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Enjoying your granddaughter’s ballet An Exceptional Everyday Experience

It’s the little things in life that bring the most joy. At Twin Towers and Twin Lakes senior living communities, each day is ﬁlled with the wonderful things that make life sweeter – an entertaining show, delicious food, seeing your grandkids’ smiling faces. Find magic in the everyday. Call us to schedule a tour or visit us online at LEC.org.

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Enjoying your granddaughter’s ballet An Exceptional Everyday Experience

Life Enriching Communities is afﬁliated with the West Ohio Conference CHICAGO ✦ CINCINNATI ✦ GRAND RAPIDS ✦ INDIANAPOLIS ✦ TWIN CITIES of the United Methodist Church and welcomes people of all faiths. 513.246.0800 ✦ WWW.OFGLTD.COM/CSO JANUARY 2016 CONTENTS CONCERTS 40 A dynamic and adventurous soloist, percussionist Colin Currie’s unrivaled commitment to 21 Pops: I’m Every Woman, Jan. 9–10 commissioning and creating new 23 Guest Artists: Measha Brueggergosman, music has earned lauds the world Capathia Jenkins, Tatiana “LadyMay” Mayfield over. With the CSO Jan. 22–23 27 CSO: Brahms + Schumann: Songs for Clara, he’ll perform one of the works Jan. 14/16-17 (Stories in Concert on Sunday) written for him, the sensational riSE 32 Guest Artist: Kirill Gerstein, pianist and fLY by Julia Wolfe. 35 CSO: Elgar’s Enigma Variations, Jan. 22–23 45 Featuring a dozen 40 Guest Artists: Cristian Măcelaru, conductor; musicians, Pink Martini Colin Currie, percussionist performs its multilingual (and multi-faceted) repertoire on Pops: Pink Martini & The von Trapps, Jan. 24 43 concert stages around the 44 Steven Reineke, conductor; Pink Martini; The von Trapps world. They and The von Trapps (the family of The Sound of Music fame) will bring their unique 32 The multi-faceted pianist Kirill sound to Music Hall for one special Gerstein, one of today’s most concert with the Pops Jan. 24. intriguing and versatile musicians, will perform Schumann’s luminous Piano Concerto Jan. 14 & 16. This Brahms Fest weekend also includes Brahms’ DEPARTMENTS brilliant Symphony No. 1. 6 A Letter from the President 7 Transition to the Taft Theatre/ NEWS Music Hall Renovation Update 8 Your Concert Experience 10 Feature: Ensuring a Dream: The Norman E. Johns Chair Award 9 Orchestra Roster 19 CSO’s Brahms Fest Kicks Off This Month 12 Artistic Leadership: Louis Langrée and John Morris Russell 19 About CSO Encore and Spectrum 15 If It Sounds Good, It Is Good! by JMR 41 Q&A with Colin Currie 16 Spotlight On: Catherine Lepley-Feig 47 Q&A with Pink Martini’s Thomas Lauderdale 49 Boards 52 Financial Support 59 Administration 60 Coda

2 | FANFARE CINCINNATI | cincinnatisymphony.org

FANFARE CINCINNATI STAFF: Cincinnati Symphony and Pops Orchestra Vice President of Communications Chris Pinelo Director of Communications Meghan Berneking Digital Communications Manager Lee Snow Communications Assistant Laura Bock Editor/Layout McKibben Publications

ON THE COVER John Morris Russell leads the CINCINNATI SYMPHONY & POPS ORCHESTRA Cincinnati Pops Orchestra in a special two-night event Music Hall Jan. 9–10, “I’m Every Woman”—a celebration of the 1241 Elm Street great divas of soul, R&B, jazz, opera and gospel. Three Cincinnati, OH 45202 stars of stage and screen, Capathia Jenkins, Tatiana Administrative Offices: 513.621.1919 “LadyMay” Mayfield and Measha Brueggergosman, [email protected] will sing music made famous by the likes of Whitney Box Office Houston, Aretha Franklin, Ella Fitzgerald, Marian Music Hall Anderson and others. 1241 Elm Street Cincinnati, OH 45202 CINCINNATI MAGAZINE: 513.381.3300 Advertising and Publishing Partners [email protected] for Fanfare Cincinnati Group Sales Publisher 513.744.3590 Ivy Bayer [email protected] Director of Advertising Tammy Vilaboy TTY/TDD Art & Production Manager Use TTY/TDD Relay Service 7-1-1 Julie Whitaker Marketing Director cincinnatisymphony.org | cincinnatipops.org Chris Ohmer facebook.com/CincySymphony or /CincinnatiPops Advertising & Marketing Designer twitter.com/CincySymphony or /CincinnatiPops Emily Nevius Custom Publishing Account Manager Maggie Wint Goecke Senior Outside Account Representative Laura Bowling RECYCLE FANFARE CINCINNATI Operations Director You are welcome to take this copy of Missy Beiting Fanfare Cincinnati home with you as a Business Coordinator Erica Birkle souvenir of your concert experience. Alternatively, please share Fanfare Advertising and Business Offices Cincinnati with a friend or leave it with Carew Tower 441 Vine Street, Suite 200 an usher for recycling. Thank you! Cincinnati, OH 45202 513.421.4300 Subscriptions: 1.800.846.4333 cincinnatimagazine.com

4 | FANFARE CINCINNATI | cincinnatisymphony.org

A LETTER FROM THE PRESIDENT

Dear Friends, The Pops’ American Originals album, led by John Morris Russell and released this past fall, also Has it ever happened to cracked the top fi ve in two of Billboard’s charts and you? While traveling out garnered praise from The Wall Street Journal, Travel of town, you’ve heard the & Leisure and NPR’s Here & Now, shining a bright CSO or Pops on the radio, light on Cincinnati’s vibrant arts scene. seen our CDs in a store, or One of our core values is to be Cincinnati’s ambas- stumbled upon a review of sador, committ ed to demonstrating that this city is your hometown orchestra a center of culture and excellence. This is important in a newspaper or maga- for many reasons, not the least of which is to att ract zine. With a great touring talent, visitors and businesses to Greater Cincinnati. legacy, over 10 million With that, we are aligned strategically with our recordings sold around partners and supporters from ArtsWave to be a more the globe, and a regular presence on the broadcast competitive region for talent att raction by leverag- airwaves, we have a particular appreciation and ing arts experiences perceived as extraordinary. understanding that arts put Cincinnati on the map. That performance we presented in New York this As many of you know, the CSO performed at month and the popular American Originals album the beginning of this month at Lincoln Center’s certainly met the defi nition of extraordinary, as David Geff en Hall for the 50th anniversary season will the concert you’re experiencing with us now. of the Great Performers series, and your CSO under The CSO and Pops are proud to be ambassadors the direction of Louis Langrée was in fantastic helping to put Cincinnati on the map. company for New York’s premier classical music series. Among the prestigious list of other invitees Sincerely, this season are Gustavo Dudamel conducting the Los Angeles Philharmonic, Joshua Bell leading the Academy of St. Martin in the Fields, and Valery Ger- giev conducting the London Symphony Orchestra. Trey Devey

“This is your community foundation.” Whether you’ve been in Cincinnati for days or decades, The Greater Cincinnati Foundation belongs to you. To join with others who want to give back and contribute to a thriving and vibrant region, visit gcfdn.org/giving.

Ellen K atz President/CEO, The Greater Cincinnati Foundation

6 | FANFARE CINCINNATI | cincinnatisymphony.org Acoustics at the Taft Theatre Fanfare Cincinnati recently asked Pops Conductor stage when the violins, for instance, could be up to 70 John Morris Russell for his thoughts on the acoustics feet from the brass. “When you reduce that distance, at the Taft Theatre; you may remember from last when everyone is closer together, an orchestra can month’s article that JMR conducted many Home for perform with a tighter and crisper ensemble, some- the Holidays concerts in the historic Taft auditorium thing that is more diffi cult when everyone is spread (and before the 2011 renovations!). out,” he said. “The Taft Theatre has that great sense “One of the coolest things about being a conduc- of intimacy—it’s smaller than Music Hall by about 20 tor is working with superb orchestras in amazing percent. I’m really looking forward to the opportunity performance venues all over the world,” said Mr. to experience the kind of nuanced ensemble and tight, Russell. “Over time you notice that often when a rhythmic music-making the Taft will provide.” hall has a smaller stage, and individual orchestra Isaac Thompson, the CSO’s Director of Artistic members are physically closer to each other on that Administration, added, “The same acoustics team stage, the orchestra’s sound is more compact and that is working on the Music Hall renovations, rhythmically tighter.” ‘Akustiks,’ is also being consulted on the acoustical Mr. Russell used the example of the challenge of shell that is being custom-built for the CSO’s season keeping sections rhythmically together on a large in the Taft Theatre.”

Questions or comments about the Orchestra’s one-season transition to the Taft Theatre? Visit cincinnatisymphony.org/musichall or email [email protected].

MUSIC HALL RENOVATION: Finding the Sound by Ted Nelson, CSO Cellist

While I was in graduate school, there was a violinist and mouthpiece. And the timing of refl ections off the in the local orchestra (one of the “big fi ve”) who was walls surrounding us changes not just how we hear famous among the students. He had chosen as his and respond to the rest of the Orchestra, but how instrument a beautiful Stradivarius, and because the our instruments vibrate and how we hear ourselves. Strad is a very expensive violin his mode of trans- So when the musicians of the CSO were ap- portation was a 15-year-old Honda Civic. Rather proached to provide input on the acoustical reno- than sett le for a mediocre instrument, he played vation of Music Hall, we jumped at the chance to the Strad and economized in other areas of his life. represent the Orchestra. We were closely involved Musicians are all about sound. I searched for four in the selection of the acoustical fi rm designing the years to fi nd the cello I play now, and I happily would renovation, and we have met with them regularly. have continued the search for years more if necessary. We played in various confi gurations on the Springer We are intimate with our instruments in so many Auditorium stage as the acousticians listened and ways; we practice and perform on them for hours even reconfi gured the shell and stage while we every week; we know every ounce of weight, every played to test theories and investigate potential scratch and repair; and we know when the weather changes to the Hall. is changing based on how easily we can tune. It is important for the musicians of the Cincinnati The room in which we perform aff ects us and our Symphony Orchestra to be involved in the acoustical instruments intimately, too. More than just provid- renovation because, even though we each play our ing a resonating chamber for the sound we make, own instruments, when we all play together the the space around us aff ects how our instruments Orchestra has an instrument, too—Music Hall. We respond and speak. My cello sounds and plays dif- are thrilled to be so engaged in this process and can’t ferently if my endpin is resting on a hardwood fl oor wait for the grand re-opening of Music Hall, when or soft wood or carpet or tile. The surface on which we can all experience with greater impact and power a timpani drum sits changes how the instrument the sound and music that we love to make for you. resonates. The wall behind our horn section changes Ted Nelson currently holds the Kenneth & Norita Aplin and the feedback a horn player receives through the bell Stanley Ragle Chair for cello.

cincinnatisymphony.org | FANFARE CINCINNATI | 7 YOUR CONCERT EXPERIENCE

Welcome! Here are some tips for gett ing the most is located at the south lobby coatroom. For inquiries out of your concert experience. about lost items call 513.744.3344 during business hours. Restrooms are located in the north and south ABOUT MUSIC HALL Music Hall was built in 1878 corridors on the fi rst and second fl oors and in the and remains a cultural icon for Cincinnati. Pre- north corridor on the third fl oor. concert tours are available by calling 513.744.3344. Read more historical information about Music ACCESSIBILITY Assistive listening devices are Hall on the Society for the Preservation of Music available at the south lobby coatroom. Seating for Hall’s website at spmhcincinnati.org. NOTE: Music persons with disabilities is available for all events. Hall’s long-awaited revitalization is right around Accessible restrooms are located on each floor the corner! For updates, please read the article on (orchestra, balcony, gallery). An elevator is located page 7 or visit cincinnatisymphony.org/musichall. in the north corridor with service to all three fl oors. Escalators to all fl oors are located in the south cor- WHAT’S HAPPENING? For updates about concerts ridor. For patron safety, walkers and strollers are and your orchestra’s daily activities, follow the Cin- not permitt ed on the escalators. cinnati Symphony Orchestra and Cincinnati Pops Orchestra on Facebook and Twitt er. PATRON CONSIDERATIONS Please disarm electronic watch alarms and turn off all pagers, MEET THE ARTISTS You are welcome to meet the cell phones, tablets and mechanical devices before conductor, guest artists and orchestra members entering the concert hall. Out of consideration for backstage and in the Green Room after most per- the musicians and your fellow audience members, formances. Ask an usher for assistance. please note that anyone creating a disturbance may be asked to leave the concert hall. Flash photogra- LEARN MORE ABOUT THE MUSIC Classical Con- phy, glowing screens and audio/video recording versations take place one hour before Friday and are prohibited during concerts. Saturday Cincinnati Symphony Orchestra concerts and are free to ticketholders. Program notes are also OUR YOUNGEST LISTENERS In consideration of available on each Cincinnati Symphony Orchestra all our patrons, children under 6 will not be admit- concert webpage. ted to classical performances. Ushers will assist patrons with young children to seats at the back TICKET SERVICES Can’t use your tickets to an of the auditorium. For our youngest listeners, we upcoming concert? Please return them to the Box invite you to experience our Family Concerts, many Offi ce in advance so someone else may enjoy them. of which are especially geared for the enjoyment of We’ll provide you with a tax-deductible receipt upon younger audiences. Booster seats are available on a request. Subscribers also have unlimited free ticket fi rst-come, fi rst-served basis in the lobby at family- exchanges. Single ticket buyers may exchange their oriented performances. seats for another concert for a $3 per ticket service charge (some restrictions apply). RUNNING BEHIND? So as not to disturb other patrons, latecomers will be asked to remain in the VENUE AMENITIES Bar service and snacks are lobby and view the concert via video monitors. available at the north and south lobby bars prior to Ushers will assist latecomers to their seats during an concerts and during intermission. Specialty wines appropriate musical break. If you need to leave the are available in the lobby bar. Keurig coff ee, tea auditorium during the concert for any reason, you and hot chocolate are off ered at the north lobby will be re-seated at an appropriate musical break, at bar. Pre-order your cocktail for intermission at any the discretion of the ushers/house manager. These of the bars before the concert. Food and beverages policies are based on patron survey feedback and are not permitt ed in the auditorium during most we appreciate your understanding. n performances, although drinks are permitt ed during Cincinnati Pops Orchestra concerts. Lost and found

8 | FANFARE CINCINNATI | cincinnatisymphony.org LOUIS LANGRÉE, CSO Music Director Louise Dieterle Nippert & Louis Nippert Chair Paavo Järvi, Music Director Laureate Jesús López-Cobos, Music Director Emeritus JOHN MORRIS RUSSELL, Pops Conductor Louise Dieterle Nippert & Louis Nippert Chair Erich Kunzel, Founder and Conductor Emeritus Keitaro Harada, Associate Conductor David G. Hakes & Kevin D. Brady Chair Gene Chang, Assistant Conductor

FIRST VIOLINS VIOLAS OBOES TROMBONES Timothy Lees Christian Colberg Dwight Parry Cristian Ganicenco Concertmaster Principal Principal Principal Anna Sinton Taft Chair Louise D. & Louis Josephine I. & David J. Dorothy & John Kathryn Woolley Nippert Chair Joseph, Jr. Chair Hermanies Chair Acting Associate Concertmaster Paul Frankenfeld* Richard Johnson Joseph Rodriguez** Tom & Dee Stegman Chair Grace M. Allen Chair Donald & Margaret Rebecca Culnan Julian Wilkison** Robinson Chair++ BASS TROMBONE First Assistant Concertmaster Marna Street Lon Bussell* Peter Norton James M. Ewell Chair++ Principal Emeritus Eric Bates Rebecca Barnes†§ ENGLISH HORN TUBA Second Assistant Concertmaster Stephen Fryxell Christopher Philpott s [Open] Nicholas Tsimaras– Principal Principal Peter G. Courlas Chair++ Denisse Rodriguez-Rivera Steven Rosen Alberta & Dr. Maurice Anna Reider Marsh Chair++ Melinda & Irwin Simon Chair TIMPANI Dianne & J. David Rosenberg Chair Joanne Wojtowicz Patrick Schleker CLARINETS Principal Minyoung Baik CELLOS Jonathan Gunn Matt hew & Peg Mauricio Aguiar§ Principal Ilya Finkelshteyn Woodside Chair Serge Shababian Chair Emma Margaret & Richard Jensen* James Braid Principal Irving D. Goldman Chair Irene & John J. Emery Chair Morleen & Jack Rouse Chair Marc Bohlke Chair given Ixi Chen Daniel Culnan* by Katrin & Manfred Bohlke Vicky & Rick Reynolds Chair PERCUSSION Janet Carpenter† Ona Hixson Dater Chair in Honor of David Fishlock Michelle Edgar Dugan Norman Johns** William A. Friedlander Karl & Roberta Schlachter Principal Rebecca Kruger Fryxell Benjamin Freimuth*† Susan S. & William A. Family Chair Robert E. & Fay Boeh Chair++ Gerald Itz koff Matt hew Lad§ Friedlander Chair Jean Ten Have Chair Michael Culligan* Marvin Kolodzik Chair BASS CLARINET Lois Reid Johnson Richard Jensen Susan Marshall-Petersen Ronald Aufmann Anne G. & Robert W. Dorsey Laura Kimble McLellan Morleen & Jack Rouse Chair Chair++ Chair++ Marc Wolfl ey+ BASSOONS Sylvia Mitchell Hiro Matsuo† Jo Ann & Paul Ward Chair Theodore Nelson William Winstead KEYBOARDS Principal Luo-Jia Wu Kenneth & Norita Aplin and Michael Chertock Emalee Schavel Chair++ Stanley Ragle Chair James P. Thornton Chair SECOND VIOLINS Alan Raff erty Hugh Michie Julie Spangler+ Gabriel Pegis Ruth F. Rosevear Chair Martin Garcia* James P. Thornton Chair Principal Charles Snavely Al Levinson Chair Peter G. Courlas– CONTRABASSOON GUITAR/BANJO Yang Liu* Nicholas Tsimaras Chair++ Jennifer Monroe Timothy Berens+ Harold B. & Bett y Justice Chair BASSES FRENCH HORNS ORCHESTRA PERSONNEL Scott Mozlin** Owen Lee Elizabeth Freimuth Walter Zeschin, Director Henry Meyer Chair Principal Principal Andrew Williams, Assistant Kun Dong Mary Alice Heekin Burke Mary M. & Charles F. Cheryl Benedict Yeiser Chair Chair++ LIBRARIANS Drake Critt enden Ash§ James Lambert* Thomas Sherwood* Mary Judge Rachel Charbel Matt hew Zory, Jr.**+ Ellen A. & Richard C. Ida Ringling North Chair Berghamer Chair Principal Trish & Rick Bryan Chair Lois Klein Jolson Chair Chiun-Teng Cheng Elizabeth Porter**† Wayne Anderson§ Christina Eaton* Stefani Collins Lisa Conway Boris Astafi ev Matt hew Gray Chika Kinderman Susanne & Ronald Bozicevich Philip O. Geier, Jr. Chair Assistant Librarian Paige Kossuth† Rick Vizachero Hye-Sun Park‡ Duane Dugger Mary & Joseph S. Stern, Jr. STAGE MANAGERS Paul Patt erson HARP Chair Joseph D. Hopper Charles Gausmann Chair++ Gillian Benet Sella Charles Bell Ralph LaRocco, Jr. Stacey Woolley Principal Brenda & Ralph Taylor Chair++ John D. Murphy Cynthia & Frank Stewart Chair TRUMPETS Matt hew Ernst FLUTES Principal § Begins the alphabetical list- Randolph Bowman Rawson Chair ing of players who participate Principal Douglas Lindsay* in a system of rotated seating Charles Frederic Goss Chair Jackie & Roy Sweeney within the string section. Amy Taylor† Family Chair * Associate Principal Jane & David Ellis Chair Steven Pride ** Assistant Principal Henrik Heide* Ott o M. Budig Family † One-year appointment Foundation Chair++ ‡ Leave of absence PICCOLO Christopher Kiradjieff ** + Cincinnati Pops rhythm Joan Voorhees section Patricia Gross Linnemann Chair ++ CSO endowment only

cincinnatisymphony.org | FANFARE CINCINNATI | 9 ENSURING A DREAM BY MEGHAN BERNEKING

n 1995, a young clarinetist named Kazem Abdullah became the first recipient of the Norman E. Johns Chair Award. Established in partnership with the Cincinnati Sympho- ny Orchestra’s Multicultural Awareness & Photography Graphics Lancaster Credit: Council (MAC) and in recognition of Mr. Johns’ 2015 Norman E. Johns Chair ard recipients are (l-r ith Mr. Johns): I Mahmoud Said, bass trombone; Haleigh illingham, viola; Hannah illingham, percussion; and Myles Yeazell, cello. (the CSO’s Assistant Principal cellist who holds the Karl & Roberta Schlachter Family Chair) 20 years of service to the CSO and the communi- Endowing the Award and Classical Roots, this Award helps with the ty, the Award funded Mr. Abdullah’s tuition to for Future Generations diversification of the musicians on stage as well.” participate in the Cincinnati Symphony Youth Norman E. Johns, CSO ssistant Principal cellist The endowment of the Award is part of the Orchestra. Twenty years later, in October 2014, The CSO and MAC, a division of the Cincin- CSO’s larger commitment to increasing diversity Mr. Abdullah returned to the CSO, this time as ing Ahmad Mayes. “By enabling their participa- nati Symphony Volunteer Association, recently and inclusion in the orchestra, audience, Board a globe-trotting conductor leading the Orchestra tion, we help ensure these students have the tools launched a fundraising effort to endow the Nor- and partners, and to fostering this diversity and from the podium. He attributes a great deal of his they need to go as far as their desire and natural man E. Johns Chair Award in perpetuity. MAC inclusion in the wider community. The recently ability will take them.” success as a musician to the opportunities he re- hopes to raise $40,000 in coming months to en- “The endowment of the Award ceived in the CSYO. dow and grow the program. “These opportunities planted the seeds for my “These young people have many more “It is truly incredi- is part of the CSO’s larger commitment professional musical development,” said Mr. Ab- distractions and influences than we had ble to see the commu- to increasing diversity and inclusion dullah. “Practicing and studying the repertoire in our youth. The most negative of these nity come together to in the orchestra, audience, we performed and also preparing a concerto de- ensure future CSYO influences can cause them to defer their Board and partners, and to veloped not only my musicianship but also my members have the work ethic, concentration, etc. I would say all of dreams, if not erase them altogether. opportunity to seek fostering this diversity and inclusion these skills developed and learned while in the And we don’t want that to happen.” and share inspiration in the wider community.” CSYO shaped me into the musician and conduc- alongside their peers,” tor I’ve become.” This year’s recipients of the Award, (Mahmoud said Mr. Mayes. “With announced Diversity Fellowship Program with These days the Norman E. Johns Chair Award Said, bass trombone; Haleigh Willingham, vio- this fundraising ef- the University of Cincinnati College-Conservatory continues to have an impact on the lives of student la; Hannah Willingham, percussion; and Myles fort, we will be able to of Music—which will officially launch in the fall of musicians. The Award, which continues to cover Yeazell, cello) were honored Nov. 12 at an event grant the Norman E. 2016—is one such element that will help support the cost of CSYO tuition, is given annually to tal- at the National Underground Railroad Freedom Johns Chair Award to underrepresented musicians through the gradu- ented middle and high school African-American, Center. Actress and writer Regina Taylor, who underrepresented stu- Kazem bdullah, first recipient ate school level. of the Norman E. Johns Chair Latino/Hispanic and Native American student was in town to narrate the CSO’s One City, One dent musicians well ard, conducted the CSO in “We have a continuing responsibility to inspire musicians with the intention of encouraging their Symphony concerts, spoke at the event, along into the future, and October 2014. these talented young people, and all young people pursuit of orchestral music. Students must first with Mr. Johns. also become even more intentional with diversity who show promise,” said Mr. Johns. “Pull them audition for and be accepted into the CSYO; they “I came out of high school in 1968, and things initiatives within our youth orchestras.” aside, share your experience. They need to know then audition for another panel of judges (which were tough back then,” said Mr. Johns. “My fami- MAC member (and former MAC Chair) Aurelia firsthand what it takes to overcome, and not defer includes Mr. Johns and other CSO musicians) for ly, community and teachers encouraged me, and I “Candie” Simmons helped to launch the Award a dream.” consideration for the Award. think I made the right choice. These young people in 1995, and is thrilled to chair the fundraising ef- “It’s critical to the CSO’s larger mission that we have many more distractions and influences than fort guaranteeing its future. “This is a critical step continue to foster the talent of musicians who are we had in our youth. The most negative of these in the right direction to ensure middle and high To contribute to this new fundraising initiative, please underrepresented in classical music at all levels, influences can cause them to defer their dreams, school students have the support they need,” she visit cincinnatisymphony.org/johns or call the CSO’s including within the Youth Orchestra,” said CSO if not erase them altogether. And we don’t want said. “While we’ve done a lot of work to diversi- office at 513.621.1919 and ask to speak to someone in Director of Community Engagement and Learn- that to happen.” fy audiences through MAC Open Door Concerts the Philanthropy Department.

10 | FANFARE CINCINNATI | cincinnatisymphony.org ENSURING A DREAM BY MEGHAN BERNEKING n 1995, a young clarinetist named Kazem Abdullah became the first recipient of the Norman E. Johns Chair Award. Established in partnership with the Cincinnati Sympho- ny Orchestra’s Multicultural Awareness & Photography Graphics Lancaster Credit: Council (MAC) and in recognition of Mr. Johns’ 2015 Norman E. Johns Chair ard recipients are (l-r ith Mr. Johns): I Mahmoud Said, bass trombone; Haleigh illingham, viola; Hannah illingham, percussion; and Myles Yeazell, cello. (the CSO’s Assistant Principal cellist who holds the Karl & Roberta Schlachter Family Chair) 20 years of service to the CSO and the communi- Endowing the Award and Classical Roots, this Award helps with the ty, the Award funded Mr. Abdullah’s tuition to for Future Generations diversification of the musicians on stage as well.” participate in the Cincinnati Symphony Youth Norman E. Johns, CSO ssistant Principal cellist The endowment of the Award is part of the Orchestra. Twenty years later, in October 2014, The CSO and MAC, a division of the Cincin- CSO’s larger commitment to increasing diversity Mr. Abdullah returned to the CSO, this time as ing Ahmad Mayes. “By enabling their participa- nati Symphony Volunteer Association, recently and inclusion in the orchestra, audience, Board a globe-trotting conductor leading the Orchestra tion, we help ensure these students have the tools launched a fundraising effort to endow the Nor- and partners, and to fostering this diversity and from the podium. He attributes a great deal of his they need to go as far as their desire and natural man E. Johns Chair Award in perpetuity. MAC inclusion in the wider community. The recently ability will take them.” success as a musician to the opportunities he re- hopes to raise $40,000 in coming months to en- “The endowment of the Award ceived in the CSYO. dow and grow the program. “These opportunities planted the seeds for my “These young people have many more “It is truly incredi- is part of the CSO’s larger commitment professional musical development,” said Mr. Ab- distractions and influences than we had ble to see the commu- to increasing diversity and inclusion dullah. “Practicing and studying the repertoire in our youth. The most negative of these nity come together to in the orchestra, audience, we performed and also preparing a concerto de- ensure future CSYO influences can cause them to defer their Board and partners, and to veloped not only my musicianship but also my members have the work ethic, concentration, etc. I would say all of dreams, if not erase them altogether. opportunity to seek fostering this diversity and inclusion these skills developed and learned while in the And we don’t want that to happen.” and share inspiration in the wider community.” CSYO shaped me into the musician and conduc- alongside their peers,” tor I’ve become.” This year’s recipients of the Award, (Mahmoud said Mr. Mayes. “With announced Diversity Fellowship Program with These days the Norman E. Johns Chair Award Said, bass trombone; Haleigh Willingham, vio- this fundraising ef- the University of Cincinnati College-Conservatory continues to have an impact on the lives of student la; Hannah Willingham, percussion; and Myles fort, we will be able to of Music—which will officially launch in the fall of musicians. The Award, which continues to cover Yeazell, cello) were honored Nov. 12 at an event grant the Norman E. 2016—is one such element that will help support the cost of CSYO tuition, is given annually to tal- at the National Underground Railroad Freedom Johns Chair Award to underrepresented musicians through the gradu- ented middle and high school African-American, Center. Actress and writer Regina Taylor, who underrepresented stu- Kazem bdullah, first recipient ate school level. of the Norman E. Johns Chair Latino/Hispanic and Native American student was in town to narrate the CSO’s One City, One dent musicians well ard, conducted the CSO in “We have a continuing responsibility to inspire musicians with the intention of encouraging their Symphony concerts, spoke at the event, along into the future, and October 2014. these talented young people, and all young people pursuit of orchestral music. Students must first with Mr. Johns. also become even more intentional with diversity who show promise,” said Mr. Johns. “Pull them audition for and be accepted into the CSYO; they “I came out of high school in 1968, and things initiatives within our youth orchestras.” aside, share your experience. They need to know then audition for another panel of judges (which were tough back then,” said Mr. Johns. “My fami- MAC member (and former MAC Chair) Aurelia firsthand what it takes to overcome, and not defer includes Mr. Johns and other CSO musicians) for ly, community and teachers encouraged me, and I “Candie” Simmons helped to launch the Award a dream.” consideration for the Award. think I made the right choice. These young people in 1995, and is thrilled to chair the fundraising ef- “It’s critical to the CSO’s larger mission that we have many more distractions and influences than fort guaranteeing its future. “This is a critical step continue to foster the talent of musicians who are we had in our youth. The most negative of these in the right direction to ensure middle and high To contribute to this new fundraising initiative, please underrepresented in classical music at all levels, influences can cause them to defer their dreams, school students have the support they need,” she visit cincinnatisymphony.org/johns or call the CSO’s including within the Youth Orchestra,” said CSO if not erase them altogether. And we don’t want said. “While we’ve done a lot of work to diversi- office at 513.621.1919 and ask to speak to someone in Director of Community Engagement and Learn- that to happen.” fy audiences through MAC Open Door Concerts the Philanthropy Department.

cincinnatisymphony.org | FANFARE CINCINNATI | 11 ARTISTIC LEADERSHIP

LOUIS LANGRÉE, Music Director positions as Music Di- Cincinnati Symphony Orchestra rector of the Orchestre The French conductor Louis Langrée is Music Direc- de Picardie (1993–98) tor of the Cincinnati Symphony Orchestra, Chief and Orchestre Phil- Conductor of the Camerata Salzburg and Music harmonique Royal de Director of the Mostly Mozart Festival at Lincoln Liège (2001–06). Center in New York. During the 2015–16 season, Louis Langrée was concerts with the Cincinnati Symphony Orchestra Music Director of include a Brahms Festival and three world premiere Opéra National de Concertos for Orchestra by Sebastian Currier, Lyon (1998–2000) and Thierry Escaich and Zhou Tian. They also perform Glyndebourne Touring in New York as part of the 50th anniversary season Opera (1998–2003). He of Lincoln Center’s Great Performers series. With has also conducted at the Camerata Salzburg Louis will tour Germany La Scala, The Metro- SUN and other guest engagements include the Leipzig politan Opera, Royal Opera House Covent Garden, Gewandhaus Orchestra (opening their annual Opéra Comique, Opéra-Bastille and Théâtre des Mendelssohn Festival) and performances of Così Champs-Elysées in Paris, Lyric Opera of Chicago, MAY 8 fan tutt e with the Freiburger Barockorchester at the Dresden Staatsoper, Grand Théâtre in Geneva and Aix-en-Provence Festival. the Netherlands Opera in Amsterdam. He has worked with many other orchestras Louis Langrée’s first commercial recording 2016 7:30 pm around the world including the Berlin Philhar- with the Cincinnati Symphony Orchestra features monic, London Symphony, London Philharmonic, Copland’s A Lincoln Portrait (narrated by Dr. Maya Louis Langrée, conductor Orchestre de la Suisse Romande, Santa Cecilia in Angelou) and world premieres by Nico Muhly Rome, Sao Paulo, Deutsche Kammerphilharmonie and David Lang. Louis Langrée’s recordings have Bremen and Budapest Festival orchestras. Festival received several awards from Gramophone and appearances have included Wiener Festwochen, Midem Classical. He was appointed Chevalier des Salzburg Mozartwoche and Whitsun, BBC Proms Arts et des Lett res in 2006 and Chevalier de la Légion and Glyndebourne Festival Opera. He has held d’Honneur in 2014.

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www.VerbargsFurniture.com • Facebook.com/Verbargs Tickets on sale now 12 | FANFARE CINCINNATI | cincinnatisymphony.org cincinnatisymphony.org SUN MAY 8 2016 7:30 pm Louis Langrée, conductor

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JOHN MORRIS RUSSELL, Conductor cipal Pops Conductor of the Buff alo Philharmonic Cincinnati Pops Orchestra Orchestra and Conductor Laureate of the Windsor A remarkable artist Symphony Orchestra in Ontario, Canada, where he with boundless en- served as Music Director for eleven years. thusiasm for music- With the Cincinnati Pops, Mr. Russell regularly making of all kinds, leads sold-out performances at Music Hall. Addi- John Morris Russell tionally, he conducts the Pops at Riverbend Music is a modern conduc- Center and in concerts throughout the Greater tor who engages and Cincinnati region and on tour. Mr. Russell has enthralls audiences collaborated with generations of great performers, with the full breadth including Ray Charles and Rosemary Clooney, as of the orchestral ex- well as Idina Menzel, Vince Gill, Branford Marsalis, perience. Now in his Brian Stokes Mitchell, Megan Hilty, Michael Mc- fi fth season as Con- Donald, George Takei, Amy Grant, Brian Wilson, ductor of the Cincin- Katharine McPhee and Marvin Winans. nati Pops Orchestra, His fi rst four recordings released with the Cincin- Mr. Russell’s diverse nati Pops on the Orchestra’s Fanfare Cincinnati label, programming and Home for the Holidays, Superheroes!, Carnival of the electric stage pres- Animals and American Originals, have all appeared ence have infused on the Billboard charts. In December of 2014, Mr. new creativity and energy into one of the world’s Russell led the Cincinnati Pops on a Florida tour. most iconic pops orchestras. A sought-after guest conductor across the con- Consistently winning international praise for his tinent, Mr. Russell’s list of frequent engagements extraordinary music-making and visionary leader- includes the Los Angeles Philharmonic at the Hol- ship, this Ohio native is also Music Director and lywood Bowl, the New York Philharmonic, Toronto Principal Conductor of the Hilton Head Symphony Symphony Orchestra, Cleveland Orchestra and Orchestra, where his commitment has yielded a new Vancouver Symphony Orchestra, among others. level of artistic excellence. Mr. Russell is also Prin-

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14 | FANFARE CINCINNATI | cincinnatisymphony.org IF IT SOUNDS GOOD, IT IS GOOD!

During the 1990s The Three Tenors (Plácido Domingo, José Carreras and Luciano Pavarotti) wowed millions around the world with their blend of operatic and popular song and inspired dozens of vocal ensembles over the last 25 years, including the Canadian Tenors, Broadway Divas, Celtic Women, Irish Tenors and Il Divo. In this spirit, I have always felt there was a musical story begging to be told by African-American women, a story written in the music of opera, gospel, R&B and jazz, and inspired by extraordinary artists such as Marian Anderson, Ella Fitzgerald, Diana Ross, Leontine Price, Nina Simone and Aretha Franklin. And so, “I’m Every Woman” was born, and receives its world premiere Jazz diva Tatiana “LadyMay” Mayfield makes in our concerts this month. her Pops debut for these concerts. LadyMay built We are bringing together three of the most thrill- her career in the tradition of jazz and scat-singing, ing voices in North America for our performances— picking up where Ella and Sarah left off and taking each of whom has both a distinct vocal pedigree and the genre to a whole new level of sophistication. She the ability to effortlessly cross over into other styles. carries a stage presence you would be just as likely Many of you will recognize Measha Brueggergos- to find in a nightclub as a concert hall. Rounding out man from her performances with the Cincinnati the “cast” is a set of new, top-notch arrangements Opera, including her recent appearance in Porgy and that we’ve been crafting over the last six months Bess. She has performed and recorded with many of with a mélange of sounds and styles that will groove the world’s greatest orchestras and opera companies and swing with the Cincinnati Pops throughout the and was featured in the internationally televised evening. This is going to be hot stuff! opening ceremonies of the 2010 Olympic Games At the end of the month we’re also thrilled to in Vancouver. Don’t let her operatic background welcome Pink Martini and The von Trapps to Music fool you, though. She’s got the personality and the Hall for their debut: a rollicking, internationally pipes that lend themselves just as much to gospel flavored concert with a dozen guest artists taking the and soul as to Puccini. stage along with our Pops. Included in the line-up We also are thrilled to welcome back Capathia is the incomparable Storm Large, who headlined Jenkins, who made her Pops debut in 2012 with the our New Year’s Eve concert last year, and my old music of James Bond and has toured extensively buddy Steven Reineke, who will be conducting this across the continent with me in that production. She one-night-only event. was our last-minute replacement for Smokey Rob- inson at Riverbend a couple of years ago, where her Cheers! performance of classic Motown standards and R&B tore up the place and had folks saying, “Smokey, who?” by the end of the night.

A few of the “original divas” the Pops will celebrate with its “I’m Every Woman” concerts Jan. 9–10. From left: Ella Fitzgerald, Marian Anderson, Aretha Franklin and Diana Ross.

cincinnatisymphony.org | FANFARE CINCINNATI | 15 SPOTLIGHT ON… years) and robust recording collection. “Music is an absolute must, either in person or on CDs,” she said. “I don’t think I could live without being able Catherine Feig to hear it.” As a longtime subscriber and supporter of the For this Spotlight we feature patron Orchestra, she attends several CSO concerts each season, often with her son and daughter-in-law Catherine Lepley-Feig. In coming (Nancy) or other friends. Some of her fondest memo- months we’ll continue to spotlight other ries have taken place at Music Hall (where she also patrons, musicians or leaders within the happened to learn just how good a chocolate pretzel CSO and Pops community. is). “I just love the Orchestra, and I especially love a well-played trumpet,” she said. “I’ve heard other As a lifelong Cin- orchestras, and I think ours is just as good as it gets.” cinnatian, Catherine As for favorite composers, she cites Rachmaninoff, Lepley-Feig began Schumann, Brahms, Bach and Mozart at the top attending Cincinnati of her list. “I have my favorite composers, but I’m Symphony Orches- always open to hearing a new one,” she said. tra concerts when Some of her favorite Music Hall memories also she was in the ninth include going backstage to meet the musicians, guest grade. Her seats in artists and Music Director Louis Langrée. the gallery at that She and her cat, Annie, recently moved into a time cost $.90, plus retirement apartment, bringing along her Bose and $.10 to take the street- CD collection. While she could never begin to pick car to 6th and Main. a favorite recording, she has a few favorite artists While she knew and from her live concert experiences as well as via the loved all the pop radio, including Andre Kostelanetz, Welsh baritone songs in her youth, Bryn Terfel, and pianists Murray Perahia, Emanuel she and her sisters Ax and Lang Lang. When not listening to music, she always had a love also very much enjoys reading poetry, another love for classical music. instilled by her mother. Her favorite poem, Thomas Her mother played Gray’s “Elegy Written in a Country Churchyard,” the piano, and they says “everything there is to know about life,” said would spend Sunday afternoons listening to mu- Mrs. Feig. sic. “I could kick myself around the block for not She cites the CSO as being the love of her life. “I’m learning to play the piano, though,” she said. She just always happy when I’m there,” she said. “I’m recalls her first opera experience wasTannhäuser at never disappointed.” the Cincinnati Zoo. Mrs. Feig attended Miami University (OH), and after college began teaching English literature and grammar. “I could hardly wait to get to school in the morning,” she said. She fostered positive relationships with her students, maintaining mutual respect. “I never yelled at a kid in my life.” She was married in 1956, and her students even attended her wedding. Her love of music continued throughout her days teaching and raising her son, Theo, as evidenced by the Bose radio in her home (which she would carry up and down the stairs—often tuned into 90.9 WGUC—with her for many Catherine with daughter-in-law Nancy, friend Conrad Thiede, and son Theo at the CSO’s Opening Night Gala in 2014.

16 | FANFARE CINCINNATI | cincinnatisymphony.org

BRING HOME THE MAGIC OF LUMENOCITY! On CD and flash drive $10 each

Flash drive also includes stunning photos from LUMENOCITY 2013!

Visit the Bravo Shop in the lobby for a selection of CDs, gifts and merchandise. All purchases benefit your CSO and Pops. BRING HOME THE MAGIC CSO’s Brahms Fest Kicks Off This Month any visitors to Music Hall marvel at the Schumann program that pays homage to their muse, rich architecture of the building itself as Clara Schumann. Closing the program is Brahms’ OF LUMENOCITY! well as the surrounding neighborhood. triumphant Symphony No. 1, which premiered in The CSO’s Brahms Festival, which spans 1876, two years prior to the opening of Music Hall. On CD and ﬂash drive two seasons and kicks off this month, Other upcoming Brahms Fest events include a Mseeks to draw inspiration from the region’s cul- Linton Chamber Music Series program on Jan. 24 ture, which was being forged as these magnificent featuring acclaimed pianist Anna Polonsky and buildings were constructed and to which Johannes CSO principal players, as well as the Vocal Arts Brahms’ music seems to be the perfect soundtrack. Ensemble’s “Brahms x2” concert on Feb. 5, featuring $10 “Brahms was composing his symphonies at the same some of the composer’s motets and vocal quartets time Over-the-Rhine was built,” said Music Director with piano. The CSO Chamber Players program at Louis Langrée. “OTR is a romantic place, as its soul Music Hall on Feb. 21, “Love and Mirth,” will also each resists the industrialization of that time. Although showcase CSO musicians performing some of the people came to the new world for the opportunities composer’s most beloved chamber works. industry provided, people needed art and spiritual- The CSO’s Mar. 11–12 concerts continue the Festi- ity, the heart and soul of home, more than ever. So val with Brahms’ Symphony No. 2. The work, com- they built their temple for music—Music Hall—in posed in 1877, one year before Music Hall opened to the middle of that district.” the public, is the link between the music of Brahms Brahms Fest officially kicks off Jan. 12 with a and the romantic heritage of Over-the-Rhine. Brahms Sonata Recital at the University of Cin- Brahms Fest will continue in the 2016–17 season. cinnati College-Conservatory of Music (CCM) For more information and tickets to these programs, featuring CSO cellist Alan Rafferty and pianist and visit cincinnatisymphony.org/brahmsfest. Follow CSO Board member Sandra Rivers. Brahms Fest the action on Facebook, Instagram and Twitter with continues Jan. 14 and 16 with the CSO’s Brahms- #csobrahmsfest. —Meghan Berneking

CSO Spectrum and CSO Encore bringing Orchestra fans together to benefit Orchestra The Cincinnati Symphony Volunteer Association happy hours, provides unique opportunities for members of the fundraising community to get involved with the Orchestra—all events and while promoting a cause they care about. Two such learning ses- groups are CSO Spectrum and CSO Encore. sions. “While CSO Spectrum (formerly Pride Night) began in CSO Encore is 2003 and has grown to support LGBT artists and definitely about programs with the CSO and Pops. The group has introducing YPs since garnered a reputation of hosting some of the to the CSO and most highly anticipated and unique events in sup- offering oppor- port of the Orchestra. “In addition to the incredible tunities to get to events we’ve seen over the years—which include know classical everything from a flaming donut bar to happy music, it’s also hours—we’ve been able to sponsor such renowned a place to meet CSO Spectrum co-chairs Tim Giglio, Kathy artists as pianist Jean-Yves Thibaudet through our other YPs who Nardiello, William Stenger and Jared Queen fundraising efforts,” said William Stenger, CSO have an interest Spectrum Presenting Sponsor and co-chair along in the arts,” said Robert Bartz, CSO Encore co-chair Flash drive also includes with Tim Giglio, Kathy Nardiello and Jared Queen. along with Megan Selnick and Elisha Roser. “There stunning photos from “It’s inspiring to see so many people come together is a lot of competition for the attention of young to support the CSO and equality in the arts in such a professionals—everything from sports to nightclubs LUMENOCITY 2013! meaningful way.” Next up for CSO Spectrum is the and bars—so it’s great to see so many people in our back-by-popular-demand T-Dance, complete with generation lining up to experience the CSO in a fun, food, drinks and dancing, at The Transept on Jan. 24 social way.” On Jan. 17, the group will try a first prior to the Pops’ performance with Pink Martini foray into every YP’s favorite meal—brunch—with and longtime CSO Spectrum friend Steven Reineke. a gathering at Taft’s Ale House prior to the CSO’s CSO Encore began several years ago as a way for 2 pm “Stories in Concert” performance. young professionals living in Cincinnati to mingle Visit cincinnatisymphony.org/support/get-involved with other YPs who shared their love for the CSO. for more information on these and other ways to get Visit the Bravo Shop in the lobby for a Since then, the group has grown tremendously, often involved with the Orchestra. selection of CDs, gifts and merchandise. attracting over 200 people to post-concert parties, —Meghan Berneking

All purchases benefit your CSO and Pops. cincinnatisymphony.org | FANFARE CINCINNATI | 19 your performance will stick with us forever.

The arts serve as a source of inspiration for us all. That’s why PNC is proud to be the Presenting Sponsor of the Pops Series and support the Cincinnati Symphony and Pops Orchestra.

2015–2016 SEASON SAT JAN 9, 8 pm SUN JAN 10, 2 pm Music Hall

I’M EVERY WOMAN JOHN MORRIS RUSSELL, conductor MEASHA BRUEGGERGOSMAN, vocalist CAPATHIA JENKINS, vocalist TATIANA “LM” MAYFIELD, vocalist

I HEAR A SYMPHONY: THE SYMPHONIC SOUL DIVAS MEDLEY SOUNDS OF DIANA ROSS Various, arr. Mounsey Diana Ross, arr. Reineke One Fine Day I’M EVERY WOMAN Mama Said Nickolas Ashford, arr. Mounsey Be My Baby You Can’t Hurry Love I AIN’T GONNA PLAY NO SECOND FIDDLE Mr. Postman Perry “Mule” Bradford, arr. Spangler Dancing in the Street O MIO BABBINO CARO from GIANNI SCHICCHI RIDE ON, KING JESUS Giacomo Puccini Traditional, arr. DePaur RESPECT Otis Redding, arr. Berens

Program subject to change

cincinnatisymphony.org | FANFARE CINCINNATI | 21 HOW HIGH THE MOON SUMMERTIME from PORGY AND BESS Morgan Lewis, arr. Mounsey George Gershwin I’M SO EXCITED (YOU MAKE ME FEEL LIKE) A NATURAL Anita Marie Pointer, arr. Pellett WOMAN Carole King & Gerry Goffin, arr. Pellett INTERMISSION LULLABY OF BIRDLAND LADY MARMALADE George Shearing, arr. Spangler Bob Crewe, arr. Mounsey AND I’M TELLING YOU from DREAMGIRLS FEELING GOOD Henry Krieger & Tom Eyen, arr. Berens Anthony Newley, arr. Berens WE ARE FAMILY I WILL ALWAYS LOVE YOU Nile Gregory Rodgers, arr. Mounsey Dolly Parton, arr. Pellett

The Cincinnati Pops Orchestra is grateful to PNC, Presenting Sponsor of the Pops Series. The Ott o M. Budig Family Foundation is this evening’s Concert Sponsor and the Pops Artist Series Sponsor. Eagle Realty Group is this weekend’s Presenting Sponsor. The Cincinnati Pops Orchestra is grateful for the support of ArtsWave. WVXU is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the offi cial piano of the Cincinnati Symphony and Pops Orchestra. The use of photographic and recording devices at these concerts is prohibited. Cincinnati Pops Orchestra recordings are found on the Fanfare Cincinnati, Telarc, Moss Music Group, Vox Cum Laude, MCA Classics, Caedmon and Musical Heritage Society labels.

PROUD SUPPORTER OF THE ARTS

Just as outstanding performance is a primary goal of the Cincinnati Pops & Symphony Orchestra, which we have proudly supported through the years, our experienced real estate professionals perform outstanding real estate investment and property management services. Together, we continue to help make Cincinnati great.

22 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS Jan 9–10

Measha Brueggergosman; Capathia Jenkins; Tatiana “LadyMay” Mayfield

MEASHA BRUEGGERGOSMAN Lieder with The Cleveland Orchestra and Franz Measha Brueggergosman is one of the leading Welser-Möst for Deutsche Grammophon. sopranos of her generation. Her first recording, In opera she has performed Giulietta and Antonia Surprise, includes works by Schoenberg, Satie and (Les contes d’Hoffmann), Elettra (Idomeneo), Madame Bolcom and is one of the most highly regarded Lidoine (Dialogues des carmélites), Liu (Turandot) and debut albums, while her latest recording, Night and Sister Rose (Dead Man Walking). Brueggergosman is Dreams, includes songs by Mozart, Brahms, Strauss, very committed to Lied recitals and has performed Schubert, Debussy, Duparc and Fauré. Both record- with accompanists such as Justus Zeyen in venues ings have been released by Deutsche Grammophon. including Carnegie Hall, the Kennedy Center, Wig- Other CD releases include So Much to Tell and Extase more Hall, the Konzerthaus and Musikverein Wien, for CBC records and Beethoven 9 and Wesendonck as well as the Schwarzenberg, Edinburgh, Verbier

cincinnatisymphony.org | FANFARE CINCINNATI | 23 GUEST ARTISTS: JAN 9–10 and Bergen festivals and at the Sibelius Academy original cast recording. She returned to Broadway in in Helsinki. The Look of Love and was critically acclaimed for her She appears with the Boston Symphony Orches- performances of the Bacharach/David hits. Jenkins tra, New York Philharmonic, Cleveland Orchestra, then created the roles of The Washing Machine in San Francisco Symphony Orchestra, London Sym- Caroline, Or Change and Frieda May in Martin Short: phony Orchestra, Gothenburg Symphony Orchestra Fame Becomes Me, where she sang “Stop the Show” and Israel Philharmonic Orchestra with conductors and brought the house down every night. such as Daniel Barenboim, Daniel Harding, Michael In 2007, she went back to Off-Broadway and Tilson Thomas, Franz Welser-Möst, Sir Andrew starred in (mis)Understanding Mammy—The Hattie Davis and Gustavo Dudamel. McDaniel Story, for which she was nominated for a Recent engagements include solo tours with Drama Desk Award. Most recently, she was seen in the Camerata Salzburg and the WDR Symphony Nora Ephron’s Love, Loss, and What I Wore. Orchestra, as well as appearances with the Los An active concert artist, Jenkins has appeared Angeles Philharmonic Orchestra, Cleveland Orches- with orchestras around the world, including with tra, Deutsche Symphony Orchester, San Francisco the Cleveland Orchestra, Houston Symphony, Pitts- Symphony and Netherlands Radio Philharmonic. burgh Symphony (with Marvin Hamlisch), National Measha Brueggergosman champions the educa- Symphony, Atlanta Symphony, Seattle Symphony, tion and involvement of new audiences and holds Utah Symphony, Minnesota Orchestra, San Antonio several ambassadorial titles with international Symphony, Minnesota Orchestra, Memphis Sym- charities. phony, Nashville Symphony, Toledo Symphony, Colorado Symphony, Toronto Symphony, Edmon- CAPATHIA JENKINS ton Symphony, Calgary Philharmonic, Kansas City The Brooklyn-born and -raised actress Capathia Symphony, San Diego Symphony and the Hong Jenkins created the role of Medda in the hit Disney Kong Philharmonic. She was also a soloist with the production of Newsies on Broadway. She made her Festival Cesky Krumlov in the Czech Republic. In Broadway debut in The Civil War, where she created 2011 Jenkins had the great honor of performing in the role of Harriet Jackson. She then starred in the the Broadway Ambassadors to Cuba concert as part Off-Broadway 2000 revival of Godspell, where she of the Festival de Teatro de la Habana. She was also wowed audiences with her stirring rendition of a guest soloist with Peter Nero and the Philly Pops “Turn Back, O Man,” which can be heard on the and John Morris Russell and the Cincinnati Pops.

17th Annual Series Free Admission

Music on the Avenue ST. JOHN UNITED CHURCH OF CHRIST 520 Fairfield Avenue • Bellevue, KY 41073 One mile east of Newport on the Levee Feb 5 — Northern Kentucky Brotherhood Singers Feb 12 — Ohio River Brass Quintet Feb 19 — Lynne Scott & Lee Stolar Feb 26 — MUSE (Cincinnati’s Women’s Choir) Mar 4 — Phillips-Hofeldt Piano Trio www.StJohnChurch.net 859.261.2066 Music on the Avenue We are accessible ALL PERFORMANCES AT 8 P.M.

24 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: JAN 9–10

Her television credits include 30 Rock, The Practice, University of North Texas, where she received Law & Order SVU, The Sopranos and Law & Order. her degree in Jazz Studies. In addition to her vocal She can also be seen in the 2012 filmMusical Chairs skills, she plays piano and trombone, composes, and can be heard on the following film soundtracks: and teaches voice and music theory. Currently, she Nine, Chicago and Legally Blonde 2. is working on her third album, The Next Chapter, set for release in 2016. TATIANA “LM” MAYFIELD LadyMay’s appeal has also reached listeners Refreshing and beautiful are how many have abroad in the UK, Switzerland, Germany, France, described the voice and persona of Tatiana “La- Nigeria and Brazil. Her music has been featured dyMay” Mayfield, a jazz vocalist, musician and on several international radio stations such as Solar educator from Fort Worth, Texas. “LadyMay” (as Radio, Jazz FM, Tropical FM, and Premier Gospel she has been named) has been singing and playing Radio in the UK, RJM Radio in France, and Smooth jazz music since the tender age of 13. Since then, 98.1 in Nigeria. In November of 2012, her song she has performed in various venues and festivals “Real” from A Portrait of LadyMay reached no. 1 on throughout the U.S., which have earned rave re- the UK Soul Chart. In July of 2013, she completed views from listeners and musicians in addition to her first tour (LadyMay in the UK) to London where numerous awards. she was widely received on radio appearances, as In 2010 she was chosen as one of the 12 semi- well as at some of their top performance venues finalists to compete in the prestigious Thelonious such as Ronnie Scott’s, Pizza Express in Soho, and Monk International Jazz Vocals Competition held in the Flyover Portobello. UK-based record store Soul Washington, D.C before a legendary panel of judges. Brother Records labeled A Portrait Of LadyMay as one She is also a 2006 Young Arts winner for Jazz Voice. of their Best New Jazz Releases of 2013. In January of She has opened for several well-known artists such 2014, LadyMay won the Best Vocalist of The Month as Kirk Whalum, Will Downing, Randy Brecker, competition for SingerUniverse.com for her song Dave Valentin, Bobbi Humphrey and The Main “It’s Over Now.” As an educator, she is an adjunct Ingredient. She has also appeared on WFAA’s Good professor at Cedar Valley College in Lancaster, TX Morning Texas television show four times since 2011. teaching commercial voice and their commercial She has recorded two albums, From All Direc- voice ensemble. tions (2009) and A Portrait Of LadyMay (2012). She For more information on Tatiana LadyMay, visit recorded From All Directions while attending the tatianamayfield.com. n

cincinnatisymphony.org | FANFARE CINCINNATI | 25 NOT A DEPOSIT NOT FDIC INSURED MAY LOSE VALUE NOT BANK GUARANTEED NOT INSURED BY ANY FEDERAL GOVERNMENT AGENCY EIGHTH SUBSCRIPTION PROGRAM Masterworks Series

2015–2016 SEASON THURS JAN 14, 7:30 pm SAT JAN 16, 8 pm SUN JAN 17, 2 pm Music Hall

LOUIS LANGRÉE conductor KIRILL GERSTEIN pianist

SCHUMANN Concerto in A Minor for Piano and Orchestra, Op. 54 (1810–1856) Allegro affettuoso Intermezzo: Andantino grazioso Allegro vivace

INTERMISSION

BRAHMS Symphony No. 1 in C Minor, Op. 68 (1833–1897) Un poco sostenuto. Allegro Andante sostenuto Un poco allegretto e grazioso Adagio. Allegro non troppo, ma con brio

* The program for Sunday’s Stories in Concert will focus on Brahms’ Symphony No. 1. The Schumann Concerto will not be performed. Mr. Gerstein will not perform on Sunday.

The CSO is grateful to U.S. Bank, the CSO’s Masterworks Series Sponsor. The CSO is grateful to the Cincinnati Symphony Club, this weekend’s Concert Sponsor. The appearance of Kirill Gerstein is made possible by an endowed gift to the Fund for Great Artists by Fred L. & Katherine H. Groll. These concerts are endowed by Martha Anness, Priscilla Haffner & Sally Skidmore in loving memory of their mother, LaVaughn Scholl Garrison, a longtime patron of the CSO. Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony and Pops Orchestra. These concerts will end at approximately 9:20 pm Thursday, 9:50 pm Saturday, 4 pm Sunday. 90.9 WGUC will broadcast this concert Sunday, February 28, 8 pm.

ROBERT SCHUMANN He began to sketch the Piano Concerto in 1833. He Concerto in A Minor for Piano and completed the first movement in 1841. The entire work Orchestra, Op. 54 was finished on July 31, 1845. It was first performed by Clara Schumann, with Ferdinand Hiller conducting, in TIMING: approx. 31 min. Dresden on December 4, 1845. INSTRUMENTATION: solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, If the history of 19th-century music had to be studied strings solely in terms of one instrument, that instrument CSO SUBSCRIPTION PERFORMANCES would have to be the piano. The keyboard was the The CSO has performed this work on 36 previous subscription weekends, including the premiere in March perfect medium for conveying the intimacy and of 1897, Frank Van der Stucken conducting and Adèle aus the passion, the subjectivity and the bravura, of the der Ohe, pianist, and the most recent in February of 2012, romantic spirit. The piano was also a perfect vehicle Ludovic Morlot conducting and Jonathan Biss, pianist. to display the virtuosic technical accomplishments Notable: The CSO also performed this work at Carnegie of pianist-composers. Thus figures such as Chopin Hall in April of 1996, Jesús Lopez-Cóbos conducting and and Schumann, who were sensitive pianists but Christian Zacharias, pianist. not virtuosos, did not produce the piano music NOT A DEPOSIT NOT FDIC INSURED MAY LOSE VALUE NOT BANK GUARANTEED most popular with their contemporaries. Dazzling Schumann was born on June 8, 1810 at Zwickau in NOT INSURED BY ANY FEDERAL GOVERNMENT AGENCY virtuosity for its own sake was the accepted value. Saxony; he died on July 29, 1856 in Endenich, Germany.

cincinnatisymphony.org | FANFARE CINCINNATI | 27 PROGRAM NOTES: JAN 14 & 16–17

One of the most virtuosic of mid-19th-century pianists was Clara Wieck. At first she, like most of her colleagues, had an underdeveloped musical taste. Her programs bypassed the substantial works of Bach and Beethoven in favor of showpieces composed by Thalberg and Henselt. In 1840 Clara married Robert Schumann. The next year he composed a fantasy for piano and orchestra, which failed to receive either performance or publication, probably because of its lack of technical fireworks. Four years later, when Clara’s fame was at its height, the composer added two more movements, and the result became known as the Piano Concerto in A Minor. Clara wrote in her diary, “I am very glad about it, for I have always wanted a large bravura piece by him.… When I think of playing it with orchestra, I am happy as a king.” KEYNOTE. But she was wrong to look for bravura Robert and Clara Schumann. in the concerto. Schumann continued Beethoven’s Schumann and Chopin, who used the piano for trend away from empty virtuosity. As Schumann intimate expressions, were destined to find less adu- once wrote, “My concerto is a compromise between lation than technical wizards, who were celebrities a symphony, a concerto, and a huge sonata. I find idolized in the way of today’s rock stars. that I cannot write a concerto for the virtuosos.” He Franz Liszt, for example, is remembered today allowed the soloist only one cadenza, in the first because of his compositional talents, but in his movement, and he wrote it out in full, probably to day his amazing keyboard displays made him prevent the introduction of impromptu showing-off famous. What of such other keyboard virtuosos as by the soloist. This cadenza sounds more like part Kalkbrenner, Thalberg and Henselt? Their empty, of a piano sonata than like a display piece. bombastic show pieces, written for the sole purpose The qualities which endear the work to us today of showing themselves off, all but died with them. are the very things that were most criticized when

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28 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 14 & 16–17 the piece was young: the democratic mixture of piano and orchestra and the avoidance of virtuos- ENJOY BRAHMS? HEAR MORE OF ity. It should not be surprising that the concerto was HIS MUSIC THIS SEASON! not favorably received. After the first performance Be sure to return for our next Brahms Fest weekend one critic described the “praiseworthy efforts of March 11–12 when Louis Langrée leads the CSO Mme. Schumann to make her husband’s curious in Brahms’ radiant Symphony No. 2. Also on the rhapsody pass for music.” Liszt called it “a concerto program: Strauss’ Blue Danube Waltz and Berg’s without piano.” Violin Concerto To the Memory of an Angel, Under the guidance of her husband, Clara gradu- featuring violinist Augustin Hadelich, ally turned away from trivial showpieces and shifted her attention toward more substantive works such on November 4, 1876, in Karlsruhe under the baton of as the A Minor Concerto. As she continued to play Felix Dessoff. Brahms himself conducted a performance it, with ever greater conviction and understanding, in Mannheim three days later. it gradually won acceptance. After a performance Brahms was only 20 years old and had written only in Prague in 1847, she wrote: a small amount of music—mostly chamber and Robert’s concerto gave extraordinary pleasure. piano compositions—when he received a press I succeeded very well in it. The orchestra review of enviable praise. The reviewer was Robert accompanied, and Robert conducted, con amore. Schumann. Schumann, finding not only genius but And he was called out. This amused me a lot, also promise in these early works, wrote, “If he will for, when the public would not stop clamoring, dip his magic wand where the powers of the choral I almost had to shove him out upon the stage, and orchestral masses will lend him their strength, and the way he acted there was just too funny. then there will appear before us even more wonderful glimpses into the secrets of the spiritual world.” One appealing aspect of this concerto is the With this review Schumann laid a heavy burden overriding lyricism that carries the music forward. on young Brahms. By mentioning choral and or- In addition, the roles of piano and orchestra are chestral masses, the reviewer was clearly invoking many, from the dialogue that opens the concerto and Beethoven’s Ninth Symphony. Brahms, who had returns for the outer sections of the slow movement, not yet written anything for orchestra, was being to the piano accompanying solo winds in the second told—publicly—that he could, should and probably theme of the opening movement, to the orchestra would take up where Beethoven had left off. accompanying the piano in the finale. These roles It was only a few weeks later that Brahms accepted provide variety but not conflict. —Jonathan D. Kramer the challenge. He began to compose a symphony in D minor. But he was not ready to tackle the enormous form in which Beethoven had excelled. LUMENOCITY® Connections: Parts of this symphony eventually found their way Cincinnati experienced the Finale from into the German Requiem, other parts into the First Brahms’ Symphony No. 1 during the Piano Concerto—a work that cost Brahms five years “Love Letter to Cincinnati” portion of to complete—but there is no symphony in D minor LUMENOCITY 2015. in Brahms’ catalog. During those five years he also wrote two serenades for small orchestra. He had JOHANNES BRAHMS decided to approach the orchestra gradually. The Symphony No. 1 in C Minor, Op. 68 composition of a symphony would have to wait. After he had composed for small orchestra and for TIMING: approx. 45 min. piano and orchestra, he wrote for chorus and orches- INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, tra. Finally, in 1873, he created the Variations on a 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 Theme of Haydn, which began life as a two-piano trombones, timpani, strings CSO SUBSCRIPTION PERFORMANCES work only subsequently to be orchestrated. Now at The CSO has performed this work on 48 previous last he felt ready to start—and finish—a symphony. subscription weekends, including the premiere in March Actually, some of the materials of the First Sym- of 1898, Frank Van der Stucken conducting, and the phony had already been in existence for a number most recent in March of 2011, Louis Langrée conducting. of years. Brahms had sent Clara Schumann a sketch Notable: The CSO also performed this work on several of the first movement, minus its famous introduc- tours throughout North America, including at Carnegie Hall in March of 1983, Michael Gielen conducting. tion, in 1862, and he had sent her a birthday song in 1868 using the horn theme from the finale. But it was only in 1876 that the composer completed Brahms was born in Hamburg on May 7, 1833; he died the Symphony in C Minor. That was 22 years after in Vienna on April 3, 1897. He completed the First Schumann’s review had prompted him to think Symphony in September of 1876. It was first performed about composing in symphonic form.

cincinnatisymphony.org | FANFARE CINCINNATI | 29 PROGRAM NOTES: JAN 14 & 16–17

Brahms was attempting an all-but-impossible NEXT STORIES IN CONCERT: task, that of living up to the genius of Beethoven. In The final edition of this season’s “Stories in Concert” 1870 he said, “I shall never compose a symphony! will take place March 13. Discussion will center on You have no idea how the likes of us feel when we Alban Berg’s Violin Concerto, To the Memory of an hear the tramp of a giant like him behind us.” Yet Angel, followed by a performance of the work in its he succeeded in becoming a symphonist; he did entirety with guest violinist Augustin Hadelich and not recapture Beethoven, but in trying to do so he the CSO, under the direction of Louis Langrée. found himself. with Barbara Kellar KEYNOTE. Neither Brahms’ allegiance to the spirit Why did it take Brahms so long to finish a of Beethoven nor his self-imposed classicism should symphony? The answer lies in the influence of be thought of as an inhibition to his creativity. The Beethoven. As Schumann’s review implies, the First Symphony is in many ways an original work, figure of Beethoven loomed over the entire 19th despite its adherence to traditional aesthetics and century like that of Big Brother. He was studied, techniques. Consider, for example, the third move- admired, misunderstood, emulated and canonized, ment. Brahms replaced the expected dance move- not only by every composer, but also by other artists. ment with a more abstract intermezzo. The minuet The titanism of Beethoven, his image as the great as symphonic third movement was a holdover from liberator of art from the constraints of classicism, the baroque dance suite. It had served a useful became a rallying cry for the self-consciously free purpose in a symphony, usually functioning as a spirit of romanticism. lighter and simpler piece between a possibly sober The 19th-century view of Beethoven was necessar- slow movement and an often elaborate finale. This ily colored by contemporary values. Most romantic function could also be served by movements not composers failed to recognize the classicism that derived from the dance, as Brahms realized. Thus counterbalanced the fiery and temperamental side of the replacement of Haydn’s minuet and Beethoven’s Beethoven’s genius. The only composer who really scherzo with Brahms’ intermezzo was a stroke understood the balance of classic and romantic in of originality that owed nothing to the past. The Beethoven was Brahms. Brahms was the proverbial result was sufficiently satisfactory and interesting wise man who feared to tread where fools rushed for Brahms to continue to include intermezzos in in. He knew what others failed to realize—that writ- place of scherzos in nearly all of his subsequent ing a free-spirited symphony was not a profound four-movement symphonic works. response to the implications of Beethoven’s music. The exceptionally long introduction to the fi- Brahms would not allow himself superficial emula- nale—as long as the entire intermezzo—is another tion of the Bonn master. It took Brahms 22 years original idea. This introduction contains material to find a way to cope with the implications of his that is used in different parts of the ensuing finale: predecessor, to keep classicism and romanticism in even the lyrical C major melody that opens the al- balance and yet to remain original. legro is foreshadowed (in minor) near the beginning When the C Minor Symphony was first per- of the introduction. This introduction also belies formed, conductor Hans von Bülow dubbed it “The the commonly heard complaint that Brahms was Tenth,” thereby declaring Schumann’s prophecy not an imaginative orchestrator. Here we find the fulfilled. Bülow recognized the affinity between composer using particularly beautiful orchestral the two great composers who, reaching across the colors in order to sustain interest in an uncommonly Join Barbara Kellar as she SUNDAYS intervening half century of romanticism, established long introductory section. Some examples: the contact as romantic classicists. gradually accelerating pizzicato passage heard twice, showcases performing artists 8:30PM Brahms was also influenced by the romantic com- the horn call with muted strings shimmering in the and cultural leaders from posers—Schubert, Mendelssohn, Berlioz, Chopin, background and the trombone-bassoon chorale. the Greater Cincinnati Weber, Schumann and even his “rivals” Wagner, Brahms was indeed capable of creating coloristic CET Arts is available Liszt and Bruckner. One result of this romantic orchestration when the occasion demanded it. community. influence was that Brahms’ classicism was more It took Brahms 22 years to learn how to use the over-the-air on channel 48.3, self-conscious than that of Beethoven. The First Sym- orchestra symphonically. That period was hardly phony, for example, works on a tightly constructed an apprenticeship, considering the long list of fine Time Warner Cable (Ohio) channel 987, musical logic, which is never quite spontaneous. works composed while he struggled to create a sym- Brahms was too self-critical to be spontaneous. A phony. During those years he worked to tame and Cincinnati Bell Fioptics channel 248, further aspect of romanticism that could not fail control his romanticism, to merge inspiration and to touch Brahms was its brooding melancholy. intellect, to understand Beethoven deeply, and to Time Warner Cable Thus the First Symphony contains restless music, mold his own symphonic thoughts. The result of this www.CETconnect.org/cet-arts (Northern Kentucky) channel 192. especially in its first movement. incredible struggle for self-discipline is undoubtedly the greatest first symphony ever composed. —Jonathan D. Kramer

30 | FANFARE CINCINNATI | cincinnatisymphony.org with Barbara Kellar

Join Barbara Kellar as she SUNDAYS showcases performing artists 8:30PM and cultural leaders from the Greater Cincinnati CET Arts is available community. over-the-air on channel 48.3, Time Warner Cable (Ohio) channel 987, Cincinnati Bell Fioptics channel 248, Time Warner Cable www.CETconnect.org/cet-arts (Northern Kentucky) channel 192. GUEST ARTIST Jan 14 & 16

KIRILL GERSTEIN Award and a 2010 Avery pianist Fisher Grant. The multifaceted pianist Highlights of his 2015–16 Kirill Gerstein is rapidly season in North America ascending into classical include performances of music’s highest ranks. With Scriabin’s Prometheus: Poem a masterful technique, dis- of Fire with Riccardo Muti cerning intelligence and a and the Chicago Symphony, musical curiosity that has Rachmaninoff’s Concerto led him to explore reper- No. 2 with Semyon Bychkov toire spanning centuries and the Berlin Philharmonic, and numerous styles, he Kirill Gerstein, © Marco Borggreve Rachmaninoff’s Concerto has proven to be one of today’s most intriguing and No. 1 with The Cleveland Orchestra, and playing versatile musicians. both of George Gershwin’s piano concertos in the Gerstein is the sixth recipient of the prestigious original jazz-band version to open New York’s 92nd Gilmore Artist Award, presented every four years Street Y’s 2015–16 season; re-engagements with the to an exceptional pianist who, regardless of age or Los Angeles Philharmonic and with the Toronto, nationality, possesses broad and profound musi- Cincinnati, Dallas, Houston, Colorado, Utah and cianship and charisma and who desires and can Oregon symphonies and National Arts Centre sustain a career as a major international concert Orchestra; a tour to Australia and New Zealand; his artist. Since receiving the award in 2010, Gerstein debut with the Royal Concertgebouw with concerts has shared his prize through the commissioning in Amsterdam and Frankfurt; a European tour with of boundary-crossing works by Oliver Knussen, the Czech Philharmonic; and recitals in New York Chick Corea, Brad Mehldau, Timothy Andres and and Houston. Alexander Goehr. He was also awarded First Prize Recent North American engagements include at the 2001 Arthur Rubinstein Piano Competition in performances with the New York Philharmonic, Tel Aviv and received a 2002 Gilmore Young Artist the Philadelphia and Minnesota Orchestras, and the

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32 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTIST: JAN 14–16

Boston, St. Louis, San Francisco, Atlanta, Baltimore, and Oliver Knussen, also for Myrios, was chosen by Detroit, Indianapolis and Montreal symphonies, The New York Times as one of the best recordings of among others. He has also recently appeared at the 2010. He also collaborated with Tabea Zimmerman Aspen Music Festival, Santa Fe Chamber Music Festi- on two recordings of sonatas for viola and piano for val, Chicago’s Grant Park, Tanglewood, Blossom, and Myrios, released in 2011 and 2012. His most recent with The Philadelphia Orchestra at the Bravo! Vail recording of the Tchaikovsky Piano Concerto No. Valley Festival, Mann Music Center and Saratoga; 1 and the Prokofi ev Piano Concerto No. 2 with the and he performed in recital at New York’s 92nd St. Deutsches Symphonie-Orchester Berlin was released Y and Zankel Hall at Carnegie Hall, the Kennedy by Myrios in March 2015 and is the fi rst recording Center, and in Boston, Toronto, Berkeley, Vancouver, using the new critical edition recently completed Detroit, Miami and Princeton. by the Tchaikovsky Museum in Moscow using the Internationally, Kirill Gerstein has played with composer’s original second version. such prominent European orchestras as the Czech, Born in 1979 in Voronezh, Russia, Gerstein studied Munich, Rott erdam and London philharmonics, piano at a special music school for gifted children the City of Birmingham Symphony Orchestra, and taught himself to play jazz by listening to his Deutsches Symphonie-Orchester Berlin, Dresden parents’ extensive record collection. At age 14 he Staatskappelle, Finnish Radio Orchestra, Tonkün- came to the U.S. to study jazz piano as the youngest stler Orchestra Vienna, WDR Symphony Orchestra student ever to att end Boston’s Berklee College of Cologne and the Zürich Tonhalle, as well as with Music. After completing his studies in three years, the NHK Symphony Orchestra in Tokyo. He has and following his second summer at the Boston performed recitals in Paris, Prague, Hamburg, University program at Tanglewood, Gerstein turned London, and at the Liszt Academy in Budapest. He his focus back to classical music and moved to New made his Salzburg Festival debut playing solo and York to att end the Manhatt an School of Music, where two-piano works with Andras Schiff and has also he studied with Solomon Mikowsky and earned both appeared at the Lucerne and Jerusalem chamber Bachelor and Master of Music degrees by the age of music festivals as well as at the Proms in London. 20. He continued his studies in Madrid with Dmitri Gerstein’s second solo recording featuring Mus- Bashkirov and in Budapest with Ferenc Rados. sorgsky’s Pictures at an Exhibition and Schumann’s Gerstein became an American citizen in 2003 Carnaval was released by Myrios Classics in 2014. His and divides his time between the United States and fi rst solo recording with works by Schumann, Liszt Germany. n

While OTR and Music Hall were being built, Johannes Brahms was across an ocean composing amazing music. Your CSO and Music Director Louis Langrée, along with artistic partners, take you on a journey through the legendary works of Brahms in a variety of architectural gems in our city.

JAN- MARCH 2016

cincinnatisymphony.org/brahmsfest

cincinnatisymphony.org | FANFARE CINCINNATI | 33 It feels good to give back.

And together with our generous customers and employees, Macy’s averages more than $1 million a week to initiatives important to you and your community – arts, education, the environment, HIV/AIDS, and women’s health and wellness.

It adds up to $69 million* a year. It’s a good feeling we can all share, and to us, that’s the magic of giving.

Macys-CincySymphony.indd 1 8/5/15 5:07 PM NINTH SUBSCRIPTION PROGRAM Boundless Series

2015–2016 SEASON FRI JAN 22, 8 pm SAT JAN 23, 8 pm Music Hall

CRISTIAN MĂCELARU conductor COLIN CURRIE percussionist

SCHULLER Symphonic Triptych WORLD PREMIERE (1925–2015) Molto lento Lento Allegro vivace

JULIA WOLFE riSE and fLY (b. 1958) It feels good to give back. INTERMISSION ELGAR Enigma Variations, Op. 36 And together with our generous customers and employees, (1857–1934) Enigma: Andante W.N.—Allegretto C.A.E.—L’istesso tempo Nimrod—Adagio Macy’s averages more than $1 million a week to initiatives H.D.S.-P.—Allegro Dorabella—Intermezzo: Allegretto R.B.T.—Allegretto G.R.S.—Allegro di molto important to you and your community – arts, education, the W.M.B.—Allegro di molto B.G.N.—Andante—A tempo R.P.A.—Moderato * * *—Romanza: Moderato environment, HIV/AIDS, and women’s health and wellness. Ysobel—Andantino E.D.U.—Finale: Allegro Troyte—Presto It adds up to $69 million* a year. It’s a good feeling we can The CSO is grateful to Macy’s, the CSO’s Boundless Series Sponsor. all share, and to us, that’s the magic of giving. The CSO is grateful to Alice Weston for her leadership support of the newly commissioned work, Gunther Schuller’s Symphonic Triptych, and for her many contributions to the Orchestra over the past four decades. Additional funding for this work has been provided by the National Endowment for the Arts. Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony and Pops Orchestra. These concerts will end at approximately 9:30 pm. 90.9 WGUC will broadcast this concert Sunday, March 6, 8 pm.

GUNTHER SCHULLER With Gunther Schul- Symphonic Triptych ler’s death last June, American music lost TIMING: approx. 15 min. one of its iconic figures. INSTRUMENTATION: 3 flutes (incl. alto flute), 2 piccolos, As a composer, horn 4 oboes (incl. 2 English horns), 4 clarinets (incl. 2 bass player, conductor, ed- clarinets), 4 bassoons (incl. contrabassoon), 4 horns, 4 trumpets, 4 trombones, tuba, timpani, various other ucator, administrator percussion, harp, piano, celeste, strings and author, he influ- CSO SUBSCRIPTION PERFORMANCES enced generations of The Symphonic Triptych is being given its world musicians in the Unit- premiere this weekend, thanks to support from Alice ed States and abroad. Weston and the National Endowment for the Arts. A high school dropout who never earned a Gunther Schuller (Photo: Murdo MacLeod) Gunther Schuller was born in New York City on No- degree from any in- vember 22, 1925 and died in Boston on June 21, 2015. stitution of higher learning, he was the longtime Symphonic Triptych, his final large orchestral work, president of the New England Conservatory and receives its world premiere performances at this week’s also served as director of new-music programs at CSO concerts.

cincinnatisymphony.org | FANFARE CINCINNATI | 35

Macys-CincySymphony.indd 1 8/5/15 5:07 PM PROGRAM NOTES: JAN 22–23 Schuller had started his appointed at the age of 18. It is fi tt ing, then, that his fi nal large orchestral work should receive its professional career in Cincinnati, posthumous world premiere here. The Symphonic Triptych is, by any measure, a as principal horn player in the grandiose ending for an exceptionally rich oeuvre. CSO under Sir Eugene Goossens A three-movement symphony in all but name, it opens with an expansive and dignifi ed slow move- (1943–45), a post to which he was ment, based on a characteristic rhythmic motif. The appointed at the age of 18. It is second movement combines a number of contrast- ing moods in a most intriguing way. It begins with fitting, then, that his final large some dark-hued solo passages for English horn, bass orchestral work should receive its clarinet and contrabassoon that lead to a march in medium tempo, marked “stately and deliberate,” in posthumous world premiere here. which the brass plays a prominent role. Then, after a middle section labeled “Scherzo,” built mostly of isolated single notes and short motifs, a hymn-like Tanglewood. He is best known, perhaps, for coining melody appears. The latt er is developed at some the term “third stream” for the special fusion of clas- length before an ending whose special glissando sical music and jazz, which he introduced, equally eff ects in the strings create an eerie atmosphere. devoted as he was to Arnold Schoenberg and Duke The fi nal movement, “Allegro vivace,” grows out Ellington. Among the almost 200 compositions he of a fanfare-like motif introduced by the trumpets; wrote during his long career, two deserving special the motif is eventually transformed into a slower, mention are his most frequently performed work, lyrical melody incorporating what the score identi- Seven Studies on Themes of Paul Klee (1959), as well fi es as a “slightly modifi ed quotation from Duke as Of Reminiscences and Refl ections(1994), writt en in Ellington’s Azure.” The tempo gradually increases memory of his wife; the latt er work was awarded again and a section of great melodic sweep and the Pulitz er Prize for Music in 1994. rhythmic power follows; the concluding measures Schuller started his professional career in Cincin- are broad and majestic, displaying the full splendor nati, as principal horn player in the CSO under Sir of the orchestra. Eugene Goossens (1943–45), a post to which he was —Peter Laki

PRE-ORDER INTERMISSION DRINKS

Did you know? You can pre-order your beverages before the concert to enjoy during intermission. Visit one of our bars to order and pay before the concert begins. Your drink will be waiting for you at intermission. Enjoy!

36 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 22–23

JULIA WOLFE American folk tradition of body percussion to the riSE and fLY contemporary urban “folk” rhythms of the street. The title, riSE and fLY, is taken from a phrase of a TIMING: approx. 25 min. chain gang work song from the collection of Alan INSTRUMENTATION: solo percussion, 2 flutes (incl. Lomax, the great American folksong collector. piccolo), 2 oboes, 2 clarinets (incl. bass clarinet), 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, triangle, —Peter Laki chinese cymbals, glockenspiel, sleigh bells, tam-tam, tubular bells, tom-tom, 2 flexatones, 2 slide whistles, 2 EDWARD ELGAR vibraphones, harp, piano, strings Enigma Variations, Op. 36 CSO SUBSCRIPTION PERFORMANCES These performances are the CSO premiere of riSE and TIMING: approx. 29 min. fLY. INSTRUMENTATION: 2 flutes (incl. piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, Julia Wolfe was born in Philadelphia on December 18, 3 trombones, tuba, timpani, snare drum, cymbals a2, 1958. One of the founding members of the renowned Bang triangle, bass drum, suspended cymbals, organ, strings CSO SUBSCRIPTION PERFORMANCES on a Can organization, she received the 2015 Pulitzer The CSO has performed this work on 22 previous Prize for her cantata Anthracite Fields. Wolfe’s “body subscription weekends, including the premiere in concerto” riSE and fLY was commissioned by BBC March of 1912, Leopold Stokowski conducting (Emery Radio 3 and was first performed in London at the South Auditorium), and the most recent in December of 2009, Bank Centre’s Ether Festival on October 11, 2012; Colin Tito Muñoz conducting. Currie was the percussion soloist and the BBC Concert Orchestra was conducted by Keith Lockhart. The United Elgar was born in Broadheath, near Worcester, England States premiere was given by Currie with the Albany on June 2, 1857; he died in Worcester on February 23, Symphony Orchestra, David Alan Miller conducting, 1934. Sketches for the Enigma Variations date from the on January 17, 2015. fall of 1898. The work was completed on February 19, 1899. Hans Richter conducted the first performance on The composer has June 19, 1898 in London. Elgar subsequently revised the offered the follow- work, extending the finale. Revisions were completed by ing remarks on her July 12, 1899. work: Elgar’s Enigma Variations was his first major work. riSE and fLY was in- It was, in fact, the first important large orchestral spired by New York piece by a British composer ever. The piece served City street beats to bring English orchestral music into international and the rhythm of prominence, just in time for the 20th century. American work It is fitting that the Variations should be known song. In New York as Enigma, since several mysteries surrounded it at there is an amazing its first performance. In the program note for the array of live street premiere, Elgar excited his listeners’ curiosity with musicians gracing one puzzle. Julia ¤olfe, © Peter Serling subway platforms and street corners— The enigma I will not explain—its ‘dark saying’ accordion players, singers, Chinese erhus, and more. must be left unguessed, and I warn you that the But perhaps the most amazing music comes from apparent connection between the Variations and the Theme is often of the slightest texture; the street drummers. Banging out grooves on plastic further, through and over the whole set another tubs and pots and pans, they speak the rhythm of and larger theme ‘goes,’ but is not played…. So the city. They make me smile and I am one of their the principal Theme never appears, even as in most attentive listeners. When Colin Currie asked for some late dramas—e.g., Maeterlinck’s L’Intruse a new work I thought of them. I also thought Colin and Les sept princesses—the chief character is is amazing. He can do anything. But I don’t want to never on the stage. just write him another percussion concerto. I wanted People have been wondering about the identity to take him to a new place and to bring something of the enigma theme past the point where it mat- earthy and visceral to the orchestra—to break with ters. Some scholars suggested that Elgar meant by formality and get down and dirty. It is urban folk “theme” not a melody but rather a programmatic or music for the orchestra. riSE and fLY connects to my philosophic idea. His friends, however, insisted that love of American folk as does much of my recent there was a real tune involved. The composer told work including my art ballad, Steel Hammer, telling the secret to only three people, all of whom carried the story of the story of the John Henry legend. it to their graves. Late in his life Elgar admitted that While there is no direct narrative in riSE and fLY it the theme “was so well known that it was strange is in a sense its own short history—moving from the

cincinnatisymphony.org | FANFARE CINCINNATI | 37 PROGRAM NOTES: JAN 22–23

I just completed a set of Symphonic Variations (theme original) for orchestra—thirteen in number (but I call the finale the fourteenth, because of the ill fate attaching to the number). I have in the Variations sketched portraits of my friends—a new idea, I think—that is, in each Variation I have looked at the theme through the personality (as it were) of another Johnny. Each variation is prefaced by the initials or nickname of the friend whom it depicts. When the work was new, Elgar refused to disclose who the individual friends were, thereby compounding the mysteries. He subsequently did publish an extensive explanation, however:

KEYNOTE. Theme. Enigma (Andante). Since the theme is an “enigma,” Elgar offers no explanation. Variation 1. C.A.E. (Andante). The composer’s wife, C. Alice Elgar, is portrayed in “a prolongation of the theme with what I wished to be romantic and delicate additions.” Variation 2. H.D.S.-P. (Allegro). The friend is Hew David Steuart-Powell, a pianist with whom Elgar used to play chamber music. “His characteristic diatonic run over the keys before beginning to play is George Robert Sinclair ¦ith his bulldog, Dan, the subject of Elgar’s 11th here humorously travestied in the semiquaver pas- Enigma Variation. sages; these should suggest a Toccata, but chromatic beyond H.D.S.-P.’s liking.” no one had discovered it.” This statement prompted Variation 3. R.B.T. (Allegretto). This variation is several musicians to try to fit popular melodies a caricature of Richard Baxter Townshend, whose contrapuntally to the variation theme. Tunes from deeply resonant bass voice is portrayed by the bas- Wagner, Mozart, Chopin and Leoncavallo were soon. The variation refers to “R.B.T.’s presentation found to work, as were “God Save the Queen,” “Pop of an old man in some amateur theatricals—the low Goes the Weasel” and “Auld Lang Syne.” One friend voice flying off occasionally into ‘soprano’ timbre.” of the composer, who knew well Elgar’s penchant Variation 4. W.M.B. (Allegro di molto). The subject is for puzzles and practical jokes, suggested that he William Neath Baker, “a country squire, gentleman, was merely playing a joke on posterity by claiming and scholar. In the days of horses and carriages, that there was a hidden melody when, in fact, there it was more difficult than in these days of petrol was none. If this suggestion is true, then Elgar may to arrange the carriages for the day to suit a large be congratulated on having successfully led genera- number of guests. The Variation was written after tions of musicologists on a wild-goose chase. the host had, with a slip of paper in his hand, forcibly There is a second enigma. Since the composer did read out the arrangements for the day and hurriedly disclose the programmatic reference of each varia- left the music-room with an inadvertent bang of the tion, just what is the meaning of the theme? Elgar door…. [There] are some suggestions of the teasing did eventually concede, although not publicly, that attitude of the guests.” he was himself the subject of the theme. Actually, as Variation 5. R.P.A. (Moderato). Richard Penrose Elgar’s biographer Michael Kennedy points out, the Arnold was the son of poet Matthew Arnold. The opening four notes of the theme seem a natural set- younger Arnold “was a great lover of music, which ting of the syllables “Ed-ward El-gar.” Furthermore, he played (on the pianoforte) in a self-taught man- in his later work The Music Makers, Elgar quotes this ner, evading difficulties but suggesting in a mysteri- theme to illustrate the loneliness of the creative artist. ous way the real feeling. His serious conversation A third enigma concerns the identities of the was continually broken up by whimsical and witty friends depicted in the Variations. The score is remarks. dedicated to “my friends pictured within.” As he Variation 6. Ysobel (Andantino). This was Elgar’s was finishing the work, Elgar wrote: nickname for Isabel Fitton, who studied violin with Elgar. She switched to viola—hence the prominence of that instrument in this variation. The opening “is

38 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 22–23 an ‘exercise’ for crossing the strings—a difficulty the disposal of his friends, particularly endeared him for beginners.” The composer was fully aware of to the writer.” Predictably, the variation includes a Ysobel’s charms and quite taken with her beauty, wonderful cello solo. so that the variation is “pensive and, for a moment, Variation 13. * * * (Romanza: Moderato). “The romantic.” asterisks take the place of the name of a lady who Variation 7. Troyte (Presto). Arthur Troyte was, at the time of composition, on a sea voyage. The Griffith was an architect who had a gift for saying drums suggest the distant throb of the engines of a the unexpected—hence the cross-rhythms in his liner over which the clarinet quotes a phrase from variation. This section is not so much a portrait as a Mendelssohn’s Calm Sea and Prosperous Voyage.” remembrance of Troyte’s “maladroit essays to play The timpani were supposed to be played with snare the pianoforte; later the strong rhythm suggests the drum sticks, but at the first rehearsal the timpanist attempts of the instructor (E.E.) to make something tried using coins instead, and Elgar liked the sound. like order out of chaos, and the final despairing The mysterious woman was Lady Mary Lygon, who ‘slam’ records that the effort proved to be in vain.” was on her way to Australia when Elgar wanted to Variation 8. W.N. (Allegretto). Winifred Norbury ask her permission to use her initials. and her sister Florence were music lovers. Winifred Variation 14. E.D.U. (Finale: Allegro). E.D.U. was employed as a secretary to the Worcester stands for “Edoo,” Alice Elgar’s pet name for the Philharmonic Society. “The gracious personalities composer. He paints himself “bold and vigorous in of the ladies are sedately shown. W.N. was more general style.” Just before the first overt restatement connected with music than others of the family, of the original theme, the woodwinds play a phrase and her initials head the movement; to justify this which is also hidden in Alice’s variation. Elgar used position a little suggestion of a characteristic laugh to whistle this tune as his special signal to Alice. The is given.” Nimrod variation is also recalled. Variation 9. Nimrod (Adagio). Nimrod was a —Jonathan D. Kramer hunter, and the German word for “hunter” is Jäger. Elgar is depicting his friend, the critic August J. Jaeger. “Something ardent and mercurial, in addition to the slow movement, would have been needed to portray the character and temperament of A.J. Jaeger. The Variation…is the record of a long summer evening talk, when my friend discoursed eloquently on the slow movements of Beethoven and said that no one could approach Beethoven at his best in this field, a view with which I cordially concurred. It will be noticed that the opening bars are made to suggest the slow movement of the Eighth Sonata (Pathétique).” Variation 10. Dorabella (Intermezzo: Allegretto). Dora Penny was a close friend whom Elgar nick- named Dorabella, from the Mozart opera Così fan tutte. “The movement suggests a dance-like light- ness.” Dorabella wrote an entire book on the Enigma Variations and the people portrayed therein. Variation 11. G.R.S. (Allegro di molto). The subject is George Robert Sinclair, a cathedral organist. Some injustice is done, Elgar notes, since the variation has “nothing to do with organs or cathedrals or, except remotely, with G.R.S. The first few bars were suggested by his great bulldog Dan (a well-known character) falling down the steep bank into the River Wye…his paddling up stream to find a landing place…and his rejoicing bark on landing…. G.R.S. said, ‘Set that to music.’ I did; here it is.” Variation 12. B.G.N. (Andante). Basil G. Nevinson was an amateur cellist and a member of a trio with ENSEMBLE THEATRE Elgar and H.D.S.-P. “The Variation is a tribute to a CINCINNATI SUPPORTED BY: very dear friend whose scientific and artistic attain- ENSEMBLECINCINNATI.ORG . .

PANTONE® ments, and the wholehearted way they were put at ProBlack

cincinnatisymphony.org | FANFARE CINCINNATI | 39 GUEST ARTISTS Jan 22–23

CRISTIAN MĂCELARU honor only awarded once before conductor in the Foundation’s history. He Winner of the 2014 Solti Conduct- has participated in the conducting ing Award, Cristian Măcelaru has programs of the Tanglewood Music established himself as one of the Center and the Aspen Music Festi- fast-rising stars of the conduct- val, studying under David Zinman, ing world. With every concert he Murry Sidlin, Rafael Frühbeck de displays an exciting and highly Burgos, Robert Spano, Oliver Knus- regarded presence, thoughtful in- sen and Stefan Asbury. His main terpretations and energetic convic- studies were with Larry Rachleff at tion on the podium. Măcelaru came Rice University, where he received to public attention in February 2012 master’s degrees in conducting and when he conducted the Chicago violin performance. He completed Symphony Orchestra as a replace- undergraduate studies in violin per- ment for Pierre Boulez, earning formance at the University of Miami. critical acclaim. Since his Chicago An accomplished violinist from debut, he has led that orchestra in Cristian Măcelaru, © Sorin Popa an early age, Măcelaru was the subscription concerts for three consecutive seasons. youngest concertmaster in the history of the Miami Conductor-in-Residence of The Philadelphia Or- Symphony Orchestra and made his Carnegie Hall chestra, Măcelaru made an unexpected subscription debut with that orchestra at the age of 19. He also debut with The Philadelphia Orchestra in April of played in the first violin section of the Houston 2013. Since then, he has conducted Philadelphia on Symphony for two seasons. four subscription programs and leads a subscription Cristian Măcelaru formerly held the position of program in 2015–16. Resident Conductor at Rice University’s Shepherd The 2015–16 season also sees Măcelaru make his School of Music, where he was Music Director of the Lincoln Center debut at the Mostly Mozart Festival Campanile Orchestra, Assistant Conductor to Larry in August and his New York Philharmonic debut Rachleff and Conductor for the Opera Department. on an all-Rachmaninoff subscription program in A proponent of music education, he has served as November. He returns to the Chicago Symphony, a conductor with the Houston Youth Symphony, Philadelphia Orchestra, Los Angeles Philharmonic where he also conceptualized and created a suc- and the National Symphony Orchestra in D.C. cessful chamber music program. As founder and Internationally, he debuts with the Deutsches Artistic Director of the Crisalis Music Project, Symphonie-Orchester Berlin, Frankfurt Radio Măcelaru spearheaded a program in which young Symphony Orchestra, Rotterdam Philharmonic, musicians perform in a variety of settings, side-by- City of Birmingham Symphony Orchestra, Royal side with established artists. Their groundbreaking Scottish National Orchestra, RTE National Sym- inaugural season produced and presented concerts phony Orchestra of Dublin and Tokyo Metropolitan featuring chamber ensembles, a chamber orchestra, Symphony Orchestra. In North America, his debut a tango operetta, and collaborations with dancer appearances include the Atlanta Symphony, Cincin- Susana Collins, which resulted in a choreographed nati Symphony, Minnesota Orchestra, National Arts performance of Vivaldi/Piazzolla’s Eight Seasons. Centre Orchestra, New World Symphony and San Cristian Măcelaru resides in Philadelphia with Diego Symphony. his wife, Cheryl, and children Beniamin and Maria. Cristian Măcelaru made his first conducting appearance at Carnegie Hall in 2012, leading a work COLIN CURRIE, percussionist on a program alongside Valery Gergiev in a Georg A dynamic and adventurous soloist, Colin Cur- Solti Centennial Celebration. In June 2015, he made rie’s unrivaled commitment to commissioning and his Cincinnati Opera debut in highly acclaimed creating new music was recognized in 2015 by the performances of Il Trovatore. In 2010, he made his Royal Philharmonic Society, which awarded him the operatic debut with the Houston Grand Opera in Instrumentalist Award for his achievements in 2014. Madama Butterflyand led the U.S. premiere of Colin From his earliest years Currie forged a pioneering Matthews’ Turning Point with the Tanglewood path in creating new music for percussion, win- Music Center Orchestra as part of the Tanglewood ning the Royal Philharmonic Society Young Artist Contemporary Music Festival. Award in 2000 and receiving a Borletti-Buitoni Trust In addition to being appointed the 2014 Solti Fel- Award in 2005. Currie has premiered works by low, Măcelaru previously received the Sir Georg Solti composers such as Steve Reich, Elliott Carter, Louis Emerging Conductor Award in 2012, a prestigious Andriessen, HK Gruber, James MacMillan, Anna

40 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: JAN 22–23

Clyne, Einojuhani Rautavaara, Philharmonia Orchestra and Jennifer Higdon, Kalevi Aho, Louis Andriessen’s Tapdance Rolf Wallin, Kurt Schwertsik, with the Asko-Schoenberg Simon Holt, Alexander Goehr, Ensemble. Other highlights Dave Maric, Julia Wolfe and included a solo percussion Nico Muhly. In the coming recital for school children, seasons Currie will premiere The Big Percussion Workshop new works by Andrew Nor- Day, and foyer performances man, Ross Edwards and Mark- with percussion students from Anthony Turnage. London conservatoires. Currie is Artist-in-Resi- Highlights of the 2015–16 dence at London’s Southbank season include the world pre- Centre, where he was the miere of HK Gruber’s into the focus of a major percussion open… at the BBC Proms with festival, Metal Wood Skin, the BBC Philharmonic followed in 2014, featuring world pre- by the Austrian premiere at mieres of Steve Reich’s Quar- Wien Modern with the Vienna tet with the Colin Currie Symphony in November of Group, Anna Clyne’s Secret 2015. Currie also performs the Garden and the UK premieres U.S. premiere of MacMillan’s of James MacMillan’s Percus- Percussion Concerto No. 2 at sion Concerto No. 2 with the Colin Currie, © Marco Borggreve the Cabrillo Festival with Marin

Q&A WITH COLIN CURRIE Fanfare Cincinnati: You’ve performed with the CSO FC: Tell us a litt le bit about your background. What led before. What is special about working with this ensemble? you to be a solo percussionist? Colin Currie: The CSO is a fantastic orchestra with CC: I was drum-crazy as a boy and went through a strong and powerfully distinctive sound. Very all kinds of crazes en route to falling fi nally for fulsome and grand in quality, and the musicians orchestral and classical music as my main love. I are fl exible and sensitive as well when needed. I am have played in pop groups, big bands, played jazz very excited to bring yet another new piece to work vibes, and freelanced as an orchestral musician. In on with them—so far we have played a number being a soloist, a lot of that experience still comes to of my concertos, and they are always such highly bear, and I relish a collaboration, especially with an rewarding experiences! ensemble of the quality of the CSO and bringing new pieces like the Wolfe into the world. So far, I have FC: riSE and fLY has received a lot of hype for its unique over 25 new concertos writt en especially for me—all nature. What are the particular joys and challenges it diff erent and all drawing on the wide-ranging ap- brings to you as an artist? What kind of infl uence did peal of these great instruments. you have on the composition process? CC: riSE and fLY is especially interesting because of FC: Do you engage in any sort of physical training (aside the very unusual and physical aspect of the percus- from actual musical rehearsal time), given the athletic sion writing. The entire fi rst half of the piece is a nature of percussion? phenomenally demanding body-percussion section CC: I am a keen runner and enjoy cycling, although which builds gradually to a fantastic release of hi- living in London limits that somewhat! hop-style work on the hands and upper torso. The FC: What other projects do you have on the horizon? second half is no less involved as I cut loose on a CC: I have several new concertos planned and some set of buckets and pan lids in the manner of a street new instrumental collaborations coming to fruition busker/performer. Julia Wolfe decided early on that in the near future. I would love to record more of I had already amassed a fair number of fi ne pieces my work, and this is one of my main projects and using standard percussion, and as well as exploring challenges. My ensemble, the Colin Currie Group new avenues she also wanted to gift me a new skill is also gaining ground—we have tours planned in set. That was very kind of her and the results are China, Japan, Australia and around Europe, too. extremely eff ective and well-researched. The body It’s great to be working with other percussionists percussion was rather tough to get to grips with at of my age—we’re all drummers, love this art form fi rst, but I love delivering this piece and sharing its and delight in playing together! spirited and adventurous qualities with the audience. It is a greatly uplifting piece.

cincinnatisymphony.org | FANFARE CINCINNATI | 41 GUEST ARTISTS: JAN 22–23

Alsop conducting, and further performances with endorsement, Currie and his ensemble have taken Baltimore Symphony and São Paulo Symphony on the role of ambassadors of Drumming, which Orchestra. He makes his Edinburgh International they have performed at many venues and festivals Festival debut performing the MacMillan with the internationally. In November 2013 the group gave its Royal Scott ish National Orchestra followed by a fi rst performance of Reich’sMusic for 18 Musicians in chamber program at Queen’s Hall. a sold-out Royal Festival Hall in the presence of the Currie also premieres a new concerto by Andrew composer. Highlights of the 2015–16 season include Norman this season, with the Utah Symphony performances at the Helsinki Festival, a return visit and Thierry Fischer in Utah and at Carnegie Hall, to Royal Festival Hall to perform Music for 18 Musi- followed by the European premiere with the BBC cians, followed by two performances in Rott erdam. Symphony and Sakari Oramo. He ends the season Currie has recorded many concerto, recital and performing a new double concerto for saxophone chamber works, including, most recently, Alexander and percussion by Ross Edwards, which he pre- Goehr’s Since Brass, nor Stone (NMC). His recording mieres with Amy Dickson and the Sydney Sym- of Rautavaara’s Incantations with the Helsinki Phil- phony. Other highlights include his fi rst season as harmonic/Storgårds (Ondine) was released to criti- Artist-in-Residence with the Oregon Symphony cal acclaim and won a 2012 Gramophone Award. and performances with the Cincinnati Symphony, Previous releases include MacMillan’s Veni, Veni, Ott awa Symphony, Hawaii Symphony, and the Emmanuel with the Netherlands Radio Chamber Naples Philharmonic, Brno Philharmonic, Britt en Philharmonic/MacMillan (Challenge Classics), Sinfonia, Asturias Philharmonic, Lapland Chamber Higdon’s Percussion Concerto with the London Orchestra and Orchestre de Picardie. Chamber Philharmonic/Alsop, which won a 2010 Grammy music performances include a project with Cedric Award, and a recital disc, Borrowed Time, featur- Tiberghien at Wigmore Hall and Muziekgebouw ing music by Dave Maric (Onyx). Currie recently Amsterdam and a U.S. tour with the Miró Quartet. recorded Simon Holt’s concerto a table of noises with Currie’s dynamic percussion ensemble, the Colin The Hallé released by NMC in 2015. Currie Group, was formed in 2006 to celebrate the Visit colincurrie.com for more information. Colin music of Steve Reich and made its fi ve-star debut Currie plays Zildjan cymbals and is a MarimbaOne at the BBC Proms. Since then, with Reich’s personal Artist. n

at the Blue Ash Golf Course

42 | FANFARE CINCINNATI | cincinnatisymphony.org SIXTH POPS PROGRAM

2015–2016 SEASON SUN JAN 24, 7 pm Music Hall

PINK MARTINI with special guests THE VON TRAPPS STEVEN REINEKE, conductor Thomas M. Lauderdale, piano Storm Large, vocals Gavin Bondy, trumpet Achilles Liarmakopoulos, trombone Nicholas Crosa, violin Pansy Chang, cello Phil Baker, upright bass Dan Faehnle, guitar Timothy Nishimoto, vocals and percussion Brian Davis, congas and percussion Anthony Jones, drums and percussion Sofia von Trapp, vocals Melanie von Trapp, vocals Amanda von Trapp, vocals August von Trapp, vocals

Selections will be announced from the stage.

There will be one 20-minute intermission during the concert.

The Cincinnati Pops Orchestra is grateful to PNC, Presenting Sponsor of the Pops Series. The Otto M. Budig Family Foundation is this evening’s Concert Sponsor and the Pops Artist Series Sponsor. CCI Design, Inc., Molly & Tom Garber, is this evening’s Presenting Sponsor. Steven Reineke’s appearance is made possible by William D. Stenger. CSO Spectrum is this evening’s Performance Sponsor. The Dehan Family is this evening’s Artist Sponsor. The Cincinnati Pops Orchestra is grateful for the support of ArtsWave. Tom & Molly Garber WVXU is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony and Pops Orchestra. The use of photographic and recording devices at these concerts is prohibited. Cincinnati Pops Orchestra recordings are found on the Fanfare Cincinnati, Telarc, Moss Music Group, Vox Cum Laude, MCA Classics, Caedmon and Musical Heritage Society labels.

cincinnatisymphony.org | FANFARE CINCINNATI | 43 GUEST ARTISTS Jan 24

STEVEN REINEKE, conductor burgh, Vancouver, Ottawa (National Steven Reineke’s boundless en- Arts Centre), Detroit, Milwaukee thusiasm and exceptional artistry and Calgary. have made him one of the nation’s On stage, Reineke has created pro- most sought-after pops conductors, grams and collaborated with a range composers and arrangers. Reineke is of leading artists from the worlds of the Music Director of The New York Hip Hop, Broadway, television and Pops at Carnegie Hall, Principal rock, including Kendrick Lamar, Pops Conductor of the National Nas, Sutton Foster, Megan Hilty, Symphony Orchestra at the John F. Cheyenne Jackson, Wayne Brady, Kennedy Center for the Performing Peter Frampton and Ben Folds, Arts, Principal Pops Conductor of among others. the Toronto Symphony Orchestra As the creator of more than 100 and Principal Pops Conductor orchestral arrangements for the Cin- Designate of the Houston Sym- cinnati Pops Orchestra, Reineke’s phony. He previously held the work has been performed world- posts of Principal Pops Conductor Steven Reineke, © Michael Tammaro wide, and can be heard on numerous of the Long Beach and Modesto Cincinnati Pops Orchestra record- Symphony Orchestras and Associate Conductor of ings on the Telarc label. His symphonic works the Cincinnati Pops Orchestra. Celebration Fanfare, Legend of Sleepy Hollow and Reineke is a frequent guest conductor with The Casey at the Bat are performed frequently in North Philadelphia Orchestra and has been on the podium America, including performances by the New York with the Boston Pops, The Cleveland Orchestra and Philharmonic and Los Angeles Philharmonic. His the Chicago Symphony Orchestra at Ravinia. His Sun Valley Festival Fanfare was used to commemo- extensive North American conducting appearances rate the Sun Valley Summer Symphony’s pavilion, include San Francisco, Seattle, Edmonton, Pitts- and his Festival Te Deum and Swan’s Island Sojourn Half Page

44 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: JAN 24 were debuted by the Cincinnati Symphony and One year later, Lauderdale called China Forbes, Cincinnati Pops Orchestras. His numerous wind a Harvard classmate who was living in New York ensemble compositions are published by the C.L. City, and asked her to join Pink Martini. They began Barnhouse Company and are performed by concert to write songs together. Their first song, “Sym- bands worldwide. pathique,” became an overnight sensation in France, A native of Ohio, Steven Reineke is a graduate was nominated for “Song of the Year” at France’s of Miami University of Ohio, where he earned Victoires de la Musique Awards, and to this day re- bachelor of music degrees with honors in both mains a mantra (“Je ne veux pas travailler” or “I don’t trumpet performance and music composition. want to work”) for striking French workers. Says He currently resides in New York City with his Lauderdale, “We’re very much an American band, husband, Eric Gabbard. but we spend a lot of time abroad and therefore have the incredible diplomatic opportunity to represent PINK MARTINI and THE VON TRAPPS a broader, more inclusive America…the America In 1994 in his hometown of Portland, OR, Thomas which remains the most heterogeneously populated Lauderdale was working in politics, thinking that country in the world…composed of people of every one day he would run for mayor. Like other eager country, every language, every religion.” politicians-in-training, he went to every political Featuring a dozen musicians, Pink Martini per- fundraiser under the sun, but he was dismayed to forms its multilingual repertoire on concert stages fi nd the music at these events underwhelming, lack- and with symphony orchestras throughout Europe, luster, loud and un-neighborly. Drawing inspiration Asia, Greece, Turkey, the Middle East, Northern from music from all over the world—crossing genres Africa, Australia, New Zealand, South America and of classical, jazz and old-fashioned pop—and hop- North America. Pink Martini made its European ing to appeal to conservatives and liberals alike, he debut at the Cannes Film Festival in 1997 and its founded the “litt le orchestra” Pink Martini in 1994 orchestral debut with the Oregon Symphony in to provide more beautiful and inclusive musical 1998 under the direction of Norman Leyden. Since soundtracks for political fundraisers for causes such then, the band has gone on to play with more than as civil rights, aff ordable housing, the environment, 50 orchestras around the world, including multiple libraries, public broadcasting, education and parks. engagements with the Los Angeles Philharmonic at

The Cincinnati Pops thanks WILLIAM D. STENGER for helping to make Steven Reineke’s appearance possible!

cincinnatisymphony.org | FANFARE CINCINNATI | 45 GUEST ARTISTS: JAN 24

Pink Martini and The von Trapps, © Chris Hornbecker the Hollywood Bowl, the Boston Pops, the National tional holiday album featuring songs from around Symphony at the Kennedy Center, the San Francisco the globe. Joy to the World received glowing reviews Symphony, the Cleveland Orchestra, and the BBC and was carried in Starbucks stores during the 2010 Concert Orchestra at Royal Albert Hall in London. and 2011 holiday seasons. All five albums have gone Other appearances include the grand opening of the gold in France, Canada, Greece and Turkey. Los Angeles Philharmonic’s Frank Gehry-designed In 2011 the band released two albums–A Retrospec- Walt Disney Concert Hall, with return sold-out tive, a collection of the band’s most beloved songs engagements for New Year’s Eve 2003, 2004, 2008 spanning their 18-year career, which includes eight and 2011; four sold-out concerts at Carnegie Hall; the previously unreleased tracks, and 1969, an album of opening party of the remodeled Museum of Modern collaborations with legendary Japanese singer Saori Art in New York City; the Governor’s Ball at the Yuki. 1969 has been certified platinum in Japan, 80th Annual Academy Awards in 2008; the opening reaching no. 2 on the Japanese charts. The release of the 2008 Sydney Festival in Australia; multiple of 1969 marked the first time a Japanese artist hit sold-out appearances, and a festival opening, at the American Billboard charts since Kyu Sakamoto the Montreal Jazz Festival; two sold-out concerts released Sukiyaki in 1963. Pink Martini albums have at Paris’ legendary L’Olympia Theatre in 2011; and sold over three million copies worldwide. Paris’ fashion house Lanvin’s 10-year anniversary The band has collaborated and performed with celebration for designer Alber Elbaz in 2012. In its numerous artists, including Jimmy Scott, Carol 20th year, Pink Martini was inducted into both the Channing, Jane Powell, Rufus Wainwright, Martha Hollywood Bowl Hall of Fame and the Oregon Wainwright, Henri Salvador, Chavela Vargas, New Music Hall of Fame. York performer Joey Arias, puppeteer Basil Twist, Pink Martini’s debut album Sympathique was Georges Moustaki, Michael Feinstein, filmmaker released independently in 1997 on the band’s own Gus Van Sant, Courtney Taylor-Taylor of The Dandy label Heinz Records (named after Lauderdale’s dog), Warhols, clarinetist and conductor Norman Leyden, and quickly became an international phenomenon, Japanese legend Hiroshi Wada, Italian actress and garnering the group nominations for “Song of the songwriter Alba Clemente, DJ Johnny Dynell and Year” and “Best New Artist” in France’s Victoires de Chi Chi Valenti, Faith Prince, Mamie Van Doren, la Musique Awards in 2000. Pink Martini released the original cast of Sesame Street, the Bonita Vista Hang On Little Tomato in 2004, Hey Eugene! in 2007 High School Marching Band of Chula Vista, CA, and Splendor in the Grass in 2009. In 2010 the band the Portland Youth Philharmonic, and the Pacific released Joy to the World—a festive, multi-denomina- Youth Choir of Portland, OR. Singer Storm Large

46 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: JAN 24 began performing with Pink Martini in March of cavalcade of special guests including Rufus Wain- 2011, when China Forbes took a leave of absence to wright, Philippe Katerine, Meow Meow, The von undergo surgery on her vocal cords. Forbes made a Trapps and Ari Shapiro. full recovery and now both she and Large continue And while still in the studio for Get Happy, Lau- performing with Pink Martini. derdale simultaneously began work on the band’s Pink Martini has an illustrious roster of regular eighth studio album, Dream a Litt le Dream, featuring guest artists: NPR White House correspondent Ari SOFIA, MELANIE, AMANDA and AUGUST von Shapiro, Cantor Ida Rae Cahana (who was cantor TRAPP, the actual great-grandchildren of Captain at the Central Synagogue in NYC for fi ve years), and Maria von Trapp, made famous by the movie koto player Masumi Timson, harpist Maureen Love, The Sound of Music. These siblings have been sing- and Kim Hastreiter (the publisher/editor-in-chief of ing together for 12 years and have toured all over Paper magazine). the world in concert. Drawn into the magical orbit In January of 2012 bandleader Thomas Lauder- of Thomas Lauderdale, they now live together in dale began work on Pink Martini’s seventh studio a house in Portland, OR and have been frequent album when he recorded the Charlie Chaplin song guest performers with Pink Martini for the past two “Smile” with the legendary Phyllis Diller. The years. The album, released in March 2014, traverses album, titled Get Happy, was released on September the world, from Sweden to Rwanda to China to 24, 2013 and features 16 globe-spanning songs in Bavaria, and features guest appearances by The nine languages. The band’s beloved vocalist China Chieftains, Wayne Newton, “Jungle” Jack Hanna, Forbes anchors the recording, and she is joined by and Charmian Carr (who played Liesl in the original her co-lead singer Storm Large, who was recording Sound of Music). n with Pink Martini for the fi rst time, along with a

Q&A WITH THOMAS LAUDERDALE

Fanfare Cincinnati: Pink Martini is self described: “If me to ask if I wanted The von Trapps to join us on the United Nations had a house band in 1962, hopefully, stage, and I jumped at the chance! And I really just we’d be that band.” Could you explain how that relates fell in love with them. I adore The Sound of Music. not only to the band’s repertoire, but also the sound, style I think that The Sound of Music is the last great op- and stage presence? timistic American fi lm, with incredible music and Thomas Lauderdale: We are old-fashioned and great drapes. Spending time with The von Trapps romantic in that sense of old Hollywood. We also is like walking onto the set of The Sound of Music, like to represent an inclusive America. The America but they’re not actors. They’re earnest in a genuine that is the most heterogenous country in the world, way, and untainted by trashy modern impulses. the melting pot America. We like everyone to know FC: What are some of the joys (and challenges) of touring that there are Americans who are interested in other with an ensemble the size of Pink Martini? cultures, in other peoples, in other languages. So we TL: What is great about traveling with and collabo- look for old-fashioned and romantic music, with rating with such a large group of musicians is that great melodies, from all over the world. I think if the chemistry isn’t there, or if you’re not gett ing old-fashioned romance never goes out of style. along with someone, there is always someone else And melody certainly never goes out of style. There to hang out with that day. We’re a family; with all really aren’t other bands exploring this music. For its complications and confl ict, in the end we love a few moments we can help everyone forget their each other unconditionally. troubles, forget the stress of the world. We try to play beautiful music that can accompany all of life’s FC: What upcoming projects do you and/or the band moments—from falling in love to grieving a loved have coming up? one, from throwing a dinner party to vacuuming TL: Too many to count. I am currently working on a your house! collaborative album with the wonderfully talented Meow Meow. I am also ruminating on a full-length FC: How did the collaboration with The von Trapps come album with a Middle Eastern focus. And although about? What have been some highlights of that artistic my list is already too long, one of the most wonder- relationship? ful things about life is that you never know what TL: I met The von Trapps four years ago when they or who might be just around the corner. Anything were in my hometown of Portland, Oregon to per- can happen! form with the Oregon Symphony. Pink Martini was performing in Portland’s city square for the lighting Please visit cincinnatisymphony.org/stories to read the of the city Christmas tree, and the Symphony called complete interview.

cincinnatisymphony.org | FANFARE CINCINNATI | 47 Best Wishes for a Bright New Year!

ArtsWave and the Cincinnati Symphony & Pops Orchestra thank the following local companies and their employees for their extraordinary support of our region through the ArtsWave community campaign.

Partners $100,000 - $249,999 Community Champions $2,000,000+ AK Steel $50,000 - $99,999 P&G American Financial Group Ameritas American Modern Insurance Cintas Corporation $1,000,000 - $1,999,999 Group Deloitte Fifth Third Bank The Carol Ann & Ralph V. Haile, Dinsmore & Shohl LLP GE Aviation Jr./U.S. Bank Foundation Dorothy M.M. Kerseten Trust, Cincinnati Children’s Hospital U.S. Bank Trustee $500,000 - $999,999 Medical Center The E.W. Scripps Company and Macy’s, Inc. The Cincinnati Insurance Scripps Howard Foundation Companies Ernst & Young LLP $250,000 - $499,999 Convergys Corporation Frost Brown Todd LLC Cincinnati Bell Duke Enertgy Gladys and Ralph Lazarus Education The Kroger Co. Enquirer Media Fund, A Field of Interest Fund of Western & Southern Frisch’s Restaurants the Greater Cincinnati Foundation Financial Group Ohio National Financial Services The H.B., E.W. and F.R. Luther PNC Charitable Foundation Toyota Motor Engineering & Harold C. Schott Foundation Manufacturing North America, Jacob G. Schmidlapp Trusts, Inc. Fifth Third Bank, Trustee U.S. Bank The John A. Schroth Family UC and UC Health Charitable Trust, PNC Bank, Trustee Keating Muething & Klekamp PLL The Louise Taft Semple Foundation Mercy Health The Thomas J. Emery Memorial TriHealth, Inc.

TheArtsWave.org BOARDS BOARD OF DIRECTORS (as of September 1, 2015) Harold Byers Peter Landgren Sandra Rivers Best Wishes Oﬃ cers Myra Chabut Tad Lawrence Jack Rouse James E. Schwab, Chair Christopher C. Cole Wendy S. Lea Ryan Rybolt Francie S. Hiltz, Chair-Elect and Peter G. Courlas Edyth B. Lindner* Ann H. Santen Vice-Chair of Leadership Development Alvin H. Crawford, M.D. Patricia Gross Linnemann Jeffrey S. Schloemer Leonard M. Randolph, Jr., M.D., Secretary Dennis W. Dern Timothy J. Maloney Pamela Scott Otto M. Budig, Jr., Treasurer and Sally Dessner Jonathan McCann Edgar L. Smith, Jr. for a Bright New Year! Vice-Chair of Finance Dianne Dunkelman Robert W. McDonald Matthew Q. Stautberg Thomas Charles Garber, Mrs. Charles Fleischmann III* Bernard L. McKay Thomas Stegman * Vice-Chair of Facilities Susan S. Friedlander* Sue McPartlin William D. Stenger Dianne M. Rosenberg, Jane Garvey Linda Freiberg Miller Randolph L. Wadsworth Jr.* Vice-Chair of Volunteerism Joseph W. Hagin Elizabeth Reitz Mullenix Nancy Wagner ArtsWave and the Cincinnati Symphony & Pops Orchestra thank the Rosemary Schlachter, Vice-Chair Carol C. Hake Stephen R. Mullin Patricia Wagner of Patron Development John L. Harrison Christopher Muth Nancy Walker* following local companies and their employees for their extraordinary Sheila J. Williams, Vice-Chair of Patti Heldman Cora K. Ogle Geraldine B. Warner Community Engagement Joseph W. Hirschhorn* Eric V. Oliver Warren Weber support of our region through the ArtsWave community campaign. Sandra F.W. Joffe Robert S. Olson Diane West Directors Lois Jolson Santa Jeremy Ono Stacey G. Woolley Stuart Aitken David Kirk Marilyn J. Osborn Honorable Tyrone K. Yates Kathleen Barclay Kevin Kline Jack Osborn Shau Zavon Partners $100,000 - $249,999 Community Champions Paul M. Booth Ronald A. Koetters J. Marvin Quin II* *Director Emeritus $2,000,000+ AK Steel $50,000 - $99,999 Trish Bryan* Marvin Kolodzik James B. Reynolds* P&G American Financial Group Ameritas American Modern Insurance Cintas Corporation BOARD OF OVERSEERS $1,000,000 - $1,999,999 Group Deloitte (as of November 13, 2015) Fifth Third Bank The Carol Ann & Ralph V. Haile, Dinsmore & Shohl LLP The Board of Overseers is a group of advocates whose annual and love of the music and the institution. The only requirement GE Aviation Jr./U.S. Bank Foundation Dorothy M.M. Kerseten Trust, gift level aff ords access to a unique, behind-the-scenes view of for membership is to support the Orchestra with a gift of $5,000 Cincinnati Children’s Hospital U.S. Bank Trustee how the Orchestra brings world-class music to the community or more as an individual or $7,500 or more as an organization. $500,000 - $999,999 Medical Center The E.W. Scripps Company and and beyond. From lunch and learns to networking, the Board To learn more about becoming a member, contact Rachel of Overseers spend time with those who have a fascination for Kirley in the Philanthropy Department at 513.744.3291. Macy’s, Inc. The Cincinnati Insurance Scripps Howard Foundation Companies Ernst & Young LLP Adleta Group, Mr. Robert Adleta Mr. and Mrs. James T. Fitzgerald Calvin and Patricia Linnemann § Digi and Mike Schueler $250,000 - $499,999 Convergys Corporation Frost Brown Todd LLC Romola N. Allen § Mr. and Mrs. David Fleischer Thomas and Adele Lippert Vivian and Jim Schwab Mr. Anatole Alper Mrs. Charles Fleischmann Whitney and Phillip Long Ladislas & Vilma Segoe Family Cincinnati Bell Duke Enertgy Gladys and Ralph Lazarus Education Martha G. Anness § Susan Friedlander § Mark and Tia Luegering Foundation, Mr. David Ellis The Kroger Co. Enquirer Media Fund, A Field of Interest Fund of Mrs. Katy Barclay Frost Brown Todd, Ms. Jill Myer Macy’s, Mr. Matthew Q. Stautberg Irwin and Melinda Simon Bartlett & Co., Jane Vanderhorst Dr. and Mrs. Harry F. Fry Mr. and Mrs. Timothy Maloney Mr. Murray Sinclaire Western & Southern Frisch’s Restaurants the Greater Cincinnati Foundation Ellen A. Berghamer § Molly and Tom Garber, CCI Design, Inc. Elizabeth and Brian Mannion, MD Mr. and Mrs. Gerald Skidmore § Financial Group Ohio National Financial Services The H.B., E.W. and F.R. Luther Mary Bergstein Ms. Jane Garvey Alan Margulies and Gale Snoddy Ms. Genevieve Smith Mr. and Mrs. David Berick Richard D. Gegner Rhoda Mayerson Michael and Donnalyn Smith PNC Charitable Foundation Louis D. Bilionis and Ann Hubbard Mrs. Philip O. Geier § Mr. and Mrs. Jonathan McCann Tom and Dee Stegman § Toyota Motor Engineering & Harold C. Schott Foundation Cathy, Sam, and Anne Black Sabine and Werner Geissler Mr. Robert W. McDonald William D. Stenger Mrs. Herbert Bloch, Jr. L. Timothy Giglio Mr. Bernard McKay Mary S. Stern Manufacturing North America, Jacob G. Schmidlapp Trusts, Rosemary H. and Frank Bloom § Drs. Lesley Gilbertson and William Hurford Laura Kimble McLellan § Laurence G. Stillpass Inc. Fifth Third Bank, Trustee BMES, John Moore Mr. and Mrs. Michael H. Giuliani Mrs. Susan M. McPartlin Theodore W. and Carol B. Striker U.S. Bank The John A. Schroth Family Robert L. Bogenschutz Clifford J. Goosmann and Mercy Health, Mario Cicchinelli Mr. and Mrs. Roy Sweeney Dr. and Mrs. John and Suzanne Bossert § Andrea M. Wilson Messer Construction Co., Kathleen C. Daly Taft Stettinius & Hollister, UC and UC Health Charitable Trust, PNC Bank, Chris and Karen Bowman Priscilla Garrison Haffner § Mr. and Mrs. Douglas Miller Mr. Jeffrey Schloemer Trustee Mr. and Mrs. Frederick E. Bryan, III § Mr. Joseph Hagin Mr. James A. Miller Delle E. Taylor Mr. Otto M. Budig, Jr. Dr. and Mrs. Edward Hake Linda and James Miller Ms. Anne D. Thomas Keating Muething & Klekamp PLL Mary Alice Burke § David G. Hakes Monarch Construction, Mr. Ron Koetters Laura G. Thomson The Louise Taft Semple Foundation Edward and Susan Castleberry Tom and Jan Hardy § Mrs. James Monroe § Towers Watson, George Morrison CES/Link, Ms. Deborah Spradley Mr. and Mrs. Brian E. Heekin Mr. and Mrs. Thomas J. Mueller Toyota Motor Eng. & Mfg. Co. N.A., Inc., Mercy Health CFM, Ms. Jamie Jewell Mrs. Anne P. Heldman § Stephen and Kristin Mullin § David Fleischer The Thomas J. Emery Memorial Ms. Geraldine V. Chavez Mr. and Mrs. Fred Heldman Mr. and Mrs. Christopher Muth § UBS, Mr. Troy DeBord Robert and Debra Chavez Robert and Patricia Henley Mrs. Ruth Myers Dale and Joyce Uetrecht TriHealth, Inc. Chemed Corp., Sandra E. Laney David C. Herriman Anne Nethercott § Larry Uhlenbrock Piotr Chomczynski Mr. and Mrs. Joseph W. Hirschhorn § Ohio National Financial Services, United Dairy Farmers, Mr. Brad Lindner Cincinnati Symphony Club Mrs. Harry M. Hoffheimer Mr. Gary T. “Doc” Huffman U.S. Bank, Bradley Scott Lois and Philip S. Cohen HORAN, Terry Horan § Dr. Santa Ono and Mrs. Gwendolyn Yip Sallie and Duck Wadsworth § Sheila and Christopher C. Cole Dr. and Mrs. M. Howett § Marilyn J. and Jack D. Osborn § Nancy C. Wagner § Coney Island, Victor W. Nolting Dr. Murray Jaffe Arlene Palmer Patricia M. Wagner § Mr. and Mrs. Michael D. Connelly Dr. and Mrs. Stephen Joffe John and Farah Palmer Mr. and Mrs. Paul H. Ward § Corporex Companies, LLC, Johnson Investment Counsel, Dr. and Mrs. John Parlin Ginger and David W. Warner Mr. William Butler Mr. Dean Moulas Paycor, Bob Coughlin Gary and Diane West § Peter G. Courlas § Lois and Dick Jolson Joseph A. and Susan E. Pichler Western Pacifi c Holdings, Dr. and Mrs. Alvin Crawford Frank Jordan § PNC Bank, Kay Geiger Chiun-Teng Cheng Crosset Family Fund, Mr. Mace C. Justice § PricewaterhouseCoopers LLC, Western & Southern Financial Services, Mr. James M. Crosset Mr. and Mrs. Lorrence T. Kellar Evelyn L. Cole Mr. Don Wuebbling Mrs. Thomas E. Davidson Dr. and Mrs. Lionel King Terry and Marvin Quin Mrs. Harris K. Weston (Alice) The Dehan Family Mr. and Mrs. Kevin Kline Irene and Dan Randolph § World Pac Paper, LLC, Edgar Smith and Dennis W. and Cathy Dern Mrs. Thomas Klinedinst, Sr. Rendigs, Fry, Kiely & Dennis, Mrs. Pat Fry Toni Robinson-Smith Mr. and Mrs. Steve Dessner Edward A. Klint Mercer and Gabrielle Reynolds Ms. Karen Wright TheArtsWave.org Amy and Trey Devey § Linda Dianne Knose Vicky and Rick Reynolds Betsy and Alex C. Young § Nancy and Steve Donovan Florence and Ron Koetters Melody Sawyer Richardson § Mr. and Mrs. James M. Zimmerman Marjorie Drackett Marvin P. Kolodzik § Ellen Rieveschl § Anonymous (5) Dianne Dunkelman Michael and Marilyn Kremzar Elizabeth and Karl Ronn § Mrs. David Ellis, Jr. Kroger, Ms. Katy Barclay J. David and Dianne Rosenberg § Denotes members of The Thomas Emory P. Zimmer Insurance Agency, Anne I. Lawrence Nancy and Ed Rosenthal Schippers Society. Individuals who have Baker D. Bahlman Mr. and Mrs. Robert L. Lawrence Moe and Jack Rouse § made a planned gift to the Cincinnati Symphony Orchestra are eligible for Ernst & Young, Mr. Scott Trosset Louis Levin Ann and Harry Santen Mark S. and Rosemary K. Schlachter § membership in The Thomas Schippers Harry and Linda Fath § Daniel R. Lewis Society. For more information, please Catherine Lepley Feig Mr. and Mrs. Brad Lindner Jeffrey S. Schloemer and Marcia A. Banker contact Ron Cropper at 513.744.3365. Fifth Third Bank Foundation, Ms. Heidi Jark Edyth B. Lindner Harold C. Schott Foundation, Francie and Tom Hiltz

cincinnatisymphony.org | FANFARE CINCINNATI | 49 JANUARY 2016 Who’s a Group? You’re a Group!

The Cincinnati Symphony and Pops Orchestra is pleased to • Discover our specially priced welcome the following groups to these concerts: tickets for groups of 10 or more! • Find out how you can Pops, 1/9–10 CSO, 1/14 & 16 orchestrate a profitable Anderson Senior Center Cedarville University fundraising event Berkeley Square Ursaline Academy for your local organization. Cedar Village Contact CSO Group Sales: The Links, Incorporated Pops, 1/24 513.744.3590 or Queen City Chapter Anderson Senior Center csogroupsales.org Seasons Retirement Community Howard Financial UC Black Women on the Move Maple Knoll Village Northern Kentucky/Greater Miami University Alumni Cincinnati UK Alumni Club Wilmington City Schools

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RELIABLE INCOME = RELIABLE OUTCOME Through our mission of growing income through dividends, Bahl & Gaynor endeavors to protect www.bahl-gaynor.com 513.287.6100 and grow our clients’ hard-earned wealth and Cincinnati, OH help fulﬁll their life goals.

INDIVIDUALS | INSTITUTIONS | FINANCIAL ADVISORS

50 | FANFARE CINCINNATI | cincinnatisymphony.org Celebrating 50 years of public funding for the arts and culture in Ohio

Ohio Arts Council Rhodes State Office Tower 30 E Broad St, 33rd Floor Columbus, OH 43215-3414 Phone: 614/466-2613 Fax:614/466-4494 oac.ohio.gov FINANCIAL SUPPORT 2015–2016 SPONSORS The Cincinnati Symphony and Pops Orchestra is Greater Cincinnati area. For information on spon- grateful for the generosity of our sponsors. Sponsor- sorships, please contact the Philanthropy Offi ce at ship support is vital to the success of the Orchestra 513.744.3363. We are proud to be partnered with and helps enhance the quality of cultural life in the the following:

PLATINUM BATON CIRCLE ($50,000+)

Anonymous Thomas J. Emery Farmer Family Louise H. and David S. The Carl Jacobs Memorial Foundation Ingalls Foundation, Inc. Foundation

The H.B., E.W. and The Margaret McWilliams The John A. Schroth F.R. Luther Charitable Dr. John & Louise Mulford Jacob G. Schmidlapp Joseph J. Schott Jackie and Roy Rentschler Fund of Family Charitable Trust, Foundation, Fifth Third Fund for the CSO Trusts, Fifth Third Foundation Sweeney Bank and Narley L. Haley, the Greater Cincinnati Bank, Trustee PNC Bank, Trustee Co-Trustees Foundation

GOLD BATON CIRCLE ($25,000–$49,999)

Tom & Molly Garber The Cincinnati Symphony Club

Western & Southern Financial Group

Ann & Gordon The Patricia Kisker Ohio Valley The Ladislas & Mr. Daniel R. Lewis MusicNOW Vilma Segoe Family Louise Taft Semple Waddell Family Ginger & David W. Getty Foundation Foundation Foundation, Fifth Foundation Foundation Third Bank, Agent Foundation Warner

CONDUCTOR’S CIRCLE ($10,000–$24,999)

Rosemary and Crosset Family Linda and Sue Friedlander The John C. Anne Heldman Instagram/Facebook The Andrew Jergens The Kaplan Frank Bloom Fund Harry Fath Griswold Foundation Foundation Foundation

The August A. Rendigs, Jr. and The Daniel & Susan The Sutphin Family The Wohlgemuth The Eric B. Yeiser Family YOT Full Circle Helen J. Rendigs Foundation, Rosemary and Mark Pfau Foundation Schlachter Foundation Herschede Foundation Foundation W. Roger Fry, Trustee, and the ﬁ rm Foundation of Rendigs, Fry, Kiely & Dennis

CONCERTMASTER’S CIRCLE ($5,000–$9,999)

Queen City (OH) Chapter

The Aaron Copland The Dehan Family James M. Ewell Fund for Music Foundation Surgery

William G. & The Willard & Jack J. Smith, Jr. Mary Jane Helms Charles Scott Riley III William D. Stenger Woodward Trust Jean Mulford Foundation Charitable Trust, Charitable Foundation Charitable Fund PNC and Karen B. Wachs, Co-trustees

ARTIST’S CIRCLE Makino CE Power Solutions Cincinnati USA Convention and Visitors Bureau $3,000–$4,999 Mayerson Family Foundations The ASCAP Foundation Raymond Hubbell Monteverdi Tuscany Hightowers Petroleum Co. Musical Scholarship Fund at Rhinegeist KMK Law The Miami Foundation RiskSource Clark-Theders Clark Schaefer Hackett ENCORE CIRCLE Roper’s Southern Cooking Restaurant Humana $2,500–$2,999 The J.M. Smucker Company Katz, Teller, Brant & Hild Louis D. Bilionis & Ann Hubbard Cynthia & Paul Booth, COBCO Enterprises, Inc.

52 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT 2015–2016 Sponsors, cont. ARTSWAVE Partners The CSO and Pops acknowledges the thousands of individuals who generously participate in the ArtsWave Campaign at the following Partner Companies. Your support helps make our community vibrant and connects people across our region through the arts. P&G The Carol Ann & Ralph V. Haile University of Cincinnati and UC Health GE Aviation U.S. Bank Foundation Enquirer Media Fifth Third Bank Macy’s, Inc. Western & Southern Financial Group The Kroger Co. ArtsWave Partners | JANUARY 2016 Cincinnati Bell Cincinnati Children’s Hospital Medical Center The Cincinnati Insurance Companies U.S. Bank Frisch’s Restaurants, Inc. American Financial Group American Modern Insurance Group CSO, Jan 14 & 16-17 Duke Energy Corporation Pops, Jan. 9-10 Toyota Motor Engineering & Manufacturing North America, Inc. Frisch’s Restaurants, Inc. PNC Bank Ohio National Financial Services PNC Bank Convergys Corporation The Carol Ann & Ralph V. Haile U.S. CSO, Jan. 22–23 American Modern Insurance Group Bank Foundation AK Steel Pops, Jan. 24

PERMANENT ENDOWMENTS Over the years, members of the Greater Cincinnati for Greatness, A Place of Experimentation, Cincinnati’s community have made significant gifts to provide Ambassador and Cincinnati’s Own. The CSO thanks for the enjoyment of future generations. These and honors the donors of these permanent funds. endowments support our core values: Determined

ENDOWED CHAIRS Tom & Dee Stegman Chair+ Educational Concerts Grace M. Allen Chair Mary and Joseph S. Stern, Jr. Chair+ Rosemary & Frank Bloom * The Kenneth & Norita Aplin and Stanley Cynthia & Frank Stewart Chair Cincinnati Financial Corporation & Ragle Chair for Cello The Jackie and Roy Sweeney Family Chair The Cincinnati Insurance Companies Ellen A. & Richard C. Berghamer Chair Anna Sinton Taft Chair The Margaret Embshoff Educational Fund Robert E. & Fay Boeh Chair Brenda & Ralph Taylor Chair Kate Foreman Young Peoples Fund The Marc Bohlke Chair James P. Thornton Chair George & Anne Heldman+ Given by Katrin and Manfred Bohlke Nicholas Tsimaras-Peter G. Courlas Chair Macy’s Foundation Otto M. Budig Family Foundation Chair Jo Ann & Paul Ward Chair Vicky & Rick Reynolds*+ Mary Alice Heekin Burke Chair Matthew & Peg Woodside Chair William R. Schott Family** Peter G. Courlas-Nicholas Tsimaras Chair Mary M. & Charles F. Yeiser Chair Western-Southern Foundation, Inc. Ona Hixson Dater Chair Anonymous Chair The Anne G. and Robert W. Dorsey OTHER NAMED FUNDS Chair for Violin+ ENDOWED PERFORMANCES Ruth Meacham Bell Memorial Fund Jane & David Ellis Chair & PROJECTS Frank & Mary Bergstein Fund for Musical Excellence+ Irene & John J. Emery Chair Eleanora C. U. Alms Trust, Fifth Third Bank, Trustee Jean K. Bloch Music Library Fund James M. Ewell Chair Rosemary and Frank Bloom Endowment Fund*+ Cora Dow Endowment Fund Susan S. & William A. Friedlander Chair+ Cincinnati Bell Foundation Inc. Corbett Educational Endowment** Charles Gausmann Chair Mr. & Mrs. Val Cook Belmon U. Duvall Fund Susanne and Philip O. Geier, Jr. Chair+ Nancy & Steve Donovan* Ewell Fund for Riverbend Maintenance Emma Margaret & Irving D. Goldman Chair Sue and Bill Friedlander Endowment Fund*+ Linda & Harry Fath Endowment Fund Charles Frederic Goss Chair Mrs. Charles Wm Anness*, Ford Foundation Fund David G. Hakes & Kevin D. Brady Chair Mrs. Frederick D. Haffner, Natalie Wurlitzer & William Ernest Griess Cello Fund Dorothy & John Hermanies Chair Mrs. Gerald Skidmore and the Fred L. & Katherine H. Groll Trust Josephine I. & David J. Joseph, Jr. Chair La Vaughn Scholl Garrison Fund Music Director Fund for Excellence Lois Klein Jolson Chair Fred L. & Katherine H. Groll Fund for Josephine I. & David J. Joseph, Jr. Harold B. & Betty Justice Chair Musical Excellence Scholarship Fund Marvin Kolodzik Chair+ Fred L. & Katherine H. Groll Fund for Great Artists Richard & Jean Jubelirer & Family Fund* Al Levinson Chair Fred L. & Katherine H. Groll Trust Pianist Fund Elma Margaret Lapp Trust Patricia Gross Linnemann Chair+ The Carol Ann and Ralph V. Haile, Jr./ Jésus López-Cobos Fund for Excellence Alberta & Dr. Maurice Marsh Chair U.S. Bank Foundation Endowment Fund Mellon Foundation Fund Laura Kimble McLellan Chair Anne Heldman Endowment Fund** Nina Browne Parker Trust The Henry Meyer Chair Lawrence A. & Anne J. Leser* Dorothy Robb Perin & Harold F. Poe Trust Louise Dieterle Nippert & Louis Nippert Chairs Mr. & Mrs. Carl H. Lindner** Rieveschl Fund Ida Ringling North Chair PNC Financial Services Group Thomas Schippers Fund Rawson Chair The Procter & Gamble Fund Martha, Max & Alfred M. Stern Ticket Fund The Vicky and Rick Reynolds Chair Vicky & Rick Reynolds Fund for Diverse Artists+ Mr. & Mrs. John R. Strauss Student Ticket Fund in Honor of William A. Friedlander+ Melody Sawyer Richardson* Anna Sinton & Charles P. Taft Fund Donald & Margaret Robinson Chair Rosemary and Mark Schlachter Endowment Fund*+ Lucien Wulsin Fund Dianne & J. David Rosenberg Chair+ The Harold C. Schott Foundation, Wurlitzer Season Ticket Fund Ruth F. Rosevear Chair Francie and Tom Hiltz Endowment Fund+ CSO Pooled Income Fund The Morleen & Jack Rouse Peggy Selonick Fund for Great Artists CSO Musicians Emergency Fund Associate Principal Timpani Chair+ Dee and Tom Stegman Endowment Fund*+ Emalee Schavel Chair Mr. & Mrs. Joseph S. Stern, Jr. Fund *Denotes support for Annual Music Program Fund Karl & Roberta Schlachter Family Chair for Great Artists **Denotes support for the 2nd Century Campaign Serge Shababian Chair U. S. Bank Foundation* +Denotes support for the Fund for Musical Excellence Melinda & Irwin Simon Chair+ Sallie and Randolph Wadsworth Endowment Fund+

cincinnatisymphony.org | FANFARE CINCINNATI | 53 Honoring the healing power of music

The Queen City has a rich history of powerful music that seeks and shares inspiration in our communities. That’s why we’re proud to sponsor both the Cincinnati Symphony and the Cincinnati Pops Orchestra.

mercy.com

3279CINADV (4/15) A Catholic healthcare ministry serving Ohio and Kentucky

3279CINADV_Cincinnati Symphony and Pops Program_04-15.indd 1 4/24/15 7:54 AM FINANCIAL SUPPORT HONOR ROLL OF CONTRIBUTORS The Cincinnati Symphony and Pops Orchestra our heartfelt thanks to each and every one and pay Honoring the is grateful to the following individuals and tribute to them here. organizations that support its eff orts. We extend

PLATINUM BATON Joseph A. and Susan E. Pichler Fund* Mrs. Katy Barclay Michael and Donnalyn Smith healing power CIRCLE Melody Sawyer Richardson § Ellen A. Berghamer § Nancy C. Wagner § J. David and Dianne Rosenberg § Mr. and Mrs. David Berick Patricia M. Wagner § Gifts of $50,000 and above Larry Uhlenbrock Cathy, Sam, and Anne Black Ms. Karen Wright The Louise Dieterle Nippert Gary and Diane West § In Memory of Herbert R. Bloch, Jr. Betsy and Alex C. Young § Musical Arts Fund Mr. and Mrs. James M. Zimmerman Robert L. Bogenschutz Anonymous (4) of music The Otto M. Budig Family Foundation § Chris and Karen Bowman Harry and Linda Fath § Edward and Susan Castleberry Susan Friedlander § CONDUCTOR’S CIRCLE ARTIST’S CIRCLE Ms. Geraldine V. Chavez Molly and Tom Garber, CCI Design, Inc. Gifts of $10,000–$14,999 Gifts of $3,000–$4,999 The Queen City has a rich history Piotr Chomczynski George L. and Anne P. Heldman Fund* § Martha G. Anness § Stuart and Sarah Aitken Lois and Philip S. Cohen Dr. and Mrs. Stephen Joffe Mary Bergstein Drs. June and John K. Alexander Mr. and Mrs. Michael D. Connelly of powerful music that seeks and Mrs. Anne I. Lawrence Louis D. Bilionis and Ann Hubbard Yousef Aouad Peter G. Courlas § Daniel R. Lewis Robert and Debra Chavez Thomas P. Atkins The Lewis and Marjorie Daniel Foundation shares inspiration in our Edyth B. Lindner Crosset Family Fund*, Mrs. Robert J. Ayer Mr. and Mrs. Steve Dessner Vicky and Rick Reynolds Mr. James M. Crosset Mr. and Mrs. William T. Bahlman, Jr. § Amy and Trey Devey § communities. That’s why we’re Margaret McWilliams Rentschler Fund* Mrs. Thomas E. Davidson Dr. and Mrs. William L. Barrett Dianne Dunkelman Ann and Harry Santen The Dehan Family Mrs. Thomas S. Benjamin Mr. and Mrs. David Fleischer proud to sponsor both the Ms. Genevieve Smith Dennis W. and Cathy Dern David and Elaine Billmire Dr. and Mrs. Harry F. Fry Tom and Dee Stegman § Emory P. Zimmer Insurance Agency Mr. and Mrs. Larry Brueshaber Ms. Jane Garvey Cincinnati Symphony and the Mr. and Mrs. Roy Sweeney Mr. and Mrs. James T. Fitzgerald Mr. and Mrs. William P. Butler Richard D. Gegner Mr. and Mrs. Randolph L. Wadsworth, Jr. § Mr. Joseph Hagin Janet and Bruce Byrnes Cincinnati Pops Orchestra. Tom and Jan Hardy § L. Timothy Giglio Dr. and Mrs. Charles O. Carothers Drs. Lesley Gilbertson and William Hurford GOLD BATON CIRCLE Mr. and Mrs. Brian E. Heekin Mrs. Jackson L. Clagett III § Mr. and Mrs. Fred Heldman Mr. and Mrs. Michael H. Giuliani Miss Norma L. Clark § Gifts of $25,000–$49,999 Robert and Patricia Henley Clifford J. Goosmann and Andrea M. Wilson Bob and Tisha Clary Mr. and Mrs. Frederick E. Bryan, III § Frank Jordan § Priscilla Garrison Haffner § Mary Ellen and Thomas G. Cody Mrs. Charles Fleischmann Dr. and Mrs. Lionel King Dr. and Mrs. Edward Hake Drs. Fuheid and Ingrid Daoud Mrs. Philip O. Geier § Mr. Thomas Klinedinst, Sr. David C. Herriman Mr. and Mrs. Albert C. Dierckes, Jr. Sabine and Warner Geissler Florence and Ron Koetters Mrs. Harry M. Hoffheimer Jim and Elizabeth Dodd Lois and Dick Jolson Mr. and Mrs. Robert L. Lawrence Dr. Murray Jaffe Mrs. Diana T. Dwight Mr. Mace C. Justice § Levin Family Foundation Mr. and Mrs. Lorrence T. Kellar* Jane F. and David W. Ellis Fund* § Marvin P. Kolodzik § Thomas and Adele Lippert Mr. and Mrs. Kevin Kline Ann A. Ellison Calvin and Patricia Linnemann § Mr. and Mrs. Timothy Maloney Edward A. Klint Drs. Thomas W. Filardo and Marilyn J. and Jack D. Osborn § Rhoda Mayerson Linda Dianne Knose Nora L. Zorich Terry and Marvin Quin Mrs. Susan M. McPartlin Michael and Marilyn Kremzar Marlana and Walter Frank Moe and Jack Rouse § Malcolm and Ruth Myers Family Fund * Whitney and Phillip Long Frank and Tara Gardner Mark S. and Rosemary K. Schlachter § Dr. and Mrs. John Parlin Mark and Tia Luegering Mr. and Mrs. Otto P. Geier Vivian and Jim Schwab The Daniel & Susan Pfau Foundation Mandare Foundation Ms. Louise J. Gissendaner William D. Stenger August A. Rendigs, Jr. Foundation Elizabeth and Brian Mannion, MD Dr. and Mrs. Glenn S. Gollobin Dale and Joyce Uetrecht Mercer and Gabrielle Reynolds Alan Margulies and Gale Snoddy Mr. and Mrs. Robert R. Heidenreich Ginger and David W. Warner Irwin and Melinda Simon Mr. and Mrs. Jonathan McCann Dr. and Mrs. Robert S. Heidt, Jr. Mrs. Harris K. Weston (Alice) Mary S. Stern Mr. Robert W. McDonald In Memory of Alma Huenefeld Laurence G. Stillpass Mr. Bernard McKay Drs. Marcia Kaplan and Michael Privitera SILVER CIRCLE Theodore W. and Carol B. Striker Mr. and Mrs. Douglas Miller Peter Landgren and Judith Schonbach Gifts of $15,000–$24,999 Delle E. Taylor Mr. James A. Miller Elizabeth and Terry Lilly Rosemary H. and Frank Bloom Ms. Anne D. Thomas Mrs. James Monroe § Mrs. Vladimir Lukashuk Special Fund *§ Tomcinoh Fund* Stephen and Kristin Mullin § Mary Ann Meanwell Dr. and Mrs. John and Suzanne Bossert § Malcolm Thomson, in honor of Mr. and Mrs. Christopher Muth § Mr. and Mrs. David A. Millett Sheila and Christopher C. Cole Louis Langrée Dr. Santa Ono and Mrs. Gwendolyn Yip Mr. and Mrs. David E. Moccia § Dr. and Mrs. Alvin Crawford Mr. and Mrs. Paul H. Ward § Arlene Palmer Mr. and Mrs. David W. Motch Nancy and Steve Donovan Anonymous (1) John and Farah Palmer Mr. Scott Nelson and Dr. Susan Kindel Marjorie Drackett Ellen Rieveschl § Mr. and Mrs. Robert S. Olson Catherine Lepley Feig CONCERTMASTER’S Elizabeth and Karl Ronn § Gary and Nancy Oppito Mr. and Mrs. L. Thomas Hiltz Nancy and Ed Rosenthal CIRCLE Mr. and Mrs. Thomas R. Ruthman Mr. and Mrs. Joseph W. Hirschhorn § Jeffrey S. Schloemer and Marcia A. Banker Martha and Lee Schimberg Doris M. and Charles B. Levinson Fund * Gifts of $5,000–$9,999 Mike and Digi Schueler Clifford R. and Peter R. Scholes Romola N. Allen § Linda and James Miller Mr. Murray Sinclaire James Schubert Mr. Anatole Alper Mr. and Mrs. Thomas J. Mueller Mr. and Mrs. Gerald Skidmore § Elizabeth Schulenberg

mercy.com

3279CINADV (4/15) A Catholic healthcare ministry serving Ohio and Kentucky Guests of Boundless Series Sponsor Macy’s with guest conductor The generous donors who supported the three new commissioned works set Simone Young (left) following the Destiny and Dante’s Inferno to the poetry of Dr. Maya Angelou, with Music Director Louis Langrée and guest performance on Halloween night. artist Regina Taylor after the Nov. 14 One City, One Symphony performance.

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3279CINADV_Cincinnati Symphony and Pops Program_04-15.indd 1 4/24/15 7:54 AM FINANCIAL SUPPORT

Sue Friedlander, whose generous support enabled the appearance of Regina Taylor as narrator for One Guests of Masterworks Series Sponsor U.S. Bank with guest Guests of Masterworks Series Sponsor U.S. Bank with City, One Symphony, with artist Regina Taylor and Louis Langrée on Nov. 14. composer Sebastian Currier and Louis Langrée following the Ms. Taylor after the Nov. 21 performance. Nov. 14 concert. John B. Goering Dr. and Mrs. David Schwartz Mike and Shirly Chaney Sue and Glenn Showers Bette and Alan Griffith Theodore Schwartz and Minette Hoffheimer Matthew Chimsky § Mr. and Mrs. William A. Starr Dr. and Mrs. Jack Hahn Judith Scott Michael and Minnie Clements Bunny and Frank Szecskay Dr. Donald and Laura Harrison Dr. and Mrs. Carl M. Sedacca Dr. Margaret Conradi Dr. and Mrs. Shiro Tanaka Mr. John L. Harrison Mrs. Mildred J. Selonick § Jean and Gene Conway Sarah and Neil Thorburn Dr. and Mrs. Morton Harshman § Mrs. Robert B. Shott § Robin Cotton and Cindi Fitton Nydia C. Tranter § Emma D. Hartkemeier William A. and Jane Smith Mr. and Mrs. Charles E. Curran III § Robert and Audrey Varley § Irmgard and Horst Hehmann Howard and Nancy Starnbach John and Lynne Curtiss Christopher and Nancy Virgulak Dr. Bernard Hertzman Matt and Shannon Stautberg Mr. and Mrs. Henry F. Dabek, Jr. Vance and Peggy Wolverton Ms. Janet Hickman Bill and Lee Steenken Mr. and Mrs. James Dealy Anonymous (3) Drs. Robert C. Hodges and Elizabeth A. Stone Robert B. Dick, Ph.D. Anthony A. McIntire Mr. and Mrs. Peter Strange Jeannie Donaldson ENCORE CIRCLE Elizabeth and Lawrence Hoyt Ralph C. Taylor § Emilie and David Dressler Gifts of $1,500–$2,999 In Memory of Benjamin C. Hubbard § Susan and John Tew Patricia Dudsic Mr. and Mrs. James R. Adams § Mr. and Mrs. Bradley G. Hughes Dr. Barbara R. Voelkel Shirley and Roy Duff William and Janet Albertson Barbara M. Johnson Dr. and Mrs. Galen R. Warren Mr. and Mrs. John G. Earls § Mr. and Mrs. Richard H. Allen Takashi and Chiseko Kato Jim and George Ann Wesner Mr. Jimmy Edwards Mr. Richard Antoine Mr. and Mrs. Geoffrey Keenan Mary E. West Jerome H. and Jean K. Eichert Dr. Norita Aplin and Stanley Ragle § Mr. and Mrs. Thomas Kirkpatrick JoAnn Wieghaus Mrs. Joyce Elkus Dr. Bruce Aronow Mr. and Mrs. Richard Kovarsky Curt and Virginia Wilhelm Mr. Erwin F. Erhardt III Robert and Janet Banks Leonard Kuertz Sheila Williams and Bruce Smith Hardy and Barbara Eshbaugh Jane and Ed Bavaria § Kevin L. Langston Ronna and James Willis Barbara Esposito-Ilacqua Rexford and Sharon Bevis Mrs. Robert G. Lanzit Gene Wilson Alice Fegelman and Leo Munick, M.D. Jane Birckhead Rita and Pete LaPresto Mrs. James W. Wilson, Jr. Dr. and Mrs. Carl G. Fischer Dabby Blatt Richard and Susan Lauf Steve and Katie Wolnitzek Vaden Fitton Mr. and Mrs. John P. Boorn Mary Mc and Kevin Lawson Don and Carol Wuebbling Ashley and Bobbie Ford Glenn and Donna Boutilier Philip and Judy Leege Mr. Tyrone K. Yates Mr. and Mrs. William Fotsch Dr. and Mrs. William Bramlage Mr. Peter F. Levin § Mrs. Andrea Levenson Young Gregrick A. Frey and Karen L. Frey Mr. Thomas A. Braun III § Mrs. Robert Lippert Anonymous (10) Mr. and Mrs. Richard Friedman Mr. and Mrs. Larry Brueshaber Jennifer Loggie, M.D. H. Jane Gavin § Mrs. Ann J. Bunis Al and Mary Lopez SYMPHONY CIRCLE Dr. and Mrs. Freidoon Ghazi Linda Busken and Andrew M. Jergens Mr. and Mrs. Clement H. Luken, Jr. Gifts of $750–$1,499 Mrs. Nicholas Giannestras Anna K. and G. Gibson Carey Jacqueline M. Mack and Mr. and Mrs. Richard N. Adams Mrs. Jocelyn Glass Joan Carlin Dr. Edward B. Silberstein Drs. Frank and Mary Albers Dr. and Mrs. Charles J. Glueck Paul and Judy Carlson Mr. and Mrs. Donald Marshall Arne and Sharon Almquist Shelley and Steven Goldstein Mr. and Mrs. Martin Chambers David Martin Dr. F. Javier Alvarez-Leefmans Ms. Arlene Golembiewski Michael L. Cioffi Ms. Amy McDiffett Helen T. Andrews H. Drewry Gores and George H. Warrington Susan and Burton Closson Stephanie McNeill Dr. Victor and Dolores Angel Thomas W. Gougeon Drs. David and Nina Clyne Joe Mendelsohn III Fund* Nancy J. Apfel Sam and Wanda V. Grace Mr. Rick Coffey and Mr. Jonathan Williams Miami University College of Creative Arts Carole J. Arend § Joseph N. Green Mr. and Mrs. Stanley Cohen § Mrs. Patricia Misrach Judy Aronoff and Marshall Ruchman Mr. and Mrs. Gary Greenberg Dr. and Mrs. John M. Collins Mrs. Sally A. More Ms. Laura E. Atkinson Dr. and Mrs. James M. Greenberg Dr. Pearl J. Compaan Judith and David Morgan Mr. John G. Avril Lesha and Samuel Greengus Mr. and Mrs. Richard J. Coomes George and Sarah Morrison III Mr. and Mrs. Thomas B. Avril Donald E. Grigsby Randy K. and Nancy R. Cooper Dr. and Mrs. William H. Newell David Axt and Susan Wilkinson Kurt and Joanne Grossman Dr. Youssef and Suzanne Costandi Dr. Cora Ogle Dr. Diane S. Babcock § Mr. Bob J. Grutza Martha and David Crafts Mr. and Mrs. Eric Oliver Bob and Beth Baer William P. Hackman § Mr. and Mrs. John A. Crittenden Mr. and Mrs. John T. Osterman Mr. and Mrs. Carroll R. Baker Mr. and Mrs. John S. Heldman § Mr. and Mrs. Patrick Cunningham Patricia and Morris Passer Mrs. Polly M. Bassett Dr. and Mrs. James P. Herman Ms. Geralyn J. Daly Poul D. and Jo Anne Pederson Judy A. Bean Mrs. F. W. Hersman § Stephen J. Daush John and Francie Pepper* Mr. James Benoski Karlee L. Hilliard § George Deepe and Kris Orsborn Mr. and Mrs. George Perbix Barbara and Milton Berner Ruth C. Holthaus Bedouin and Randall Dennison Alice and Burton Perlman Dava L. Biehl § Mr. David Huberfield Mrs. Jack E. Drake Phillip and Karen Pflaumer Walter B. Blair § Mr. and Mrs. Michael C. Hughes Rev. Virginia A. Duffy Mr. and Mrs. Robert D. Phelps Drs. Bennett and Helene Blitzer Mr. and Mrs. Marshall C. Hunt, Jr. Betty Duncan Alice and David Phillips Lucille and Dutro Blocksom § John and Mary Ellyn Hutton § Ms. Maureen Dunne Mr. John W. Plattner Martha Bolognini Dr. Maralyn M. Itzkowitz Dr. and Mrs. Stewart B. Dunsker Dr. and Mrs. Leonard M. Randolph, Jr. Marilynn K. Braude Heidi Jark and Steve Kenat Mrs. Joyce Elkus James W. Rauth § Mr. and Mrs. Joseph Brinkmeyer § Mr. Thaddeus Jaroszewicz David and Kari Ellis Fund* Mrs. Robert S. Read Charlotte Brooks Mrs. Morse Johnson § Dr. and Mrs. Alberto Espay David and Marilyn Reichert Rachelle Bruno and Stephen Bondurant Lois M. Jones Gail F. Forberg § Mr. Alexander Resly Chris and Tom Buchert Mr. Timothy Juenke Ms. Jacqueline S. Francis Becky and Ted Richards Donald L. and Kathleen Field Burns Susan Kamon and David Blazer Richard Freshwater Sandra Rivers Stephen and Diedra Burns Dr. Robert W. Keith and Yan Fridman James Rubenstein and Bernadette Unger John Byczkowski Ms. Kathleen Thornton Carol S. Friel Ann Ruchhoft Ms. Deborah Campbell § Dr. Magdalena Kerschner Mr. and Mrs. James R. Gardner The Saenger Family Foundation Tom Carpenter and Lynne Lancaster Don and Kathy King Dr. and Mrs. Ralph Gianella Dr. and Mrs. Michael Scheffler Dr. Julia H. Carter Dr. Patrick G. Kirk and Mary and Jack Gimpel Mr. and Mrs. Peter A. Schmid Becky and Sam Cassidy Mrs. Mary M. Vondrak

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Mr. and Mrs. Dennis Kirley Marilyn Rismondo Stephen F. Voellmecke Family GIFTS IN-KIND Jeff and Mary Ann Knoop Dr. and Mrs. Jack F. Rohde Mr. and Mrs. Jason R. Waggoner Mrs. Charles Fleischmann III Steven Kohler Dr. Raymond H. Rolwing Mary and Jack Wagner § Clark Schaefer Hackett Carol Louise Kruse John and Meredith Roos Mrs. Ronald F. Walker Mr. Thomas D. Croft Mr. and Mrs. Lawrence H. Kyte, Jr. Mr. and Mrs. Marcus Rose Greg and Diane Wehrman Funky’s Catering Patricia Lambeck Mrs. Elizabeth R. Rost Ted and Mary Ann Weiss Intrust IT Everett and Barbara Landen Marianne Rowe § Linda Wellbaum Jungle Jim’s International Market Mrs. Jean E. Lemon § Ryan and Kara Rybolt Donna A. Welsch Ms. Kathleen Kiely Paula and Nick Link Catherine B. Saelinger E. E. West Nancy C. Wagner Drs. Douglas Linz and Ann Middaugh Dr. and Mrs. Joshua J. Sands Franklin H. White Patricia M. Wagner Mr. and Mrs. David B. Lopez Mr. and Mrs. William C. Schmidter, III Cathy S. Willis Ms. Merlanne Louney Ms. Pamela Schneider Mr. and Mrs. Robert L. Wilson, Jr. List as of November 13, 2015 Mrs. Max L. Lurie Timothy W. Schraw Mrs. Barbara A. Witte § * Denotes a fund of The Greater Dr. Michael J. Maloney, MD Mr.a nd Mrs. David V. Schwab Mr. John M. Yacher Cincinnati Foundation Ms. Alessandra Massa Pamela Scott Dr. and Mrs. Marvyn H. Youkilis § Denotes members of The Thomas Lynn and Glen Mayfield Martha S. Seaman § David and Sharon Youmans Schippers Society. Individuals who have Eleanor S. McCombe Mr. Thomas Shepherd Zaring Family Foundation made a planned gift to the Cincinnati Drs. Brian and Janice McConville Jack Sherman, Jr. Carlos Zavala Symphony and Pops Orchestra Mary Sue McDuffie Alfred and Carol Shikany Mr. and Mrs. Dan Zavon are eligible for membership in The Powell McHenry Mr. Eli E. Shupe, Jr. Irene A. Zigoris Thomas Schippers Society. For more Daniel and Elizabeth McMullen Rennie and David Siebenhar Mr. and Mrs. Robert L. Zierolf information, please contact Ron Cropper Charles and Joann Mead Kenneth and Janet Smith Mr. John W. Zorio 513.744.3365. Ms. Kristin Medlin Dr. and Mrs. Robert Sefton Smith Anonymous (12) Dr. and Mrs. C. Nelson Melampy Stephen and Lyle Smith Mr. Ryan L. Messer and Mr. Troy R. Snider Mr. Jimmy Musuraca Ellen and Clark Sole Dr. and Mrs. Richard A. Meyer Jeff and Juddy Solomon Fund* The Cincinnati Symphony Orchestra is grateful for Mrs. Katerina Minevich Harold and Faye Sosna William A. and Elizabeth Mitchell Phillip and Karen Sparkes the support of the following: Mrs. David A. Nelson Ethan and Barbara Stanley Cheryl and Roy Newman Dr. Jean and Mrs. Anne Steichen Mr. and Mrs. John Noelcke Jerry and Melinda Stenger Dr. and Mrs. Thomas W. Osborn, III Ms. Judy H. Stewart Nan Oscherwitz Brett Stover and Christopher Hassall § Marilyn Z. Ott Mr. and Mrs. Richard Stradling, Jr. Paul and Roberta Pappenheimer Patricia Strunk § Dr. and Mrs. Richard Park § Mrs. Sally Sundermann Dr. Manisha Patel and Dr. Michael Curran Kathy Teipen Mr. and Mrs. Robert T. Pike Cliff and Diane Thornsburg Sandy Pike § Mr. and Mrs. Ronald Tinklenberg Mr. Paul E. Potter Janet Todd Michael and Katherine Rademacher Marcia and Bob Togneri Marjorie and Louis Rauh Neil Tollas and Janet Moore Barbara S. Reckseit § Mr. William Trach Dr. Robert Rhoad Mr. Dennis L. Turner

cincinnatisymphony.org | FANFARE CINCINNATI | 57 FINANCIAL SUPPORT THE THOMAS SCHIPPERS LEGACY SOCIETY Thomas Schippers—whose life phony Orchestra. The Thomas Schippers Legacy was tragically cut short—was Society was established in 1990 to recognize those Music Director from 1970 to 1977. who contribute to the tradition of planned giving He left us with many wonderful exemplified by its namesake. memories, but his legacy is more For more information on how you can create your than musical for he remembered own CSO or Pops legacy by becoming a member of his adopted city of Cincinnati The Thomas Schippers Legacy Society, or making a with a substantial personal be- gift to the endowment, please contact Ron Cropper quest to the Cincinnati Sym- at 513.744.3365 or [email protected].

Dr. Ira & Linda Abrahamson * John Hermanies * Elizabeth & Karl Ronn Dr. & Mrs. Thomas Todd * Mr. & Mrs. James R. Adams * Ms. Roberta Hermesch * Moe & Jack Rouse Nydia Tranter Jeff & Keiko Alexander * Ferd & Jill Hersman * Marianne Rowe * Dick & Jane Tuten * Mrs. Robert H. Allen * Karlee L. Hilliard Solveiga Rush Mr. & Mrs. Robert Varley * Mrs. Charles William Anness Mr. & Mrs. Joseph W. Hirschhorn Ms. Emalee Schavel ** Thomas M. Vaughn Dr. Norita Aplin & Stanley Ragle Daniel J. Hoffheimer * Rosemary & Mark Schlachter ** Mr. & Mrs. Randolph Wadsworth, Jr. * Jean L. Appenfelder Mr. & Mrs. Edward A. Hogan * Mr. & Mrs. Arthur F. Schmitt * Jack K. & Mary V. Wagner Carole J. Arend * Kenneth L. Holford * Mrs. William R. Seaman Nancy C. Wagner * Donald C. Auberger, Jr. Mr. & Mrs. Terence L. Horan * Dr. & Mrs. William Blake Selnick * Patricia M. Wagner * Dr. Diane Schwemlein Babcock Evelyn V. Hess Howett, M.D. Mrs. Mildred J. Selonick Mr. & Mrs. Paul Ward * Mr. & Mrs. William T. Bahlman, Jr. * Mrs. Benjamin C. Hubbard Joyce Seymour Debie Crosset Warkany * Henrietta Barlag Isabelle F. Hugo Mrs. Robert B. Shott * Jo Anne & Fred Warren Peggy Barrett Carolyn R. Hunt Sarah Garrison Skidmore Anne M. Werner * Jane & Ed Bavaria * Mrs. William H. Hutcherson, Jr. Roberta L. Sontag * Gary & Diane West * Ellen A. Berghamer Mary Ellen Hutton Mrs. Warren Spalding Mary West Dava L. Biehl * Julia M. F. B. Jackson * Marie Speziale Charles Wilkinson Walter Blair * Michael & Kathleen Janson * Mr. & Mrs. Christopher L. Sprenkle Sarah E. Wilkinson Lucille & Dutro Blocksom * Andrew MacAoidh Jergens Michael M. Spresser Harriet C. Wilson * Rosemary & Frank Bloom ** Jean C. Jett Susan Stanton * Mrs. Monte Witte * Fay Boeh * Mrs. Morse Johnson * Barry & Sharlyn Stare Mrs. Joan R. Wood Dr. John and Suzanne Bossert Frank Jordan Mrs. Edward P. Staubitz * Harris Wright ** Mollie H. Bowers-Hollon Margaret H. Jung Dee & Tom Stegman Betsy & Alex C. Young ** Ronald Bozicevich Rosalind Juran * Mary & Bob Stewart * Dr. & Mrs. Daryl Zeigler Thomas A. Braun, III Mace C. Justice ** Brett Stover & Christopher Hassall Anonymous (27) Joseph Brinkmeyer Karen Kapella Dr. Robert & Jill Strub * Mr. & Mrs. Frederick Bryan, III * Dr. & Mrs. Steven Katkin * Patricia M. Strunk * Schippers Society Member Mary Alice Heekin Burke * Paul C. Keidel * Ralph & Brenda Taylor * for 10 or more years Deborah Campbell & Eunice M. Wolf Dr. Robert A. Kemper * Conrad F. Thiede ** Schippers Society Member Dimitra A. Campbell ** Mrs. Paul N. Kibler Minda F. Thompson for 20 or more years Myra Chabut ** Alan and Jill Kinstler Carrie & Peter Throm Jean & Matthew Chimsky Marvin Kolodzik * Mrs. Jackson L. Clagett III Randolph & Patricia Krumm Norma L. Clark Mrs. Theresa M. Kuhn Stanley & Frances Cohen * Owen & CiCi Lee * Leland M. & Carol C. Cole Audrey Kuethe Leeser Grace A. Cook * Mrs. Jean E. Lemon Mr. & Mrs. Charles Cordes ** Mr. & Mrs. Peter F. Levin * Peter G. Courlas & Nick Tsimaras ** George & Barbara Lott **  Mr. & Mrs. Charles E. Curran III Mr. & Mrs. Ronald Lyons * Amy & Scott Darrah Marilyn J. Maag Meredith & Will Darrah, children Margot Marples  Harrison R.T. Davis Allen & Judy Martin Miriam Deshon Mrs. Thomas H. McCrary * Amy & Trey Devey Laura Kimble McLellan Robert W. Dorsey Dr. Stanley R. Milstein Jon & Susan Doucleff Mrs. William K. Minor Mr. & Mrs. John Earls * Mr. & Mrs. D.E. Moccia Dale & Lillian Eickman * Mr. & Mrs. James Monroe *  Linda and Harry Fath Mrs. Arthur E. Motch, Jr. * Alan Flaherty Kristin and Stephen Mullin Mrs. Richard A. Forberg Ms. Maryjane N. Musser * Guy & Marilyn Frederick ** Christopher & Susan Muth Susan Friedlander * Patti Myers Mr. & Mrs. Nicholas Fry Anne Nethercott Mrs. Charles W. Fryer Susan & Kenneth Newmark  H. Jane Gavin Dr. & Mrs. Theodore Nicholas Mrs. Philip O. Geier * Patricia Grignet Nott Kenneth A. Goode** Jane & Erv Oberschmidt * Clifford J. Goosmann & Andrea M. Wilson William A. Ogden * Mrs. Madeleine H. Gordon Julie & Dick Okenfuss * J. Frederick & Cynthia Gossman Jack & Marilyn Osborn * Kathy Grote The Palmer Family—Cletus and Esther B. Grubbs, Marci Bein, Mindi Hamby Mary Lou, David and Kathy, William Hackman Bill and Jamie * Priscilla Garrison Haffner Mrs. Gerald C. Petersen * David G. Hakes William H. Phelan * Vincent C. Hand & Ann E. Hagerman Sandy Pike * Tom and Jan Hardy Mrs. Harold F. Poe ** William L. Harmon Anne M. Pohl Bill Harnish & John Harnish Mr. & Mrs. Robert C. Porter, Jr. Mrs. Jay Harris * Irene & Daniel Randolph * Dr. & Mrs. Morton L. Harshman * James W. Rauth Mary J. Healy Barbara S. Reckseit Frank G. Heitker Edward J. Requardt * Anne Heldman Melody Sawyer Richardson Betty & John Heldman * Ellen Rieveschl 

58 | FANFARE CINCINNATI | cincinnatisymphony.org ADMINISTRATION OFFICE OF THE PRESIDENT Logan Kelly Emilee Suchomski Ellen Graham Trey Devey Community Learning Manager Volunteer Manager Group Sales Manager President Carol Dary Dunevant Ron Cropper Ricardo Mesina Lauren Roberson Youth Ensembles Coordinator Director of Special Campaigns Graphic Designer Executive Assistant to the President COMMUNICATIONS Teresa N. Ahrenholz Michelle Lewandowski Christopher Pinelo Philanthropy Assistant Subscription Coordinator ARTISTIC ADMINISTRATION Vice President of Penny Hamilton & PRODUCTION Communications PATRON SERVICES Philanthropy Assistant Supervisors Robert McGrath Meghan Berneking Andrew Peoples Vice President & General FINANCE Manager Director of Communications Dan Erbland Richard Freshwater Jordan Rush Lee Snow Vice President & Zan Burkhardt Representatives Production Assistant Digital Communications Chief Financial Offi cer Manager Elizabeth Fricke Heather L. Stengle Scott Eckner Meredith Green Director of Operations Laura Bock IT Manager Molly Hanes Communications Assistant Daniel Mahone Sarah Donahue Will McCoy Systems Support Specialist Paul Poston Production Manager PHILANTHROPY Elizabeth Schmidt Mary McFadden Lawson Kyle Wynk Jennifer Slaght Alex Magg Vice President of Philanthropy Jessica Smithorn Operations Project Coordinator Human Resources Manager Rachel B. Kirley Jeff rey Stivers Sam Strater Megan Inderbitz in-Tsai Matt hew Swanson Director of Individual Giving Payroll Administrator Director of Artistic and Donor Services Andrea Vos Rochefort Administration, Cincinnati Kari-lyn Reeves Matt hew White Pops Orchestra Katie Nemeth Payroll Clerk Spencer Zembrodt Individual Giving Manager Isaac Thompson Judy Prinz RIVERBEND MUSIC Director of Artistic Lindsay Stanley Receptionist CENTER/PNC PAVILION/ Administration, CSO Leadership Giving Manager TAFT THEATRE/MUSIC & Melissa Scott EVENT MANAGEMENT INC. Marissa Goodman Joe Hammer Director of Data Systems Assistant Artistic Administrator Director of Institutional Giving The Hulbert Taft, Jr. Kathleen Curry Center for the Ahmad Mayes Kristi Reed Data Entry Clerk Director of Community Grants Manager Performing Arts, J. Ralph Engagement & Learning Sharon D. Grayton Corbett Pavilion Sarah Anne Slaby Data Services Manager Charmaine Moore Corporate Relations Manager PNC Pavilion at Community Engagement and Tara Williams Riverbend Music Center Diversity Manager Hannah Johnson Data Entry Analyst Director of Events Michael Smith Eric Smith Vice President of Project Controller Development & Riverbend Music Center Marsha Munafo Accounting Manager Matt hew Dunne General Manager Monica Putnick Accounting Manager Amy Dahlhoff Concessions Manager & Concett a Bishop Special Events Coordinator Accounting Clerk Ryan Jaspers Rosie Rothhaar Event/Operations Manager Accounting Clerk James Kirby MARKETING & SALES Assistant Operations Manager Sherri Prentiss Vice President of Marketing Lane Kolkmeyer Assistant Marketing Manager M. Todd Bezold Director of Marketing, Bill Lane Subscriptions Corporate Sales Manager Amy E. Catanzaro Rosemarie Moehring Director of Sales Marketing Manager Erica Keller Ed Morrell Director of Audience Engagement General Manager Erica Minton Jennifer Schoonover Director of Marketing, Premium Seat Program Special Projects Manager Kelly Benhase . Jared Webster t Box Offi ce Manager ri Director of Marketing, pi Single Tickets Holly Dickman S Assistant Box Offi ce Manager d Heather Brown an Box Offi ce Manager Monty Wolf d Plant Operations Manager Min Melissa Foster rt, Patron Experience Manager for your Hea Rick McCarty Katie Murry Marketing Director Marketing Manager, Subscriptions Joan Wright Andrew Duncan Receptionist Marketing Manager

cincinnatisymphony.org | FANFARE CINCINNATI | 59 CODA by Chris Pinelo

enerations of extraordinary talent have Well into his eighties, the composer told NPR, guest performed with this Orchestra, “Why are we sitt ing there with a blank piece of some of them legendary composers, paper, manuscript paper, and an idea comes to us and these fruitful collaborations have suddenly? Where does it come from, you know? amplifi ed Cincinnati’s indelible mark We don’t know. We will never know.” THE MARKET G on the world’s musical landscape. This brings us to the world premiere this month Among the luminaries are Sergei Rachmaninoff , of Schuller’s Symphonic Triptych, commissioned by Leonard Bernstein, Aaron Copland, John Adams, the CSO. Where did it come from? In Schuller’s own HAD A BAD DAY. Béla Bartók, John Williams, Richard Strauss, Duke words, “We never know,” but regardless of this Ellington, John Philip Sousa, and Gunther Schuller, piece’s inspiration, it is, in the words of program to name a few. annotator Peter Laki, “fi tt ing…that his fi nal large QUICK, DON’T DO When Schuller passed away in June at the age of orchestral work should receive its posthumous 89, The Guardian declared he was “one of the most world premiere here.” eff ective leaders of the avant-garde revolution in It’s fi tt ing because Schuller had a very special SOMETHING. the 1960s and 70s. He was a prolifi c composer, connection to the CSO. At the ripe old age of 18, with more than 200 works to his name (more than he was appointed by then-Music Director Eugene 50 of them for full orchestra), an instrumentalist, Goossens as Principal French Horn of the CSO, OR conductor, writer on music, impresario, festival and this extraordinarily talented young man director, music publisher, record company owner, was only 19 when he performed his own Horn Remaining focused on the long term. jazz musician and arranger. In fact, there were Concerto No. 1 as the soloist with the CSO on few points on the compass of music production Music Hall’s stage. where Schuller’s inexhaustible energies did not I encourage you to learn more about Schuller Medically speaking, checking one’s reflexes Raymond James advisor employs a slow and bear fruit….” and this new piece on page 35. is an important test of the nervous system. steady approach to financial planning. It’s a However, in our overly deliberate opinion, rigorously thorough process in which every the doctor’s office is the only place decision is made with the long where knee-jerk reactions should term in mind. When you sit down be considered a positive. Especially with a Raymond James financial when it comes to investing. We advisor, they will take the time to UP NEXT FEBRURY 2016 realize that it’s only natural to want tailor a plan just for you. And help Holding on during the to react impulsively to a down day or ups and downs. Typically you stick to it during the ups. And a sound strategy. two, but we believe remaining stead- downs. For over 50 years, our advisors fast is the more prudent financial decision. have quietly served clients differently. Go to And while there is a time and place to take lifewellplanned.com to learn more. It’s time action, it should be done thoughtfully. As to find out what a Raymond James financial opposed to rapidly. Which is why every advisor can do for you. LIFE WELL PLANNED.

John Ryan Managing Director Investments, Complex Manager

201 East Fifth Street, Suite 2500 Cincinnati, OH 45202 T (513) 287-6763 // F: (513) 287-6788 [email protected] // raymondjames.com/johnryancapitaladvisory

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13-BR-InCr-0433 BadDay_FullPg_Color_All.indd 1 1/16/14 4:53 PM THE MARKET HAD A BAD DAY. QUICK, DON’T DO SOMETHING.

Remaining focused on the long term.

Medically speaking, checking one’s reflexes Raymond James advisor employs a slow and is an important test of the nervous system. steady approach to financial planning. It’s a However, in our overly deliberate opinion, rigorously thorough process in which every the doctor’s office is the only place decision is made with the long where knee-jerk reactions should term in mind. When you sit down be considered a positive. Especially with a Raymond James financial when it comes to investing. We advisor, they will take the time to realize that it’s only natural to want tailor a plan just for you. And help Holding on during the to react impulsively to a down day or ups and downs. Typically you stick to it during the ups. And a sound strategy. two, but we believe remaining stead- downs. For over 50 years, our advisors fast is the more prudent financial decision. have quietly served clients differently. Go to And while there is a time and place to take lifewellplanned.com to learn more. It’s time action, it should be done thoughtfully. As to find out what a Raymond James financial opposed to rapidly. Which is why every advisor can do for you. LIFE WELL PLANNED.

John Ryan Managing Director Investments, Complex Manager

201 East Fifth Street, Suite 2500 Cincinnati, OH 45202 T (513) 287-6763 // F: (513) 287-6788 [email protected] // raymondjames.com/johnryancapitaladvisory

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