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Dear Friends of the MSO,

This week we discover a marvelous French composer of the classical era, Joseph Bologne, Chevalier de Saint Georges. Bologne was born in the French colony of Guadeloupe and is considered to be the first known classical composer of African ancestry. He was denied the post of director of the Paris Opera in 1776, due to his origins. His music is very close to Mozart’s and has a similar grace and lightness in its galant style. We are glad that this was suggested by our Concertmaster, Kurt Nikkanen, who will be performing it for us tonight!

Next, we are glad to feature our own principal cellist Jacques-Pierre Malan in Haydn’s joyful C Major concerto. It is not only a staple of the cello repertoire but also the main cello concerto of the classical era.

The Chamber Symphony is a transcription by Russian conductor Rudolf Barshai of Shostakovich’s 8th String Quartet. It is Shostakovich in miniature, with the composer quoting himself, and thinking of the piece as his own epitaph. It is an incredibly stirring piece, one that haunts you for years thanks to its combination of passionate strength and ethereal beauty.

I would like to thank the wonderful musicians, staff, and board of the MSO, as well as you, our audience, for making these concerts possible during this difficult period. Through the musical stories of Bologne, Haydn, and Shostakovich we can hear the uplifting force of resilience, passion, and joy. I hope you enjoy tonight’s performance and gain new insights into these marvelous composers’ music and lives.

Julien Benichou

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MISSION STATEMENT: To enrich life across the Mid-Atlantic region through the power of classical music

Board of Directors President Jeffrey Parker Vice President Valerie Mazur Secretary Raymond Vergne Treasurer John Pinney Vice President of Education & Outreach Patricia Campbell

Area Vice Presidents Valerie Mazur, Easton Jean Wehner, Ocean View Vacant, Ocean Pines Peter Harrigan, Rehoboth

Directors Donna Barker Andrea Barnes Katherine Barney Regina Brittingham Courtney Kane Marci Levin

MSO Staff Music Director Julien Benichou General Manager Dane Krich Consultant Mary Lou Tietz Ticket Fulfillment Anne Marie Rogerson

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Dear MSO Patrons,

As we approach the Mid-Atlantic Symphony Orchestra’s 5th Concert of our 2020-2021 "Season of Strings” on Thursday, March 4th, 2021, I would like to take the opportunity to thank you for your patronage and continued support of the orchestra. It has been a unique year for performing arts organizations and we are grateful that together we have been able to persevere and -- through the options of live performances and live-streamed performances -- continue to bring classical orchestral music to our audiences across the .

Some subscribers have asked why performances have been limited to a string and percussion orchestra this season. One general assumption is that this was a cost-cutting measure in light of the ongoing pandemic, with ticket sales and other revenues lower than usual. Others believe it was simply a way of achieving social distancing for the performers. In fact, both of those aspects were considerations. However, the primary driving force was the necessity to eliminate wind instruments - both woodwinds and brass - as these instruments require a great circulation of human breath and create aerosol sprays. Essentially, wind instruments were deemed too unsafe to include in our performances this year.

We also were compelled to reduce the orchestra’s size because most of our traditional venues were not available to us. For example, the Ocean City Convention Center offers an expansive stage on which we might have been able to present wind instruments with precautions including Plexiglass dividers and social distancing. Unfortunately, the venue has been closed to us for the past year because of the pandemic, ruling out this option.

These restrictions required a very different configuration of the orchestra than is typical for the MSO. As often is the case, necessity is the mother of invention and we quickly adapted to the current circumstances in the world at large. We replaced programs planned for 2020- 2021 with “A Season of Strings”, drawing upon a great library of chamber orchestra repertoire with works often overlooked or dismissed as not being composed for a larger orchestra.

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The MSO could have abruptly canceled the season, as so many other performing arts in- stitutions chose to do. But we were determined to bring live music to our audience de- spite the limitations of the pandemic. We strongly believe that musicians must make mu- sic and our audiences need to experience live performances. Our Board of Directors ral- lied and with the leadership of committee chair Courtney Kane and others, our MSO “Live Streaming” was born. This allows us to offer our audience options that would pro- vide safe access to the MSO’s season of live concerts. It has been a time-consuming and energetic ride but we are so grateful that we have persevered and triumphed. Again, we say thank you to each of you who have joined us for this incredibly unique season.

As we soldier on through the pandemic, the MSO Board of Directors has embarked on a path of bold thinking and evolution, planning for the time when we will once again per- form post-pandemic. We are in the process of creating an innovative 5-year plan that in- cludes consideration of the following initiatives:

Youth & Education:

1.) The creation of a Mid-Atlantic Symphony Youth Orchestra 2.) Virtual Master Classes for middle and high school students - available to schools across the DelMarva Peninsula 3.) Podcast classes involving Orchestra Members and Students

Concerts:

4.) The addition of MSO Summer Pops Concerts 5.) Soliciting CD recording contracts with selected soloists.

In the midst of the pandemic cloud, we feel particularly motivated to be at the forefront of the performing arts scene here on DelMarVa as we move ahead – cautiously, but with determination.

Again, we thank you for your support and enthusiasm for the MSO. We look forward to many exciting seasons together!

We Are Your MSO!

Fondly, Jeffrey 7

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GUIDELINES

Music is an integral part of our lives. The Mid-Atlantic Symphony Orchestra is dedicated to making your concert-going experience one in which you will continually want to return. VENUES For the 2020-2021 Season Series, the Mid-Atlantic Symphony Orchestra will perform at one venue on the Eastern Shore of , the Easton Church of , Easton, Maryland and will livestream the concerts.

VENUE ACCESSIBILITY The venue is handicap accessible.

PARKING Parking is available at the venue.

TICKET PURCHASES There are four options for purchasing tickets. 1) Tickets may be purchased online via the MSO website midatlanticsymphony.org. 2) The ticket order form can be downloaded from the MSO website and mailed to the MSO address. 3) Tickets may be purchased by calling the MSO voice system at 1-888-846-8600. Leave a brief message with your name and telephone number and an MSO representative will return your call. 4) Tickets, if available, may be purchased at the door.

TICKET PRICES Single tickets may be purchased for $45 and the livestream concert may be purchased for $15 per person. Tickets to the New Year’s Eve concert are $85 and $25 for the livestream. Complimentary tickets are available to youths up to 18 years old, however due to a limited number of these tickets, a reservation is required.

TICKET PAYMENT The MSO accepts Visa, MasterCard, check or cash for payment.

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DRESS CODE There is no official “dress code” for attending MSO concerts. In respect to the Maestro and the musicians, “smart casual” attire is suggested.

“THEATER” TEMPERATURES Temperatures will fluctuate due to audience size and location of seating. Dress in layers so you can adjust your clothing to be comfortable in a variety of temperatures.

LOST AND FOUND If you misplace your glasses, think you left a sweater on a seat, found keys in the parking lot, etc., call 1-888-846-8600, leave a message and an MSO representative will return your call.

Turn off cell phones and any other electronic devices. The light/noise from these devices is a distraction. Please, no text messaging or flash photography during performances.

Leave all food and drinks outside the “theatre”. NO food or drinks are allowed inside the “theatre”. If unwrapping a cough drop or piece of candy to soothe a dry or sore throat, please do so quietly.

Respect those around you. Concert-goers are expected to arrive and be seated before the music commences. The audience waiting for a concert to begin may talk freely until the end of the applause greeting the entrance of the conductor (or the concertmaster if the orchestra tunes on stage). Please refrain from talk during the performance as it is extremely distracting to other audience members and the musicians. Unless there is an emergency, plan to stay seated during the performance. Refrain from returning to your seat while the musicians are performing. Do so when there is a “break” in the music.

Applause, for musical performances, is held until the entire piece is completed even though there are sometimes pauses between the movements. In between these movements the music will stop for a few seconds. Take note of the program to determine the number of movements. Do not applaud until the conductor has dropped his hands and has turned around to acknowledge the audience. Sometimes this is prolonged past the cutoff of the orchestra, with hands held in the air or slowly lowered over several seconds, in the hope of allowing the audience to stay joined with the artistic creation even for just a moment after its sounds have ceased.

Follow the Mid-Atlantic Symphony Orchestra onFacebook, Instagram, & YouTube

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2020-2021 “Keep the Music Playing!” Campaign

THANK YOU for your support to “Keep the Music Playing!” The Mid-Atlantic Symphony Orchestra Board of Directors, Maestro Julien Benichou, and the MSO musicians are grateful to the patrons, grantors, sponsors and advertisers who support the MSO concerts performed throughout the mid-Atlantic region. Contributions received between July 1, 2020 and March 1, 2021 are acknowledged. We have made every effort to ensure our list is accurate. For changes/additions, call 888-846-8600.

GRANTORS 2020-2021 SEASON $15,000+ SPONSORS ($750) Maryland State Arts Council Robert and Faith Duncan Brendan and Laurie Keegan $10,000-$14,999 A. Hughlett Kirby Van Strum Foundation Marci Levin and Joel Resnick Arthur and Sallie Melvin $5,000-$9,999 Maxine Millar Artistic Insights Fund, Mid-Shore Michele Moodispaw Community Foundation Marlene Ott Joseph Peters $2,500-$4,999 George Raitt Sussex County Council Albert and Eleanor Smith Talbot County Arts Council Worcester County Arts Council DONORS Maestro’s Circle- $10,000 + < $2,500 Katherine Ellen Brown Community Fund Concertmaster’s Circle-$5,000-$9,999 Keegan Family Fund Jack & Andrea Barnes Texas Instruments Foundation John Pinney, Pinney Associates, Inc. Worcester County Arts Council Art Resiliency Operating Grant Composers’ Circle-$2,500-$4,999

Peter & Joanne Harrigan

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Soloists’ Circle-$1,000-$2,499 Nancy Collins Warren Rumble JoFran Falcon B. Coughlan Karen & Reinhardt Sahmel in honor Dr. & Mrs. Sal Fiscina C. Paul Cox Family Fund of Dr. & Mrs. Raymond Vergne Sandra Lehman Betty W. Crothers Heinrich & Lelde Schmitz Marci Levin & Joel Resnick George Dappert & Judy Wixted Betty J. Sgro Kevin Doxzen William & Mary Slot Principals’ Circle-$500-$999 Marc Ebersberger, Sr. Anna Snow American Legion Synepuxent Post Edna Ellett JoAnn Storey #166 Kathy Emmert Catherine Thomas Roger & Jane Bollman Carolyn Ewing Mary Lou Tietz Dianne & Harry Burlew Doris Fields Dr. & Mrs. George D. Vernimb Dr. Nicholas & Marcia Fidis George & Julie Fox Marcia Wallace Rafael Prieto Sylvia Garrett Martha Withers Schindler Family Charitable Fund John and Eileen Giaquinto Richard Gnospelius Patrons’ Circle <$100 Musicians’ Circle-$250-$499 Maryellen Gunther Donna Barker Helen & Charles Atkinson Carolyn Harrison J. Patricia Barrett Katherine L. Barney Kathleen Heintz Eileen Bogel Patricia & Lawrence Campbell William & Elizabeth Hennings Agnes Boxhill Judy & Al Dannes Paul Herman & Karen Goldman Howard Boyd DiFebo’s Restaurant (Bethany Beach Martha Horner Karen Cissel and Rehoboth Beach locations) Dale Jacobs Mary Clark Dane & Emily Krich Diana Kingman Teresita Davin Christine Martin Martin Krupp Priscilla De La Torre Vito & Donna Potenza Lynn LeBrun Maryann & Alex Donnan Rubel Family Foundation Karl Lemp Zita Dresner Diana Sable Gloria & Michael Lindemann Anne Carol Finley Eva Smorzaniuk Ann Ludwig Robert Foley Mari Stanley Martin Mason Carol Gadsby James Meckley Peter Gerardo Friends’ Circle-$100-$249 Kathie Ochse Kay & Lanny Hickman Molly & Peirce Anderson Tony & Cammy Passarella Marshall Hodges Mrs. Gordon R. Baer Sandra Pace & Barbara Passikoff Anneliese Hoffmann Edward & Elaine Bednarz William Raecke Esperanza Holguin Carol S. Bishop Gail Reese Deborah Judy Dale Buley Dave & Anne Rogerson Faith Kauffmann Dr. James Carder Rosenblum Family Fund Continued Judith Carpenter Adrienne Rudge Alex & Joan Collins 16

Patrons’ Circle <$100 (Continued) MEMORIAL CONTRIBUTIONS Arlene Kennedy Jack & Andrea Barnes, In Memory of Helen W. Parker Bette Koontz Michael L. Barton, In Memory of Anne Harrington Claire Liversidge Carolyn Ewing, In Memory of Tony Ewing Melissa S. A. Lourie Rodanthe and Paul Hanrahan, In Memory of Minnie William Manthorpe Nichols Peter & Joanne Harrigan, In Memory of Helen W. John & Pat Mehalyak Parker Paolo Mercogliano Mr. & Mrs. Richard Hynson, Jr., In Memory of Helen Sandra Miller W. Parker Penny Mohr & Mark Elert Courtney Kane, In Memory of Helen W. Parker Katherine Munson Susan & Barry Koh, In Memory of Helen W. Parker Nancy Purchase Shen Lin, In Memory of Anne Harrington Beverly Shea Maxine & William Millar, In Memory of Helen W. Parker Paul Sikoris Eileen Storch, In Memory of Anne Harrington Anne Cochran Sloan Jason Storch, In Memory of Anne Harrington Sharon Sorrentino Todd Storch, In Memory of Anne Harrington Katherine Tillman Philip Webster

CONTRIBUTIONS - MSO EDUCATION AND OUTREACH

Note-Worthy Instruments Program

School Education and Outreach Programs Jerilyn & Curtis Andrews Jack & Andrea Barnes Women’s Club of Ocean Pines

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23rd Anniversary Gold Sponsor ($2,500) Additional Holiday Joy Pamela Chappell Contributions Margaret Keller Elisabeth Baer Catherine McCoy Patty Campbell Rob and Ceci Nobel Joan Cox Joseph and Mary Lou Peters Jennie Hyatt

Teresa Lynn 23rd Anniversary Silver Sponsor ($1,000) Donna Barker Thomas Markiewicz Bruce Wiltsie and Bill Davenport Eileen Martin Robert and Faith Duncan Patrick & Lynne McAllorum Peter and Joanne Harrigan Rev. Diane Nagorka Sandra Lehman Greg and Linda Neuner Joel Resnick & Marci Levin Ray and Linda Olsen Ann Marvin Neil Richman William Reybold III Mary Ryan Terry and Bill Witowsky Robert and Karen Schultz

23rd Anniversary Friend Sponsor ($500) Albert and Eleanor Smith William and Gale Alford JoAnn Storey Joe and Sue Bredekamp Karen Taylor Regina Brittingham Katherine Tillman Linda Goss Sara and Myron Walker Jan and Rick Hynson Patricia Winkelmayer Courtney and Scott Kane Steve and Judy Kight Francisco Salazar and Jeffrey Parker Dave and Chloe Pitard Donald Grace and Nancy Smith

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MSO AMBASSADORS*

Sussex County Worcester County Talbot County Cape Region Mary Bucklew Janet Abler Betty Baer Sandi Bisgood Dolores Bushemi Keith Abler Shauna Beulah Joanne Cabry Gwenn Hoffman Gale Alford Patricia Brown Edna Ellett Lee Horn Dale Buley Susan Claggett Joanne Harrigan Sandra Lehman Marie Buley Shirley Cockey Sharon Kaplan Tom Markiewicz Kay Hickman Gloria Condrell Terri Rumble Diane Nagorka Lanny Hickman Steve Fillarte Warren Rumble Greg Neuner Dr. Donna Main Janet Friedberg Jeff Socorso Linda Neuner Eileen Martin Lauren Little Carol Olmstead Diane McGraw Rebecca Mullin Mary Pratt Ellen Morvick Ceci Nobel Priscilla Scott Linda Olsen Mari Stanley Ray Olsen Lee Walker Donna Potenza Anastasia Wrightson Vito Potenza Sandy Wrightson Howard Sribnick

*Symphony Ambassadors are a valuable asset promoting the MSO to their “spheres of influence” throughout the mid-Atlantic region. They volunteer at concerts and fundraisers in support of the MSO to “Keep the Music Playing!” vol·un·teer’ A person who impacts a life forever A person who makes a difference Join a very special group of volunteers who Keep The Music Playing! Becoming part of the MSO leadership as either a Symphony Ambassador or Board Member can transform a potential patron’s music appreciation as well as your own. Our volunteers become familiar with the classical music arena, stay mentally active, and increase their sense of purpose as they interact with patrons. No experience necessary Contact the MSO at 888-846-8600

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JULIEN BENICHOU, CONDUCTOR

Making his mark as a champion for the future of classical music, thanks to his commitment to new music and innovative programming; Julien Benichou is widely recognized for his inspiring musicality, incredibly infectious energy, and creatively fostering the next generation of musicians and audiences. Benichou is the Music Director of the Mid-Atlantic Symphony Orchestra (MSO), Chesapeake Youth Symphony Orchestra (CYSO), Youth Symphony Orchestra (SMYOC), and the Principal Conductor of the Washington Opera Society (WOS).

As a guest conductor, Benichou has garnered high acclaim through his work with the New York City Ballet, Annapolis Symphony, Ballet Theatre of Maryland, Concert Opera, and Baltimore Symphony Orchestra collaborations with Mobtown Modern Synchronicity. Abroad, he has conducted the Orquestra Sinfonica do Parana in Brazil, St. Petersburg State Symphony and Siberian State Symphony in Russia, and the Free State Symphony in South Africa. Benichou's success as a guest conductor has frequently led to return invitations. Next season he will return to the Siberian State Symphony and the Free State Symphony. Additionally, Benichou will return to Carnegie Hall for his 5th year in collaboration with Tim Janis and flutist James Galway.

Now entering his 16th season with the MSO, Benichou has dramatically raised the professional quality of the ensemble, as well as expanding the orchestra's season and donor base. Through his commitment to working in the community and ability to attract high profile artists, Benichou has developed one of the premier regional orchestras in the greater Baltimore/ Washington area. His leadership of the MSO has led to collaborations with Stefan Jackiw, Virgil Boutellis-Taft, Kurt Nikkanen, Brandie Sutton, Vincent Beer-Demander, Leon Fleisher, Kevin Short, Arnaud Sussmann, and Tine Thing Helsen, to name a few.

Benichou has also found great success in conducting operatic productions, served by his keen attention to detail and an ability to bring forth a wealth of expression from singers. In his position as principal conductor of the Washington Opera Society, Benichou recently concluded a production of Carmen at the Maison Francaise in Washington, DC, featuring Lisa Chavez as Carmen and Jonathan Tetelman as Don Jose. Additionally, he has worked extensively with the Morgan State University Choir, leading a fully-staged performance of Gershwin's , featuring Baritone Lester Lynch and Soprano Hawkins. Later with the same ensemble, he conducted the world premiere of James Lee's Mother's Lament.

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A composer himself, Benichou is an avid supporter of new music. He has received numerous commissions for theatre, film, and concert music, most recently from the Siberian State Symphony Orchestra. Benichou has also initiated many new commissions. Recently he conducted the world premiere of Lalo Schifrin's Mandolin Concerto.

Julien Benichou is no stranger to pushing the boundaries of classical music, frequently conducting crossover and pops concerts. He has enjoyed working with the US Army Big Band, the Army Strings, the Irish band Lunasa, and artists Warren Wolf, Mairead Nesbitt, Loreena McKennitt, Sara McLachlan, Matthew Morrison, and HARLOE. In 2017, Benichou premiered “Way of the Rain” at Carnegie Hall, a concert featuring Robert Redford and Vice President Al Gore. Repeat performances are scheduled next season at EarthX in Dallas, TX, and at the Monte-Carlo Opera in the presence of his Highness Albert II, Prince of Monaco.

As an avid advocate for music education, Benichou has worked extensively with the CYSO to bring unmatched experiences to young musicians. He has taken the CYSO on six different European tours through invitations by several prestigious festivals in France, in addition to side- by-side concerts with the Orchestre des Jeunes de Montréal and the St. Petersburg State Symphony. Under his leadership, the CYSO has performed at Carnegie Hall on numerous occasions.

Benichou received a Graduate Performance Diploma from the and earned a Master's Degree from Northwestern University. He also pursued graduate studies at Yale University. In masterclasses, he has worked with Leonard Slatkin, Yuri Temirkanov, Marin Alsop, Michael Tilson Thomas, and JoAnn Falletta. His primary teachers have been Victor Yampolsky, Gustav Meier, and Jorma Panula.

Before coming to the , he trained in France with Roland Hayrabedian and Pol Mule at the Marseille Conservatory and Jean-Sébastien Béreau at the Rueil-Malmaison Conservatory, as well as privately with Yves Cohen. He also studied harmony and counterpoint with Pierre Doury at the Schola Cantorum in Paris. Benichou became a US Citizen in 2016. When not traveling between conducting engagements, he shares his time between his homes in Baltimore, MD and in the French region of Provence.

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Bring the World of Music to our Children on the Shore!

The Mid-Atlantic Symphony needs STUDENT INSTRUMENTS for EDUCATION and OUTREACH in our local counties: Dorchester, Sussex, Wicomico, and Worcester

YOU can help with DOLLARS or INSTRUMENTS Contact Patty Campbell at 443-664-6585

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26 In Memoriam The Mid-Atlantic Symphony Orchestra would like to express its deepest condolences at the passing of Patricia Barrett

Jeanne Patricia Barrett was born and raised in Boston, Massachusetts. She spent most of her life in the Washington D.C area and on Maryland's Eastern Shore. Pat was a veteran of the United States Air Force - Airman II Class. She was also crowned Miss Armed Forces 1957. She loved the theatre, sports (mainly hockey), and the beach. Pat was an avid supporter of the arts. The Mid- Atlantic Symphony Orchestra was an extremely important organization in her life. As a member of the MSO family, she served as Board Director 2002-2008, President 2008-2009 and 2010-2011, and Honorary Director 2011-2016. She was instrumental in bringing Maestro Julien Benichou to the MSO in 2005. The MSO is extremely grateful to Pat for her dedication, contributions, connections, and her tireless and successful use of her time, talents, and leadership to keep classical music alive on the Eastern Shore of Maryland and Delaware.

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JULIEN BENICHOU, CONDUCTOR KURT NIKKANEN, JACQUES-PIERRE MALAN, CELLO Thursday, March 4th, 2021 7:30 PM- Easton Church of God, Easton, MD BOLOGNE, HAYDN, & SHOSTAKOVICH

Violin Concerto No. 2 Joseph Bologne 1745-1799 I. Allegro moderato II. Andante moderato III. Rondeau Kurt Nikkanen, Violin

Cello Concerto No. 1 in C Major Joseph Haydn 1732-1809 I. Moderato II. Adagio III. Allegro molto Jacques-Pierre Malan, Cello

Chamber Symphony for String Orchestra Dmitri Shostakovich 1906-1975 I. Largo II. Allegro molto III. Allegretto IV. Largo V. Largo

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Orchestra Roster 1st Violin Cello Kurt Nikkanen, Concertmaster Jacques-Pierre Malan* Regi Papa, Associate Concertmaster Steven Chen Kimberly McCollum Molly Aronson Christian Simmelink Bass 2nd Violin Christopher Chlumsky* Celaya Kirchner* Patrick Raynard Mary Thulson Dana Bevard *Principal Viola Yuri Tomenko* Cameron Raecke Dorothy Couper 29

Program Notes

Joseph Bologne French, 1745-1799 Violin Concerto Opus 7, No. 2

Joseph Bologne was born in the Caribbean island of Guadaloupe in 1745. He was the son of George Bologne de Saint-Georges, a French landowner, and his wife's African slave, Anne (Nanon). Although ineligible for a title of nobility, Joseph was acknowledged by his father, and educated in Paris, where he became an expert in fencing, dancing and riding. In 1766 he was given the title of Chevalier de Saint Georges.

Very little is known about his musical education. In the 1770's he was already recognized as an accomplished violinist and conductor. It is reported that he gave music lessons to Marie Antoinette. Bologne participated in the French Revolution but was discharged from the army and actually imprisoned for reasons his biographers maintain obscure. He died in 1799.

Bologne is considered the first classical music composer of African origin. He composed eight symphonie concertante, popular in France at the time, various operas, several violin concerti and a large volume of chamber music. He travelled extensively but was not financially successful.

Violin Concerto Opus 7 No. 2 was probably composed before the French Revolution. Its architecture is in three movements, fast-slow-fast, and the movements are developed in a primitive, but recognizable, sonata form. The themes are pretty and uncomplicated. The music delivers no surprises or unexpected turns, and remains harmonious and well crafted throughout, although at the end of the third movement Bologne runs out of ideas and terminates the music abruptly. The concept of "music-by-numbers" comes to mind, perfect for a Sunday morning.

Bologne has been called Mozart Noir, by some critics, rather inappropriately. Bologne, a talented man and gifted musician, was no Mozart. Although his music is extremely well constructed and crafted, it carries no gravitas or pathos. He wrote very pretty music according to the standards of the day, but was not an innovator and did not advance classical music in any significant direction. The standard textbooks on the history of music have neglected him, as well as most of the critical collections. His profile may evolve in the future, since a considerable amount of his music has been recorded in this century, and is available on the internet.

Program Notes by Raymond Vergne, M. D. 30

Program Notes

Franz Joseph Haydn Austrian, 1732-1809 Concerto for Cello and Orchestra No. 1 in C Major

Born in poverty, young Franz Joseph Haydn had the gift of music and a beautiful voice. These gifts won him a position in the boys' choir at St. Stephen's Cathedral in Vienna, with the additional benefits of room and board, music lessons and general education. At the age of 17 he was discharged, as his voice was changing, and he worked as a street musician. A comedian asked him to write music for a comic opera he was writing, which brought Haydn some recognition. He held several minor positions until he became Kapellmeister for the Esterhazy family in Eisenstadt and at their country estate in , Esterhaza.

With an orchestra of twenty two musicians and half a dozen singers, and a 400 seat opera house, Haydn production exploded. His major contributions to the history of music were the development of the string quartet, liberated from the continuo, and the classical symphony in four movements (fast-slow- minuet-fast). He experimented endlessly with variations to the classical architecture of music, like the sonata form, and added new instruments to his orchestra as they were developed. After his employment with the Esterhazy family ended in 1790, he travelled to England and wrote the great oratorios The Creation and The Seasons. Overall, he wrote over one hundred symphonies, numerous operas, dozens of string quartets, the famous Concerto and various sacred works.

Donald Francis Tovey, in his Essays in Musical Analysis, writes about Haydn's "…dramatic surprise… (where) almost everything is unexpected…". This commentary applies well to Concerto for Cello and Orchestra No. 1 in C Major, composed in 1761-1765 for Joseph Franz Weigl, cellist of the Esterhazy Orchestra. Although the skeleton of the principal theme appears in Haydn's draft catalogue of 1765, the concerto was lost for two hundred years until the manuscript was discovered in 1961 in Prague. The concerto's architecture is typical sonata-allegro form and makes use of the technique of ritornello frequently. It is orchestrated for two oboes, two horns and strings. Interestingly, there is only one cello line in the score, which has led scholars to believe that Weigl may have been the only cellist in the Esterhazy Orchestra and played both the soloist and the orchestral parts by himself.

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Program Notes

The first movement, Moderato, is made up around a single theme and a derivative melody. The development is lovely, calling for skillful bowing, double stops and delicate filigree using all four strings. The soloist brings back the main subject in the recapitulation, after which comes the cadenza. Although the music is definitely authentic Haydn, it is very likely that Weigl contributed significantly to the solo passages. The horns and the oboes add considerably to the body of the music, and the orchestra may sound "thin" without them.

Silent they are, however, the horns and the oboes, during the second movement, Adagio. The tender melody is presented by the orchestra, after which the soloist enters on a long, sustained note. These entrances are characteristic of this concerto and are used half a dozen times in the final two movements. The Adagio is very lyrical and includes a short cadenza.

An extended orchestral introduction leads to the vigorous Allegro, which demands a virtuoso performance. The music is exuberant, energetic and exhibits remarkable drive. The technical challenges to the soloist are considerable.

Haydn gave young Beethoven music lessons, was very fond of Mozart and distraught by his early death. Haydn was recognized in his lifetime throughout Europe as a master and a legend. He died of natural causes in Vienna at the age of 77.

Program Notes by Raymond Vergne, M. D.

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Program Notes

Dmitri Shostakovich Russian, 1906-1975 Chamber Symphony, Op. 110a

Dmitri Shostakovich, born in St. Petersburg in 1906 to a stable and privileged family, began lessons at the age of nine, and entered the Leningrad Conservatory in 1919. His Symphony No. 1, written as a graduation thesis, was premiered in 1926 and was a success.

In 1936 he was chastised by the Soviet government for his popular opera, Lady MacBeth of Mstensk. In 1938 Shostakovich made peace with the government by composing his Symphony No. 5, " … a Soviet artist's practical and creative reply to just criticism … ". Interestingly, both his supporters and his detractors found Symphony No. 5 to their liking, and this work remains to this day a favorite of symphony orchestras everywhere.

In 1948 he was again criticized by the government for "bourgeois decadence", and had to offer a public apology. These periods of tension with the government, and the negative impact they had on his income, forced him to compose music for the movies first and foremost, chamber music for general consumption, and other works which were delegated "to the files". Symphonies, concerti, operas and ballets were intensely scrutinized, even though he was generally considered the "jewel in the crown" of Soviet music.

In the summer of1960 Shostakovich travelled to Dresden, East Germany, to write the music score for a movie about the Allied bombing of Dresden, Five Days, Five Nights. His biographers suspect that he was depressed and contemplating suicide. Instead of the movie score, he composed his String Quartet No. 8 in three days. Shostakovich dedicated the work to himself, believing he was soon to die and no one would write anything in his memory. His depression soon lifted and he wrote the movie score. The String Quartet No. 8 became a favorite and was orchestrated by Rudolf Barshai as the Chamber Symphony Op. 110a. Soviet authorities had the work published with the subtitle War Requiem because of its somber mood.

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Program Notes The work is unconventionally written in five movements, (slow-fast-fast-slow-slow) which are played without interruption. The first movement, Largo, is introduced by the cellos with Shostakovich's signature phrase, D- E♭-C-B, which are his initials in German notation. Several of his works are quoted, including his Symphony No. 1 and his Symphony No. 5. This is very dark music, possibly a reflection of the suffering and loss of life inflicted by the bombing. Shostakovich had experienced the siege of Leningrad and was familiar with barrages and firebombs. The second movement, Allegro molto, presents the frenetic activity, anxiety, agony and desperation of the public, the defenders and the firefighters. It is perfect music for a documentary on the battle, the reason for which Shostakovich was in Dresden. Once again, Shostakovich quotes himself with segments from his Piano Trio No. 2. A rhythm dominates the Allegretto, which presents a dramatically different mood. Three fortissimo chords, liberally repeated, introduce the second Largo and are reminiscent of Beethoven's String Quartet No. 16, Op 135. The work closes with another Largo which again includes a quotation from Symphony No. 5 and the D-E♭-C-B signature sequence.

The key concept to keep in mind is that Shostakovich began writing a music score for a movie, a project with which he was quite experienced and ended up with a very unusual string quartet. Add his depression and morbid inclinations, and the result is the Chamber Symphony Op. 110a. Close your eyes during the performance, particularly the second movement, and pretend you are watching a documentary on the History Channel or PBS.

Shostakovich was deeply patriotic and devoted to Russia. He eventually became a member of the Communist Party and tried to write music that was not politically offensive yet personally satisfying. His symphonies, some of them truly monumental, indicate the influence of Gustav Mahler. Some of his music was universally loved, some despised and loathed. Overall, the sum of his work was uneven. Shostakovich continued throughout his life to write symphonies, string quartets, concertos, operas and ballets, taught at the Conservatory, supported the Soviet state, married three times and smoked cigarettes. He died in 1975 of lung cancer, or a coronary event, or both.

Program Notes by Raymond Vergne, M. D.

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South African cellist, Jacques-Pierre Malan is taking the classical music world by storm with his unparalleled performances, innovative projects, and uncompromising dedication to energizing and uplifting both audiences and musicians alike. His initiatives have landed him on stages across the world from Africa to Europe to the USA. He is currently based in Baltimore Maryland, allowing him access to America’s greatest musicians and performing opportunities. Serving as an ambassador for South African classical musicians within the USA, Malan works tirelessly as a solo, chamber, and orchestral musician, as well as a dedicated teacher and program coordinator. As a performer, Malan’s career was launched through winning top competition prizes and scholarships including Yale Gordan String Competition, SAMRO Bursary Competition, Stellenbosch International Chamber Music Festival Competition, Getting To Carnegie Hall amongst several others. As a soloist, Jacques-Pierre has performed cello concertos with Kwazulu Natal Philharmonic, Johannesburg Philharmonic, Capetown Philharmonic, Peabody Conductors Orchestra. His impeccable technique, endless energy, and unifying personality has allowed him to perform chamber music with Baltimore Symphony Orchestra concertmaster Jonathan Carney as well as numerous faculties from Julliard School of Music, Peabody Conservatory, and the Curtis Institute. In 2016, after completing his Master degree at Peabody Conservatory with Israeli cellist Amit Peled, Malan was invited to continue his contributions to the music world in America on an O1 Visa for Extraordinary Ability in the Arts which was sponsored by the Mid-Atlantic Symphony Orchestra, Chamber Encounters Inc. and Friends of Chamber Music Concert Series. In less than two years, he founded the Baltimore String Quartets and Trios, a business that pairs upscale event planners with elite musicians, and Creative Concert Group, which produces visionary concert programs never been done before, including the Dvorak Cello Concerto performed with String Quartet, which Mr. Malan premiered in Washington DC. Mr. Malan’s work performing at the South African Embassy has led him to working as Artistic Program Coordinator for the Embassy Series, which, through putting on performances at embassies from all over the world, aims to unite people through musical diplomacy. Mr. Malan comes home to South Africa every midyear to perform and visit his family. This year’s performances include the Haydn C Major in his home town Bloemfontein with the Free State Symphony Orchestra followed by recitals in Capetown of works by Bach, Schubert and Brahms.

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In Memoriam The Mid-Atlantic Symphony Orchestra would like to express its deepest condolences at the passing of Diane Dee

In her life before retirement, Diane was employed by the CIA and Foreign Service and served tours in Beirut, , Taipei, Panama, China, Belgium and Morocco. It was a busy and challenging career, especially combined with an active family life at home, raising 3 sons. Following her retirement, Diane moved to Ocean View, Delaware and wanted to give back through volunteering and use her many talents by doing so. Her love for classical music led her to one such volunteer opportunity. As a member of the Board and MSO family, she served as Ocean View Vice President and contributed in so many ways over the years. The orchestra is very grateful for her many contributions to the MSO and her dedication to bringing classical music to the Eastern Shore of Maryland and Delaware.

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THANKS TO OUR SPONSORS

Van Strum Foundation

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