OCTOBER 2018 CONTENTS

14 Artistic Leadership:

CONCERTS 42 Louis Langrée and Guest conductor John Morris Russell 25 CSO: Adams’ Dharma at Big Damon If It Sounds Good, It Is Good! Sur, Oct. 5–6 17 Gupton leads by JMR 37 Guest artists: Christopher the Cincinnati Rountree, conductor; Tracy Spotlight: CSO Principal Pops in a concert of orchestral 18 Silverman, electric violin; Adam Violist Christian Colberg Larsen, video artist blockbusters with a seasonal Spotlight: Employee of the twist, Haunted Hall, Oct. 12–14. 20 41 Pops: Haunted Hall, Year Hannah Johnson Celebrate an early Halloween Oct. 12–14 54 Directors & Advisors 42 Guest artist: Damon with magical music of the Pops Gupton, conductor in a hall with a haunted history, 57 Financial Support 45 CSO: The Heart of Don including selections from 63 Administration Dukas’ Sorcerer’s Apprentice, Quixote, Oct. 20–21 64 Coda 52 Guest artists: Christian Mussorgsky’s Night on Bald Colberg, viola; Ilya Finkelshteyn, Mountain, Saint-Saëns’ Danse cello macabre, and much more. 52 CSO Principal 38 Viola Christian Redefining Colberg takes the role of FEATURES center stage to the violin in perform his own contemporary 12 CSO/CCM Diversity Fellows: Viola Concerto, Bravos Without Barriers music, Tracy “Don Quixote,” Silverman has 39 Q&A with Oct. 20–21, Christopher Rountree contributed in a concert significantly to the repertoire and 43 Q&A with Damon Gupton filled with three development of the six-string 53 Q&A with Ilya Finkelshteyn generations electric violin and what he calls worth of works “post-classical violin playing.” He’ll inspired by the fabled windmill- perform John Adams’ Dharma DEPARTMENTS fighting knight, including one by at Big Sur, music for which he Richard Strauss that features CSO also gave the world premiere, 6 A Letter from the President Principal Cello Ilya Finkelshteyn Oct. 5–6. Christopher Rountree 8 Your Concert Experience/ as Don Quixote and Mr. Colberg conducts. Frequently Asked Questions as Sancho Panza. Louis Langrée conducts. 10 Orchestra Roster

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FANFARE CINCINNATI STAFF: Cincinnati Symphony Orchestra and Cincinnati Pops Vice President of Communications Chris Pinelo Director of Communications Diana Maria Lara Digital Communications Manager Lee Snow Communications Assistant Kayla Moore Editor/Layout McKibben Publications

All contents © 2018–19. The contents cannot be reproduced in any manner, whole or in part, without written permission from CSO Principal Viola the Cincinnati Symphony Orchestra and Cincinnati Pops. ON THE COVER Christian Colberg performs his own composition, the Viola Concerto, “Don Quixote,” with the CSO CINCINNATI SYMPHONY ORCHESTRA & CINCINNATI and Louis Langrée Oct. 20–21 and plays the part of POPS Quixote’s sidekick Sancho Panza in Richard Strauss’ Music Hall Don Quixote. 1241 Elm Street Cincinnati, OH 45202 Administrative Offices: 513.621.1919 CINCINNATI MAGAZINE: [email protected] Advertising and Publishing Partners for Fanfare Cincinnati Box Office Publisher Music Hall Ivy Bayer 1241 Elm Street Production Director & IT Systems Administrator Cincinnati, OH 45202 Vu Luong 513.381.3300 Marketing Director [email protected] Chris Ohmer Advertising & Marketing Designer Group Sales Stephanie Youngquist 513.744.3590 Custom Publishing Account Manager [email protected] Maggie Wint Goecke TTY/TDD Senior Outside Account Representative Use TTY/TDD Relay Service 7-1-1 Laura Bowling Operations Director cincinnatisymphony.org | cincinnatipops.org Missy Beiting facebook.com/CincySymphony or /CincinnatiPops Business Coordinator Erica Birkle twitter.com/CincySymphony or /CincinnatiPops instagram.com/cincysymphony Advertising and Business Offices Carew Tower 441 Vine Street, Suite 200 Cincinnati, OH 45202 513.421.4300 RECYCLE FANFARE CINCINNATI Subscriptions: 1.800.846.4333 You are welcome to take this copy of cincinnatimagazine.com Fanfare Cincinnati home with you as a souvenir of your concert experience. Alternatively, please share Fanfare Cincinnati with a friend or leave it with an usher for recycling. Thank you!

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A LETTER FROM THE PRESIDENT—Jonathan Martin

Dear Friends, tan region the size of Cincinnati to continu- maintains a full-time professional ing to fulfill It is an exciting time in the life of the orchestra when many larger mar- our mission Cincinnati Symphony Orchestra kets are not able to do so. The to seek and and Cincinnati Pops and we are answer is you. You are the driving share inspi- thrilled to have each of you on this force. We are successful because of ration. journey with us. The connection you. Please continue to make the With the with the community we serve is Orchestra a priority in your life CSO and paramount—it drives what we do. and as always, we welcome and MEMI, we Being able to sustain and grow a encourage your feedback. are proud strong orchestra speaks volumes The Orchestra is a treasured to be part of this community and about what Cincinnati values. community asset, but like orches- to serve the region in meaningful I am grateful to be living in a city tras across the country, we face ways. We look forward to see- where the arts are a priority. You a number of challenges from an ing you at CSO and Cincinnati make all of this possible. On behalf evolving and increasingly competi- Pops performances at Music Hall of the musicians, staff, Board mem- tive marketplace. The organization throughout the season and encour- bers of the CSO, and our Music and has begun a strategic planning pro- age you to invite friends, family Event Management, Inc. (MEMI) cess that will not only reveal a set of members and neighbors. subsidiary, I want to thank our goals for the years to come, but also audiences, volunteers and donors. a vision for the CSO and orchestral Best wishes, People from outside the area music in the 21st century. We look often wonder how a metropoli- forward to those conversations and

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in Corbett Tower, allowing full guided tour of this historic Your restoration of the original coved Cincinnati treasure. and stenciled ceiling. Historic details including transoms, CLASSICAL CONVERSATIONS Concert alcoves, tracery windows, façade Take a deep dive! Beginning details, original doors, and one hour before CSO Experience marble flooring are once again subscription concerts, Classical on display. Conversations are the perfect way to get to know the music MUSIC HALL Originally built to house the and musicians on a program. Welcome to Music Hall, a May Festival, Music Hall has Program notes can be found at National Historic Landmark been home to the Cincinnati cincinnatisymphony.org. and the crown jewel of Over- Symphony since 1896. the-Rhine. Built in 1878, BRAVO SHOP this building is a welcoming Founded in 1895, the Cincinnati The Bravo Shop, located near beacon for the community Symphony Orchestra is the the escalators, features CSO and a pantheon of the arts for sixth oldest orchestra in the and Pops merchandise, audio generations to come. Reopened United States and represents recordings, and locally crafted in fall of 2017 following a the evolution of 200 years of items. Stop in and say hi! complete renovation, Music musical tradition in the Queen Hall’s legacy is ensured for City. The Cincinnati Orchestra CONCESSIONS decades to come. Association Company, founded Enjoy exciting options curated by 15 enthusiastic women by a council of Cincinnati The extensive renovation under the presidency of Mrs. tastemakers, including locally rediscovered numerous aspects William Howard Taft, sponsored roasted coffee, wine offerings, of the building. Windows have nine concerts in its inaugural delicious flavors from Findlay been reopened, including those season. Market and Divine’s European overlooking Washington Park, Chocolates. Skip the line by pre- now flooding the Lindner Visit the Society for the ordering drinks for intermission. Grand Foyer with natural light. Preservation of Music Hall at Note that drinks with ice are not Fourteen feet of additional spmhcincinnati.org to learn allowed in the auditorium during ceiling height were regained more about the storied history classical concerts. of Music Hall or schedule a

8 | FANFARE CINCINNATI | cincinnatisymphony.org LATE SEATING CHILDREN Frequently Out of consideration for CSO and Pops performances fellow patrons, late seating are recommended for children is not permitted. In some ages six and up. Out of Asked circumstances, including consideration for all audience Pops concerts, late seating members, children under six Questions is at the discretion of ushers will not be admitted to CSO and house staff. Latecomers, performances. For family including patrons leaving the concerts, booster seats are PARKING auditorium before or during available on a first-come, first- Subscribers are encouraged a performance, will be invited served basis in the Foyer. to reserve pre-paid parking to the P&G Founders Room in advance. Act early, as any to view the concert via video DEVICES remaining spaces will be monitors until an appropriate Please silence all noise-making released for single ticket buyers break in the program, when electronics before entering the the week of the concert. they may return to their seats. auditorium. Flash photography, Reserve your spot with the Box glowing screens, and audio/ Office at 513.381.3300. Cost ACCESSIBILITY video recording are prohibited is $15. Elevators connecting all floors, during concerts. a street-level accessible More parking information: entrance at the Box Office, LOST AND FOUND cincinnatisymphony.org/parking. increased wheelchair and Located at Guest Services in companion seating options, plus the Lindner Grand Foyer. For GUEST DROP-OFF LANE a new assistive listening device inquiries, call Cincinnati Arts The guest drop-off lane at the system are available. Listening Association at 513.744.3344. South End of the Hall, in front devices can be checked out at of the Box Office entrance, is the Guest Services counter, TICKETS open to guests with mobility located in the Lindner Grand Subscribers have unlimited challenges. Volunteer Access Foyer. Accessible restrooms are free ticket exchange privileges Ambassadors are stationed located on all levels. and single ticket buyers may there to assist. make exchanges for a $3-per- Lollipops and Classical Roots ticket service charge. Some VALET performances are American restrictions may apply. Valet parking is offered for Sign Language interpreted any CSO or Pops performance for the Deaf and Hard of Can’t make the concert and (Lollipops and Chambers Players Hearing. Call the Box Office want to give back? Unused excluded). Available curbside or at 513.381.3300 for more tickets can be donated at by advance reservation with the information. the Box Office prior to any Box Office at 513.381.3300. concert, in person or by phone, Cost is $20. Subject to RESTROOMS so that others can enjoy the availability. Restrooms are located on every performance. level of the building. Ushers are available to assist patrons in locating the nearest facility.

cincinnatisymphony.org | FANFARE CINCINNATI | 9 LOUIS LANGRÉE, CSO Music Director Louise Dieterle Nippert & Louis Nippert Chair Paavo Järvi, Music Director Laureate JOHN MORRIS RUSSELL, Pops Conductor Louise Dieterle Nippert & Louis Nippert Chair Erich Kunzel, Founder, Cincinnati Pops Orchestra Keitaro Harada, Associate Conductor David G. Hakes & Kevin D. Brady Chair Gene Chang, Associate Conductor

FIRST VIOLINS Denisse Rodriguez-Rivera ENGLISH HORN TUBA [Open] Steven Rosen Christopher Philpotts Christopher Olka Concertmaster Melinda & Irwin Simon Chair Principal Principal Anna Sinton Taft Chair Joanne Wojtowicz Alberta & Dr. Maurice Ashley & Stefani Matsuo Marsh Chair++ Barbara Ford Chair Associate Concertmaster CELLOS Tom & Dee Stegman Chair Ilya Finkelshteyn CLARINETS TIMPANI Philip Marten Principal Christopher Pell Patrick Schleker First Assistant Concertmaster Irene & John J. Emery Chair Principal Principal James M. Ewell Chair++ Daniel Culnan* Emma Margaret & Matthew & Peg Eric Bates Ona Hixson Dater Chair Irving D. Goldman Chair Woodside Chair Second Assistant Concertmaster Norman Johns** Ixi Chen Richard Jensen* Serge Shababian Chair Karl & Roberta Schlachter Vicky & Rick Reynolds Chair Morleen & Jack Rouse Chair Kathryn Woolley Family Chair in Honor of Nicholas Tsimaras– Matthew Lad§ William A. Friedlander PERCUSSION Peter G. Courlas Chair++ Marvin Kolodzik Chair Benjamin Freimuth*† David Fishlock Anna Reider Susan Marshall-Petersen Robert E. & Fay Boeh Chair++ Principal Dianne & J. David Laura Kimble McLellan Susan S. & William A. Rosenberg Chair Chair++ BASS CLARINET Friedlander Chair Mauricio Aguiar§ Hiro Matsuo Ronald Aufmann Michael Culligan* Minyoung Baik Theodore Nelson Richard Jensen James Braid Kenneth & Norita Aplin and BASSOONS Morleen & Jack Rouse Chair Marc Bohlke Chair given Stanley Ragle Chair Christopher Sales Marc Wolfley+ by Katrin & Manfred Bohlke Alan Rafferty Principal Michelle Edgar Dugan Ruth F. Rosevear Chair Emalee Schavel Chair++ KEYBOARDS Rebecca Kruger Fryxell Charles Snavely Hugh Michie Michael Chertock Gerald Itzkoff Peter G. Courlas– Martin Garcia* James P. Thornton Chair Jean Ten Have Chair Nicholas Tsimaras Chair++ Julie Spangler+ Lois Reid Johnson CONTRABASSOON James P. Thornton Chair Anne G. & Robert W. Dorsey BASSES Jennifer Monroe Chair++ Owen Lee GUITAR/BANJO Timothy Lees Principal FRENCH HORNS Timothy Berens+ Concertmaster Emeritus Mary Alice Heekin Burke Elizabeth Freimuth CSO/CCM DIVERSITY Sylvia Mitchell Chair++ Principal Jo Ann & Paul Ward Chair James Lambert* Mary M. & Charles F. FELLOWS~ Luo-Jia Wu Matthew Zory, Jr.**+ Yeiser Chair Weiyi Shao, violin Trish & Rick Bryan Chair Thomas Sherwood* Yan Izquierdo, violin SECOND VIOLINS Wayne Anderson§ Ellen A. & Richard C. Arman Nasrinpay, violin Gabriel Pegis Boris Astafiev Berghamer Chair Alexis Shambley, violin Principal Ronald Bozicevich [Open]** Dan Wang, viola Al Levinson Chair Rick Vizachero Sweeney Family Chair in Anita Graef, cello Yang Liu* memory of Donald C. Sweeney Ian Saunders, bass Harold B. & Betty Justice HARP Lisa Conway Camellia Aftahi, bass Chair Gillian Benet Sella Susanne & Scott Mozlin** Principal Philip O. Geier, Jr. Chair ORCHESTRA PERSONNEL Henry Meyer Chair Cynthia & Frank Stewart Chair Duane Dugger Paul Pietrowski, Director Kun Dong Mary & Joseph S. Stern, Jr. Rachel Kilgore, Assistant Manager Cheryl Benedict FLUTES Chair Drake Crittenden Ash§ Randolph Bowman Charles Bell LIBRARIANS Rachel Charbel Principal Mary Judge Ida Ringling North Chair Charles Frederic Goss Chair TRUMPETS Principal Chika Kinderman Amy Taylor† Robert Sullivan Lois Klein Jolson Chair Charles Morey Jane & David Ellis Chair Principal Christina Eaton* HyeSun Park Henrik Heide* Rawson Chair Elizabeth Dunning Paul Patterson Steven Pride Assistant Librarian Charles Gausmann Chair++ PICCOLO Otto M. Budig Family Stacey Woolley Joan Voorhees Foundation Chair++ STAGE MANAGERS Brenda & Ralph Taylor Chair++ Patricia Gross Linnemann Christopher Kiradjieff Ralph LaRocco, Jr. Chair Douglas Lindsay* Technical Director VIOLAS Jackie & Roy Sweeney Brian P. Schott Christian Colberg OBOES Family Chair Todd Dignan-Cummins Principal Dwight Parry Louise D. & Louis Principal TROMBONES § Begins the alphabetical listing of Nippert Chair Josephine I. & David J. Cristian Ganicenco players who participate in a system Paul Frankenfeld* Joseph, Jr. Chair Principal of rotated seating within the string Grace M. Allen Chair Richard Johnson Dorothy & John section. Hermanies Chair Julian Wilkison** Donald & Margaret * Associate Principal Rebecca Barnes§ Robinson Chair++ Joseph Rodriguez** ** Assistant Principal Christopher Fischer Lon Bussell* † One-year appointment Stephen Fryxell BASS TROMBONE ‡ Leave of absence Caterina Longhi Peter Norton + Cincinnati Pops rhythm section ++ CSO endowment only ~ Funded by the Andrew W. Mellon Foundation 10 | FANFARE CINCINNATI | cincinnatisymphony.org

FEATURE: CSO/CCM Diversity Fellows Bravos Without Barriers by DIANA MARIA LARA

orn out of a mutual desire to while enrolled in a two-year to hone their crafts through the make American orchestras Master of Music (MM) or Artist Fellows’ graduate work at CCM, Bmore inclusive, the CSO/ Diploma (AD) graduate degree we believe real world experience, CCM Diversity Fellowship was program at CCM. It is also highly mentorship from professional announced in 2015 with a gener- competitive. Each class of Fellows orchestra musicians and support ous grant from The Andrew W. is selected through a rigorous se- for taking auditions are essential Mellon Foundation and wel- ries of auditions, which annually for future success.” comed the first of three classes of Fellows in 2016, garnering MEET THE INCOMING national attention. That first class The program’s motto— FELLOWS completed the Fellowship in May, “Bravos Without CAMELLIA AFTAHI class number two is beginning Master of Music student, its second and final season in the Barriers”—gets to the Double Bass program, and class three began its heart of its mission: For incoming San Diego partici- first of two seasons in September. pant Camellia Aftahi, it was the With this collaborative two-year eliminating obstacles Diversity Fellowship’s aspiration Fellowship program, the Cincin- that can prevent that was part of the appeal. “What nati Symphony Orchestra (CSO) extraordinary musicians drove me to apply for the CSO/ and the University of Cincinnati CCM Diversity Fellowship was College-Conservatory of Music from achieving their not only my desire to perform (CCM) provide new opportuni- full potential. with and learn from a group of ties for violinists, violists, cellists and double bass players from high caliber musicians but also to have an opportunity to bring historically underrepresented sees hundreds of graduate-level representation to minority groups and underserved populations, musicians audition for CCM fac- on stage,” said Aftahi. while simultaneously fostering a ulty members and CSO musicians. more inclusive environment in the She began playing double bass Each Fellow receives full tuition at the age of 12. She earned her orchestral field. scholarship support from CCM, “Orchestras must better reflect Bachelor of Music in Double Bass in addition to a $10,000 per year Performance at San Diego State the communities they serve, and graduate stipend and a one-time this program exemplifies our University, where she studied Graduate School Dean’s Excel- commitment in Cincinnati,” said with Jeremy Kurtz-Harris and lence Award of $3,000. Each Fel- CSO President Jonathan Martin. Jory Herman. low also receives compensation of “Black and Latino musicians make Aftahi has performed with $8,000 per season while perform- up only five percent of American many groups in Southern Califor- ing with the CSO and opportuni- orchestra musicians across the nia, including the San Diego City ties to perform at the Chautauqua country today and orchestras Ballet, the Opera NEO workshop, Institute in the summer. must be more inclusive. This is an the BRAVO! Festival and the La existential issue and this partner- Fellows are mentored by CSO Jolla Symphony under the direc- ship with CCM is about forging musicians and also receive train- tion of Steve Schick. Aftahi also new paths to inclusivity.” ing through mock auditions and takes enjoyment in teaching and The program’s motto—“Bravos support to take professional or- maintains an active private studio Without Barriers”—gets to the chestra auditions around the in addition to coaching at local heart of its mission: eliminating country. public schools. obstacles that can prevent extraor- “Talented musicians from She is studying with CSO Prin- dinary musicians from achieving underrepresented populations cipal Bass and CCM Adjunct their full potential. were completing undergraduate Assistant Professor Owen Lee, The experience is meaningful music degrees, but ultimately and hopes that her studies at CCM on many levels. Fellows perform not entering the field,” said CSO will allow her to fuse her love with the CSO and Cincinnati Pops Director of Education and Com- for performance and scholarship for the equivalent of five weeks munity Engagement Ahmad with her commitment to civic and per season with the Orchestra Mayes. “In addition to continuing educational outreach.

12 | FANFARE CINCINNATI | cincinnatisymphony.org YAN IZQUIERDO of the McLean Youth Orches- Master of Music student, Violin tra, assistant principal second Born in Havana, Cuba, violinist violinist of the American Youth Yan Izquierdo enjoys an inter- Philharmonic, Principal Second disciplinary, cross-genre music of the Londontowne Symphony career. He has extensive perfor- Orchestra, Assistant Principal mance experience throughout the Second of the Aspen Philharmonic United States, Canada, Mexico and Assistant Concertmaster of and Spain. In 2010, he played the Indiana University’s Concert national anthem for the NCAA Orchestra, among others. NIT College Basketball Finals During the summer, he per- game at Madison Square Garden. formed and studied at Indiana As an orchestral musician, he University Summer String Acad- has performed with the Charles- emy, Aspen Music Festival and ton Symphony Orchestra, the School, as well as the Bowdoin Chamber Orchestra of New York, International Music Festival. Most the Philharmonic Orchestra of the Americas and Symphony in recently, he studied at the Indiana C, with notable appearances at University Jacobs School of Music Carnegie Hall, David Geffen Hall, as a Premier Young Artist under Kimmel Center, Kennedy Center pedagogue Simin Ganatra of the and Meyerson Symphony Center. Pacifica Quartet. He participated in the Philhar- Nasrinpay will study with CSO monic Orchestra of the Americas’ Concertmaster Emeritus and “Music Without Borders” North CCM Adjunct Professor of Violin American concert tour, which Timothy Lees. included educational outreach programs with youth symphonies ALEXIS SHAMBLEY in Mexico City, culminating in Master of Music student, Violin a joint concert televised by the A native of Dallas, Alexis Shamb- Televisa network. ley recently received her Bachelor Izquierdo began violin studies of Music in Violin Performance at the age of seven in Madrid, from CCM under the tutelage of Spain. At the age of 14, he received String Department Chair Won-Bin a full scholarship to attend the Yim. She started violin at age four Idyllwild Arts Academy and and studied primarily with her earned a Bachelor of Arts degree mother, Xiao-mei Pelletier of the from the College of Charleston. Dallas Symphony Orchestra. He will study with Professor She has previously attended Kurt Sassmannshaus at CCM. the Green Mountain Chamber Music Festival and The National ARMAN NASRINPAY Orchestral Institute and Festival Master of Music student, Violin as well as performed with local Arman Nasrinpay began playing orchestras including Kentucky the violin at the age of 10 through the Fairfax Symphony Orchestra Symphony Orchestra and Rich- Program. He has since performed mond Symphony Orchestra. An at venues such as the Kennedy avid chamber musician, she en- Center Hall and Millennium joys doing outreach performances Stage, Strathmore Music Center, and participating in chamber the Meyerhoff Symphony Hall music competitions, most recently and the Shakespeare Theatre for placing second in CCM’s Annual Performing Arts. Chamber Music Competition with He has won various national her sextet in 2016. competitions and held many pres- Shambley will study with CCM tigious positions in orchestras, String Department Chair Won- New CSO/CCM Diversity Fellows including assistant concertmaster Bin Yim. n Camellia Aftahi, Yan Izquierdo, Arman Nasrinpay and Alexis Shambley.

cincinnatisymphony.org | FANFARE CINCINNATI | 13 ARTISTIC LEADERSHIP

LOUIS LANGRÉE and Opéra Comique in Paris. Netherlands Music Director, Cincinnati Louis has conducted several world Opera in Am- Symphony Orchestra premieres, including works by sterdam. The French conductor Louis Lan- Daníel Bjarnason, Magnus Lind- He was Mu- grée has been Music Director of the berg and Caroline Shaw. During sic Director of Cincinnati Symphony Orchestra the 2018–19 season, he also leads the Orchestre (CSO) since 2013. He recently the first performance of a piece de Picardie toured with them to both Asia and by Jonathan Bailey Holland, CSO (1993–98) and Europe, with appearances includ- composer-in-residence. Orchestre Phil- ing the Hong Kong Arts Festival, Louis has conducted the Ber- harmonique Edinburgh International Festival, liner Philharmoniker, Wiener Royal de Liège BBC Proms (London) and La Seine Philharmoniker and London Phil- (2001–06) and Chief Conductor of Musicale (Paris). He has been Mu- harmonic. He has worked with the Camerata Salzburg (2011–16). sic Director of the Mostly Mozart many other orchestras around the Louis was also Music Director of world, including the Orchestre Festival at New York’s Lincoln Opéra National de Lyon (1998– de Paris, Orchestre de la Suisse Center since 2002, where, at the 2000) and Glyndebourne Touring Romande, Santa Cecilia (Rome), 2018 festival, he led a celebration of Opera (1998–2003). Budapest Festival, Sao Paulo and the Bernstein Centenary, including Louis Langrée’s recordings with a staged performance of Mass. NHK symphony orchestras, as the CSO feature Copland’s A Lin- Recent and future conduct- well as Deutsche Kammerphil- coln Portrait (narrated by Dr. Maya ing projects include debuts harmonie Bremen, Freiburger Angelou) and world premieres by with the Czech Philharmonic Barockorchester and the Orchestra (Prague Spring Festival), Orches- of the Age of Enlightenment. Fes- Sebastian Currier, Thierry Escaich, tre National de France and the tival appearances have included David Lang, Nico Muhly and Zhou Konzerthaus Berlin Orchestra. Wiener Festwochen, Salzburg Tian (which was nominated for Return engagements include the Mozartwoche and Whitsun and a “Best Orchestral Performance” Wiener Symphoniker, Orches- Glyndebourne Festival Opera. He Grammy). His recordings have tre des Champs-Elysées and the has also conducted at La Scala, received several awards from Philadelphia, Toronto and Leipzig Bayerische Staatsoper in Munich, Gramophone and Midem Classical. Gewandhaus orchestras. He also Royal Opera House Covent Gar- He is a Chevalier des Arts et des returns to The Metropolitan Opera den, Opéra-Bastille, Lyric Opera of Lettres and Chevalier de la Légion in New York, Wiener Staatsoper Chicago, Dresden Staatsoper and d’Honneur. n

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ARTISTIC LEADERSHIP

JOHN MORRIS RUSSELL, energy into one of the world’s Menzel, Vince Gill, Branford Mar- Conductor most iconic pops orchestras. salis, Brian Stokes Mitchell, Megan Cincinnati Pops Orchestra Consistently winning interna- Hilty, Michael McDonald, George tional praise for his extraordi- Takei, Amy Grant, Rosanne Cash, A remarkable artist with bound- nary music-making and visionary Brian Wilson, Katharine McPhee less enthusiasm for music-making leadership, this Ohio native is and Marvin Winans. of all kinds, John Morris Russell is also Music Director and Principal His first four recordings released a modern conductor who engages Conductor of the Hilton Head with the Cincinnati Pops on the Or- Symphony Orchestra in South chestra’s Fanfare Cincinnati label, Carolina, where his commitment Home for the Holidays, Superheroes!, has yielded a new level of artistic Carnival of the Animals and American excellence. John Morris Russell is Originals, have all appeared on the also Principal Pops Conductor of Billboard charts; American Originals the Buffalo Philharmonic Orchestra 2 is due for release later this year. and Conductor Laureate of the JMR recently led the Cincinnati Windsor Symphony Orchestra in Pops on tours to Florida (2014) and Ontario, Canada, where he served Asia (2017). as Music Director for eleven years. A sought-after guest conductor With the Cincinnati Pops, JMR across the continent, John Morris regularly leads electric perfor- Russell’s list of frequent engage- mances at Music Hall and River- ments includes the Los Angeles bend Music Center and throughout Philharmonic at the Hollywood and enthralls audiences with the the Greater Cincinnati region and Bowl, the New York Philharmonic, full breadth of the orchestral expe- on tour. He has collaborated with Toronto Symphony Orchestra, The rience. Now in his eighth season as generations of great performers, Cleveland Orchestra, Vancouver Conductor of the Cincinnati Pops including Aretha Franklin, Sut- Symphony Orchestra, Utah Sym- Orchestra, JMR’s diverse program- ton Foster, Lea Salonga, Edward phony, National Symphony (Capi- ming and electric stage presence James Olmos, Gregory Porter, Ray tol Lawn) and Dallas Symphony have infused new creativity and Charles, Rosemary Clooney, Idina Orchestra, among others. n

16 | FANFARE CINCINNATI | cincinnatisymphony.org IF IT SOUNDS GOOD, IT IS GOOD! Of course, Hector Berlioz was the heavyweight by JOHN MORRIS RUSSELL champ of programmatic music, which is brilliantly displayed in his masterpiece Symphonie fantastique. A The leaves are changing, and that familiar chill is in bacchanal of hallucinogenic fury, the piece tells a story the air, making this the perfect time for the Pops to of an artist whose love life has gone terribly wrong. By celebrate the ultimate musical collection of macabre the time we get to the end of the fourth movement, you masterpieces: Haunted Hall. will hear in the pizzicato strings the thumping sounds There are few more powerful transmitters of of a recently decapitated cranium rolling down steps. memory than music, which has the ability to tell In the finale of the work, we hear the artist’s soul being the most vivid stories and expresses our innermost tortured by witches as they dance in a wild orgy—it’s feelings. Just imagine the emotional punch conveyed not for the faint of heart! This music is so evocative that by the simple repetition of half-step notes in the 1975 Stanley Kubrick used it in The Shining, which remains score to Jaws that possesses such a visceral sense of one of the creepiest films ever. foreboding. “Programmatic music” is a term that On a lighter note, an impish work composed in describes music written specifically to describe a literal 1897 told a delightful story that became a world-wide narrative or depict a dramatic scene of any kind. Think phenomenon thanks to Walt Disney. The Sorcerer’s of Beethoven’s Pastorale Symphony (which we all expe- Apprentice by Paul Dukas will forever be associated rienced in Disney’s Fantasia a few years back), with its with images of Mickey Mouse’s surreal adventures festive dances, a vicious thunderstorm, and splendid in Disney’s Fantasia that depict, in animation, what sunset—you can HEAR the entire story in the music. had previously only been imagined by audience The concept of writing programmatic music was members. By contrast, the scariest part of Fantasia was particularly attractive to classical composers who without question Modest Mussorgsky’s Night on Bald could shock, terrify or thrill their often-staid audiences Mountain, which still freaks me out a bit. The piece with expressive musical storytelling. Cinematic com- musically portrays a wild satanic witches’ sabbath, posers do much the same, but with a little extra help but for most of us, it will always be linked to those from the celluloid, like Psycho, brilliantly scored by horrifying flying ghosts. Yow! Bernard Herrmann. The intense accents in the violins There has been much said and written about the create spine-tingling screeching sounds during the ghosts that reside in Music Hall; in my 20 years here, notorious shower scene and express sheer terror much I’ve never seen one. But what I HAVE experienced more vividly than the relatively understated visuals. are the spirits of exceptional music and wonderment Alfred Hitchcock said that 33% of the bone-chilling performed by your Pops. Enjoy! n effect of his film was because of Herrmann’s score.

cincinnatisymphony.org | FANFARE CINCINNATI | 17 FANFARE SPOTLIGHT

La Vida Viola Christian Colberg, Principal Viola Louise D. & Louis Nippert Chair by DIANA MARIA LARA

As a little boy, Christian Colberg walked the cobble- stone streets of a picturesque San Juan, Puerto Rico with abuelo, his grandfather, who was an ardent Gillian Benet Sella at the harp during a recent CSO performance. admirer of classical music. Surrounded by soft sandy beaches, vibrant colors, folkloric dancing and colonial architecture that in- termingled with contemporary Puerto Rican culture, Christian grew up listening to the sounds of the Casals Festival. It is one of the oldest annual festivals in existence on the tropical island and is named for its founder, the famed Spanish cellist Pablo Casals. Christian’s abuelo was part of an integral group who helped Casals start the festival in the late 1950s—the beginning of the classical music movement in Puerto Rico. During the festival, Puerto Rico welcomes high caliber international musical artists and offers as many as 11 orchestral concerts each season. When Christian was four years old, his abuelo collaboratively served as the A-team of inspiration for recognized Christian’s gift for playing the violin and Christian. Their insight and guidance eventually led encouraged him in his study of the instrument. One Christian to audition for the Baltimore Symphony— year later Christian had his first audition. It was for not for a chair in the violin section, but rather the viola. none other than Pablo Casals, as well as Alexander There was one glitch. Christian did not own a viola, Schneider, a world-renowned Russian violinist who and his formal training in music was with the violin. had studied with Casals in France. The duo was These were minor inconveniences for Christian, who forming an educational program for young talented was blessed with the gift of adaptability from a young musicians and invited Christian to formally study age. After all, he had adapted to a new language, a violin at the Conservatorio de Música de Puerto Rico new home and now…a new instrument. in Miramar. As a student of two famous musicians, He just needed to borrow a viola and practice the it was no surprise Christian was destined to follow repertoire. Oh yes, there was also the issue of learning in their footsteps. to read the alto clef. Additionally, the viola is larger At age 16 Christian left the familiar surroundings than a violin in all dimensions—it is longer, deeper of his Latin culture for Baltimore. He was accepted and a little chunkier. The most significant difference to Johns Hopkins University’s Peabody Institute, between a violin and a viola is sound. The viola is which has earned its reputation as a top music school the alto member of the string family, as it is lower through years of training students for professional in pitch (a fifth lower) than the violin, and its tone careers in music. is richer, rounder and mellower compared to the While there, Christian encountered Shirley Givens, violin’s brilliant, flashy sound. A heavier instrument another source of inspiration who would significantly to hold, its strings are also slightly thicker, requiring shape his musical path. Shirley, who passed away in a more robust bow arm and more effort to articulate January of this year, was a violin professor at Peabody notes. Christian’s height and brawn not only accom- and at the Juilliard School in New York City. modate the instrument but command its respect, as Shirley, as well as violin virtuosos Aaron Rosand he navigates notes that are further apart than they and Saul Ovcharov and many others over the years, are on the violin. continued, p. 51

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FANFARE SPOTLIGHT Staff Member of the Year—Hannah Johnson Be Her Guest by DIANA MARIA LARA

Planning events for one of the nation’s most pres- musicians all come together tigious orchestras requires a balance of protocols, for an incredible two nights traditions and unparalleled customer service. The was an experience I’ll never person behind the scenes creating these memorable forget.” experiences is CSO Director of Events Hannah John- For Hannah, it’s about son. Since joining the organization four years ago, she understanding the connec- has enhanced the quality of the Orchestra’s events and tion between the host and was chosen by CSO senior management as this year’s the event to elevate the ex- Staff Member of the Year. perience for the guests. She A typical day in the life of an event planner such as comfortably interacts with Hannah is anything but ordinary. Whether planning people, and by example, events for donors or fundraising, it includes develop- demonstrates the mission, ing well-planned events a year or two in advance. vision and values of the Such was the case when several patrons accompanied organization collaborating Dianne Dunkelman, Grand the CSO on tour throughout Europe in 2017. Another with staff and the com- Opening Events Chair, and celebratory affair Hannah considers most rewarding munity curating events of Hannah Johnson at Music Hall. involved countless hours of planning over a 16-month the highest quality. period for an event that took a total of 12 hours to fulfill. Hannah enhances the experience for CSO guests “The Grand Opening of Music Hall was one of the most with meticulous attention to detail. Her ability and amazing experiences of my career,” says Hannah. She passion to create an atmosphere of lasting memories adds, “To see the philanthropic support of the commu- while enriching the community’s engagement with nity, the hard work of the design teams, working with the Orchestra are what makes Hannah such an asset Messer Construction, and the dedication of the staff and to the CSO family. n

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SECOND SUBSCRIPTION PROGRAM

2018–2019 SEASON FRI OCT 5, 11 am SAT OCT 6, 8 pm Music Hall

CHRISTOPHER ROUNTREE conductor TRACY SILVERMAN electric violin ADAM LARSEN video artist

JOHN ADAMS The Chairman Dances (Foxtrot for Orchestra) (b. 1947)

COPLAND Suite from the Ballet Billy the Kid (1900–1990) Introduction: The Open Prairie Street in a Frontier Town Mexican Dance and Finale Prairie Night (Card Game at Night) Gun Battle Celebration (after Billy’s capture) Billy’s Death The Open Prairie Again

INTERMISSION

BARBER Essay No. 1, Op. 12 (1910–1981)

JOHN ADAMS The Dharma at Big Sur for Electric Violin and Orchestra A New Day— Sri Moonshine

These performances will end at approximately 12:30 pm Friday, 9:30 pm Saturday.

The CSO is grateful to Series Sponsor Western & Southern Financial Group. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. We are thankful for our Shuttle Partner, Croswell VIP Motorcoaches, for providing transportation to our patrons this season. Classical Conversations are endowed by Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts. The Cincinnati Pops in-orchestra Steinway piano, courtesy of The Jacob G. Schmidlapp Trust, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. Listen to this program on 90.9 WGUC February 3, 2019 at 8 pm and online at cincinnatisymphony.org February 4–10.

cincinnatisymphony.org | FANFARE CINCINNATI | 25 PROGRAM NOTES: Oct 5–6 © 2018–19 Cincinnati Symphony Orchestra

Adams: An American Master,” the HEN THE CSO TOURED EUROPE last year, several most extensive festival devoted to of our concerts opened with John Adams’ Short Ride in a living composer ever mounted a Fast Machine. Adams is an American composer whose at Lincoln Center; from 2003 to W 2007, Adams held the Richard and unmistakable music resonates with audiences around the world and we are always honored to present his vital musical voice. For Barbara Debs Composer’s Chair at Carnegie Hall; in 2004, he was Christopher Rountree’s guest conducting debut with the CSO, we have awarded the Centennial Medal of an all-American program that opens with Adams’ The Chairman Harvard University’s Graduate Dances and closes with the composer’s The Dharma at Big Sur, an School of Arts and Sciences “for electric violin concerto featuring the work’s original soloist, Tracy contributions to society” and be- Silverman. Accompanying Adams’ Jack Kerouac-inspired musical came the first-ever recipient of the homage to California are commissioned visuals designed by Adam Nemmers Prize in Music Composi- Larsen, who created stunning visuals for the CSO’s three-year Pelléas tion, which included residencies Trilogy. The program also includes music by two other luminaries and teaching at Northwestern University; he was a 2009 recipient of American music, Aaron Copland and Samuel Barber. Copland’s of the NEA Opera Award; and he Suite from Billy the Kid, composed during the Great Depression, is has been granted honorary doctor- Copland’s first foray into distinctly American storytelling and musically ates from the Royal Academy of represents the vastness of the American landscape. Barber’s Essay Music (London), Juilliard School No. 1 was written in that same time and, like a literary essay, explores and Cambridge, Harvard, Yale and a musical theme in different ways. —LOUIS LANGRÉE Northwestern universities, honor- ary membership in Phi Beta Kappa, and the California Governor’s Award for Lifetime Achievement JOHN ADAMS not seen by an American composer in the Arts. The Chairman Dances (Foxtrot since the zenith of Aaron Copland’s John Adams was born into a for Orchestra) career: a recent survey conducted musical family in Worcester, Mas- by the League of American Orches- sachusetts, on February 15, 1947; n Born: February 15, 1947, tras found John Adams to be the as a boy, he lived in Woodstock, Worcester, Massachusetts most frequently performed living Vermont, and in New Hampshire. n Work composed: 1985 American composer; he received From his father, he learned the n Premiere: January 31, 1986, Mil- the University of Louisville’s dis- clarinet and went on to become waukee, WI, Lukas Foss conducting tinguished Grawemeyer Award an accomplished performer on n Instrumentation: 2 flutes (incl. that instrument, playing with the in 1995 for his Violin Concerto; in 2 piccolos), 2 oboes, 2 clarinets (incl. New Hampshire Philharmonic and 1997, he was the focus of the New bass clarinet), 2 bassoons, 4 horns, Sarah Caldwell’s Boston Opera York Philharmonic’s Composer 2 trumpets, 2 trombones, tuba, Orchestra, and appearing as soloist Week, elected to the American timpani, bass drum with pedal, bell in the first performances of Walter Academy of Arts and Letters, and tree, castanets, claves, crotale, crash Piston’s Clarinet Concerto in Bos- named “Composer of the Year” cymbals, glockenspiel, high hat, ton, New York and Washington. by Musical America magazine; he sandpaper blocks, sizzle cymbal, snare (Adams first met Piston as a neigh- drum, suspended cymbals, tambour has been made a Chevalier dans bor of his family in Woodstock, and de basque, triangle, vibraphone, 2 l’Ordre des Arts et des Lettres by received encouragement, advice wood blocks, xylophone, harp, piano, the French Ministry of Culture; in and understanding from the older strings 1999, Nonesuch released The John composer, one of this country’s n CSO notable performances: Adams Earbox, a critically acclaimed most respected artists.) Adams’ 2 previous subscription weekends ten-CD collection of his work; professional focus shifted from the | Premiere: March 1989, Edo de in 2003, he received the Pulitzer clarinet to composition during his Waart conducting | Most recent: Prize for On the Transmigration of April 1997, composer John Adams undergraduate study at Harvard, Souls, written for the New York conducting. where his principal teacher was Philharmonic in commemoration n Duration: approx. 13 minutes Leon Kirchner. of the first anniversary of the World Rather than following the ex- John Adams is one of today’s most Trade Center attacks, and was also pected route for a budding com- acclaimed composers. Audiences recognized by New York’s Lincoln poser, which led through Europe, have responded enthusiastically to Center with a two-month retro- Adams chose to stay in America. his music, and he enjoys a success spective of his work titled “John In 1972, he settled in California to

26 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: OCT 5–6 join the faculty of the San Francisco Noir on October 8, 2009. He also Madame Mao, alias Jiang Conservatory of Music, where his served as Composer-in-Residence Ching, has gate-crashed the duties included directing the New with the Berlin Philharmonic dur- Presidential banquet. She is seen Music Ensemble, leading the stu- ing the 2016–17 season. standing first where she is most dent orchestra, teaching composi- The Chairman Dances (Foxtrot in the way of the waiters. After a few minutes, she brings out a tion, and administering a graduate for Orchestra), written in 1985 box of paper lanterns and hangs program in analysis and history. on joint commission from the them around the hall, then strips American Composers Orchestra In 1978, he became associated down to a cheongsam, skin-tight with the San Francisco Symphony and National Endowment for the from neck to ankle, and slit and conductor Edo de Waart in Arts, is a by-product of Adams’ up to the hip. She signals the an evaluation of that ensemble’s opera Nixon in China, premiered orchestra to play and begins to involvement with contemporary in Houston in October 1987. The dance herself. Mao is becoming music. Two years later he helped opera, explained Michael Steinberg excited. He steps down from his to institute the Symphony’s “New in his liner notes for the recording portrait on the wall and they and Unusual Music” series, which of The Chairman Dances on None- begin to foxtrot together. They subsequently served as the model such Records, is “neither comic nor are back in Yenan, the night is warm, they are dancing to the for the “Meet the Composer” strictly historical though it contains gramophone... program, sponsored by the Exxon elements of both. It is set in three Corporation, Rockefeller Founda- days of President Nixon’s visit to Act Three, in which both tion and National Endowment for Beijing in February 1972, one act for reminiscing couples, the the Arts, which placed composers- each day. The single scene of the Nixons and the Maos, find in-residence with several Ameri- third act takes place in the Great themselves contrasting the can orchestras; Adams served as Hall of the People, where there is vitality and optimism of youth with their present condition resident composer with the San yet another exhausting banquet, of age and power, is full of Francisco Symphony from 1979 to this one hosted by the Americans.” The preface to the score gives shadows; Jiang Ching’s and 1985. He began a tenure as Creative the following description of The Mao’s foxtrot in the opera is, Chair with the Los Angeles Phil- Chairman Dances: therefore, more melancholy harmonic with the premiere of City than The Chairman Dances. This

cincinnatisymphony.org | FANFARE CINCINNATI | 27 Measuring the Greatness of a Community by DIANA MARIA LARA

It has been said the greatness of community.” The Exec photos, need a community is most accurately arts play an important measured by the compassion of role in drawing image files its members. One organization new residents, long known for its contributions young professionals to the city of Cincinnati has been and visitors to the dedicated to serving the needs region—keeping of its clients and supporting businesses humming Kate C. Brown and Bradley J. Hunkler local causes for over 130 years. and the community Western & Southern Financial vibrant. “We support causes that concerts and programs built to Group (Western & Southern) and help advance health care, improve appeal to audiences of all ages and Fort Washington Investment education, promote the arts, and walks of life. Advisors, Inc. (Fort Washington), drive community vitality. In 2017 Mr. Hunkler’s passion for the arts its investment management alone, the company, our associates continues a family legacy. “The subsidiary, are long-time and our corporate foundation performing arts have played an supporters of the arts, dedicated invested $10.7 million in donations important role in my life as my to enhancing Cincinnati’s cultural and sponsorships in the Greater entire family has been very active landscape and committed to Cincinnati area,” added Mr. Barrett. in arts organizations through both making Cincinnati a world-class This year, the Cincinnati Symphony music and theater. We are regular city for the arts. Orchestra welcomes two company patrons of many of the CSO When it comes to the community, executives to the CSO board: performances, including the Pops. Western & Southern and Fort Bradley J. Hunkler, senior vice We feel very blessed to live in a Washington agree their strongest president and chief financial officer community that has phenomenal shared value is giving back, and the for Western & Southern, and arts programs that are accessible arts is an area that merits giving Kate C. Brown, vice president and to all community members,” said back. Music, dance, drama and the senior wealth planner for Fort Mr. Hunkler. He has a strong visual arts have the power to spark Washington. Together, they share opinion regarding the importance emotion, inspire creativity, connect a deep passion for the arts and of the arts in the community. generations, and build cultural are strong advocates for making “Cincinnati enjoys access to some bridges in the community. Cincinnati one of the best places to of the finest arts programs in the live, work and enjoy life. country, which is quite remarkable Western & Southern Chairman, considering its size,” Mr. Hunkler President and Chief Executive Ms. Brown has been involved added. “There is no better example Officer John F. Barrett states, with the CSO’s Encore program of this than the strong lineup “Western & Southern has always for the past seven years. “I’m of performing arts supported had a deep commitment to helping excited to continue to build upon either directly or indirectly by the make Cincinnati the best city in the CSO’s strong foundation and Cincinnati Symphony Orchestra. America. That is evidenced by our help propel its momentum into The CSO is the backbone of our ongoing support throughout the the future,” she said. “I’m also great arts community, and I am looking forward to expanding on thrilled to serve on the board.” my previous involvement with the CSO and the Encore program, There is a culture of strong in particular, which connects so collaboration at both Western & many generations. I’m eager to Southern and Fort Washington, continue to support the CSO’s and staff are aware there is no mission, helping to ensure the CSO room for AGE—an acronym and its components are fostered for arrogance, greed and ego. Whether it’s the promise of and cultivated, not only for my life insurance that in 20 or 30 generation but for my daughters’ years will still be honored or a as well.” commitment to invest in their The CSO is a catalyst for musical workforce and the community, activity across the city. Members these companies have a history of the CSO and Pops perform in of sustainability in Cincinnati and various ensembles, multiplying a reputation of trust. They are the quantity and quality of music dedicated to honoring a shared throughout the community. These mission and vison by building performers share their musical and strengthening long-term talent to inspire passion among relationships with their staff, future musicians with children’s clients and the community. n 28 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: OCT 5–6

is, uninhibitedly, a cabaret piccolo), piccolo, 2 oboes, 2 clarinets, decessor of the New York City number, an entertainment, and 2 bassoons, 4 horns, 3 trumpets, 3 Ballet. When Kirstein asked him a funny piece; as the Chairman trombones, tuba, timpani, bass drum, to write a ballet about Billy the and the former actress turned crash cymbals, glockenspiel, guiro, Kid, the notorious outlaw of the Deputy Head of the Cultural sleigh bells, snare drum, suspended Old West famed in ballad and Revolution make their long cymbals, triangle, whip, wood block, legend, Copland jumped at the trip back through time they xylophone, harp, piano, strings opportunity. For inspiration, Kirst- turn into Fred and Ginger. n CSO notable performances: 2 ein gave him a book of cowboy The chugging music we first previous subscription weekends | hear is associated with Mao; Premiere: January 1974, composer tunes, though Copland admitted a the seductive swaying-hips Aaron Copland conducting | Most marked antipathy to such music at melody—La Valse translated recent: April 1997, John Adams the time. As he studied the simple, across immense distances— conducting | The work has also unaffected songs, however, he is Jiang Ching’s. You might been performed for Young People’s, came to realize that they were not imagine the piano part at the Riverbend and Pops concerts, only an excellent source of material end being played by Richard including a Pops performance led for the new ballet, but that they Nixon. by Erich Kunzel and featuring the also opened a path to the more Cincinnati Studio Cloggers. straightforward, popular style he AARON COPLAND n Duration: approx. 22 minutes sought. His fondness for those Suite from the Ballet In the mid-1930s, at the time when songs grew as he worked with Billy the Kid he was trying to find an approach- them, and he later admitted that he could not imagine Billy the Kid n Born: November 14, 1900, able, distinctly American style that Brooklyn, New York would alleviate what he called “an without them. Among those he Died: December 2, 1990, North increasing dissatisfaction with the included in the score were “The Tarrytown, New York relations of the music-loving public Old Chisholm Trail,” “Git Along, n Work composed: 1938 and the living composer,” Aaron Little Dogies,” “Great Granddad,” n Premiere: October 16, 1938, Copland met Lincoln Kirstein, “Good-bye, Old Paint” and “Bury Chicago director of the American Ballet Me Not on the Lone Prairie,” but he n Instrumentation: 2 flutes (incl. Caravan, the adventurous pre- omitted “Home on the Range.” “I PROGRAM NOTES: OCT 5–6 had to draw the line somewhere,” The action begins and closes A running gun battle ensues. he explained. on the open prairie. The central Billy is captured. A drunken Alfred Frankenstein, a noted portion of the ballet concerns celebration takes place. Billy in critic and the long-time program itself with the significant prison is, of course, followed by annotator for the San Francisco moments in the life of Billy the one of Billy’s legendary escapes. Kid. The first scene is a street in Tired and worn in the desert, Symphony, wrote of the factual a frontier town. Familiar figures Billy rests with his girl. Starting Billy the Kid: amble by. Cowboys saunter from a deep sleep, he senses His real name was William into town, some on horseback, movement in the shadows. The Bonney. He was born in New others with their lassoes. Some posse has finally caught up with York City in 1859, but grew up in Mexican women do a Jarabe that him. It is the end. Silver City, New Mexico, where is interrupted by a fight between two drunks. Attracted by the The concert suite Copland ar- his mother kept a boarding ranged soon after the ballet’s 1938 house. He murdered his first gathering crowd, Billy is seen for premiere contains about two-thirds man in a saloon in Silver City the first time as a boy of twelve of the complete score. when he was twelve years old, with his mother. The brawl and for the next nineteen years turns ugly, guns are drawn, was one of the most industrious and in some unaccountable SAMUEL BARBER and generally admired bandits way, Billy’s mother is killed. Essay No. 1, Op. 12 Without an instant’s hesitation, of the Southwest. Eventually he in cold fury, Billy draws a n Born: March 9, 1910, West was captured, tried for murder, knife from his cowhand’s Chester, Pennsylvania and condemned to death. He sheath and stabs his mother’s Died: January 23, 1981, made a sensational escape from slayers. His famous career has New York City the sheriff’s deputies, but one begun. In swift succession we n Work composed: 1937 day he was shot down by Pat see episodes from Billy’s later n Premiere: November 5, 1938, New Garrett, a sheriff, who was once life. At night, under the stars, York, Arturo Toscanini conducting his friend. in a quiet card game with his n Instrumentation: 2 flutes, 2 oboes, Copland prefaced the score with outlaw friends. Hunted by a 2 clarinets, 2 bassoons, 4 horns, 3 a synopsis of the ballet’s plot: posse led by his former friend trumpets, 3 trombones, tuba, timpani, Pat Garrett. Billy is pursued. piano, strings

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PROGRAM NOTES: OCT 5–6 n CSO notable performances: Gian Carlo Menotti, where Menotti trumpets, and an indefinite, ques- 4 previous subscription weekends was to meet Toscanini. Barber, tioning gesture from the strings | Premiere: October 1953, Thor however, refused his friend’s invi- fading to silence on an unsettled Johnson conducting | Most recent: tation to go along for the visit to To- harmony. April 1998, Jesús López Cobos scanini’s home. “Illness,” Menotti conducting | The CSO also performed told the conductor. “Oh,” replied JOHN ADAMS the piece on its tour to San Juan, Toscanini, “he’s perfectly well; he’s The Dharma at Big Sur for Puerto Rico (Casals Festival) in June just angry with me, but he has no Electric Violin and Orchestra 1998, Jesús López Cobos conducting. reason to be—I’m going to do both n Duration: approx. 7 minutes of his pieces.” True to his word, To- n Work composed: 2003 n Premiere: October 24, 2003, Los Samuel Barber was among those scanini performed the Essay No. 1 Angeles, Esa-Pekka Salonen conduct- many talented American musi- and the Adagio for Strings on his ing; Tracy Silverman, violinist cians who lived, studied and November 5, 1938 broadcast with the NBC Symphony, though he did n Instrumentation: solo electric worked in Europe during the 1920s violin, 2 bass clarinets, 4 horns, not ask to see the scores again until and 1930s, not only polishing their 3 trumpets, 3 trombones, tuba, the day before the rehearsal—he professional skills but also proving timpani, almglocken, 4 bowl gongs, had already memorized them. to the world that their country chimes, crotales, glockenspiel, gong, An “essay,” according to The had come of artistic age. Barber marimba, 2 flower pots, triangle, spent much time overseas after Random House Dictionary of the vibraphone, xylophone, 2 harps, 1928, thanks to such emoluments English Language, is “a short liter- piano, 2 sampler keyboards, strings as the American Prix de Rome and ary composition on a particular n CSO notable performances: Pulitzer Traveling Scholarship. theme or subject, usually in prose One previous subscription weekend: In Rome, he wrote a Symphony and generally analytical, specula- February 2008, composer John Adams in One Movement, which was tive or interpretative.” With the conducting; Leila Josefowicz, electric premiered there in 1936 and given Essay No. 1 for Orchestra, Barber violin. its first American performance created a musical counterpart of n Duration: approx. 27 minutes in Cleveland by Artur Rodziński the literary genre—a compact, early the next year. Rodziński single-movement, tightly reasoned John Adams provided the follow- also played the Symphony at the work of reflective quality and ing information about The Dharma Salzburg Festival in 1937, making considerable expressive substance. at Big Sur: it the first American work heard He returned to the form with the at that prestigious event. The chief Second Essay, written when Bruno The Dharma at Big Sur was composed in 2003 for the conductor of the Salzburg Festival Walter requested from him a new opening of Disney Hall in Los at that time was Arturo Toscanini, piece that could be performed Angeles, designed by the great at the conductor’s concerts with who was to begin his tenure with Frank Gehry. Even in its earliest the New York Philharmonic in the NBC Symphony later that year. planning stages, Disney Hall Toscanini asked Rodziński if he 1942. The Third Essay of 1978 was promised to be more than just could recommend an American among Barber’s last compositions. another concert hall. With the composer whose work he might The First Essay encompasses sweeping, silver-toned clouds program during the coming sea- two large paragraphs. The work and sails of its exterior and its son, and Rodziński suggested that opens with a broad, lyrical theme warm, inviting public spaces, his Italian colleague investigate the in slow tempo that combines those the opening of this building music of the 27-year-old Samuel qualities of nobility and nostalgia embodied a watershed moment Barber. By October, Barber had that mark Barber’s best composi- in the history of West Coast completed and submitted to Tosca- tions. This melody rises to a brief culture. When I was asked nini the Essay No. 1 for Orchestra climax in the full orchestra and by Esa-Pekka Salonen, the and an arrangement for string then subsides. The brass choir’s Los Angeles Philharmonic’s orchestra of the slow movement statements that follow not only act Music Director, to compose a from the Quartet (Op. 11, in B as transition to the next, fast section special piece for the opening, I immediately began searching minor) he had written in Rome but also presage its thematic mate- my mind for an image, either in 1936, which he titled Adagio rial, based largely on the interval of verbal or pictorial, that could a third. The tripping, scherzo-like for Strings. No reply came from summon up the feelings of Toscanini, however. The scores music that fills the middle of the being an emigrant to the Pacific were returned without comment work is deftly counterpointed Coast—as I am, and as are so in the spring, and Barber started by the recall of the earlier, lyrical many who’ve made the journey to cast about for other conductors theme in the horn. The First Essay here, both physically and who might perform them. ends with a final, stentorian state- spiritually. [Among its many The following summer Barber ment of the lyrical theme, a quiet meanings, dharma, Sanskrit traveled to Lake Maggiore with muted conversation among the for “that which upholds or

cincinnatisymphony.org | FANFARE CINCINNATI | 33 PROGRAM NOTES: OCT 5–6

supports,” may refer to the My first plan was to compose bluegrass to [early Mississippi essential function or nature of an orchestral work that would bluesman] Robert Johnson a thing, a principle or law that feature an actor reading some of and Terry Riley [a pioneer of orders the universe, or the way these essential Kerouac visions American Minimalism]. that those timeless truths cause from the poems, the early When I listened to Tracy play individuals to conduct their “road” books and that later I was reminded that in almost lives.—R.E.R.] alcoholic dark night of the soul all cultures other than the he describes in Big Sur…. But my I wanted to express the European classical one, the plan took a sudden sharp turn moment, the so-called “shock of real meaning of the music is when I heard Tracy Silverman recognition,” when one reaches between the notes. The slide, the the edge of the continental land play the electric violin at an portamento, the “blue note”—all mass…[where] the Western Oakland, California jazz club are essential to the emotional shelf drops off violently, often in 2002. A classically trained, expression, whether it’s a great from dizzying heights, as it does Juilliard-educated violinist, Indian master improvising on at Big Sur, the stretch of coastal Tracy had left off playing the a raga [a mode or melody-type precipice midway between classical repertory soon after with an established inherent Santa Cruz and Santa Barbara. his graduation. Restless with the aesthetic effect from which Here the current pounds and tedium of repeating the classical pitches, gestures, motives, smashes the littoral in a slow, repertory and trying to fit into ornamentation and other lazy rhythm of terrifying the narrow job description musical elements are derived power. Many writers have of violin virtuoso, Tracy had by the performer] or Jimi tried to describe it, but Jack developed his own unique Hendrix or Johnny Hodges Kerouac did it best. In both style of violin playing that was bending a blue note right down his poetry and his novels he a marvel of expressiveness, the to the floor…. Hearing Tracy came the closest to evoking my product of his having digested Silverman play his six-string own sense of liberation and everything from [French jazz electric violin reminded me of excitement, an ecstasy that is violinist] Stéphane Grappelli the prose style of Jack Kerouac, nevertheless tinged with that to the Indian saranghi [a short- who was deeply influenced by melancholy expressed in the necked fiddle with strings inside his listening to the rhythms and first of Buddha’s Four Noble the instrument’s body that melodic arcs of improvised jazz. Truths: “All life is sorrowful.” vibrate sympathetically], from And that was how The Dharma

34 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: OCT 5–6 at Big Sur eventually took its section of a classical Indian raga. of resonance. Low tuned gongs final shape. The solo violin juggles a jazz- mark the inner structure of the infused melody that gradually music as it vibrates over and The Dharma at Big Sur is in two expands in scope and tessitura. over in ecstatic expression. parts, each dedicated to a West This is Sri Moonshine, a tip of —All notes by Coast composer who had been the hat to Terry Riley, not only Dr. Richard E. Rodda both a friend and an inspiration the composer of In C and A to me, Lou Harrison [whose Rainbow in Curved Air, but also luminous compositions were a master of Indian raga singing. permeated by Asian influences] IF YOU LIKE THIS [The movement is named after CONCERT… and Terry Riley. The first Riley’s Moonshine Ranch in part, A New Day, is a long the Sierra foothills; “Sri” is Be sure to return to rhapsodic reverie for the solo a Sanskrit title of respect or Music Hall Feb 23–24 violin, an “endless melody” that veneration for a deity or holy for “Beethoven’s Eroica,” soars above the stillness of an man, equivalent to “Mr.” or which not only features orchestral drone with its quietly “Sir.”] The easygoing roll of pulsating gongs and harps Beethoven’s Eroica the rhythm gives way to a more Symphony No. 3 (an and distant brass chords. This insistent throb, producing a long, moody, intensely lyrical dance-like effect like a gigantic, installment in the CSO’s movement reaches a climactic pulsing gamelan [an Indonesian three-year Beethoven moment when the orchestra, so ensemble of predominantly symphony cycle), but also long in the background, surges tuned and untuned metallic a modern work composed up and takes over the melody percussion instruments]. from the soloist. for solo violin and The solo violin flies high and orchestra, Thomas Adès’ swoops down like a seagull After a delicately cacophonous Violin Concerto, Concentric shower of tintinnabulations moving in a wind storm. The Paths. Leila Josefowicz is from the harps, piano, samplers brass instruments, so quiet and and tuned cowbells, the tempo reserved at the beginning of violinist and Louis Langrée takes on a defined pulse, not the piece, now fill the acoustic conducts. unlike the jod, or medium tempo, space with great surging walls

cincinnatisymphony.org | FANFARE CINCINNATI | 35

GUEST ARTISTS: Oct 5–6

CHRISTOPHER ROUNTREE, provocative experiences that are MusicNOW series; Colorado Mu- conductor unmoored from classical traditions. sic Festival; and Interlochen Center In the 2017–18 season, Roun- n Previous CSO Performances: for the Arts. Return engagements Debut. tree debuted with the National included performances with the n Read more: rountreemusic.com Symphony Orchestra at the Ken- Los Angeles Philharmonic, San nedy Center and with Washington Francisco Symphony (SoundBox), Christopher National Opera, conducting Missy and with Ensemble LPR at (le) Rountree, Mazzoli’s Proving Up, and returned poisson rouge. 34, is the to the Los Angeles Philharmonic He’s conducted a litany of great founder, and San Francisco Conservatory ensembles and festivals in the last conductor of Music. In the 2016–17 season, few years, including the Brooklyn he made his debut with San Diego and creative Philharmonic, Monday Evening director of Opera conducting Peter Brook’s La Concerts, the Prototype Festival, the path- Tragédie de Carmen and with the Beth Morrison Projects, the Ameri- breaking Kitchener-Waterloo Symphony, can Composers Orchestra, the LA cham- returning to Opera Omaha to con- Winnipeg Symphony, Bohuslav ber orches- duct Jonathan Dove’s Flight. Recent Martinů Philharmonic, American tra wild highlights include his conducting Up. The debut with Los Angeles Opera, Youth Symphony, and the Rose group has conducting the world premiere City Chamber Orchestra. With his Christopher Rountree, ©Rus Anson been called of David Lang’s anatomy theater; eclectic style and resume, he’s been “Searing. Penetrating. And Thrill- Atlanta Opera, conducting David tapped to curate events for contem- ing” by NPR’s Performance Today T. Little’s Soldier Songs; Diavolo porary art institutions, including and named “Best Classical Music of Dance Theater’s trilogy L’Espace the Getty Museum, MCA Denver, 2012” by the Los Angeles Times. wild du Temps, for which Rountree and the Hammer Museum, where Up started in 2010 with no funding did the reductions to Esa Pekka- a long-running wild Up residency and no musicians, driven only by Salonen’s piece of the same name; brought the group to national Rountree’s vision of a world-class the Chicago Symphony Orchestra’s prominence. ensemble that creates visceral,

cincinnatisymphony.org | FANFARE CINCINNATI | 37 GUEST ARTISTS: OCT 5–6

TRACY SILVERMAN, electric a soloist with the Los Angeles (Broadway); violin Philharmonic under conductors The Gospel Esa-Pekka Salonen and Gustavo n Previous CSO Performances: at Colonus CSO solo debut; also performed with Dudamel, the Cabrillo Festival (Athens, Jim Brickman at a 2010 Pops concert. Orchestra with Marin Alsop, Carl Edinburgh n Read more: tracysilverman.com St. Clair and the Pacific Symphony, and Spoleto the Montreal Symphony, the Stutt- festivals); gart Staatsorchester and many The Wind others. He has appeared as a soloist Up Bird at Carnegie Hall, Walt Disney Con- Chronicle cert Hall, Royal Albert Hall, Avery (Singapore Fisher Hall, Adelaide’s Festival and Edin- Theatre, São Paulo’s Auditório Adam Larsen, © Dathan Brannon Ibirapuera, the Hollywood Bowl, burgh Fes- Linz’s Brucknerhaus and Vienna’s tival); Brief Musikverein, and made his debut Encounter and My Fair Lady (Shaw with the Chicago Symphony at Festival); The Women of Brews- Tracy Silverman, © Martin Cherry age 13. Silverman’s original works ter Place (Alliance/Arena Stage); Redefining the role of the violin in have been performed by orchestras Bernstein’s MASS (LA Phil and contemporary music, Tracy Silver- and chamber music groups inter- Mostly Mozart Festival); Ghost man has contributed significantly nationally, and his scoring work Brothers of Darkland County and to the repertoire and development has been used in many episodes Native Guard (Alliance Theatre); of the six-string electric violin and of PBS’s NOVA. big (Atlanta Ballet); All of Us, Love what he calls “post-classical violin TV, internet and radio appear- Lies Bleeding and Balletlujah (Al- playing.” ances include a solo performance berta Ballet); Alcina (International Lauded by BBC Radio as “the on NPR’s Tiny Desk Concerts, a Handel Festspiele); From the House greatest living exponent of the elec- profile on CBS Sunday Morning of the Dead (Canadian Opera); Lily tric violin,” Silverman’s ground- with Charles Osgood, NPR’s Per- Plants a Garden (Mark Taper); Break- breaking work defies musical formance Today, St. Paul Sunday, and ing the Waves (Opera Philadelphia); boundaries. Formerly first violinist several appearances on Garrison Agrippina and A Flowering Tree with the innovative Turtle Island Keillor’s A Prairie Home Companion. (Opera Omaha); Semele (Pacific String Quartet, Silverman was In the liner notes to The Dharma at Musicworks and Opera Omaha); named one of 100 distinguished Big Sur, John Adams writes, “Tracy Maa (Atlanta Symphony); Quartet alumni by the Juilliard School. A has developed his own unique (Aspen Santa Fe Ballet); The Pelléas concert electric violinist, Silverman style of violin playing—a marvel is the subject of several electric vio- of expressiveness.” Trilogy (Cincinnati Symphony); lin concertos composed specifically A long-standing advocate for Seed (Cedar Lake Contemporary for him by Pulitzer Prize-winner music education, Silverman is the Ballet); Second Hand and Phorion John Adams, “Father of Minimal- author of The Strum Bowing Method (New World Symphony); Black ism” Terry Riley, Nico Muhly and he is an in-demand clinician Whole (Black Mountain College and Kenji Bunch, as well as the and a member of the string faculty Museum + Arts Center and Moog composer of three electric violin at Belmont University in Nashville. Music); Sunken Cathedral (Pro- concertos of his own. totype Festival); Siren Song and A true eclectic, Silverman’s ADAM LARSEN, video artist Midsummer Night’s Dream (Hawaii compositions and performances n Previous CSO Performances: Opera Theatre); Le Martyre de St. have been recorded by Nonesuch, Three previous appearances, in 2015, Sebastien, Peer Gynt, Peter Grimes, Naxos and Windham Hill records; 2016 and 2017 for The Pelléas On the Town, Das klagende Lied, he’s recorded with The Nashville Trilogy. Boris Godunov and SoundBox (San Symphony under Giancarlo Guer- n Read more: hum-bar.com Francisco Symphony). rero, the BBC Symphony with John In addition, Larsen has directed Adams, the Detroit Symphony Over the past 16 years Adam two feature-length documentaries with Neeme Järvi, with composer/ Larsen has designed nearly 200 pianist Terry Riley, the rock band productions in theatre, dance, about disability. His first, Neu- Guster, contemporary music’s Paul symphony and opera. Projects rotypical, about autism from the Dresher Ensemble, jazz legend have ranged from intimate to perspective of autistic people, pre- Billy Taylor, five-time Grammy extravagant and have appeared miered on the the PBS series P.O.V., winning percussionist Roy “Fu- on Broadway and in many of the and his second, Undersung, about tureman” Wooten, and the Calder major opera and symphony halls caregivers of severely disabled String Quartet, among many oth- across the country. family members, is available on ers. Silverman has performed as Designs include: LoveMusik Amazon. n

38 | FANFARE CINCINNATI | cincinnatisymphony.org Q&A with Christopher Rountree by KAYLA MOORE

The conductor is the only like linguistic musician on stage who does archeologists not play an instrument, yet dusting off produces the orchestra’s sound. inanimate objects, Can you identify a few essential to bring them characteristics a conductor must to life. And my possess to produce the desired godmother, Hope, results from their musicians? is a planning Within a musical organization strategist for arts the conductor is like a fleeting, organizations. momentary CEO for any given She’s the type of week—equal parts curator, self-possessed that my ideal self therapist, diplomat, spiritual holds in his heart. leader, referee, comedian, stage She doesn’t wait manager, storyteller and factory to be asked to foreman. While we don’t exactly dance. She’s a make noise (though tangentially, Buddhist, and she I grunt a lot, people tell me, and loves therapy and I’ve been known to yell before a the inner workings cadence in rehearsal), our job is of the mind. to use geography and awareness to connect musicians in musical About what space. We’re a ritual object for the inspires me: Doing orchestra and for the audience the right thing both, as everyone in the room inspires me. And, contributes to the experience of wow, what a depressing time it is What do you do for fun when you everyone else, and together we to live in, for people who believe are not working? create the space for the music to that the right things are the right I love exploring cities by finding live. Conductors let people into the things I believe in. (That sentence formality and the ritual of classical doesn’t really make sense does it? the best food in them. In LA music without mentioning it. To the But I’m sticking with it.) In a time it’s easy, but not without some orchestra I signal a pulse and some like this, we need to challenge serious planning and driving. I love musical ideas with my gestures and authority, wherever we can find it. playing games of all shapes and gaze, and to the audience I signal If it’s finding beauty in dark places, sizes (video, board, head, etc.). I when and how to listen. and making art out of places that love to read, and I read as much have hurt us, so be it. If it’s finding Sci-fi and Fantasy as I can. And I In a relatively short span of time emotional walls in our art form and love group storytelling (read: I’m in, on this earth, you have earned trying to knock holes in them to let like, five Dungeons and Dragons incredible reviews which speak to the light in, so be it. If it’s the daily games right now, running two and your style, innovation and ability artistic practice that people find playing in some, but I’m way too to connect with an audience. protesting in the streets, so be it. If embarrassed about the heights of Throughout your journey as a it’s writing a simply beautiful piece my nerd-ism to admit that here. composer and conductor, who or of music, damn, you’d better really Oh wait. Geek alert!). what do you consider influenced think about that and how that’s these skills the most? going to change the world, because To read more of this Fanfare Wow, that’s a big compliment, I’ve got news for you, there are no Cincinnati Q&A with Christopher thank you. About the who, for sure “non-political” pieces of art. There Rountree, please visit it’s got to be my mom, Jennifer, are only those aware of the political cincinnatisymphony.org/rountree. n and my godmother, Hope. My context they’re made in and from, mom teaches actors how to and those that are unaware. (Let’s dig the meaning out of words, be the first one.)

cincinnatisymphony.org | FANFARE CINCINNATI | 39

POPS SERIES PROGRAM

2018–2019 SEASON FRI OCT 12, 8 pm SAT OCT 13, 8 pm SUN OCT 14, 2 pm Music Hall

HAUNTED HALL Damon Gupton, conductor

TOCCATA AND FUGUE IN D MINOR Johann Sebastian Bach, orch. Stokowski

FUNERAL MARCH OF A MARIONETTE Charles Gounod

DANSE MACABRE Camille Saint-Saëns

SENSEMAYÁ Silvestre Revueltas

ANVIL OF CROM from CONAN THE BARBARIAN Basil Poledouris

THE SORCERER’S APPRENTICE Paul Dukas

INTERMISSION

ENTRANCE OF THE GLADIATORS Julius Fučík

SUITE from PSYCHO Bernard Herrmann

NIGHT ON BALD MOUNTAIN Modest Mussorgsky, orch. Rimsky-Korsakov

MARCH TO THE SCAFFOLD and DIES IRAE from SYMPHONIE FANTASTIQUE Hector Berlioz

Program subject to change

The Cincinnati Pops Orchestra is grateful to Pops Series Sponsor PNC and Kids’ Tickets Sponsor Graeter’s. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. We are thankful for our Shuttle Partner, Croswell VIP Motorcoaches, for providing transportation to our patrons this season.

WVXU is the Media Partner for these concerts. The Cincinnati Pops in-orchestra Steinway piano, courtesy of The Jacob G. Schmidlapp Trust, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. 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 | 41 GUEST ARTIST: Oct 12–14

DAMON GUPTON with symphony, university and History and Real Adventures, Treason n Previous Pops Performances: festival orchestras through the and The Story. He also performed 3 previous, including his November U.S., Europe and Asia. He led the the title role of Academy Award- 2014 debut, New Year’s Eve 2015 Sphinx Chamber Orchestra on a winner Eric Simonson’s Carter’s and concerts in January 2017. national tour with performances at Way at Kansas City Repertory n Read more: damongupton.com Carnegie Hall and a well-reviewed Theater and was featured in the recording (White Pine Music). He title role in the critically acclaimed A native also conducted the finals of the Heart of America Shakespeare of Detroit, Seventh Cliburn International Festival production of Othello. He Michigan, Amateur Piano Competition. He received an AUDELCO nomina- Damon is a winner of the Third Interna- tion for Best Supporting Actor for Gupton tional Eduardo Mata Conducting his work in Clybourne Park. held the Competition, held in Mexico City. Gupton’s television credits in- post of Awards include the Robert J. Harth clude series regular roles on Black Damon Gupton assistant Conducting Prize and The Aspen Lightning, Criminal Minds, The conductor Conducting Prize. Gupton is the in- Player, The Divide, Prime Suspect, of the Kansas City Symphony augural recipient of the Emerging and Deadline, as well as guest ap- from 2006 to 2008. Gupton received Artist Award from the University pearances on Goliath, A&E’s Bates his Bachelor of Music Education of Michigan School of Music and Motel, The Newsroom, Suits, Empire, degree from the University of Alumni Society. Rake, Law & Order, Law & Order Michigan. He studied conducting An accomplished actor, Gupton Criminal Intent, Conviction, The Un- with David Zinman and Murry graduated from the Drama Divi- usuals, Third Watch, Hack and Drift. Sidlin at the Aspen Music Festival sion of the Juilliard School. He has He appeared in Damien Chazelle’s and with Leonard Slatkin at the had roles in television, film and on Academy Award-winning films National Conducting Institute in stage, including the Broadway pro- Whiplash and La La Land, as well Washington, D.C. He served as duction of Clybourne Park, as well as This is Forty, The Last Airbender, American conducting fellow of as regional theatre performances Helen at Risk, Before the Devil Knows the Houston Symphony for the in Ma Rainey’s Black Bottom, Supe- You’re Dead, Unfaithful and The 2004–05 season and has made rior Donuts, Inked Baby, Meg’s New Loretta Claiborne Story. n guest conducting appearances Friend, An American Daughter, True

42 | FANFARE CINCINNATI | cincinnatisymphony.org Q&A with Damon Gupton by KAYLA MOORE

it—which can be I do have one more concert this humbling and sometimes year, next month in Charlottesville, daunting. I believe as a VA, in which I have the privilege of conductor I have to take conducting music from one of my that in and collaborate favorite composers, Tchaikovsky. with these accomplished The musicians of the Charlottesville instrumentalists to create Symphony and I will be doing his a performance. That said, Fifth Symphony...that dramatic the more I am able to musical tale of fate, love and invest emotionally in the triumph. I’ll also get to embrace music and the stronger the challenge of working on the the sense of collaboration, stunningly gorgeous Barber Violin Without the benefit of speaking the more I can hopefully convey Concerto. I’m excited to share both directly to composers, how do in my interpretations to the of these beautiful and emotional you interpret a particular piece of orchestra. pieces with the audience there, music objectively? considering the tragic events of last What is your approach to One of the wonderful things about year. Hopefully some of us will find choosing and shaping a versatile music, I believe, is that there is no healing in the notes, moods and one right answer, no truly objective program like Haunted Hall? phrases. interpretation. How staccato is When you have a specific program like Haunted Hall, it is both helpful Next year, in honor of the MLK “staccato”? How poco is “poco”? holiday, I’ll have the honor of How lento is “lento” today? On in narrowing down your choices, and a bit tricky, because not only narrating A Lincoln Portrait and top of that, you have traditions Joseph Schwantner’s New Morning that develop in certain pieces of does a program have to hang together musically, you want it for the World with the Colorado music that aren’t in the score at Symphony and Brett Mitchell. Then all. Who knows what Revueltas to make sense thematically. I’m lucky in my collaborations with I’ll conduct my first live film score or Dukas or Beethoven would say with orchestra, Jurassic Park, with hearing a performance today? Even the Cincinnati Pops because I have Sam Strater there as artistic the Fort Worth Symphony, which conductors who are composers can makes me giddy. I’ll also be guest conduct their own music differently administrator. He always has good ideas and asks me for some input hosting an episode of the acclaimed over time. Music is created in NPR series From the Top, which the moment, and variations in as well. We brainstormed possible pieces that would fit, and narrowed is a little different for me, but ensemble, temperament and other exciting. I look forward to talking factors influence what a conductor it down from there. It is important to have variety but still hopefully with talented young musicians and chooses to emphasize in a learning from them. particular performance. So, while I make a cohesive program. That’s try to take some of the information what we tried to do. This program With a career spanning television, available into account—notes, has some very challenging pieces theatre, conducting and more, dynamics, articulation, tempo for the orchestra, both familiar is there any one genre of artistic markings, traditions and and unfamiliar works. And then expression that you are most recordings—there is an element there are things that are just passionate about? of subjectivity that is inherent in pure fun. The musicians of the The things I’ve been fortunate to creating live art. That’s the “juice Cincinnati Symphony and Pops do in my life each have a different within the juice” to me. are so wonderful and versatile. I weight to them. They feed different truly hope the audience and the things in me. They challenge me What are some techniques you orchestra enjoy the ride. employ when preparing orchestras differently. At times, they provide around the world to perform a What exciting programs or an indescribable balance while piece in such a way that it speaks projects are in your near future? embracing one another. While there is nothing quite like the to the emotional element you I am currently in the midst of transcending art of music, the believe composers wish to convey? shooting the second season of challenges of Shakespeare’s text Instrumentalists bring so much to a television show called Black or creating something as close to everything they play. They truly Lightning, which airs on the CW real life as possible on a stage or in make the world of difference in network (shameless plug). It’s a big front of a camera can be so thrilling presenting music to the audience. commitment. I’ve been fortunate and powerful. Orchestral music, to me, is to work on several TV series inherently collaborative, and quite over the years as a principal cast How could one choose? All of this often musicians bring opinions, member, so it’s hard to work on a is important to me in this moment, styles and traditions when they lot of outside music projects. That’s and I consider myself very, very walk into rehearsal. They may also part of the reason I am so happy lucky to inhabit both worlds. It is a have played a particular piece many and grateful to be back here. true gift. I truly wouldn’t have it any more times than I have conducted other way. n

cincinnatisymphony.org | FANFARE CINCINNATI | 43

THIRD SUBSCRIPTION PROGRAM

2018–2019 SEASON SAT OCT 20, 8 pm SUN OCT 21, 2 pm Music Hall

LOUIS LANGRÉE conductor CHRISTIAN COLBERG viola ILYA FINKELSHTEYN cello

TELEMANN Don Quichotte (Ouverture burlesque de Quichotte), TWV 55:G10 (1681–1767) Ouverture Le Reveille de Quichotte (“The Awakening of Don Quixote”) Son Attaque des Moulins à Vent (“His Attack on the Windmills”) Ses Soupirs amoureux après la Princesse Dulcinée (“Sighs of Love for Princess Dulcinea”) Sanche Panche berné (“Sancho Panza Swindled”) Le Galope de Roscinante (“Rosinante Galloping”) Celui d’Ane de Sanche (“Sancho Panza’s Mule”) Le Couché de Quixotte (Don Quixote at Rest”)

CHRISTIAN COLBERG Viola Concerto, “Don Quixote” (b. 1968) Alonzo Aldonza Sancho

INTERMISSION

R. STRAUSS Don Quixote, Fantastic Variations on a Theme of (1864–1949) Knightly Character, Op. 35

These performances will end at approximately 9:50 pm Saturday, 3:50 pm Sunday.

The CSO is grateful to MAC Open Door Series Sponsor Macy’s and to this weekend’s Presenting Sponsor HORAN. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. We are thankful for our Shuttle Partner, Croswell VIP Motorcoaches, for providing transportation to our patrons this season. Classical Conversations are endowed by Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. Listen to this program on 90.9 WGUC February 10, 2019 at 8 pm and online at cincinnatisymphony.org February 11–17.

cincinnatisymphony.org | FANFARE CINCINNATI | 45 PROGRAM NOTES: Oct 20–21 © 2018–19 Cincinnati Symphony Orchestra

n CSO notable performances: REAT LITERATURE and enduring characters not only These performances are the work’s transcend time, but also inspire art. In the early 1600’s CSO premiere. Greaders were first introduced to Don Quixote, Sancho n Duration: approx. 17 minutes Panza and the never-seen Dulcinea del Toboso in two novels by With the condescending pro- Miguel de Cervantes. These novels captured the imagination, found a nouncement, “Since the best man worldwide audience and continue to inspire composers four centuries could not be obtained, mediocre later. This program explores Don Quixote’s fascinating story from ones would have to be accepted,” three distinct musical vantage points. From Georg Philipp Telemann’s City Councilor Platz announced the 1761 orchestral suite to Richard Strauss’ sweeping tone poem appointment of Johann Sebastian Bach in 1723 as Kantor for Leipzig’s composed in 1897, featuring Principal Cellist Ilya Finkelshteyn, to churches. Platz’s “best man” was the Cincinnati premiere of CSO Principal Violist Christian Colberg’s Georg Philipp Telemann, then the recent Viola Concerto, all inspired by Cervantes’ expression of most highly regarded composer yearning through the Don Quixote character. We are always thrilled in all Germany. Telemann’s asso- to introduce Cincinnati audiences to new music, but take special ciation with Leipzig went back to pride when that music is written by one of our own. At no time in 1701, when he left his hometown recent memory has a CSO musician performed their own concerto of Magdeburg to enroll at the city’s university; he was soon receiving composition with the Orchestra. This is a remarkable program in the regular commissions from the life of the CSO. —LOUIS LANGRÉE Leipzig City Council for new service music. In 1702, he became director of the local opera house, and began churning out specimens DON QUIXOTE, MUSICALLY Along for the adventure, and the of that genre to fill his own stage. SPEAKING recipient of much abuse from his Two years later, he started a Col- Don Quixote by Miguel de Cer- master, is Sancho Panza, Quixote’s legium Musicum with some of his vantes (1547–1616) is not only witty, ironic, perceptive but de- talented university friends in a among the earliest examples of the voted servant. Aldonza, although local coffee house to give concerts novel in world literature (1605), she appears in the novel only in the of instrumental music and was but also one of the most admired old man’s imagination, represents also appointed organist and Ka- and widely enjoyed. Cervantes for him the ideal of beauty and pellmeister of Leipzig’s Neukirche. sketched his hero thus: “Through chivalric love, though Cervantes A year later, Count Erdmann von little sleep and much reading, he indicates that she is at best a Promnitz lured Telemann to his dried up his brains in such sort common farm girl or innkeeper’s estate at Sorau, a hundred miles as he wholly lost his judgment.” daughter but probably someone far southeast of Berlin, to become Thereupon, “He fell into one of the more experienced in the salacious his music master. In 1708 or 1709, strangest conceits that a madman ways of the world. Telemann was appointed court ever stumbled on in this world... This Cincinnati Symphony Or- composer at Eisenach, Sebastian that he himself should become a chestra concert includes composi- Bach’s birthplace, and in 1712, he knight-errant, and go throughout tions from three centuries inspired moved to the post of city music the world with his horse and armor by Cervantes’ timeless novel, director in Frankfurt-am-Main. to seek adventures and practice in works that speak of the enduring Nine years later, he was named person all that he had read was “quixotic” quest for the good, for director of music for Hamburg’s used by knights of yore....” the ideal, which help to renew our five main churches. During his Knights in shining armor were own human spirit. tenure, he also headed the munici- as much out of fashion in Cer- pal opera house and oversaw the vantes’ day as covered wagons GEORG PHILIPP TELEMANN city’s flourishing concert series. and the Pony Express are in Don Quichotte (Ouverture Telemann composed with stag- ours, but the nostalgic, historical burlesque de Quichotte), gering prolificacy for the rest of romance that they represent is the TWV 55:G10 his days, being slowed only in his source of much of the poignancy last years, like Bach and Handel, n Born: March 14, 1681, that Don Quixote elicits and that by problems with his eyesight. He Magdeburg, Germany served as the inspiration for works died of (probably) pneumonia in Died: June 25, 1767, Hamburg by some 60 composers, including 1767 (Mozart turned eleven that n Work composed: c. 1761 Strauss, Telemann, Purcell, Mas- year), and was succeeded in his n Instrumentation: keyboard, senet and Falla. strings

46 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: OCT 20–21

Hamburg post by his godson, Carl Hochzeit [i.e., Marriage] des Cama- The suite closes with a movement Philipp Emanuel Bach. cho) and an instrumental suite. titled Don Quixote at Rest, but Among Telemann’s vast catalog Telemann’s Don Quixote suite the music indicates that thoughts of instrumental suites are a number opens with a rather stiff realiza- of adventure and heroic deeds with extra-musical and program- tion of the old French overture— continue to canter through the old matic associations. Perhaps the somewhat arthritic dotted-rhythm man’s mind. most familiar of these is the Ham- strains in pompous tempo at burger Ebb’ und Flut (“Hamburg’s beginning and end frame a livelier CHRISTIAN COLBERG Ebb and Flow,” commonly known central episode of knight-errantly Viola Concerto, “Don as Telemann’s Water Music), com- dash. The following movements, Quixote” posed in 1723 to celebrate the cen- utilizing two-part dance form tenary of the founding of the city’s for their structural organization, n Born: October 30, 1968, Admiralty. Other of his referential explore a variety of moods to sug- Puerto Rico instrumental works include suites gest their subjects. The Awakening n Work composed: 2013 titled La Lyra, Sounding Geography of Don Quixote is a somnolent n Premiere: October 2014, San (depicting Germans, Swedes and number incorporating a drone Juan, by the Orquesta Sinfonica del Danes through various national that is reluctant to be roused. His Conservatorio de Musica de Puerto dances; the work ends with a Attack on the Windmills develops Rico, Christian Colberg, violist movement called The Old Women an almost operatic fury. Sighs of n Instrumentation: solo viola, Bemoan the Good Old Days) and Love for Princess Dulcinea uses 2 flutes (incl. piccolo), 2 oboes, one brazenly dubbed La Putain the stock galant device of a small 2 clarinets, 2 bassoons (incl. (“The Prostitute”), which contains drooping melodic interval to por- contrabassoon), 2 horns, trumpet, scenes of The Peasants’ Church tray Quixote’s amorous state. His timpani, crash cymbals, snare drum, Fête, The Witches’ Dance, The servant’s misadventure (Sancho suspended cymbals, tambour de Inn of Lice, Boss-Girl Lissabeth Panza Swindled) rudely inter- basque, strings and Brother Michael’s Goatee. rupts this reverie. The mounts of n CSO notable performances: Cervantes’ Don Quixote of 1605 the two adventurers are depicted These performances are the work’s inspired from Telemann both a in Rosinante Galloping and The CSO premiere. vocal serenata (Don Quixote auf der Gallop of Sancho Panza’s Mule. n Duration: approx. 30 minutes

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Violist, violinist, composer and to perform as Principal Viola conductor Christian Colberg with the Aspen Music Festival began his musical studies at as a visiting faculty member. In the age of five and took his addition to his orchestral work, professional training as a vio- Colberg has performed inter- linist at the Peabody Institute nationally with noted artists of Music in Baltimore, where such as Marvin Hamlisch, Gary he also served as assistant to Karr, Milton Katims, Augustin his principal teacher, Shirley Hadelich, Samuel Sanders, Jo- Givens. He made his New York seph Silverstein, Jaime Laredo City violin debut under the and Sharon Robinson, as well auspices of Música de Cámara, as the Muir, Cypress and Ariel Inc. in 1992. In 1994 he joined String Quartets, and he is a the viola section of the Balti- frequent guest artist with the more Symphony Orchestra and Silk Road Festival in China and eventually won the position Cincinnati’s Linton Chamber of Assistant Principal Violist, Music Series. He has appeared a post he held until being ap- as soloist with the symphony pointed to the Louise D. and orchestras of Cincinnati, Pitts- Louis Nippert Chair as Prin- burgh, Baltimore, Victoria, cipal Violist of the Cincinnati Puerto Rico and San Salvador. Symphony Orchestra in 2010. He has taught at the Peabody Since 2014, Colberg has also Institute and University of Cin- performed as Principal Viola cinnati College-Conservatory Drawing by Puerto Rican artist Rivera, from the with the Bellingham Festival Colberg family collection. of Music, where he taught an of Music and recently became orchestral excerpts class 2012– a regular performer with the 2014, and he continues to offer Sitka Summer Music Festival in orchestral audition training in his Alaska. In 2018, he was invited private studio. Christian Colberg

48 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: OCT 20–21 was honored for his achievements Players Concert on April 26 in RICHARD STRAUSS in classical music by the House of Corbett Tower.] Don Quixote, Fantastic Representatives of Puerto Rico in Colberg wrote of the Concerto: Variations on a Theme of 1985 and again by the Senate in Essentially, there are three major Knightly Character, Op. 35 1994; his additional awards include compositions that form the n Born: June 11, 1864, Munich an Alpha Delta Kappa Foundation core of the solo viola concerto Died: September 8, 1949, fine arts grant. repertory: the Bartók, Walton Garmisch-Partenkirchen, Germany In 2013, Cervantes’ Don Quixote and Hindemith. Although they n Work composed: 1897 provided the inspiration for Chris- are truly great works, I find that n Premiere: March 8, 1898, Co- tian Colberg’s Viola Concerto, for some first-time concertgoers logne, Germany, Franz Wuellner which he premiered in October the pieces can be a little hard to digest. So, I decided to write conducting 2014 in San Juan with the Orquesta one of my own that would be n Instrumentation: solo cello, Sinfónica del Conservatorio de accessible to a wider audience. solo viola, 2 flutes, piccolo, 2 oboes, Música de Puerto Rico; its sec- English horn, 2 clarinets (incl. E-flat The Viola Concerto is in ond movement (Aldonza) was clarinet), bass clarinet, 3 bassoons, three movements, depicting chosen by that year’s Primrose contrabassoon, 6 horns, 3 trumpets, characters from Cervantes’ Don International Viola Competition 3 trombones, 2 tubas, timpani, bass Quixote. The first movement as its required piece. Colberg has evokes Alonzo (the title drum, crash cymbals, glockenspiel, since performed the Concerto with character’s given name) before snare drum, tambour de basque, numerous orchestras. In June of he embarks on the journey that triangle, wind machine, harp, strings 2018, his newest work, The Rant for renames him Don Quixote, just n CSO notable performances: 11 Two Violas, was given its world moments before his sense of previous subscription weekends | premiere at the American Viola reality and fantasy begins to Premiere: October 1924, Fritz Reiner Society Festival in Los Angeles, blur. The second movement is conducting | Most recent: January Aldonza as she really was and 1996, Jesús López Cobos conducting; with Colberg and Karin Brown as not as Don Quixote’s idealized Marna Street, violist and Eric Kim, soloists. [Colberg and CSO violist Dulcinea. The third movement cellist. Joanne Wojtowicz will perform represents Sancho as he was, is, n Duration: approx. 38 minutes The Rant for the CSO Chamber and always will be.

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In his large-scale tone poem, Rich- Introduction: The elderly the tenor tuba; later, however, it ard Strauss emphasized the dra- hero’s fancy teems with the is given to the solo viola. matic elements of Cervantes’ tale “impossible follies” of the Variation I. “The Knight and his by assigning a theme representing romantic works he has been reading. He goes mad [a sharp Squire Start on Their Journey.” Quixote to the solo cello, and then Inspired by the beautiful varying the melody to depict dissonance following a harp glissando] and in his madness Dulcinea of Toboso, the Knight several episodes from the novel. he vows that he will become a attacks some “monstrous Sancho Panza is usually played knight-errant. giants,” who are nothing more by the solo viola, as it will be this than windmills revolving in the breeze. The sails knock him down and he is in a “very evil In his large-scale tone poem, Richard Strauss plight.” emphasized the dramatic elements of Cervantes’ Variation II. “The Victorious Battle Against the Host of the tale by assigning a theme representing Quixote to Great Emperor Alifanfaron.” the solo cello, and then varying the melody to depict A huge army approaches in a swirling cloud of dust. It is several episodes from the novel. Sancho Panza is only a great herd of sheep, but usually played by the solo viola…. the Knight’s tottering mind perceives the flashing weapons of soldiery. He rushes into the weekend, but it is also sometimes Theme: “Don Quixote, charge, unmindful of Sancho’s given to the tenor tuba and the bass the Knight of the Rueful warnings, and the muted brass clarinet. Strauss’ work portrays ten Countenance; Sancho Panza.” depicts the pitiful bleating of the animals. The Knight is stoned of Quixote’s exploits, described in Here the theme of the hero is by the shepherds, and he falls a summary of the action that ap- announced by the solo cello. to the ground. peared in the two-piano version Sancho Panza’s theme emerges of the score: first in the bass clarinet, then in Variation III. “Colloquies of Knight and Squire.” Honor,

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glory, the Ideal Woman— Dulcinea. Don Quixote then for adventure, Don Quixote these are the things that Don vows vengeance against the violently charges into a Quixote speaks on. Sancho, wicked magician who has peaceable pair of monks, who the realist, holds forth for a wrought this transformation. are going by on their mules. more comfortable life, but he is In his maddened brain, the ordered to hold his tongue. Variation VII. “The Ride monks are mighty magicians, Through the Air.” Blindfolded, and Quixote is elated beyond Variation IV. “The Adventure Knight and squire sit astride measure at their utter rout. with the Penitents.” Mistaking a a wooden horse, which—they band of pilgrims for robbers and have been informed—will carry Variation X. “The Duel with the villains, Don Quixote attacks, them aloft. Their themes surge Knight of the White Moon.” The only to receive a sound drubbing upward and one hears the greatest setback of his knightly from them. The pilgrims depart, whistling of the wind, including career is suffered by Quixote at intoning their churchly theme, the whine of the wind machine, the hands of the Knight of the and the senseless Knight revives though the wooden horse has White Moon, who is, after all, a to the great delight of Sancho, never left the ground. true friend. He explains that he who soon falls asleep. hoped to cure Don Quixote of Variation VIII. “The Journey his madness, and, having won Variation V. “The Knight’s to the Enchanted Park.” In an the duel, orders him to retire Vigil.” Don Quixote spurns oarless boat, Don Quixote and peacefully to his home. sleep. He will watch by his Sancho embark, as the theme armor instead. Dulcinea, in of the Knight comes through as Finale. “The Death of Don answer to his prayers, comes a Barcarolle. Though the boat Quixote.” The worn and harried to him in a vision, as the theme capsizes, the two finally reach Knight is no longer bemused. It of the Ideal Woman is heard in shore and give thanks for their was all vanity, he reflects, and the horn. safety. he is prepared, now, for the peace that is death. Variation VI. “The Meeting with Variation IX. “The Combat Dulcinea.” Jestingly, Sancho with Two Magicians.” Back —All notes by points to a country wench as on his horse and eager as ever Dr. Richard E. Rodda

SPOTLIGHT, cont. from p. 18: Christian Colberg

Even with a borrowed viola, Christian’s technique time he will perform his work with the Orchestra (read and skill stood out among the other candidates, and more about the Concerto starting on p. 47). Christian he won the vote of the auditioning committee to fill the states, “I am so excited, grateful and terrified to have position of violist with the Baltimore Symphony. After this opportunity! I spend half my day eager and look- he won the audition, he took out a loan to purchase ing forward to performing the piece, and the other half a viola, and it is this same instrument that he uses on of the day saying, ‘what have you done?’” stage to this day. Christian will also play the viola solo in Richard Christian joined the CSO in 2010 as Principal Violist, Strauss’ Don Quixote, Fantastic Variations on a Theme holding the Louise D. & Louis Nippert Chair. Christian of Knightly Character. If you are familiar with the recounted his first week after winning the CSO audi- story, you can shut your eyes and visualize the voices tion, when he saw something he had not witnessed in a of Don Quixote and Sancho Panza as their characters very long time: “When I sat down in the Principal Viola are so richly painted through sound. Christian’s chair and looked out to the audience, I saw and felt a viola represents the voice of Sancho. Through various sense of community and pride. The audience cared for musical themes, you can hear Sancho scurrying after the arts and for the Cincinnati Symphony Orchestra, Don Quixote, played by the solo cellist (CSO Principal and it was palpable. It was a unique experience, and it Cello Ilya Finkelshteyn), as he tries to fix numerous was that, that drew me to Cincinnati,” said Christian. catastrophes while trying to prevent his lord, the This month, Christian, who has also garnered ac- ultimate dreamer, from creating others. colades as a composer, will perform one of his recent Christian’s love of music and gift of versatility are compositions with the Orchestra, his Viola Concerto. unmistakable. Christian shares, “What I enjoy most It is inspired by the great Spanish novel Don Quixote is the variety of everything I get to play. I can equate de la Mancha by Miguel de Cervantes. it to a great meal. You can have many different types The Viola Concerto is constructed in three move- of food on a single plate. But it is how all of the flavors ments—Alonzo, Aldonza, Sancho—depicting three of combine that creates the experience.” n the characters in the Don Quixote story. It is the first

cincinnatisymphony.org | FANFARE CINCINNATI | 51 GUEST ARTISTS: Oct 20–21

CHRISTIAN COLBERG, violist and Concertmaster of the Annapo- 2018, he was invited to perform as n Previous CSO Performances: lis Symphony Orchestra. He is a Principal Viola and serve as visit- Solo debut. graduate of the Peabody Institute ing artist faculty with the Aspen n Read more: of Music, having studied under Music Festival. Christian Colberg ChristianColberg.com the tutelage of Charles Libove and has held teaching positions at both Shirley Givens. Colberg played his the Peabody Institute of Music, Christian Col- New York City debut under the as well as the University of Cin- berg began auspices of Música de Cámara Inc. cinnati College-Conservatory of his musical in 1992 to excellent reviews from Music (CCM). studies at the audiences and critics alike. As an active chamber musician, age of five Recipient of numerous awards, Colberg has collaborated with art- in his native including the Alpha Delta Kappa ists such as Marvin Hamlisch, Gary Puerto Rico. Foundation Fine Arts grant, Col- Karr, Milton Katims, Augustin Known for berg has also been recognized by his versatil- Hadelich, Samuel Sanders, Joseph ity, Colberg the House of Representatives and Silverstein, Jaime Laredo and Sha- excels as a the Senate of Puerto Rico for his ron Robinson, as well as the Muir, achievements in the classical music Cypress and Ariel string quartets. Christian Colberg, ©Matt Wan violinist and violist, and field. He has been a featured solo- He has also performed on the Lin- has garnered accolades as a com- ist with the symphony orchestras ton Chamber Music Series, and he poser and a conductor. He is of Pittsburgh, Baltimore, Victoria, is a frequent guest artist with the currently the Principal Viola of the Puerto Rico and San Salvador. Silk Road Festival in China. Cincinnati Symphony Orchestra, Since 2014, Colberg has per- In his spare time, Christian holding the Louise D. & Louis formed as Principal Viola with Colberg enjoys a good espresso, Nippert Chair. the Bellingham Festival of Music photography, home renovation Prior to joining the CSO he was and recently has become a regular projects, and playing electric guitar the Assistant Principal Viola of the performer with the Sitka Summer and drums. Baltimore Symphony Orchestra Music Festival in Sitka, Alaska. In

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ILYA FINKELSHTEYN, cellist was a member of the St. Louis Sym- Joseph Silverstein, Jules Eskin, n Previous CSO Performances: phony Orchestra for five seasons Steven Ansell, Harold Robinson Three previous subscription under the late Hans Vonk. and Vadim Repin. Finkelshteyn performances, most recently in Prize-winner of such competi- has been heard on Wisconsin January 2015 for Schumann’s tions as the Brahms International Public Radio, Maine Public Radio, A minor Cello Concerto; he made his Competition, Concertino Praga, KFUO- FM in St. Louis, and WYPR CSO solo debut in November 2010. Russian Cello Competition, the in Baltimore. WAMSO International Competi- He is an Adjunct Assistant Pro- Principal tion, the Aspen Concerto Competi- fessor of Cello at the University of cellist of the tion and the Chautauqua Concerto Cincinnati College-Conservatory Cincinnati Competition, Ilya Finkelshteyn of Music. Finkelshteyn started Symphony has appeared as a soloist with the his education at the Special Mu- Orchestra Baltimore Symphony Orchestra, sic School at the St. Petersburg Ilya Fin- St. Louis Symphony Orchestra, Conservatory under the tutelage kelshteyn Detroit Symphony Orchestra, of Sergei Chernyadiev. After im- was praised Mostly Mozart Festival Orchestra migrating to the United States, he Ilya Finkelshteyn by The Wash- and many other world-class or- studied one year at the University ington Post chestras, including the National of Minnesota School of Music with as a “complete master of his in- Repertory Orchestra. As a winner Tanya Remenikova and six years strument,” and has performed of the Juilliard Concerto Competi- at the Juilliard School with Harvey throughout the United States, tion, Finkelshteyn was a soloist Shapiro, where he was coached Canada, Europe and Japan. In 2002 with the Juilliard Orchestra on by Felix Galimir, Samuel Sanders, he became Principal Cello of the its tours to France and Bermuda. and members of the Juilliard String Baltimore Symphony Orchestra He has collaborated with András Quartet. under the direction of Yuri Temir- Schiff, Kirill Gerstein, Hilary Hahn, Ilya Finkelshteyn’s cello is a kanov. Prior to that, Finkelshteyn David Soyer, Richard Goode, Giovanni Crancino, c. 1700. n

Q&A with Ilya Finkelshteyn by DIANA MARIA LARA

What role does the cello play in the listener. Although his love dedicated to their craft, also have Strauss’ Don Quixote and how do is not real, and Dulcinea is only many hobbies outside of music— you approach that role? a figment of his imagination, it from golf to photography, from moves him to live his life dedicated In the tone poem Don Quixote by pottery to farming. to her. Richard Strauss, the cello plays As a professor at CCM and a the role of Don Quixote himself. What is your favorite piece to performer with the CSO, what Besides reading Cervantes’ novel, perform? Why? are some things that inspire you I try to look at various works of Every piece that the CSO and perpetuate your passion for art, sculptures, paintings, etc. that performs is my favorite piece music and performance? describe the character of Don to perform at the time. But the I happen to be lucky enough to be Quixote. absolute truth is that I truly love a CCM professor. The contact with Strauss’ Don Quixote. I think it is What do you hope listeners take the most talented and inspiring the greatest tone poem that has away from your performances of students makes me want to learn ever been written. this piece? and perform better on stage with It has long been a dream of mine What is something people might the CSO. I believe that teaching to perform this piece. Somehow I be surprised to know about being makes me a better musician and think the cello is a perfect vehicle a CSO musician? human being. n to deliver the various heroic deeds I think people might be surprised and dreams of Don Quixote to that CSO musicians, who are so

cincinnatisymphony.org | FANFARE CINCINNATI | 53 DIRECTORS & ADVISORS

n BOARD OF DIRECTORS (as of September 1, 2018) Officers Rebecca J. Bolce Lois Jolson Thomas H. Quinn, Jr. Francie S. Hiltz, Chair Kate C. Brown Peter E. Koenig James B. Reynolds* Robert W. McDonald, Trish Bryan* Marvin Kolodzik Stanley E. Romanstein Chair Elect and Vice-Chair of Craig Buchholz Peter E. Landgren Jack Rouse Leadership Development Melanie M. Chavez John Lanni Lisa M. Sampson Otto M. Budig, Jr., Michael L. Cioffi Tad Lawrence Ann H. Santen Treasurer and Vice-Chair of Finance Kelly M. Dehan Wendy S. Lea Pamela Schmitt Christopher C. Cole, Secretary Dennis W. Dern Spencer Liles* Dennis L. Schoff Dianne Dunkelman, Shaun Ethier Edyth B. Lindner* Digi France Schueler Vice-Chair of Volunteerism Alberto J. Espay, M.D. Mark Luegering Edgar L. Smith, Jr. Thomas Charles Garber, Dwight A. Ferrell Timothy J. Maloney Ken L. Stone Co Vice-Chair of Institutional Advancement Mrs. Charles Fleischmann III* Bernard L. McKay Theodore W. Striker, M.D. Rosemary Schlachter, Susan S. Friedlander* John A. Moore Robert Sullivan Co Vice-Chair of Institutional Advancement Jane Garvey Jennifer J. Morales David R. Valz Sheila J. Williams, L. Timothy Giglio Anne Mulder Daniel Wachter Vice-Chair of Community Engagement Joseph W. Hagin Elizabeth Reitz Mullenix Randolph L. Wadsworth, Jr.* Lawrence Hamby Eric V. Oliver Geraldine B. Warner Directors Delores Hargrove-Young Marilyn J. Osborn Charla B. Weiss Jessica C. Adelman Patti Heldman Thanh T. Pham Diane West Lars C. Anderson Joseph W. Hirschhorn* Stephen Phillips Stacey G. Woolley Randi S. Bellner Brad Hunkler Aftab Pureval *Director Emeritus Louis D. Bilionis Sandra F. W. Joffe

n BENEFACTORS COUNCIL (as of August 31, 2018) Benefactors Council members are devotees of classical music. With annual gifts of $5,000 or more for an individual and $7,500 or more for an organization, donors gain unique access to the people who make the music happen and a behind-the-scenes view into the workings of the Orchestra. To learn more about becoming a member, contact Mary McFadden Lawson in the Philanthropy Department, 513.744.3272.

Dr. Charles Abbottsmith Fifth Third Bank Foundation, Macy’s, Jenna McHugh Mike and Digi Schueler Ms. Jessica Adelman and The Kroger Co. Ms. Heidi Jark Mr. and Mrs. Timothy Maloney David and Abby Schwartz Romola N. Allen § Dr. and Mrs. Carl G. Fischer Dr. and Mrs. Brian A. Mannion Mr. Peter Schwartz Mr. and Mrs. Lars C. Anderson, Sr. Mrs. Charles Fleischmann Jonathan Martin Ladislas & Vilma Segoe Family Martha G. Anness § Ashley and Bobbie Ford § Matta Family Foundation, Mr. David Ellis Dr. Norita Aplin and Stanley Ragle § Susan Friedlander § Rhoda Mayerson Sue and Glenn Showers Thomas P. Atkins Dr. and Mrs. Harry F. Fry Mr. and Mrs. Robert W. McDonald Irwin and Melinda Simon Kathleen and Michael Ball Ms. Jane Garvey Mr. Bernard McKay Elizabeth C. B. and Paul G. Sittenfeld Mr. Randi Bellner and U.S. Bank Mrs. Philip O. Geier § Laura Kimble McLellan § Mr. and Mrs. Gerald Skidmore § Mary Bergstein Rebecca Gibbs and Anne Mulder Mrs. Susan M. McPartlin Tom and Dee Stegman § Louis D. Bilionis and Ann Hubbard Dr. Lesley Gilbertson and Messer Construction Co., Mark Luegering Dr. Jean and Mrs. Anne Steichen Mr. William P. Blair III Dr. William Hurford Mr. James A. Miller Dr. and Mrs. Peter J. Stern Rosemary H. and Frank Bloom § Mrs. Michael H. Giuliani Linda and James Miller Mr. Ken Stone and Stone Financial Robert L. Bogenschutz Clifford J. Goosmann and George and Sarah Morrison III Retirement Planning Rebecca J. Bolce and Keith S. Wood Andrea M. Wilson Mr. and Mrs. David W. Motch Theodore W. and Carol B. Striker Dr. and Mrs. John and Suzanne Bossert § Priscilla Garrison Haffner § Mulford Fund, Mrs. Julie Poe Mrs. Roy Sweeney Mr. and Mrs. Larry Brueshaber Mr. Joseph Hagin Mr. Scott Nelson and Dr. Susan Kindel Taft Stettinius & Hollister, Rob McDonald Mr. and Mrs. Frederick E. Bryan, III § Dr. and Mrs. Edward Hake Anne Nethercott § Mrs. Anne Drackett Thomas Mr. Craig Buchholz and Procter & Gamble David G. Hakes Ohio National Financial Services, Laura G. Thomson Mr. Gregory D. Buckley and Tom and Jan Hardy § Dennis Schoff Toyota Motor Eng. & Mfg. Co. N.A., Inc., Ms. Susan Berry-Buckley Mrs. Anne P. Heldman § Mr. and Mrs. Joe Orndorff Laura Thimming Mr. Otto M. Budig, Jr. § Mr. and Mrs. Fred Heldman Marilyn J. and Jack D. Osborn § Dale and Joyce Uetrecht Edward Castleberry Mr. and Mrs. Paul Heldman Arlene Palmer United Dairy Farmers, Mr. Brad Lindner CCI Design, Molly and Tom Garber Mr. and Mrs. Roger A. Heldman Dr. Manisha Patel and Dr. Michael Curran Mr. Randolph L. Wadsworth, Jr. § CFM, Ms. Jamie Jewell Mr. and Mrs. Joseph W. Hirschhorn § Daniel and Susan Pfau Nancy C. Wagner § Ms. Geraldine V. Chavez Mrs. Harry M. Hoffheimer Joseph A. and Susan E. Pichler § Patricia M. Wagner § Robert and Debra Chavez HORAN, Terry Horan PNC Bank, Kay Geiger Mr. and Mrs. Paul H. Ward § Chemed Corp. Mr. and Mrs. Marshall C. Hunt, Jr. David and Jenny Powell Ginger and David W. Warner Cincinnati Symphony Club ILSCO Corporation/Bardes Fund, PricewaterhouseCoopers LLC, Warren and Pam Weber Michael L. Cioffi Mr. Thomas Quinn Susan M. McPartlin Donna A. Welsch Sheila and Christopher C. Cole Dr. and Mrs. Stephen Joffe Terry and Marvin Quin Gary and Diane West § Coney Island, Rob Schutter Lois and Dick Jolson Mr. and Mrs. Thomas H. Quinn, Jr. Mary E. West § Corporex Companies, LLC Mr. Mace C. Justice § Mrs. Genie Redman Western & Southern Financial Services, Peter G. Courlas § Mr. and Mrs. Lorrence T. Kellar Rendigs, Fry, Kiely & Dennis, Mrs. Pat Fry Brad Hunkler Jodelle S. Crosset § Dr. and Mrs. Lionel King Vicky and Rick Reynolds Mrs. James W. Wilson, Jr. Stephen J. Daush Florence Koetters Melody Sawyer Richardson § World Pac Paper, LLC, Edgar Smith Mrs. Thomas E. Davidson § Marvin P. Kolodzik § Ellen Rieveschl § and Toni Robinson-Smith K.M. Davis Mr. and Mrs. Richard Kovarsky Mrs. William Robertson Betsy and Alex C. Young § The Dehan Family Michael and Marilyn Kremzar Elizabeth and Karl Ronn § Mr. and Mrs. James M. Zimmerman Dennis W. and Cathy Dern Mrs. Anne I. Lawrence Dianne and J. David Rosenberg § Anonymous (3) Mr. Albert C. Dierckes, Jr. Mr. and Mrs. Jeffrey W. Lazarow Nancy and Ed Rosenthal Nancy and Steve Donovan Ms. Wendy Lea and Centrifuse Moe and Jack Rouse § § Denotes members of The Thomas Robert W. Dorsey Mr. and Mrs. Brad Lindner Ann and Harry Santen § Schippers Society. Individuals who have Mrs. Charles M. Drackett Edyth B. Lindner Martha and Lee Schimberg made a planned gift to the Cincinnati Dianne Dunkelman Calvin and Patricia Linnemann § Mark S. and Rosemary K. Schlachter § Symphony and Pops Orchestra are Mrs. Diana T. Dwight Mrs. Robert Lippert Pamela F. Schmitt eligible for membership in The Thomas David and Kari Ellis Whitney and Phillip Long Mr. Dennis Schoff and Ms. Nina Sorensen Schippers Society. For more information, Dr. and Mrs. Alberto Espay Mark and Tia Luegering Harold C. Schott Foundation, please contact Mary McFadden Lawson Mr. Shaun Ethier Mrs. Vladimir Lukashuk Francie and Tom Hiltz at 513.744.3272.

54 | FANFARE CINCINNATI | cincinnatisymphony.org

2018–19 FINANCIAL SUPPORT

THANK YOU, CORPORATE CONTRIBUTORS The regional business community is integral to the Orchestra’s vibrant performances, community engage- ment work, and education activities. We are proud to partner with the following corporate sponsors and business donors:

SERIES SPONSORS PLATINUM BATON CIRCLE ($50,000+) CONCERTMASTER’S CIRCLE ($5,000–$9,999) ArtsWave Bartlett Wealth Management Fort Washington Investment Advisors, Inc. Clark Schaefer Hackett CPAs & Advisors Graeter’s Ice Cream Louise Dieterle Nippert Musical Arts Fund LPK of the Green Acres Foundation The LaBlond Foundation of Makino Ohio Arts Council Pomeroy PNC Bank Queen City Ohio Chapter, The Links Inc. Western & Southern Financial Group Stone Financial Retirement Planning CSO Series 1 Taft, Stettinius, and Hollister LLP GOLD BATON CIRCLE ($25,000–$49,999) Willis Towers Watson ArtWorks National Endowment for the Arts MUSICIANS CIRCLE ($2,500–$4,999) Coney Island CES/Links Fund Corporex Companies, LLC Cincinnati USA Convention & Visitors Bureau Pops Series Croswell VIP Motorcoaches Thompson Hine LLP The Symphony Club United Dairy Farmers & Homemade Brand CORPORATE PARTNERS (up to $2,499) Ice Cream African American Chamber of Commerce American Red Cross, Greater Cincinnati-Dayton Region CONDUCTOR’S CIRCLE ($10,000–$24,999) Dan Beard Council, Boy Scouts Of America MAC Open Door Series Dental Care Plus Group CCI Design Diversified Facility Solutions CFM International The Thomas J. Dyer Company Chemed Corporation Evolo Design Frost Brown Todd LLC d.e. Foxx & Associates HORAN Hightowers Petroleum Co. ILSCO Corporation/Bardes Fund Integrity Development Lollipops Series Johnson Investment Counsel Kram & Associates Marketing Solutions Kroger Company Mayers Electric Company, Inc. Megen Construction Messer Construction Company Onyx Sourcing Ohio National Financial Services SmartIT Staffing PricewaterhouseCoopers LLP Tri-City Staffing OCTOBER The Procter & Gamble Company The Voice of Your Customer U.S. Bank Private Wealth Management XLC Services CONCERT SPONSORS World Pac Paper, LLC

Join this distinguished sponsor group! Contact Michelle Devine at 513.744.3363 or [email protected] to learn how you can become a CSO or Pops sponsor. This list is updated quarterly. Every effort is made to list corporate sponsors accurately. Please contact Michelle if you see an error or omission.

Featured Corporate Contributor

Thank you, PricewaterhouseCoopers (PwC), for supporting the Orchestra. Sue McPartlin, Managing Partner, PwC Midwest Market, shared: “Entering our 24th year of our rela- tionship with the Cincinnati Symphony Orchestra (CSO), PwC continues to invest in the Orchestra because of the impact it has on our community. As a global company, my ability to recruit top talent to our Cincinnati office depends on many fac- tors, including promoting a livable community with diverse and dynamic arts organizations. The Cincinnati Symphony Orchestra is among the best in the country and impacts the quality of music offerings across our community. PwC is proud to support the Orchestra. I encourage other business leaders to join the growing roster of CSO corporate partners.” Visit pwc.com to learn more.

cincinnatisymphony.org | FANFARE CINCINNATI | 57 FINANCIAL SUPPORT

2018–2019 ARTSWAVE PARTNERS ArtsWave provides significant annual support to the Orchestra. The CSO and Pops thanks all who generously participate in the Community Campaign. Your support helps make our community vibrant and connects people all across our region through the arts. In particular, we are grateful for the employees at the following partner companies who participate in the Community Campaign at the $100,000+ level (*in-kind support).

P&G Enquirer Media* Fifth Third Bank and the Fifth Third Bank Foundation Great American Insurance Group GE Ohio National Financial Services Macy’s, Inc. U.S. Bank Cincinnati Bell The Cincinnati Insurance Companies The Kroger Co. The H.B., E.W. and F.R. Luther Charitable Foundation, Duke Energy Fifth Third Bank and Narley L. Haley, Co-Trustees Western & Southern Financial Group PNC Cincinnati Children’s Hospital Medical Center Convergys Corporation Cincinnati Business Courier* The E.W. Scripps Company and Scripps Howard Foundation

PERMANENT ENDOWMENTS Endowments provide stability for the Orchestra, help us attract and retain world-class musicians, and allow us to concentrate on fulfilling our core mission to seek and share inspiration. We extend our deep gratitude to the donors who have provided permanent endowments to enrich lives today and in perpetuity. For more information about endowment gifts, contact Mary McFadden Lawson at 513.744.3272.

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 The Sweeney Family Chair in memory of The Margaret Embshoff Educational Fund Robert E. & Fay Boeh Chair Donald C. Sweeney Kate Foreman Young Peoples Fund The Marc Bohlke Chair Anna Sinton Taft Chair George & Anne Heldman+ Given by Katrin and Manfred Bohlke Brenda & Ralph Taylor Chair Macy’s Foundation Otto M. Budig Family Foundation Chair James P. Thornton Chair Vicky & Rick Reynolds*+ Trish & Rick Bryan Chair Nicholas Tsimaras-Peter G. Courlas Chair William R. Schott Family** Mary Alice Heekin Burke Chair Jo Ann & Paul Ward Chair Western-Southern Foundation, Inc. Peter G. Courlas-Nicholas Tsimaras Chair Matthew & Peg Woodside Chair Anonymous (3)+ Ona Hixson Dater Chair Mary M. & Charles F. Yeiser Chair The Anne G. and Robert W. Dorsey Anonymous Chair OTHER NAMED FUNDS Chair for Violin+ Ruth Meacham Bell Memorial Fund Jane & David Ellis Chair ENDOWED PERFORMANCES Frank & Mary Bergstein Fund for Musical Irene & John J. Emery Chair & PROJECTS Excellence+ James M. Ewell Chair Eleanora C. U. Alms Trust, Fifth Third Bank, Trustee Jean K. Bloch Music Library Fund Ashley and Barbara Ford Chair for Principal Tuba 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 Dorothy & John Hermanies Chair Mrs. Gerald Skidmore and the Cello Fund Josephine I. & David J. Joseph, Jr. Chair La Vaughn Scholl Garrison Fund Fred L. & Katherine H. Groll Trust Lois Klein Jolson Chair Fred L. & Katherine H. Groll Fund for Music Director Fund for Excellence Harold B. & Betty Justice Chair Musical Excellence Josephine I. & David J. Joseph, Jr. Marvin Kolodzik Chair+ Fred L. & Katherine H. Groll Fund for Great Artists Scholarship Fund Al Levinson Chair Fred L. & Katherine H. Groll Trust Pianist Fund Richard & Jean Jubelirer & Family Fund* Patricia Gross Linnemann Chair+ The Carol Ann and Ralph V. Haile, Jr./ Elma Margaret Lapp Trust Alberta & Dr. Maurice Marsh Chair U.S. Bank Foundation Endowment Fund Jésus López-Cobos Fund for Excellence Laura Kimble McLellan Chair Anne Heldman Endowment Fund** Mellon Foundation Fund The Henry Meyer Chair Mr. and Mrs. Lorrence T. Kellar+ Nina Browne Parker Trust Louise Dieterle Nippert & Louis Nippert Chairs Lawrence A. & Anne J. Leser* Dorothy Robb Perin & Harold F. Poe Trust Ida Ringling North Chair Mr. & Mrs. Carl H. Lindner** Rieveschl Fund Rawson Chair PNC Financial Services Group Thomas Schippers Fund The Vicky and Rick Reynolds Chair The Procter & Gamble Fund Martha, Max & Alfred M. Stern Ticket Fund in Honor of William A. Friedlander+ Vicky & Rick Reynolds Fund for Diverse Artists+ Mr. & Mrs. John R. Strauss Student Ticket Fund Donald & Margaret Robinson Chair Melody Sawyer Richardson* Anna Sinton & Charles P. Taft Fund Dianne & J. David Rosenberg Chair+ Rosemary and Mark Schlachter Endowment Fund*+ Lucien Wulsin Fund Ruth F. Rosevear Chair The Harold C. Schott Foundation, Wurlitzer Season Ticket Fund The Morleen & Jack Rouse Francie and Tom Hiltz Endowment Fund+ CSO Pooled Income Fund Associate Principal Timpani Chair+ Peggy Selonick Fund for Great Artists CSO Musicians Emergency Fund Emalee Schavel Chair Dee and Tom Stegman Endowment Fund*+ Mr. & Mrs. Joseph S. Stern, Jr. Fund *Denotes support for Annual Music Program Fund Karl & Roberta Schlachter Family Chair nd Serge Shababian Chair for Great Artists **Denotes support for the 2 Century Campaign +Denotes support for the Fund for Musical Excellence Melinda & Irwin Simon Chair+ U. S. Bank Foundation* Sallie and Randolph Wadsworth Endowment Fund+

58 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT

HONOR ROLL OF CONTRIBUTORS The Cincinnati Symphony Orchestra and Cincinnati Pops Orchestra are grateful to the following individuals and organizations that support our efforts. We extend our heartfelt thanks to each and every one and pay tribute to them here. You can join our circle of supporters online at cincinnatisymphony.org/give or by contacting the Philanthropy Department at 513.744.3271.

PLATINUM BATON Special Fund*§ Pamela F. Schmitt Mr. James A. Miller Rebecca J. Bolce and Keith S. Wood Mr. Dennis Schoff and Linda and James Miller CIRCLE Edward Castleberry Ms. Nina Sorensen Mr. and Mrs. David W. Motch Gifts of $50,000 and above Robert and Debra Chavez Dr. Jean and Mrs. Anne Steichen The Willard & Jean Mulford The Louise Dieterle Nippert Michael L. Cioffi Dr. and Mrs. Peter J. Stern Charitable Fund Musical Arts Fund Charles H. Dater Foundation Mrs. Anne Drackett Thomas Mr. Scott Nelson and Dr. Susan Kindel Mr. and Mrs. Frederick E. Bryan, III § Mrs. Charles M. Drackett Tomcinoh Fund* Mr. and Mrs. Joe Orndorff CCI Design, Molly and Tom Garber Mr. and Mrs. Fred Heldman Mr. and Mrs. Paul H. Ward § Arlene Palmer Sheila and Christopher C. Cole Mrs. Harry M. Hoffheimer Mary E. West § Dr. Manisha Patel and The Corbett Foundation Mrs. Robert Lippert The Eric B. Yeiser Family Foundation Dr. Michael Curran Susan Friedlander § The Oliver Family Foundation Anonymous (1) David and Jenny Powell George L. and Anne P. Heldman Fund* § Mrs. Susan M. McPartlin Ellen Rieveschl § Dr. and Mrs. Stephen Joffe George and Sarah Morrison III CONCERTMASTER’S Mrs. William Robertson Florence Koetters Joseph A. and Susan E. Pichler Fund* § Elizabeth and Karl Ronn § Edyth B. Lindner Terry and Marvin Quin CIRCLE Nancy and Ed Rosenthal The H.B., E.W., and F.R. Luther Theodore W. and Carol B. Striker Gifts of $5,000–$9,999 Martha and Lee Schimberg Charitable Foundation, Fifth Third Dale and Joyce Uetrecht Dr. Charles Abbottsmith Mike and Digi Schueler Bank and Narley L. Haley, Gary and Diane West § Dr. Norita Aplin and Stanley Ragle § David and Abby Schwartz Co-Trustees Mrs. James W. Wilson, Jr. Thomas P. Atkins The Louise Taft Semple Foundation The Andrew W. Mellon Foundation The Wohlgemuth Herschede Kathleen and Michael Ball Sue and Glenn Showers Dr. John & Louise Mulford Fund Foundation Louis D. Bilionis and Ann Hubbard Elizabeth C. B. and Paul G. Sittenfeld for the CSO Betsy and Alex C. Young § Mr. William P. Blair III Mr. and Mrs. Gerald Skidmore § Marilyn J. and Jack D. Osborn § Mr. and Mrs. James M. Zimmerman § Robert L. Bogenschutz Mr. Ken Stone and Stone Financial The Margaret McWilliams Mr. and Mrs. Larry Brueshaber Retirement Planning Rentschler Fund* CONDUCTOR’S Ms. Geraldine V. Chavez Nancy C. Wagner § Vicky and Rick Reynolds Peter G. Courlas § Patricia M. Wagner § Dianne and J. David Rosenberg § CIRCLE Jodelle S. Crosset § Warren and Pam Weber Harold C. Schott Foundation, Gifts of $10,000–$14,999 The Lewis and Marjorie Welchwood Foundation Francie and Tom Hiltz, Trustees Ms. Jessica Adelman and Daniel Foundation Donna A. Welsch The Marge & Charles J. The Kroger Co. Stephen J. Daush YOT Full Circle Foundation Schott Foundation Mr. and Mrs. Lars C. Anderson, Sr. K.M. Davis Anonymous (2) The John A. Schroth Family Mr. Randi Bellner and U.S. Bank Mr. Albert C. Dierckes, Jr. Charitable Trust, PNC Bank, Trustee Mr. Craig Buchholz and Mrs. Diana T. Dwight Irwin and Melinda Simon Procter & Gamble Dr. and Mrs. Alberto Espay ARTIST’S CIRCLE Tom and Dee Stegman § Mr. Gregory D. Buckley and Mr. Shaun Ethier and Gifts of $3,000–$4,999 Mr. Randolph L. Wadsworth, Jr. § Ms. Susan Berry-Buckley Empower Media Marketing Romola N. Allen § Ginger and David W. Warner Crosset Family Fund Dr. and Mrs. Harry F. Fry Mr. and Mrs. Thomas B. Avril Mrs. Thomas E. Davidson § Ms. Jane Garvey Mrs. William T. Bahlman, Jr. § The Dehan Family Dr. Lesley Gilbertson and Mrs. Thomas S. Benjamin GOLD BATON CIRCLE Martha Bolognini Gifts of $25,000–$49,999 Dennis W. and Cathy Dern Dr. William Hurford Nancy and Steve Donovan Mrs. Michael H. Giuliani Glenn and Donna Boutilier Dr. and Mrs. John and Suzanne Bossert § Thomas A. Braun, III § The Otto M. Budig Family Foundation § Dianne Dunkelman Clifford J. Goosmann and Dr. and Mrs. Carl G. Fischer Andrea M. Wilson § Mr. and Mrs. Joseph Brinkmeyer § Mrs. Charles Fleischmann Linda Busken and Andrew M. Jergens § The Jewish Foundation of Cincinnati Ashley and Bobbie Ford § Dr. and Mrs. Edward Hake Mrs. Philip O. Geier § Mr. and Mrs. Paul Heldman Janet and Bruce Byrnes Lois and Dick Jolson Dr. and Mrs. Charles O. Carothers Mr. Mace C. Justice § Rebecca Gibbs and Anne Mulder Mr. and Mrs. Roger A. Heldman Priscilla Garrison Haffner § Mr. and Mrs. Lorrence T. Kellar* Catharine W. Chapman § Marvin P. Kolodzik § Miss Norma L. Clark § Lazarow Schwartz Family Fund* Mr. Joseph Hagin Dr. and Mrs. Lionel King Tom and Jan Hardy § Mr. and Mrs. Richard Kovarsky David and Nina Clyne Calvin and Patricia Linnemann § Robin Cotton and Cindi Fitton George & Margaret McLane Foundation Mr. and Mrs. Joseph W. Hirschhorn § Michael and Marilyn Kremzar Mr. and Mrs. Marshall C. Hunt, Jr. Mr. and Mrs. Brad Lindner Bedouin and Randall Dennison Mrs. Genie Redman Jim and Elizabeth Dodd Moe and Jack Rouse § Mrs. Anne I. Lawrence The Links, Incorporated Ms. Wendy Lea and Centrifuse Queen City Chapter Dr. and Mrs. Stewart B. Dunsker Ann and Harry Santen § David and Kari Ellis Fund* Mark S. and Rosemary K. Schlachter § Whitney and Phillip Long Mark and Tia Luegering Mr. and Mrs. Timothy Maloney Mrs. Vladimir Lukashuk Ann A. Ellison The Ladislas & Wilma Segoe Mr. and Mrs. James T. Fitzgerald Family Foundation Rhoda Mayerson Dr. and Mrs. Brian A. Mannion Mr. and Mrs. Robert W. McDonald Mr. Jonathan Martin and Mrs. Jacqueline S. Francis The Daniel & Susan Pfau Foundation Cincinnati Symphony Orchestra Marlena and Walter Frank SILVER BATON CIRCLE Mr. and Mrs. Thomas H. Quinn, Jr. Matta Family Foundation Frank and Tara Gardner Gifts of $15,000–$24,999 August A. Rendigs, Jr. Foundation Mr. Bernard McKay Mr. and Mrs. James R. Gardner Mary Bergstein Melody Sawyer Richardson § Miami University College of Mrs. Jocelyn Glass Rosemary H. and Frank Bloom Creative Arts Mr. John B. Hansen

Patty and Nancy Wagner and Dianne Dunkelman join Mike Kremzar and Donna Welsch in conversation at the Associate Concertmaster Stefani Collins Matsuo (2nd from Benefactors Council event on May 4. right) at the Benefactors Council event May 4. cincinnatisymphony.org | FANFARE CINCINNATI | 59 FINANCIAL SUPPORT

Guests of Toyota join John Morris Russell before Patriotic Pops at Riverbend.

Marilyn and Jack Osborn and Shau Zavon Rob Heidenrich of PNC and his family pose with Pops attend the May 11 Schippers Society event. Conductor John Morris Russell on July 4 at Riverbend.

Dr. Donald and Laura Harrison Rachelle Bruno and Stephen Bondurant Mr. and Mrs. Clement H. Luken, Jr. SYMPHONY CIRCLE Mr. and Mrs. Robert R. Heidenreich Chris and Tom Buchert Jacqueline M. Mack and Gifts of $750–$1,499 Patricia Henley § Stephen and Diedra Burns Dr. Edward B. Silberstein Jeff and Keiko Alexander § Drs. Robert C. Hodges and Dr. Daniel Cajacob Marshall and Nancy Macks Mr. Paul Anderson Anthony A. McIntire Anna K. and G. Gibson Carey Mr. and Mrs. Donald Marshall Nancy J. Apfel Mr. and Mrs. Stephen Hone Sam Cassidy Mr. and Mrs. Dean Matz Apke/Premium Cleaning Mr. and Mrs. Bradley G. Hughes CES/LINK Fund Dr. bruce d. mcclung and Carole J. Arend § Drs. Marcia Kaplan and Michael Privitera § Susan and Burton Closson Mr. Jerry DeFilipps Judy Aronoff and Marshall Ruchman Mr. and Mrs. Geoffrey Keenan Lois and Phil Cohen § Eleanor S. McCombe David Axt and Susan Wilkinson Peter E. Landgren and Dr. and Mrs. John M. Collins Barbara and Kim McCracken § David and Kathleen Ayres Judith Schonbach Landgren Jack and Janice Cook § Ms. Sue Miller Dr. Diane S. Babcock § Elizabeth Lilly * Sally and Rick Coomes Mrs. Sally A. More Gerard and Susan Baillely Thomas and Adele Lippert Randy K. and Nancy R. Cooper Regeana and Al Morgan Mrs. Gail Bain Mandare Foundation Dr. Youssef and Suzanne Costandi Mr. and Mrs. George H. Musekamp III Mr. and Mrs. Carroll R. Baker Merlanne Louney Marjorie Craft Phyllis Myers and Danny Gray Mrs. Polly M. Bassett Mr. and Mrs. Julian A. Magnus Martha and David Crafts Dr. William H. Newell and Susan Hopp Allen W. Bernard Chris and Bev Maloney Mr. and Mrs. Henry F. Dabek, Jr. Mr. and Mrs. Eric Oliver Dava L. Biehl § Alan Margulies and Gale Snoddy Mr. Louis M. Dauner and Mr. and Mrs. Robert S. Olson Jane Birckhead David L. Martin Ms. Geraldine N. Wu Gary Oppito Mr. and Mrs. Rodd Bixler Lynn and Glen Mayfield Mr. and Mrs. James Dealy Dr. and Mrs. Richard Park § Mr. and Mrs. Kenneth Borisch Ms. Amy McDiffett George Deepe and Kris Orsborn Mrs. George Perbix Mrs. Jo Ann C. Brown Stephanie McNeill Jon and Susan Doucleff § Alice Perlman Jacklyn and Gary Bryson Mary Ann Meanwell Mrs. Jack E. Drake Phillip and Karen Pflaumer Mr. and Mrs. William R. Burleigh Mr. and Mrs. David A. Millett Patricia Dudsic Alice and David Phillips Donald L. and Kathleen Field Burns Mrs. Patricia Misrach Mrs. Shirley Duff Mr. John W. Plattner Ms. Deborah Campbell § Mr. and Mrs. David E. Moccia § Mr. and Mrs. John G. Earls § Mr. Larry R. Plum Shannon and Lee Carter David and Beth Muskopf Jerome H. and Jean K. Eichert Marjorie and Louis Rauh Amy and Robert Catanzaro Poul D. and JoAnne Pedersen Hardy and Barbara Eshbaugh James W. Rauth § Denise and Martin Chambers John and Francie Pepper* Dr. Barbara Fant Mrs. Robert S. Read Mike and Shirly Chaney Ms. Thienthanh Pham Mr. Walter Feige David and Marilyn Reichert § Leland M. and Carol C. Cole § Mr. and Mrs. Robert T. Pike Mr. Laughton Fine Mr. and Mrs. Marcus Rose Dr. Margaret Conradi Mr. G. Mark Pomeroy Mrs. Nancy Finke Ann Ruchhoft Dr. Thomas and Geneva Cook Mr. Aftab Pureval Gail F. Forberg § James and Mary Russell Mr. Kevin Crowley Michael and Katherine Rademacher Richard Freshwater Dr. and Mrs. Michael Scheffler Mr. and Mrs. Brendon Cull Diane and Alex Resly Yan Fridman Mr. and Mrs. Peter A. Schmid Susan and John Cummings Charles Scott Riley III Foundation Carol S. Friel Mrs. Mildred J. Selonick § Mr. and Mrs. Charles E. Curran, III § Sandra Rivers Dr. and Mrs. Ralph A. Giannella Mr. Eli E. Shupe, Jr. Lynne Curtiss James Rubenstein and Bernadette Unger L. Timothy Giglio Rennie and David Siebenhar Jacqueline Cutshall Mr. and Mrs. Thomas R. Ruthman John B. Goering Doug and Laura Skidmore In Memory of Andrew M. Dattilo Elizabeth Schulenberg Dr. and Mrs. Glenn S. Gollobin Dr. and Mrs. Robert Sefton Smith Mr. and Mrs. George Daumeyer Rev. Dr. David V. Schwab Thomas W. Gougeon David and Sonja Snyder Stephen and Cynthia DeHoff Sandra and David Seiwert Dr. and Mrs. James M. Greenberg Mr. and Mrs. Phil Spiewak Robert B. Dick, Ph.D. Ms. Joan L. Smith Lesha and Samuel Greengus Howard and Nancy Starnbach Ms. Rhonda Dickerscheid William A. and Jane Smith Kathy Grote § in loving memory of Mrs. William A. Starr § Jeannie Donaldson Elizabeth A. Stone Robert Howes Ms. Ruth M. Stechschulte Julie Dorenbusch Susan and John Tew Dr. and Mrs. Jack Hahn Bill and Lee Steenken Robert W. Dorsey § Mr. and Mrs. Harold M. Thomas Emma D. Hartkemeier Anita and George B. Stewart Mrs. John Doviak Mr. and Mrs. Ronald Tinklenberg Ms. Elizabeth A. Harty Ms. Margaret M. Story Tom and Leslie Ducey Robert and Audrey Varley § Dr. James and Ms. Susan Herman Brett Stover § Barbara Esposito-Ilacqua Christopher and Nancy Virgulak Ms. Janet Hickman Mr. and Mrs. Richard Stradling, Jr. Ms. Barbara A. Feldmann Dr. Barbara R. Voelkel Mr. and Mrs. Stephen Hicks Patricia Strunk § Mr. and Mrs. William Fotsch Mrs. Ronald F. Walker Karlee L. Hilliard § Mrs. Sally Sundermann Mr. and Mrs. Joseph Fricke Robert and Antoinette Warden Ruth C. Holthaus Bunny and Frank Szecskay Dr. and Mrs. Charles J. Glueck Dr. and Mrs. Galen R. Warren In Memory of Benjamin C. Hubbard § Ralph C. Taylor § Donn Goebel and Cathy McLeod Sheila Williams and Bruce Smith Mr. and Mrs. Michael C. Hughes Kathy Teipen Steven and Shelley Goldstein Andrea Wiot Barbara M. Johnson Dr. Robert W. Keith and Ms. Arlene Golembiewski Steve and Katie Wolnitzek Frank Jordan § Ms. Kathleen Thornton Drew Gores and George Warrington Vance and Peggy Wolverton § John and Molly Kerman Janet Todd Ham and Ellie Hamilton Anonymous (3) Don and Kathy King Marcia and Bob Togneri William and Joanne Harvey Patrick Kirk and Mary Vondrak Mr. William Trach Lenore Hatfield ENCORE CIRCLE Jeff and Mary Ann Knoop Nydia C. Tranter § Irmgard and Horst Hehmann Gifts of $1,500–$2,999 Carol Louise Kruse Mr. and Mrs. James L. Wainscott Mrs. Betty H. Heldman § Adam Gross, Inc. Mrs. John H. Kuhn § Chad and Betsy Warwick May W. and Howard D. Helms Mr. and Mrs. Richard N. Adams Patricia Lambeck Jim and George Ann Wesner Mr. and Mrs. Donald L. Henson Drs. Frank and Mary Albers Everett and Barbara Landen Mrs. Harris K. Weston (Alice) Mr. Curtis Hinshaw William Albertson Richard and Susan Lauf Jo Ann Wieghaus Susan and Jon Hoffheimer Arne and Sharon Almquist Mary Mc and Kevin Lawson Virginia Wilhelm Bruce and Linda Hoffman Dr. Victor and Dolores Angel Philip and Judy Leege Cathy S. Willis Mrs. Thomas Huheey Ms. Laura E. Atkinson Mrs. Jean E. Lemon § Ronna and James Willis Mr. Gordon Hullar Robert and Janet Banks Mr. Peter F. Levin § Mrs. Anne Warrington Wilson Mr. Bradley Hunkler Judy A. Bean Daniel R. Lewis Charles Wright Doug and Melanie Hynden David and Elaine Billmire Dr. and Mrs. Lynn Y. Lin David and Sharon Youmans Mrs. Kyle E. Ice Dabby Blatt Paula and Nick Link Anonymous (4) Yuzo and Shinobu Imoto Mr. and Mrs. John P. Boorn Drs. Douglas Linz and Ann Middaugh Mr. and Mrs. Paul Isaacs Dr. and Mrs. William Bramlage Luke and Nita Lovell

60 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT

Dr. Maralyn M. Itzkowitz Dr. Paul E. Potter Sarella Walton GIFTS IN-KIND Heidi Jark and Steve Kenat Mary Jean Priest Herman & Margaret Wasserman Cincinnati Public Radio Mr. Thaddeus Jaroszewicz Ms. Mary Redington Music Fund* City of Cincinnati Ms. Sylvia Johnson Beverly and Dan Reigle Greg and Diane Wehrman Croswell Bus Lines, Inc. Lois and Kenneth Jostworth Dr. Robert Rhoad and Kitsa Tassian Rhoad Ted and Mary Ann Weiss Drive Media House Mr. Paul M. Kaplan Dr. and Mrs. Dillon D. Rhodenbaugh Joseph and Kate Wespiser Mrs. Charles Fleischmann III Holly H. Keeler Dr. Toni Robinson-Smith and E. E. West Funky’s Catering Bill and Penny Kincaid Mr. Edgar L. Smith, Jr. David and Sandy Westerbeck Sue and Glenn Showers John and Lynn Klahm Dr. Anna Roetker Barbara Weyand Solar Tint Mr. and Mrs. Bruce A. Krone Ms. Jeanne C. Rolfes Franklin H. White Taft Stettinius & Hollister Dr. Diane Krumanaker, DVM Dr. Raymond H. Rolwing Mr. and Mrs. Robert L. Wilson, Jr. Mr. Matt Wagenlander Mr. and Mrs. Lawrence H. Kyte, Jr. Amy and John Rosenberg Mr. and Mrs. Erwin J. Wolber Nancy C. Wagner Mrs. Joseph A. Lane Mr. and Mrs. G. Roger Ross Ms. Susan M. Wulsin Patricia M. Wagner Charles and Jean Lauterbach Marianne Rowe § Mrs. Richard Wurzelbacher Mr. Guy Wolf and Ms. Jane Misiewicz Mr. And Mrs. John C. Layne Mrs. Richard B. Salzer Mr. John M. Yacher List as of August 31, 2018 Donna Levi Jeffrey S. Schloemer and Mr. David Youngblood and Mr. and Mrs. Lance A. Lewis Marcia A. Banker Ms. Ellen Rosenman * Denotes a fund of The Greater Cincinnati Dr. Susie and Henry Limouze Mr. and Mrs. William C. Schmidter, III Moritz and Barbara Ziegler Foundation David and Katja Lundgren George Palmer Schober Mr. and Mrs. Robert L. Zierolf § Denotes members of The Thomas Andrew and Jean Martin Mary D. Schweitzer Mr. Richard K. Zinicola and Schippers Society. Individuals who have Dr. Janet P. McDaniel Martha S. Seaman § Ms. Linda R. Holthaus made a planned gift to the Cincinnati Mary Sue McDuffie Dr. and Mrs. Carl M. Sedacca John and Mary Ann Zorio Symphony Orchestra and Pops Charles and JoAnn Mead Peter Seidel Anonymous (15) Orchestra are eligible for membership Faye and Bunny Meisel Alfred and Carol Shikany in The Thomas Schippers Society. For Mr. Lawrence G. Merrill Mrs. Robert B. Shott § more information, please contact Mary Dr. and Mrs. Richard A. Meyer Kenneth and Janet Smith McFadden Lawson 513-744-3272. Becky Miars Dr. Brian F. Snowden and Julia Snowden Terence G. Milligan Jeff & Juddy Solomon Fund* Dr. Stanley R. Milstein § Harold and Faye Sosna Mr. and Mrs. James Minutolo Phillip and Karen Sparkes The Cincinnati Symphony Orchestra is grateful for Dr. and Mrs. Gerald Molfenter Mrs. John A. Spiess Douglas Mossman and Kathleen J. Hart In Honor of John A. Spiess the support of the following: Ms. Mary Lou Motl Richard and Lois Sprigg Kathy and Rochelle Nardiello John Steele, Sr. Mr. William Naumann Jerry and Melinda Stenger Mr. and Mrs. Norman Neal Mrs. Robert D. Swanson Jim and Marty Neumeister Mr. and Mrs. James B. Taylor Mr. and Mrs. John Noelcke Rich and Nancy Tereba Nan Oscherwitz Carol Thaman Marilyn Z. Ott Cliff and Diane Thornsburg Patricia and Morris Passer Neil Tollas and Janet Moore Sandy Pike § Paul and Diana Trenkamp Ms. Marta Pisarka Dick and Jane Tuten § Chris and Janice Plummer Mary and Jack Wagner § Anne M. Pohl § Mike and Diane Wagner

Who’s a Group? You’re a Group!

The Cincinnati Symphony Orchestra and Cincinnati Pops is pleased to • Discover our specially welcome the following groups to concerts this month: priced tickets for groups of 10 or more!

CSO, Oct. 5–6 Pops, Oct. 12–14 • Find out how you Barrington of Oakley Anderson Senior Center can orchestrate a The Kenwood by Senior Star Barrington of Oakley profitable fundraising The Knolls of Oxford Brescia University event for your local Loveland High School Orchestra Maple Knoll Village Maple Knoll Village Seasons Retirement Community organization. Seasons Retirement Community Twin Lakes at Montgomery CSO, Oct. 20–21 Contact CSO Group Horan Sales: 513.744.3590 or csogroupsales.org

cincinnatisymphony.org | FANFARE CINCINNATI | 61 FINANCIAL SUPPORT

THE THOMAS SCHIPPERS LEGACY SOCIETY Thomas Schippers was Music Director from 1970 to 1977. He left not only wonderful musical memories, but also a financial legacy with a personal bequest to the Orchestra. The Thomas Schippers Legacy Society recognizes those who contribute to the Orchestra with a planned gift. We thank these members for their foresight and generosity. For more information on leaving your own legacy, contact Mary McFadden Lawson at 513.744.3272.

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

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OFFICE OF THE PRESIDENT Tiffany Cooper Catherine Hann Angela Brock Jonathan Martin Community Engagement and Leadership Giving Manager Marketing and Sales Coordinator President Diversity Manager Katelyn Conway Amy E. Catanzaro Lauren Roberson Becky Spiewak Individual Giving Manager Director of Sales Executive Assistant to the President Education Programs Manager Michael Maniaci Heather Brown ARTISTIC ADMINISTRATION & Carol Dary Dunevant Major Gifts Coordinator Box Office Manager Instructional Programs Manager PRODUCTION Jamie Kelly Michelle Lewandowski Robert McGrath Special Events Coordinator Group Sales Manager Vice President & General Manager COMMUNICATIONS Christopher Pinelo Teresa N. Ahrenholz Christian Bell Zan Burkhardt Vice President of Communications Philanthropy Assistant Subscriptions Coordinator Production Assistant Diana Maria Lara Penny Hamilton PATRON SERVICES Heather L. Stengle Director of Communications Philanthropy Assistant Director of Operations Supervisors Lee Snow Matthew White Alex Magg Digital Communications Manager FINANCE Erica Archer Production Manager Richard Freshwater Connor Howard Kayla Moore Vice President & Kenji Ulmer Communications Assistant Chief Financial Officer Representatives Operations Project Coordinator Nicolas Bizub PHILANTHROPY Scott Eckner Sean Bussell Nate Bachhuber Mary McFadden Lawson Director of Information Technology Jonathan Dellinger Director of Artistic Planning and Vice President of Philanthropy Seika Fukumoto Administration, Cincinnati Symphony Thomas Khoury Systems Support Manager Tracy Lanham Orchestra and May Festival Michelle Devine Brian Lyons Director of Institutional Giving Sam Strater Kyle Wynk Jacob Martin Director of Artistic Administration, Kiaya Lynn Director of Human Resources Jason Richmond Cincinnati Pops Orchestra Corporate Relations Manager Megan Inderbitzin-Tsai Jackson Short Jessica Smithorn Marissa Goodman Ashley Coffey Payroll Administrator Assistant Artistic Administrator Foundation and Grants Manager Judy Prinz MUSIC & EVENT Brooke McIntosh Sarah Maguire Receptionist MANAGEMENT INC. Michael Smith Administrative Assistant to the Volunteer Manager Melissa Scott Music Director CEO of MEMI Leslie Hoggatt Director of Data Systems Ahmad Mayes Director of Individual Giving and Matthew Dunne Kathleen Curry General Manager Director of Education & Community Donor Services Data Entry Clerk Engagement Amy Dahlhoff Sharon D. Grayton Concessions Manager & Data Services Manager Special Events Coordinator Tara Williams Ryan Jaspers Data Entry Analyst Event/Operations Manager Aaron Slovin James Kirby Director of Finance Assistant Operations Manager Monica Putnick Lane Kolkmeyer Controller Assistant Marketing Manager Brandy Hauser Michele Ferrara Accounting Clerk Corporate Sales Manager Kristina Pfeiffer Rosemarie Moehring Accounting Manager Marketing Manager Rosie Rothhaar Ed Morrell Accounting Clerk General Manager Kelly Saylor Jennifer Schoonover Accounting Clerk Premium Seat Program Manager MARKETING & SALES Kelly Benhase Sherri Prentiss Director of Ticketing Vice President of Marketing John Geiger M. Todd Bezold Box Office Manager Taft Theatre Director of Marketing Holly Tierny Corinne Wiseman Box Office Manager Creative Content Manager Riverbend/PNC Pavilion Stephen Howson Kristin Woehl Marketing Communication & Box Office Manager Web Manager Rose Music Center Brian Glass Monty Wolf Marketing Manager Plant Operations Manager Steve Kinney Rick McCarty Graphic Designer Marketing Director Amber Ostaszewski Laura Bock Director of Audience Engagement Marketing Manager Kaitlyn Driesen Audience Engagement Manager

cincinnatisymphony.org | FANFARE CINCINNATI | 63 CODA by Chris Pinelo

n a landscape where we are “Cervantes’ disillusionment with the sci-fi seriesBlack Mirror, where bombarded with entertain- his society led him to create not a character is desperate to change Iment options and self-curated just a picture of the world, but a how she’s perceived, and it’s all social media, it’s hard to imagine picture of how people pictured tied to a social media “score” in a one singular story becoming a the world and got it wrong.” It dystopia where that’s all that seems transcendent sensation, but that’s was only a century before the to matter. precisely what happened when The publication of Cervantes’ novel Ultimately Cervantes’ novel is Ingenious Gentleman Don Quixote of that Europeans had begun to see not just about Don Quixote and La Mancha, often regarded as the the widespread availability of how he perceives the world, but first modern novel, was published literature and the “democratiza- really about how the characters over 400 years ago. Miguel de tion” of books. Cervantes sought around Don Quixote perceive him. Cervantes’ masterpiece is also not only to entertain readers, but This timeless classic has inspired considered by many, including also to undermine the influence music and art for centuries, and the leading authors of the 21st century, of what he deemed as “vain and CSO concerts on October 20 and as the single most important liter- empty books of chivalry” that were 21 showcase how composers from ary work ever written. How is it prevalent at the time. different centuries—Georg Philipp still relevant today? In 2018, social media has many Telemann, Richard Strauss and our In a Financial Times article, schol- positive attributes and connects own Principal Viola Christian Col- ar William Egginton contends that people around the world, but is berg—bring The Ingenious Gentle- Cervantes’ novel is a “response to it also giving us a false sense of man Don Quixote of La Mancha to life a media revolution that in some reality about ourselves and others? through distinct musical lenses. n ways mirrors our own.” He writes, I’m reminded of a 2016 episode of

64 | FANFARE CINCINNATI | cincinnatisymphony.org