Fleischmann Robinson A. Grover Barry Levine Carrie & Jonathan Hammond Nancy Grover Carole Olefsky Jerry & Barbara Hess Chase Romano Ruth & Howard Sovronsky Bruce C. Hall Deborah Shapiro Jeff and Pam Verney Louann W. Hall Jean Little Paul Rosenblum Bruce and Susie Hayden Friends at Farmington Woods Muriel & Karl Fleischmann Lynn & John Wadhams Francis D. & Marcella A. Moran Dr. Robert S. Rosson Joseph P. Hayes Michael J. Moran Ms. Judith Pitt David & Linda Roth Ruth & Howard Sovronsky Connie Mason Ruth Schloss Mr. & Mrs. Brewster B. Boyd Bank Of America Private Bank John Heiser Lisa Gray Connecticut Innovations David & Joan Positano Mr. & Mrs. Arthur Hurst Calvin and Rosanne Blinder Louise B. Herring Ms. Linda D. Jansen Henry and Janice Blinder The Family of Louise Herring Nick Mason Shari & Michael Cantor Wolfried & Anita Mielert Mr. & Mrs. Henry Cohn Ilana Hirsch Mark & Dianne Orenstein Michael and Anna Elfenbaum Herbert Hirsch Kevin Palmer Dan & Joni Fine David Ryan Annette & Seymour Gavens Pastor Robert W. Howard Ruth & Howard Sovronsky Claire Henderson Barbara Davis Howard Lynn & John Wadhams Douglas Hill Thomas and Sharene Wassell Billie Levy Edward D. Hurley Anita & William Mancoll Priscilla Hurley Dorothy Kaplan McCarty Peggy and Alan Mendelson Mrs. Judy Quinn Ann M. Jacovino Dave & Lauri Miller Jon Van Allen Elizabeth S. Russell George W. Merrow Steven and Elyse Slitt Deborah Clapp Mr. & Mrs. Edward Birch Michele Parotta Joyce & Harold Buckingham Thomas Tucker Mr. & Mrs. George Porter Naomi & Michael Cohen Jeraldine Tucker Kathy Vormack Joseph & Virginia Edelson Ms. Virginia Allen and Jennie M. Urillo Isador Janowsky Mr. Zean Gassmann Mr. Anthony L. Urillo Robert Anderson Charles Head Guy Verney Brook & Charlotte Jason Susan Jansen Elizabeth Merrow Brook & Charlotte Jason Mr. & Mrs. John Moore David & Linda Roth Ruth & Howard Sovronsky 48 Young Artist

HARTFORDCompetition SYMPHONY Supporters ORCHESTRA

We gratefully acknowledge the donors whose generous support underwrote the 2019 Young Artist Competition.

Competition Sponsor Kenneth & Judith Boudreau Claire and Jan Kennedy Richard P. Garmany Fund Donna A. Collins Irene Loretto at Hartford Foundation for Nancy & Ron Compton Barri Marks and Woody Exley Public Giving Ruth Ann & Joel Davis Ann M. McKinney Hollis G. Dorman Lois Muraro and Carl Elsishans Reception Sponsor Karen L. Fritsche Michael and Genevieve Pfaff Hoffman Auto Group Rosemary A. Gaidos Dr. & Mrs. Allan Reiskin Ms. Rona B. Gollob Dara Ribicoff Arnold & Beverly Greenberg Eliane Sandler & Nancy Grover Lawrence Zemel, M.D. Wendy M. Haller Amy Lynn Silverman Laura Harris & Joe Solodow Mr. Joseph Spada Don & Helen Hughlett Ms. Deborah Szajnberg Susan & Bob Izard Gary & Diane Whitney

2018-2019 Matching

HARTFORDGift SYMPHONY Companies ORCHESTRA

The Hartford Symphony Orchestra wishes to thank the businesses who helped our donors increase their impact through matching gifts this past year.

Adobe Eversource Energy Foundation Prudential Foundation Aetna Foundation General Electric Foundation The Saunders Foundation Amerisure Insurance Google The Travelers Company Bank of America Hartford Fire Insurance Company United Healthcare Bristol-Myers Squibb Foundation Hartford Steam Boiler United Technologies Corporation Charities Aid Foundation IBM Corporation United Way of Greater Waterbury Charles Schwab & Co., Inc. MassMutual Financial Group UnitedHealth Group Cigna Foundation Nordstrom Voya Foundation Colgate Pfizer As of July 18, 2019

49 HARTFORDEducation SYMPHONY Initiatives ORCHESTRA

We thank the individuals, foundations, corporations and businesses who have contributed to HSO’s Education and Community Engagement Initiatives, both via Fund the Inspiration at our Bravo! Gala on 4/27/19 and through other annual support.

Vicki & Leonard Albert Tracy Flater Bob and Lynn Murray Donald and Marilyn Allan Karen L. Fritsche Mr. & Mrs. Richard Narowski Duffield Ashmead and Eric D. Ort Mr. & Mrs. Bob Garthwait, Jr. Steven and Tricia Nevard Leonard & Elizabeth Banco Joan & David Geetter Charles and Michelle O’Brien John and Eleanor Barnes Martin and Brenda Geitz Frank and Donna Pagano Thomas and Melanie Barnes Christopher & Diane Gent April M. Paterno Bruce Barth & Ms. Emily Gianquinto Mr. and Mrs. Brewster Perkins Pamela Yeomans Barth David and Michelle Glidden Austin Perkins Gerry Lupacchino & Arnold & Beverly Greenberg Michael & Genevieve Pfaff Lynn Beaulieu Juliet Greenblatt Mrs. Millard H. Pryor, Jr., Jay S. and Jeanne Benet Angela D. Griffin Ms. Esther A. Pryor & Joanne Berger-Sweeney & MaryEllen M. & Pierre H. Guertin The Pryor Foundation Urs Berger Eric and Demaris Hansen Kristen Phillips & Matt Schreck Mr. and Mrs. Michael Blair and Steve & Ellen Harris Mr. & Mrs. David E. Polk their children Ms. Laura R. Harris JoAnn H. Price Dr. & Mrs. Jack Blechner Hartford Foundation for Dorjan and Mira Puka Mr. Frank Borges Public Giving Eric and Anne Rice Suzanne and John Bourdeaux Mark & Marianne Hayes Vanessa Rossitto Wes & Joann Boyd Heather Hazel David & Linda Roth Dr. John Brancato & Craig and Angela Healey Susan & Joel Rottner Mr. Thomas Richardson Mrs. Susan Hensley Steven and Jennifer Santucci Dr. & Mrs. James Brodey Jerry & Barbara Hess Peter & Barbara Setlow Michael and Suzanne Brooder Jeffrey S. & Nancy Hoffman Mr. & Mrs. Edwin S. Shirley Mr. & Mrs. Robert W. Burnett Mr. & Mrs. Ross Hollander Ruth & Howard Sovronsky Elisabeth Busbee Philip and Diane Hooker Mr. Joseph Spada Joe and Lisa Calafiore Don & Helen Hughlett Karen & Howard Sprout Jared Chase IBM Corporation Anne F. & Gordon Stagg Arnold & Sandra Chase Patti and Dave Jackson Heather Stanton Jessamyn Chmura Ken & Ruth Jacobson Sharon and Frank Travis and Dr. & Mrs. Bernie Clark Mathew & Valerie Jasinski the Travis Foundation Susan & Brian Clemow Jordan Group Promos Thomas and Becky Trutter Jan and Melody Cohen Andrew and Jane Julien Joe and Terri Uccello Naomi & Michael Cohen Linda Kelly Mrs. & Mr. Betsy Udal Steve and Kim Collins Sylvia & Harvey Kelly Alan Valenti Donna A. Collins Mark & Janet Keough Jeff and Pam Verney Nancy & Ron Compton Steve & Debbie Kleinman Viking Fuel Oil Company, Inc. Michele & Halsey Cook Kathy Kraczkowsky Mr. & Mrs. Robert J. von Dohlen Doug and Martina Cooper Mr. Christopher Larsen Dr. and Mrs. Thomas Ward Joseph Coray Margaret W. Lawson Connie & David Weaver Cheryl Czuba Victor and Karen Lawson James Welch Raja and Adelina Das Coleman & Judie Levy Kate Wells Darren and Scotia Daugherty Mr. & Mrs. Edward Lewis Carey & Olivia White Barbara O. David Jim & Rebecca Loree Ty and Erin White Abraham and Denise Davis Irene Loretto Olivia & Carey White Dr. Leslie and Mr. John Nealon & Dan Yee and Karen Eisenbach Gertrude Desmangles Ms. Pamela Lucas Soohyung Yoo and Jeremy Hwang Golden and Teresa Dickerson Gerry Lupacchino & Lynn Beaulieu Pascal Zaklama Mr. Thomas Driscoll Dannel & Cathy Malloy Bryan and Lama Zerhusen Patrick & Christine Egan Scott and Trish Matson Jeff and Jill Ziplow Drs. Geoffrey and Karan Emerick Ashley Mettellus Anonymous Stanley & Susan Fellman Carlos and Maria Mouta Dan & Joni Fine Jane Murdock As of July 18, 2019 HARTFORDPatron SYMPHONY Information ORCHESTRA

HSO Ticket Services, at 166 Capitol Avenue in Late Arrival and Late Seating: Hartford Symphony Hartford, is open Monday through Friday, 10 concerts will start at the time stated on your a.m. to 5 p.m. Telephone (860) 987-5900, Fax ticket. Lobby doors open one hour prior to the (860) 249-5430. Tickets are also available online performance time. Auditorium seating begins one at www.hartfordsymphony.org. half hour prior to the performance. Out of respect Tickets are available for purchase at an on-site to patrons who are in their seats at the start of each box office in the 60 minutes immediately before part of the concert, patrons arriving after the start of a each concert. performance or after the end of an Intermission will be seated at the discretion of the Hartford Symphony At every location, the box office is open until Orchestra. Late arrivals will be permitted to enter one-half hour after the start of the concert. the hall at times determined by the conductor. Based Parking: Secure and well-lighted parking is available on the time made available for late seating by the in the State of Connecticut parking lots along Capitol conductor, patrons may or may not be able to go to Avenue. For patrons displaying a valid accessible their purchased seats at those times. Patrons arriving parking permit, there are a number of parking late may also be offered alternative seating in the spaces available within the State of Connecticut rear of the hall/theatre or in the available standing Public Health Laboratory parking lot. Please look room only area as a result of the late seating policy. for prominently displayed signage. Spaces are This will be offered as determined by the conductor. available on a first-come first-served basis. In addition, valet parking is available for most evening and End of Performance: For your safety and the safety weekend performances at a cost of $9 per vehicle. of your fellow patrons, please do not leave your seat The valet parking service is located on Trinity Street. until the house lights have been turned on. Not only Excludes weekday matinees. is it dark, but it is inconsiderate to others, including the performers. Accessibility: The Bushnell is equipped with ramps, restrooms, elevators and seating areas Performance Cancellation: Hartford Symphony that can accommodate patrons with disabilities. Orchestra performances are rarely cancelled, and When ordering your tickets, be sure to tell the Box only in the case of severe weather. If a performance Office of any special requirements. Access guides is cancelled the following radio and television are available at the Customer Relations Desk. stations will be notified: WTIC-AM (1080), -Persons who are Hearing-Impaired: Infrared (ILS) WDRC-AM (1360), WFCR-FM (88.5), WFSB-TV headsets and neck induction loops are available at 3, and the stations of Connecticut Public Radio/ the Customer Relations Desk to assist with sound WNPR (90.5 FM). Performance cancellations will amplification and clarity. A driver’s license or other also be listed on the HSO Ticket Services phone line form of photo ID must be presented. and on the HSO website. If there is bad weather and a For Hearing Impaired Patrons: Infra-red Listening performance is postponed, patrons can use their System (ILS) headsets are available to assist with original tickets for the rescheduled performance, or sound amplification and clarity. There is NO charge; they may exchange into another concert during the however a $2 donation is appreciated. A driver’s same season if they cannot attend on the rescheduled date. license or other form of ID must be presented. See All exchanges are based on availability. any usher for assistance. Children: At the Hartford Symphony, we love In Case of an Emergency: Exits are indicated by kids — that is why we offer a myriad of education signs located above the theater entrances. For your programs and perform so often in area schools. Please safety, please check the location of the exit nearest visit our info table located in the lobby for more your seat. In the event of an evacuation, Bushnell information. Children may attend any Hartford staff and volunteers are available to assist you. Symphony concert as long as they have a ticket. We regret we cannot allow any babies without a paid ticket, Restaurant Discounts: Look for updates on the HSO and no lap seats. website about the latest discounts offered by wonderful restaurants in Greater Hartford. We thank them for Bushnell or Symphony staff reserve the right to their support of the HSO and for making your concert ask parents to take disruptive children out of the night an extra special event! concert hall.