FEBRURY 2016 FANFARE CINCINNTI

FANFARECINCINNTI appalachian spring Louis conducts a program full of orks by merican masters P GE 37

PINO LEGEND LEON FLEISHER returns ith Piano Concerto for Left Hand P GE 23

DNCE PRTY! The Orchestra’s youngest fans fl ock to Music Hall for this Lollipops Family Concert P GE 35

CINCINNTISYMPHONY.ORG CSO CHMBER PLYERS On Stage: Love and Mirth P GE 46

LL-RCH The May Festival Chorus and pianist Conrad Tao bring to life some of FEBRURY 2016 Rachmaninoff ’s greatest orks P GE 49 Oxford proudly supports the Cincinnati Symphony Orchestra.

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CHICAGO ✦ CINCINNATI ✦ GRAND RAPIDS ✦ INDIANAPOLIS ✦ TWIN CITIES 513.246.0800 ✦ WWW.OFGLTD.COM/CSO Plan for tomorrow. Live for today.

Confi dent Living. Prepare now for a better future.

Wouldn’t it be great to have a crystal ball and know exactly what the future will bring? While that may not be a reality, you can still plan well for the what-ifs of tomorrow. Confi dent Living is a unique new way to plan for the needs you may have someday, while delivering immediate access to a host of lifestyle and wellness services so you can remain at home and independent as you age. With prevention, support, and whole-health services, Confi dent Living gives you the opportunity to thrive at any stage of life. Join us for an informational event. Visit Confi dent-Living.org or call 513-719-3522 for dates and times.

Confi dent Living, a Life Enriching Communities program, is affi liated with the West Ohio Conference of the United Methodist Church and welcomes people of all faiths. FEBRUARY 2016 CONTENTS

18 Concertmaster of the Cincinnati CONCERTS Symphony Orchestra since 1998, Timothy Lees also enjoys an exciting 23 CSO: Piano Legend Leon Fleisher, Feb. 5–6 and eclectic career as soloist, recitalist 31 Guest Artists: Christof Perick, conductor; and chamber musician. Read our Leon Fleisher, pianist Spotlight article about this dynamic 35 Lollipops: Dance Party, Feb. 6 artist, who will take center stage to perform Barber’s Violin Concerto 37 CSO: Appalachian Spring, Feb. 19–20 Feb. 19–20 with the CSO. 44 Guest Artist: Timothy Lees, violinist 56 Conrad Tao, described as Love and Mirth, Feb. 21 46 Chamber Players: “ferociously talented” by the NY 49 CSO: Rachmaninoff’s Rhapsody, Times, has appeared worldwide as a Feb. 25 & 27 pianist and composer, earning several 56 Guest Artists: Giancarlo Guerrero, prestigious honors along the way. conductor; Conrad Tao, pianist; Angela Meade, He’ll perform the irresistible Rhapsody Garrett Sorenson, Hugh Russell, vocal soloists; on a Theme of Paganini with the CSO May Festival Chorus, Robert Porco, director Feb. 25 and 27.

32 As a recipient of the Kennedy Center Honors in 2007, pianist Leon Fleisher was recognized as a DEPARTMENTS “consummate musician whose career is a testament to the life-affirming 6 A Letter from the President power of art.” The internationally renowned pianist will perform 7 Transition to the Taft Theatre/ Prokofiev’s brilliant Concerto No. 4 for Music Hall Renovation Update Left Hand Alone Feb. 5–6. 8 Your Concert Experience 10 Orchestra Roster 14 Artistic Leadership: Louis Langrée and NEWS John Morris Russell 17 If It Sounds Good, It Is Good! by JMR Feature: From Rachmaninoff to Lang Lang: 12 Spotlight On: Timothy Lees The Evolution of the Taft Theatre 18 60 Boards 21 Aaron Copland and the CSO 63 Financial Support 33 Q&A with Leon Fleisher 70 Opus 25 and 50 Subscribers 75 Administration 76 Coda

2 | FANFARE CINCINNATI | cincinnatisymphony.org

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

All contents © 2015–16. The contents cannot be reproduced in any manner, whole or in part, without written permission from the Cincinnati Symphony Orchestra and Cincinnati Pops.

ON THE COVER Aaron Copland’s Appalachian CINCINNATI SYMPHONY & POPS ORCHESTRA Spring premiered in 1944, originally as a ballet. The Music Hall music, of which the CSO will perform the condensed 1241 Elm Street Suite on Feb. 19–20, draws on popular American Cincinnati, OH 45202 melodies, the most famous being the Shaker hymn Administrative Offices: 513.621.1919 “Simple Gifts.” The CSO’s performances of Copland’s [email protected] music this month reflect a strong decades-long Box Office relationship with this uniquely American composer. Music Hall 1241 Elm Street Cincinnati, OH 45202 CINCINNATI MAGAZINE: Advertising and Publishing Partners 513.381.3300 for Fanfare Cincinnati [email protected] Publisher Group Sales Ivy Bayer 513.744.3590 Director of Advertising [email protected] Tammy Vilaboy Art & Production Manager TTY/TDD Julie Whitaker Use TTY/TDD Relay Service 7-1-1 Marketing Director Chris Ohmer cincinnatisymphony.org | cincinnatipops.org Advertising & Marketing Designer facebook.com/CincySymphony or /CincinnatiPops Emily Nevius twitter.com/CincySymphony or /CincinnatiPops Custom Publishing Account Manager Maggie Wint Goecke Senior Outside Account Representative Laura Bowling Operations Director RECYCLE FANFARE CINCINNATI Missy Beiting You are welcome to take this copy of Business Coordinator Fanfare Cincinnati home with you as Erica Birkle a souvenir of your concert experience. Advertising and Business Offices Alternatively, please share Fanfare Carew Tower Cincinnati with a friend or leave it with 441 Vine Street, Suite 200 Cincinnati, OH 45202 an usher for recycling. Thank you! 513.421.4300 Subscriptions: 1.800.846.4333 cincinnatimagazine.com

4 | FANFARE CINCINNATI | cincinnatisymphony.org the promise of academic medicine every day.

As Cincinnati’s only academic health system, we see more. More hope for people facing complex health problems like Parkinson’s disease and pancreatic cancer. More groundbreaking research leading to new discoveries in stroke and brain tumors. And more advanced treatment options for cancer, heart disease and neurologic disorders. Because we see more, you see health.

Cincinnati West Chester

For an appointment call (513) 475-8000 l See more at UCHealth.com/WeSee

© 2016 UC Health A LETTER FROM THE PRESIDENT

Dear Friends, businesses looking to recruit and retain a workforce. In short, it’s important for Cincinnati’s future and Arts deepen roots in the the arts can play an important role in that. region. With the CSO’s As part of ArtsWave’s Blueprint, which provides One City, One Symphony a sector-wide focus for “community investments initiative, our goal is to and strategic initiatives for the next ten years,” the forge deep community CSO has adopted fi ve goals including this one: “To relationships and foster deepen feelings of engagement and connection to city-wide dialogue. We the community by widening participation in arts recently announced that experiences for all, especially those that resonate in the fall of 2016, the Or- with adults age 40 and younger.” chestra will continue this Our work in this area has begun and we look exciting initiative, this time exploring the theme of forward to sharing more about One City, One Sym- “Home” as part of Greater Cincinnati’s collective phony and other programs that support achieving att ention to att racting talent and retaining residents this goal. More importantly, we look forward to in the region. your participation in these initiatives. Plenty of studies point to a fi nding that ArtsWave Thank you in advance for supporting this year’s recently called out in its important Blueprint for ArtsWave campaign, which is critically important Collective Action: “Residents who are engaged in for the Orchestra, and we look forward to seeing you the arts—whether as volunteers, artists or audience at Music Hall and around the community! members—have a stronger and more positive con- nection to the community.” Sincerely, Looking at 12 peer regions across the country, Cincinnati ranks only eighth in the percentage of young professionals living and working here, and increasing that percentage is important for our local Trey Devey

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

Ellen K atz President/CEO, The Greater Cincinnati Foundation

6 | FANFARE CINCINNATI | cincinnatisymphony.org History of the Taft Theatre: Great Performers Are you curious about the big names that have George Gershwin took the stage for a piano recital. graced the Taft Theatre stage in its 90+ year history? Katharine Hepburn treaded the boards with The So was I! As the CSO administration prepares for the Philadelphia Story—the Taft was home to many Taft season, I was able to pay a visit to the Cincinnati Broadway productions in its early days, including Historical Society archives to unearth programs and performances by Sophie Tucker, Henry Fonda, Burl information about the legendary performers in the Ives, Carol Channing, Yul Brynner and more. The early days of this historic gem. 1940s would see performances by jazz legend Duke The Taft Theatre opened in 1928 with a concert Ellington, as well as celebrated pianists Vladimir featuring Ignacy Jan Paderewski. (This respected Horowitz , Sergei Rachmaninoff and Claudio Arrau. conductor famously left the stage in a huff when In 2016–17, the Taft will host another incredible patrons did not return from intermission quickly lineup of stars—see page 12 for information on enough.) In the 1930s, violin greats Jascha Heifetz the CSO season, and watch for the Pops season and Fritz Kreisler performed at the Taft, as did announcement soon. famed vocalist Marian Anderson. The one-and-only —Erica Minton, Director of Marketing, Special Projects Questions or comments about the Orchestra’s one-season transition to the Taft Theatre? Visit cincinnatisymphony.org/musichall or email [email protected]. Music Hall Renovation: Finding the Architects Music Hall has been an icon of Cincinnati’s land- The partnering design fi rm on the Music Hall scape and culture since the building’s completion in renovation, PWWG, is heralded as one of the leading 1878. During its lifetime, the storied auditorium has fi rms in the nation specializing in historic rehabilita- resonated with the rich bravado of trumpet fanfares tion and adaptive reuse. One of PWWG’s lauded and gentle cries of tremulous violins, and felt the tap- historic restorations is the Pennsylvania Capitol ping of toes – even the presence of a ghost or two, if Building, an example of which was the revival of the you’re inclined to believe the building’s mythology. building’s 52-million-pound Main Dome, all while Needless to say, when confronted with the task of business was conducted in the building as usual. renovating such a beloved house, the utmost care The excitement around the renovation is palpable. was taken to select the design team to complete In an interview with Fanfare Cincinnati, PWWG the job. After a rigorous vett ing process of design Principal Architect Alan Weiskopf shared his en- fi rms nationwide, 3CDC and the building’s resident thusiasm about “being responsible for the ‘care and companies selected two architectural fi rms for the feeding’ of such a treasured landmark in the City of design team: Martinez + Johnson Architecture (M+J) Cincinnati, knowing that building has touched the and Perfi do, Weiskopf, Wagstaff + Goett el (PWWG). lives of so many people.” M+J, a fi rm specializing in cultural projects in- The team is also composed of acousticians from volving performing arts, has worked on impressive Akustiks, who have been charged with acoustically ventures such as the Boston and Kiel opera houses, optimizing the performance space, as well as theatre as well as the Saenger Theatre in New Orleans. Gary planners and lighting designers from Chicago-based Martinez, Principal Architect at M+J, said that the fi rm Schuler Shook, who are on the project to create fi rm’s most signifi cant projects are those “beloved the perfect auditorium to fi t the needs of the audi- institutions serving as centers for the aspirations of ence and performers. Look for profi les of these fi rms community and the sharing of cultural values.” To in future issues of Fanfare Cincinnati. Mr. Martinez, the Music Hall renovation is “a dream The team is set, the plans are made, and construc- any designer would cherish” because of the build- tion is underway to ensure that Music Hall remains ing’s status in the region, stating that it “inspires the standing for future generations. patrons of the arts in Cincinnati to greater levels of —Laura Bock devotion than that found in most communities.” cincinnatisymphony.org | FANFARE CINCINNATI | 7 YOUR CONCERT EXPERIENCE

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

8 | FANFARE CINCINNATI | cincinnatisymphony.org Enjoying your granddaughter’s ballet An Exceptional Everyday Experience

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

Twin Towers Twin Lakes 513.853.2000 513.247.1300 5343 Hamilton Avenue 9840 Montgomery Road Cincinnati, OH 45224 Cincinnati, OH 45242

Life Enriching Communities is affiliated with the West Ohio Conference of the United Methodist Church and welcomes people of all faiths. LOUIS LANGRÉE, CSO Music Director Louise Dieterle Nippert & Louis Nippert Chair Paavo Järvi, Music Director Laureate Jesús López-Cobos, Music Director Emeritus JOHN MORRIS RUSSELL, Pops Conductor Louise Dieterle Nippert & Louis Nippert Chair Erich Kunzel, Founder and Conductor Emeritus Keitaro Harada, Associate Conductor David G. Hakes & Kevin D. Brady Chair Gene Chang, Assistant Conductor

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

10 | FANFARE CINCINNATI | cincinnatisymphony.org

From Rachmaninoff The evolution of the to Lang Lang: By: Meghan Berneking taft theatre

ergei Rachmaninoff. George Gershwin. Darrah, features spoken word and dramatic set Katharine Hepburn. These are just a few elements offering an exploration into Fauré’s Pél- of the stars that have graced the stage of leas et Mélisande. One City, One Symphony returns Cincinnati’s own “downtown jewelbox”— Thanksgiving weekend with a theme of “Home,” Sthe Taft Theatre (see more on page 7). During the sure to resonate deeply with audiences and draw just-announced 2016-17 season, the Cincinnati attention to the city-wide goal to deepen roots in Symphony Orchestra and Cincinnati Pops will the region. be regular fixtures of the Theatre, which means The CSO is pulling out all the stops in terms of guest artists such as Lang Lang, Itzhak Perlman repertoire as well. Warhorses such as Stravinsky’s and Yo-Yo Ma will join the list of prestigious art- Firebird Suite, Beethoven’s Missa Solemnis, Rav- ists across all genres to perform there. el’s Daphnis et Chloé, Mozart’s Symphony No. 40, Built in 1928 and named for Charles Phelps Taft, and Strauss’ Also sprach Zarathustra all pepper the the Theatre is currently home to the Children’s season. A special Baroque program consisting of Theatre of Cincinnati and a regular stream of Handel’s Water Music and Royal Fireworks Music A newly constructed Taft Theatre, circa 1930 touring acts. In 2011, as part of its preparation for The CSO’s 2016-17 season was announced at its and Bach’s Brandenburg Concerto No. 3 and Or- an impending large-scale renovation of Music From top hats to acoustics concerts Jan. 14-16, inciting excited chatter and ap- chestral Suite No. 3 (rarely performed gems in the Hall, the CSO entered a long-term lease agree- Prior to the Taft’s 2011 renovation, top hat hooks plause from the audience. Three names in partic- orchestra world) is especially well-suited to the ment for the building with its owner, the Scottish exposed the historic nature of the Theatre, but the ular generated enthusiasm—the aforementioned Taft Theatre. Rite of Freemasonry. The CSO’s subsidiary, Music seats and lack of modern amenities proved incon- Lang Lang, Yo-Yo Ma and Itzhak Perlman, each This “home away from home” is ready and wait- and Event Management, Inc. (MEMI), currently venient and uncomfortable for modern audiences. of whom will perform one-night-only concerts ing for the CSO’s extraordinary 2016-17 season. manages the Taft Theatre. At that point, the Or- The CSO’s priority for the renovation, however, with the CSO. The subscription season also packs While Music Hall receives its much-needed revi- chestra was no stranger to the venue, as the CSO for which it invested more than $3.2 million, was a punch with legendary and in-demand artists talization, the CSO will continue to deliver match- performed its spectacular “Home for the Hol- to maintain the building’s distinctive Art Deco such as Hilary Hahn, Midori, Jennifer Koh, Edo less concert performances and make Cincinnati a idays” concerts there from 1996 to 2003 under character. Updates included doubling the capac- de Waart, Gil Shaham, Branford Marsalis, Eman- destination for residents and visitors alike. then-Associate Conductor John Morris Russell. ity of the men’s restrooms, tripling the capacity uel Ax, Hélène Grimaud and Christian Tetzlaff Do you have questions about the CSO’s season at Located in the Central Business District, the Taft of the women’s restrooms, installing a state-of- making returns to the Queen City. the Taft Theatre, subscriptions or amenities? Would Theatre is surrounded by restaurants, bars and the-art, eco-friendly central air conditioning sys- The CSO’s Brahms Fest continues next season, you like to share a favorite memory you have of the other Downtown hot spots for audiences to ex- tem, and replacing all of the seats to improve seat with the composer’s third and fourth sympho- Taft Theatre? Email [email protected] plore before and after concerts, making it a perfect width and comfort. Cosmetic improvements were nies, as well as his Second Piano Concerto per- or visit cincinnatisymphony.org/musichall for a full location for deepening connections with the com- made as well, to better highlight the turn-of-the- formed by Ms. Grimaud. In the fall, the second list of Frequently Asked Questions. View more details munity and attracting fans to a Cincinnati neigh- century details abundant in the Theatre, includ- installment of The Pélleas Trilogy, a groundbreak- about ticket packages, subscriber benefits and more at borhood they might otherwise not have visited. ing hand-painted murals and a richly detailed ing collaboration with director and curator James cincinnatisymphony.org/1617. arch over the stage. The Theatre is also receiving a new acoustical shell and stage ceilings (known as “clouds”) in preparation for a full season of CSO and Pops con- certs. Designed in consultation with the world-re- nowned acoustic firm Akustiks, and built and installed by the Orchestra’s Technical Director/ Carpenter Joseph Hopper and the skilled crafts- men of IATSE Local 5, these additions will help to achieve an ideal space to serve as the CSO and Pops “home away from home” during the 2016-17 season. Since the CSO and Pops will share the Taft with its other primary tenants next year, great thought and care was given during the shell/ ceiling concept design process to ensure partners such as the Children’s Theatre will still be able to fully produce their seasons while the Orchestra is in residence. And speaking of next season…

Pianist Lang Lang, Photo by Harald Hoffman Stage crew professionals install the CSO’s acoustic clouds, custom built for the Taft Theatre From Rachmaninoff The evolution of the to Lang Lang: By: Meghan Berneking taft theatre ergei Rachmaninoff. George Gershwin. Darrah, features spoken word and dramatic set Katharine Hepburn. These are just a few elements offering an exploration into Fauré’s Pél- of the stars that have graced the stage of leas et Mélisande. One City, One Symphony returns Cincinnati’s own “downtown jewelbox”— Thanksgiving weekend with a theme of “Home,” Sthe Taft Theatre (see more on page 7). During the sure to resonate deeply with audiences and draw just-announced 2016-17 season, the Cincinnati attention to the city-wide goal to deepen roots in Symphony Orchestra and Cincinnati Pops will the region. be regular fixtures of the Theatre, which means The CSO is pulling out all the stops in terms of guest artists such as Lang Lang, Itzhak Perlman repertoire as well. Warhorses such as Stravinsky’s and Yo-Yo Ma will join the list of prestigious art- Firebird Suite, Beethoven’s Missa Solemnis, Rav- ists across all genres to perform there. el’s Daphnis et Chloé, Mozart’s Symphony No. 40, Built in 1928 and named for Charles Phelps Taft, and Strauss’ Also sprach Zarathustra all pepper the the Theatre is currently home to the Children’s season. A special Baroque program consisting of Theatre of Cincinnati and a regular stream of Handel’s Water Music and Royal Fireworks Music A newly constructed Taft Theatre, circa 1930 touring acts. In 2011, as part of its preparation for The CSO’s 2016-17 season was announced at its and Bach’s Brandenburg Concerto No. 3 and Or- an impending large-scale renovation of Music From top hats to acoustics concerts Jan. 14-16, inciting excited chatter and ap- chestral Suite No. 3 (rarely performed gems in the Hall, the CSO entered a long-term lease agree- Prior to the Taft’s 2011 renovation, top hat hooks plause from the audience. Three names in partic- orchestra world) is especially well-suited to the ment for the building with its owner, the Scottish exposed the historic nature of the Theatre, but the ular generated enthusiasm—the aforementioned Taft Theatre. Rite of Freemasonry. The CSO’s subsidiary, Music seats and lack of modern amenities proved incon- Lang Lang, Yo-Yo Ma and Itzhak Perlman, each This “home away from home” is ready and wait- and Event Management, Inc. (MEMI), currently venient and uncomfortable for modern audiences. of whom will perform one-night-only concerts ing for the CSO’s extraordinary 2016-17 season. manages the Taft Theatre. At that point, the Or- The CSO’s priority for the renovation, however, with the CSO. The subscription season also packs While Music Hall receives its much-needed revi- chestra was no stranger to the venue, as the CSO for which it invested more than $3.2 million, was a punch with legendary and in-demand artists talization, the CSO will continue to deliver match- performed its spectacular “Home for the Hol- to maintain the building’s distinctive Art Deco such as Hilary Hahn, Midori, Jennifer Koh, Edo less concert performances and make Cincinnati a idays” concerts there from 1996 to 2003 under character. Updates included doubling the capac- de Waart, Gil Shaham, Branford Marsalis, Eman- destination for residents and visitors alike. then-Associate Conductor John Morris Russell. ity of the men’s restrooms, tripling the capacity uel Ax, Hélène Grimaud and Christian Tetzlaff Do you have questions about the CSO’s season at Located in the Central Business District, the Taft of the women’s restrooms, installing a state-of- making returns to the Queen City. the Taft Theatre, subscriptions or amenities? Would Theatre is surrounded by restaurants, bars and the-art, eco-friendly central air conditioning sys- The CSO’s Brahms Fest continues next season, you like to share a favorite memory you have of the other Downtown hot spots for audiences to ex- tem, and replacing all of the seats to improve seat with the composer’s third and fourth sympho- Taft Theatre? Email [email protected] plore before and after concerts, making it a perfect width and comfort. Cosmetic improvements were nies, as well as his Second Piano Concerto per- or visit cincinnatisymphony.org/musichall for a full location for deepening connections with the com- made as well, to better highlight the turn-of-the- formed by Ms. Grimaud. In the fall, the second list of Frequently Asked Questions. View more details munity and attracting fans to a Cincinnati neigh- century details abundant in the Theatre, includ- installment of The Pélleas Trilogy, a groundbreak- about ticket packages, subscriber benefits and more at borhood they might otherwise not have visited. ing hand-painted murals and a richly detailed ing collaboration with director and curator James cincinnatisymphony.org/1617. arch over the stage. The Theatre is also receiving a new acoustical shell and stage ceilings (known as “clouds”) in preparation for a full season of CSO and Pops con- certs. Designed in consultation with the world-re- nowned acoustic firm Akustiks, and built and installed by the Orchestra’s Technical Director/ Carpenter Joseph Hopper and the skilled crafts- men of IATSE Local 5, these additions will help to achieve an ideal space to serve as the CSO and Pops “home away from home” during the 2016-17 season. Since the CSO and Pops will share the Taft with its other primary tenants next year, great thought and care was given during the shell/ ceiling concept design process to ensure partners such as the Children’s Theatre will still be able to fully produce their seasons while the Orchestra is in residence. And speaking of next season…

Pianist Lang Lang, Photo by Harald Hoffman Stage crew professionals install the CSO’s acoustic clouds, custom built for the Taft Theatre ARTISTIC LEADERSHIP

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

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ARTISTIC LEADERSHIP

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

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

Folks often ask me “when you’re not conducting the best about this project is the opportunity to develop Pops, what else are you doing?” Besides my duties as more in-depth musical relationships with the young Cincinnati’s “Pops Guy,” I am also the Music Direc- musicians, and reinforce the outstanding work that tor of the Hilton Head Symphony Orchestra in South their orchestra and band directors deliver every day Carolina, leading a dozen classical concerts as well of the school year. as the Hilton Head International Piano Competition, February is also the time we start gearing up for and recently took on the position of Principal Pops our annual Classical Roots concert on April 29. The Conductor of the Buffalo Philharmonic. There are members of the Classical Roots Community Mass also frequent guest conducting engagements, as Choir begin the work of learning all the music for well as my own kids’ concerts, plays and recitals our program and our young Nouveau Chamber (I happily just attend those!) that fill out the rest of Players will be wood-shedding some remarkable the calendar. When I’m home I like to take a little repertoire that will tell extraordinary stories through extra time to visit neighborhoods around the Queen music. Every detail of the program comes together in City, working with music students, community a creative collaboration with our partner churches, ensembles and other “band geeks” like myself, Clergy Advisory Committee, and the community encouraging the vibrant musical scene happening at large. outside of Music Hall. When people talk about the “musical riches” in Recently we’ve begun an extended collaboration our region, it’s not just the Pops, CSO, May Festi- with the music programs of Indian Hill, Mariemont val, Opera, etc.; I believe it’s also the thousands of and Madiera. The students from each school work dedicated and talented amateur singers, musicians, on the same pieces of music throughout the winter bands and orchestras that help create beauty all semester and in spring join together for a MAS- around us. I am thrilled to help encourage and SIVE concert involving 250 kids. I, along with our sustain these great musical traditions that make junior conducting staff and several of our Pops the Queen City such an extraordinary place to live. musicians, work with the students throughout the winter months, rehearsing and fine-tuning as they Cheers! prepare for a concert that I lead in April. What’s

cincinnatisymphony.org | FANFARE CINCINNATI | 17 SPOTLIGHT ON… addition I have been the featured soloist with or- chestras throughout the United States. Timothy Lees What about non-musical hobbies or interests? I absolutely love doing DIY projects around the For this Spotlight we feature CSO house with my wife, spending time with my three Concertmaster (Anna Sinton Taft children and, more recently, delving into the world Chair) Timothy Lees. In coming of fine wines. months we’ll continue to spotlight other What’s the best part about being the concertmaster musicians, patrons or leaders within the of the CSO and Pops? It is a true honor and privilege to collaborate with CSO and Pops community. the exceptional musicians and conductors of the CSO and Pops on a weekly basis! I never take for granted the position I have with the CSO and I count it among my greatest challenges and responsibilities to uphold and maintain the highest standards of musical integrity that are a hallmark of our great Orchestra. Do you have any favorite memories or performances that stand out? My first concerts ever with the CSO included two performances and two recording sessions of Mahler’s Third Symphony. To this day it is my favorite Mahler symphony, and it was an exception- ally gratifying musical experience with this great Orchestra. Second to this would be my first tour with the CSO to Carnegie Hall where we performed Strauss’ Ein Heldenleben to critical acclaim in 1999. When did you join the CSO as concertmaster? Tell us briefly about your musical background prior to What is your favorite part about living in Cincinnati? the CSO. We enjoy the view of Cincinnati from Northern I began as Concertmaster of the CSO in June of 1998 Kentucky, where we live! when I was 28 years old. I grew up in the suburbs of What are some personal or professional highlights Philadelphia and began studying the violin when I coming up in the next few months? was seven years old. I obtained my B.Mus. in Violin Teaching my oldest son to drive is a highlight but Performance from the Eastman School of Music in also a daunting task.... Not to mention trying to May of 1992. In October of 1997 I auditioned for and decide with my wife when we should allow him to was offered the position of Concertmaster with the drive the BMW! New Jersey Symphony but turned it down after I On a musical note I look forward to performing won the position of Concertmaster with the CSO. chamber music works by Dvořák and Schumann What other musical activities are you involved with at the Sarasota Music Festival in June as well as my (other ensembles, chamber music, solo gigs, etc.)? first performance of the Mozart Sinfonia Concertante Since 1998 I have been a regular performer with the with my wife in Tucson, AZ in November! Linton Music Chamber Series in Cincinnati (1–2 con- Where do you seek and find inspiration? certs per season) as well as the CCM Faculty/Guest As I have recently expanded my teaching role Artist Series. Since 2004 I have been on the faculty privately and at CCM, I have found a great deal of the Sarasota Music Festival, where I perform as of inspiration from my students! I have found Concertmaster, collaborate in faculty chamber music that each student has a different learning style, concerts and serve as a chamber music coach for which presents unique challenges in my approach. I student ensembles. In 2011 I was appointed to the find that exploring and expanding upon this com- faculty of CCM and in 2014 was promoted to the ponent of my musical and mental capacity results rank of Adjunct Full Professor of Violin. At CCM I in enhancing my own playing and ultimately en- divide my time between my private violin studio, abling me to continue to become a better musician. private orchestral excerpt coaching, and working directly with both student orchestras. As a soloist Visit cincinnatisymphony.org/stories to read the I have appeared over a dozen times with the CSO full Spotlight. performing works ranging from Bach to Bartók. In

18 | FANFARE CINCINNATI | cincinnatisymphony.org

Aaron Copland and the CSO by Meghan Berneking he Cincinnati Symphony Orchestra’s rela- Portrait in a compelling performance that included tionship with arguably the most “American” stirring photochoreography displayed above the of all composers, Aaron Copland, dates stage. The concert was recorded and released on back to 1928 when the CSO performed the Mr. Langrée’s first commercial recording with the T“Scherzo” from his Symphony for Organ and Or- CSO, Hallowed Ground. chestra under the direction of then-Music Director Major events in the life of the Orchestra have Fritz Reiner. Since then, the Orchestra’s relationship also featured Copland’s music, including the grand with Copland has blossomed with commissions, opening of Riverbend Music Center in 1994 with the recordings and hundreds of performances of the first man on the moon, Neil Armstrong, narrating late composer’s music over the years. Copland Lincoln Portrait, and more recently Copland’s music himself conducted the Orchestra in 1974 (a program has been part of the wildly successful LUMENOCITY that included Lincoln Portrait narrated by actor Ray concerts. His Variations on a Shaker Melody from Middleton) and again in 1976. Most notably, the Appalachian Spring was featured in 2013 and Fanfare CSO, under former Music Director Eugene Goossens, for the Common Man opened LUMENOCITY in 2014. tapped Copland to compose a short work as part of The acclaimed Cincinnati Pops album, Copland–The a 1942–43 fanfare commissioning project intended Music of America, also won a Grammy Award in 1998. to boost morale during WWII. Copland’s contribu- The CSO’s rich relationship with Copland and tion, Fanfare for the Common Man, has since become his music is testament to the Orchestra’s determi- a mainstay of orchestral repertoire and a frequently nation for greatness. With decades of commitment invoked work in the broader culture. The CSO also to extraordinary artistry, the CSO and Pops have gave the world premiere of Lincoln Portrait in 1942. forged artistic bonds with some of the world’s most Copland’s music seems to fit this Orchestra’s influential musicians. In the process, the Orchestra unique “Cincinnati sound,” whether it’s being per- has helped put Cincinnati on the map as a key player formed at a CSO or Pops concert, a Young People’s in the development of American orchestral music. Concert or on an international tour. By taking risks on up-and-coming composers, being In recent years the CSO has paid homage to a place of experimentation through world premieres Copland during several high-profile performances. and fresh collaborations, and looking to artists like At Louis Langrée’s inaugural concerts as Music Aaron Copland, the CSO furthers its mission to seek Director in 2013, Dr. Maya Angelou narrated Lincoln and share inspiration well into the future.

cincinnatisymphony.org | FANFARE CINCINNATI | 21 NOT A DEPOSIT NOT FDIC INSURED MAY LOSE VALUE NOT BANK GUARANTEED NOT INSURED BY ANY FEDERAL GOVERNMENT AGENCY TENTH SUBSCRIPTION PROGRAM Masterworks Series

2015–2016 SEASON FRI FEB 5, 11 am SAT FEB 6, 8 pm Music Hall

CHRISTOF PERICK conductor LEON FLEISHER pianist

NICOLAI Overture to The Merry Wives of Windsor (1810–1849)

PROKOFIEV Concerto No. 4 in B-flat Major for Piano and Orchestra (1891–1953) (Left Hand Alone), Op. 53 Vivace Andante Moderato Vivace

INTERMISSION

R. STRAUSS Symphonia domestica, Op. 53 (1864–1949)

The CSO is grateful to U.S. Bank, the CSO’s Masterworks Series Sponsor. The CSO is grateful to Messer Construction Co., this weekend’s Concert Sponsor. The appearance of Leon Fleisher is made possible by an endowed gift to the Fund for Great Artists by Mr. and Mrs. Joseph Stern, Jr. These concerts are endowed by Martha Anness, Priscilla Haffner & Sally Skidmore in loving memory of their mother, LaVaughn Scholl Garrison, a longtime patron of the CSO. Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra andCincinnati Pops. These concerts will end at approximately 12:45 pm Friday, 9:45 pm Saturday. 90.9 WGUC will broadcast this concert Sunday, March 13, 8 pm.

PROGRAM NOTES © 2015–16 Cincinnati Symphony Orchestra

OTTO NICOLAI (based on Shakespeare’s comedy) in late 1848 and early Overture to The Merry Wives of Windsor 1849. It was premiered on March 9, 1849 at the Berlin Court Opera. In the United States, the overture to the TIMING: approx. 8 min. INSTRUMENTATION: 2 flutes (incl. piccolo), 2 oboes, opera was heard as early as May 28, 1851 (with Leopold 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, Meignen and the Musical Fund Society of Philadelphia); timpani, cymbals a2, bass drum, strings the entire opera was produced by the Philadelphia German CSO SUBSCRIPTION PERFORMANCES Opera on April 27, 1863. The Overture has never before been performed on a CSO subscription concert. It has appeared many times over the Like Mozart, Schubert, Mendelssohn and Cho- years on Pops, Youth, Special, and Domestic and Runout pin, Otto Nicolai died when only in his thirties. Tour programs, and on one May Festival Concert in (Incidentally, his dates are identical to Chopin’s.) the Festival’s first season (1873) when Michael Brand’s “Cincinnati Orchestra” performed the work. But unlike those masters, each of whom had been writing important works since childhood or at least Carl Otto Ehrenfried Nicolai was born in Königsberg, adolescence, Nicolai was just beginning to find his East Prussia (now Kaliningrad, Russia) on June 9, 1810 voice when he died of a stroke. Just two months and died in Berlin on May 11, 1849. He wrote his opera earlier, the only work for which he is remembered Die lustigen Weiber von Windsor (“The Merry Wives today, his opera Die lustigen Weiber von Windsor of Windsor”) to a libretto by Hermann von Mosenthal (“The Merry Wives of Windsor”), was produced at

cincinnatisymphony.org | FANFARE CINCINNATI | 23 PROGRAM NOTES: FEB 5–6 the Berlin Court Opera. So, if it was said of Schubert Johann Strauss, Jr., Off enbach and Sullivan. (in Franz Grillparzer’s famous eulogy) that death The opera is based on Shakespeare’s comedy had destroyed “a rich treasure, but yet much fairer and features Sir John Falstaff , the aging knight hopes,” the same words apply even more strongly and incorrigible womanizer, among the members to Nicolai. One must indeed assume that the history of the cast. But this Falstaff is not the wise fool we of German opera would have been diff erent had know from Verdi’s last opera (writt en at age 80 in Nicolai lived longer: Richard Wagner would have 1893, 44 years after Nicolai). Nicolai’s knight is no had a serious competitor to contend with. philosopher but an entirely comical character who Nicolai had spent several years in Rome as the is not the central fi gure in the opera (the women are, organist at the chapel of the Prussian Embassy. as the title indicates). His familiarity with Italian comic opera is evident The overture to The Merry Wives of Windsor is in The Merry Wives of Windsor (his earlier operas based almost entirely on the opera’s last scene, in were, in fact, all in Italian). But he was also one of which Alice Ford, joined by Meg and Anne Page, the leading conductors of his time, one of the early play their fi nal trick on Sir John. All the children of champions of Beethoven’s Ninth Symphony, which the town are disguised as elves and fairies, in order at the time was still widely misunderstood. He was to scare, pinch and prickle the fat knight until he the fi rst to lead the orchestra of the Viennese Court confesses all his sins. The introduction (“Andantino Opera in symphonic concerts, and thus became the moderato”) depicts the rising of the moon: the long- founder of the Vienna Philharmonic. It won’t sur- held high note of the fi rst violins and the poetic bass prise anyone that The Merry Wives of Windsor owes melody create a magical atmosphere, for, temporar- much to the German tradition of Mozart and We- ily, we are to believe the elves and fairies are “real.” ber; it is more noteworthy that it contains a ballad The tempo soon increases to “Allegro vivace,” and that is strongly reminiscent of the one Senta sings we hear a light-footed theme in staccato (short, in Wagner’s Flying Dutchman (writt en six years separated) notes—the dance of the elves. Finally, earlier). In fact, Nicolai’s opera, with its mixture of the orchestra introduces the marchlike melody to German and Italian elements, has been said to lack which the chorus will sing the moral of the story stylistic unity, yet on the whole it is certainly one of at the end of the opera: “He who tries to deceive the funniest works in the opera literature. It had a other people oft himself is caught in his net.” The strong infl uence on the light operas (operett as) of themes are treated according to the laws of sonata

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24 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: FEB 5–6 form, which allows them to be repeated, varied and developed until the final climax is reached. —Peter Laki

SERGEI PROKOFIEV Concerto No. 4 in B-flat Major for Piano and Orchestra (Left Hand Alone), Op. 53

TIMING: approx. 25 min. INSTRUMENTATION: solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, trumpet, trombone, bass drum, strings CSO SUBSCRIPTION PERFORMANCES These performances are the CSO subscription premiere for the Piano Concerto No. 4 for Left Hand.

Sergei Sergeievich Prokofiev was born in Sontsovka, Ukraine, of Russian parents, on April 27, 1891. He died in Nikolina Gora, near Moscow, on March 5, 1953. Prokofiev wrote his Fourth Piano Concerto, for left hand alone, in Pianist Paul ittgenstein. (Photo: Bernard Fleischer) 1931, on commission from Paul Wittgenstein, the Aus- trian pianist who had lost his right arm in World War I. but encouraged and even mandated in the Soviet Wittgenstein, however, never played the work, which Union. Prokofiev’s style had started to evolve in remained unperformed during the composer’s lifetime. It the direction of such future masterworks from his was premiered by Siegfried Rapp, a German pianist who Soviet period as Romeo and Juliet and the Second had lost his right arm in World War II, in West Berlin on Violin Concerto; yet he was still anxious to maintain September 5, 1956. The first performance in the United his image as a progressive composer in the West. States took place on March 28, 1958 with Rudolf Serkin The Fourth Piano Concerto shows Prokofiev at and the Philadelphia Orchestra under Eugene Ormandy. a crossroads. It begins and ends as a light-hearted virtuoso piece, yet the inner movements reach Prokofiev was undecided about his Fourth Piano considerable emotional complexity. The irreverent, Concerto: “Sometimes I like it,” he said, “and some- sarcastic Prokofiev of the early period is very much times I don’t.” But then, there were other things that in evidence, but so is the mellower melodic style Prokofiev was undecided about in the early 1930s. that foreshadows Romeo and Juliet (especially in the He was still living in the West, but he was beginning second movement). to think seriously about returning permanently to Paul Wittgenstein, who had commissioned the Russia, his homeland that he had left in 1917, in the work from Prokofiev, declared that he didn’t un- wake of the October Revolution. derstand a note of it and never performed it. One is In 1931, Prokofiev’s career in the West was going left to wonder whether the pianist liked Prokofiev’s better than ever. He had just completed a successful earlier music at all and if he didn’t, why he com- American concert tour and had settled down with missioned a concerto from him in the first place. his wife and two sons in a comfortable apartment in (Prokofiev wrote back to Wittgenstein: “You are Paris, after living in furnished rooms for years. Yet a musician of the 19th century and I of the 20th.”) he was beginning to feel somewhat isolated in the Wittgenstein, a brother of the famous philosopher French capital after the death of his mentor Serge Ludwig, is remembered for the numerous left-hand Diaghilev in 1929 and the departure for Boston of his pieces he commissioned. The best-known of all these great supporter Serge Koussevitzky around the same works is Ravel’s concerto, written, like the Prokofiev, time. After his first visit home in 1927, he started in 1931. Although Wittgenstein did eventually per- receiving offers from the Soviets that seemed very form and record Ravel’s work, his initial reaction to attractive. Prokofiev believed that he wouldn’t have it had not been very positive either. Among the other to give up his Western connections entirely, hoping composers he had approached (including a young to divide his time between Moscow and Paris—a Benjamin Britten), Wittgenstein’s own favorites fatal naïveté on his part, as he would only discover were Richard Strauss, Franz Schmidt, and—above when it was too late. all—the now completely forgotten Josef Labor. As Prokofiev’s life was coming to a turning point, Prokofiev’s Concerto for the Left Hand opens so was his career as a composer. He had achieved with a toccata-type movement (Vivace) with rapid early fame as an iconoclastic enfant terrible, yet in piano passages skipping from key to key with the later years he increasingly embraced more tradi- agility of a squirrel. The woodwinds (the flute and tional ways of composing—something that was the clarinet in particular) weave lyrical melodic frowned upon in modern-music circles in the West, cincinnatisymphony.org | FANFARE CINCINNATI | 25 PROGRAM NOTES: FEB 5–6 fragments around the piano passages. Some rather of 1913, Ernst Kunwald conducting (Emery Auditorium), harsh chromatic dissonances are piled up in the and the most recent in March of 2000, Christof Perick middle section, before the playful piano passages conducting. (with their attendant woodwind melodies) return to close the movement. Strauss was born on June 11, 1864 in Munich; he died The second movement (Andante) is based on two September 8, 1949 in Garmisch. He began the Sympho- lyrical themes that are rhythmically similar yet differ- nia domestica late in April of 1902 and completed it on ent in their melody. The first theme is introduced by December 31, 1903. He conducted the first performance the orchestra, the second by the piano. Subsequently, in New York on March 21, 1904. the second theme is taken up by the orchestra as a During the period when he created most of his tone basis for a series of variations that become more poems, Strauss was first and foremost a program- and more impassioned until a powerful climax is matic composer. His most vivid scores set out to tell reached. The solo piano ornaments the theme by stories or paint pictures in orchestral tones. When the some elaborate passagework. On two occasions composer published his programs, listeners tried to between variations, the piano reminds us of the first follow closely the correspondence between musical theme while the orchestra is silent. At the end of the events and story line, sometimes missing some of movement, the first theme returns in the orchestra, the musical subtleties in the process. When, on the with embellishments played by the piano. The end other hand, he suppressed the program, as he often of the movement is extremely delicate, scored for did, listeners missed half the fun. solo piano with only a few orchestral instruments. His contemporaries debated whether or not it was We might expect a scherzo-type movement next. necessary to know the story in order to appreciate Yet while the Moderato that follows is recognizably the music. Was it fair to listen to Strauss’s tone po- in the A-B-A form customary in scherzos, its charac- ter is mostly serious. After the expansive lyricism of ems as musical expression alone? Strauss believed the Andante, the third movement is characterized by that the program was essentially a stimulus to his a certain cool reserve. It opens with a dissonant brass imagination, that the music should and could stand fanfare and continues with a piano solo accompanied on its own, and that the listener need not know the by the woodwind in an emphatically dry manner. program. Hence he published the orchestral score Then the tempo picks up (Allegro moderato) and of the Symphonia domestica without literary explana- the mood brightens somewhat as an energico new tion. Yet, when we do take the trouble to trace the theme is added to the fanfare. The central B section is origins of each event in the music, we can appreciate again in a slower tempo (Andante); it is a mysterious the wit, the characterization (developed as carefully dance with a sparse accompaniment, the volume as in many an opera), and the subtlety of Strauss’s art being mostly piano. The entire recapitulation is in in a far deeper way. Is listening without following the faster (Allegro moderato) tempo, and includes the program any less incomplete than hearing an a new episode, a broad and expressive string theme opera without knowing the libretto? accompanied by virtuoso piano passages. The end- With each successive tone poem, the composer’s ing is brilliant and abrupt. reliance on a program increased. While it is cer- The last movement is little more than a playful tainly possible to appreciate Till Eulenspiegel without appendix to the concerto. Only a minute and a half knowing about the pranks of that rogue, or to hear in duration, it draws its material from the opening Don Juan without thinking about the legendary Vivace, summing up some of its lighter moments. seducer’s exploits, it is harder to understand Ein Hel- The orchestration is reduced, the volume remains denleben or particularly its successor, the Symphonia soft throughout; the concerto ends with what seems domestica, without knowing what is being depicted. an impish smile. It is no surprise that Strauss abandoned tone poems —Peter Laki after the Symphonia domestica and concentrated instead on opera, where the story is necessarily part RICHARD STRAUSS of the music. Symphonia domestica, Op. 53 If a piece of music is intended to represent certain events in specific detail, then those events should TIMING: approx. 44 min. presumably be of interest to a musical audience. INSTRUMENTATION: 3 flutes, piccolo, 2 oboes, English horn, oboe d’amore, 3 clarinets, bass clarinet, E-flat Strauss’s earlier, more objective tone poems posed clarinet, 4 bassoons, contrabassoon, 8 horns, 4 trumpets, no problem of this sort, but the autobiographical Ein 3 trombones, tuba, timpani, cymbals a2, tambourine, Heldenleben and Symphonia domestica were about the triangle, bass drum, chimes, 2 harps, strings composer himself. He may have said, “I don’t see CSO SUBSCRIPTION PERFORMANCES The CSO has performed this work on nine previous why I should not write a symphony about myself. subscription weekends, including the premiere in March I find myself quite as interesting as Napoléon or

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Alexander.” But does an audience share this inter- of Mama and Papa material indicate that they are est? Is Strauss’s domestic life really as intriguing as watching him sleep. the exploits of a Don Quixote? Suddenly he awakens with the shouts of loud The symphony—which is a symphony in name woodwind trills and muted trumpets. The relatives only, since its large sections (introduction, scherzo, have come to visit. Strauss labels a statement of adagio and finale) do not employ symphonic Papa’s motive, “The aunts: ‘Just like Papa!’” Mama’s forms—is dedicated to those it portrays: the com- motive is labeled, “The uncles: ‘Just like Mama!’” poser’s wife and baby son. This “musical picture The scherzo follow immediately. A simple variant of marriage,” as Strauss called it, depicts a typical of the Baby theme, played by the oboe d’amore, day in the Strauss household. This story is certainly portrays the child at play. The parents’ themes not as vivid or heroic as the plots behind Death and intrude to show their happiness as they watch him. Transfiguration or Also sprach Zarathustra, but it is far Eventually Baby begins to tire. The texture thins and more personal. Intimacy of plot did not, however, the music slows. The original Baby theme returns prevent Strauss from creating a vast and colorful in the oboe d’amore, with a little upward yawn at work, with an enormous orchestra. As biographer the end. Ernst Krause remarked, “There is a striking disparity Papa approaches to get Baby ready for bed, but between the intimacy of the programmatic design instead he plays with his son. Mama interrupts to and the full-toned performance by an orchestra of try to enforce bedtime, but woodwind trills indicate more than a hundred…, between the simplicity of the Baby’s cries of protest. Conductor Hans Richter is program and the monumentalism of the execution.” reputed to have said of this passage that all the gods KEYNOTE. The work begins with a series of themes burning in Valhalla do not make nearly as much that represent Papa. Each is labeled with an expres- noise as this one Bavarian baby in his bath. sive marking that reflects Papa’s personality. First Finally Baby settles down to a lullaby, which is is a “comfortable, easy-going” cello tune, followed quoted from one of Mendelssohn’s Songs Without by a “dreamy” ascending oboe figure that becomes Words. At the end of this song, the glockenspiel is “morose” when the clarinets take it over. The next struck seven times to show that it is seven o’clock. Papa tune, “fiery,” begins with two upward sweeps The parents’ motives indicate that they both give in the violins. Finally there is a brief trumpet fanfare Baby a final kiss. marked “gay.” An upward scale and a bassoon The ensuing section, which begins with four reminiscence of the first Papa theme bring us to the woodwinds, is a gentle development of Papa’s Mama material. “dreamy” melody. He is contemplating his sleep- The first Mama theme (violins, flutes, oboe) ing son. Then the strings introduce a new motive, begins with an inversion of the first Papa motive, characterized by repeated notes, which represents perhaps to show that Mama and Papa are ideally Papa’s profound tenderness. suited for one another. This material is marked Mama’s “angry” theme interrupts as she sends “angry.” Later the flutes and violins offer another Papa to his study to work. The subsequent adagio Mama theme, “sentimental.” There are a couple of represents Strauss composing. This section develops additional tunes not labelled. One of them bears a earlier themes, mainly Papa’s. While there are no strong resemblance to a Tchaikovsky waltz. Strauss’s hints of Baby’s music, occasional reminiscences of biographer, conductor Norman Del Mar, speculates Mama’s material suggest that the composer thinks that this quotation was possibly a private joke, of his wife while working. Longer statements of since the composer’s wife “was always chiding her Mama’s music imply that she occasionally interrupts husband for his lack of originality.” the artist at work, which in fact Pauline Strauss Pauline Strauss was known for her temper. No frequently did. When she leaves, he gets caught up sooner are her themes introduced than Mama works in the majestic passage he is composing. herself into an anger. But a gentle and simple version Mama’s themes return, this time unobtrusively. on the first Papa theme returns in the bassoons and Papa responds with the motive of profound tender- then violins to calm her. There ensues a conversation ness (repeated notes in violins then horns). Mama’s between Mama and Papa, as their themes alternate. theme is restated in the violins, marked “passion- After a pause on a violin tremolo, the Baby theme ately.” The couple go into the bedroom. is heard. It is played by an oboe d’amore. This The subsequent passage depicts love-making in archaic instrument, which rarely appears in the extraordinary detail. The Mama and Papa themes modern symphony orchestra, has a modest sound are hurled against one another as the music surges thoroughly appropriate to the simple tune. The to ever greater climaxes. As the frenzied passions Baby motive is related to some of the Papa themes, mount, the music becomes more driving and pulsat- showing Baby’s resemblance to his father. As the ing. It accelerates toward the ultimate climax, which Baby theme is developed, occasional interjections the entire orchestra graphically describes.

28 | FANFARE CINCINNATI | cincinnatisymphony.org with Barbara Kellar

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After the couple’s passions subside, the theme vainglorious as to parade himself and his family of profound tenderness is heard in the winds. before his public in an ostentatious 40-minute work Then they sleep. The next section presents their for enormous orchestra. This music exemplifies late dreams. To an other-worldly accompaniment of 19th-century exaggeration of artistic subjectivity. string tremolos, fragments of various themes float There was a certain decadence in the conceit of a through the orchestra. These reveries end as the composer like Wagner, who proclaimed himself glockenspiel again sounds seven times: seven a.m. the creator of the music of the future. Wagner’s has come. Wind and trumpet trills, first soft and then egomania spread as romanticism turned overripe, loud, tell Mama and Papa that Baby has awakened and Strauss proved to be the successor to Wagner’s and is crying. aesthetic. The Symphonia domestica is one of the last The finale begins with an elaborate double fugue, truly romantic works by the last truly romantic which starts with bassoons playing a version of composer. It represents the limits (as well as the Papa’s theme. The second subject is based on strengths) of artistic subjectivity. It tears at the Mama’s music. The fugue depicts arguments and boundaries of musical romanticism. Strauss knew reconciliations. Strauss is reputed to have felt that that he had reached an impasse in this work and during the course of the fugue Papa gives in to that he had to turn his back on the decadence he so Mama’s demands. Baby’s theme appears in a simple, eloquently expressed. Thus he began writing operas. folk-like setting in the winds, indicating his central Listening to the Symphonia domestica today, we position in the family. The music drives toward hear not only the composer’s family life but also the end in successive waves, featuring fanfares in the impending death of an opulent culture. The the eight horns. The first horn is carried well above overblown romanticism of the Symphonia domestica what is normally accepted as the top of its range. and its undercurrents of egomania are typical of late The very end is given to Papa’s first theme. Papa German romanticism. Yet Strauss was a great com- has the last word. poser, and the symphony is an extraordinary work. The egocentricity of the Symphonia domestica does One need not accept its decadent aesthetic, any more not hide the fact that it is a product of its times. Only than one has to care about the details of Strauss’s a hyper-romantic artist such as Strauss could be so family life, in order to enjoy its magnificent sounds. —Jonathan D. Kramer

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30 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS Feb 5–6

CHRISTOF PERICK North America with the conductor New York Philharmonic, Christof Perick is the the Los Angeles Phil- recently appointed harmonic, Washington’s Chief Conductor of the National Symphony and Beethoven Orchester the symphony orchestras Bonn. He was Music Direc- of Boston, St. Louis, Cin- tor of Germany’s Nurem- cinnati, Houston, Dallas, berg Philharmonic and Indianapolis, Atlanta, De- Opera from 2006 through troit, Seatt le, Milwaukee, 2011 and Music Director of Phoenix, San Antonio, the Charlott e Symphony San Diego, Montreal and from 2001 through 2010. Toronto; summer festivals He completed his post as include the Mostly Mozart

Principal Guest Conduc- Christof Perick Festival at New York’s Lin- tor of the Dresden Semper coln Center and the Grant Opera at the close of the 2007–08 season. Other Park Music Festival of Chicago. He conducted the previous positions include Music Director posts fi rst-ever U.S. tour of the Junge Deutsche Philhar- with the Niedersaechsisches Staatsorchester and monie, Germany’s leading national youth orchestra. Staatsoper in Hannover, Germany 1993 –96; the Los At New York’s Metropolitan Opera, Christof Per- Angeles Chamber Orchestra 1992–95; the Badische ick has conducted productions that include Fidelio, Staatskapelle Karlsruhe, Germany 1977–86; and the Tannhäuser, Die Frau ohne Schatt en, Hänsel und Gretel State Orchestra and Opera Saarbrucken, Germany and Die Meistersinger. He also has led productions 1974–77. including Der fl iegende Holländer and Parsifal with In recent seasons, Perick’s engagements have Lyric Opera of Chicago; and he conducted the San included productions with the Dresden Semper Oper Francisco Opera in a production of Der fl iegende Hol- and the Hamburg Staatsoper, and engagements in länder. Perick also conducted the Los Angeles Music CSO Ad .5 Page.pdf 1 10/4/2013 2:52:49 PM

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cincinnatisymphony.org | FANFARE CINCINNATI | 31 GUEST ARTISTS: FEB 5–6 Center productions of Così LEON FLEISHER fan tutt e and Ariadne auf pianist Naxos and the San Diego As a recipient of the Ken- Opera’s productions of nedy Center Honors in Fidelio, The Magic Flute and 2007, pianist Leon Fleisher Der Rosenkavalier. was recognized as a “con- Abroad, recent new summate musician whose productions at Dresden career is a testament to include Puccini’s Il triti- the life-affirming power cale, Weber’s Der Freischütz , of art.” Strauss’ Die schweigsame The child prodigy began Frau, Salome, Capriccio, to study the piano at the Parsifal, Tristan und Isolde, age of four and by the Fidelio, a Ring cycle at Han- age of nine, the legendary nover, and concerts with Artur Schnabel invited the Orchestre National de him to be his student, fi rst France and the Orchestre in Lake Como, Italy and National de Lyon. then in New York, where Future and recent en- Leon Fleisher, © Chris Hartlove he nurtured and inspired gagements include returns the young Fleisher for the to the Cincinnati Symphony, San Diego Symphony next ten years as he evolved into one of the great and Charlott e Symphony, and debuts at the Cincin- music masters of our time. Leon Fleisher made his nati Opera (Rosenkavalier), Britt en’s War Requiem debut with the New York Philharmonic, conducted at the Crane School of Music, SUNY Potsdam, the by Pierre Monteux, when he was 16 years old. Chamber Orchestra of The Jacobs School of Music Maestro Monteux called him “the pianistic fi nd of at Indiana University, and with the Chautauqua the century.” Symphony. Beginning with the 2015–16 season, Fleisher went on to international renown, becom- Christof Perick became a regular guest on the podi- ing the fi rst American to win the prestigious Queen ums of Staatsoper Hamburg, Volksoper Wien and Elisabeth of Belgium Competition in Brussels in the Beethoven Orchestra Bonn. 1952. He subsequently enjoyed a prolifi c record-

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32 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: FEB 5–6 ing career, most notably with George Szell and Botox injections and Rolfi ng, he regained suffi cient The Cleveland Orchestra, recordings recognized use of his right hand, leading to an extraordinary as among the great collaborations in the concerto career renaissance. In 2003, Fleisher joined forces repertoire. In 1965, before a scheduled tour of Russia with his wife, pianist Katherine Jacobson, to form with The Cleveland Orchestra, Leon Fleisher began the Fleisher-Jacobson Piano Duo, giving concerts to suff er symptoms of a debilitating condition of world-wide and recording for Sony Classical. Leon his right hand, later diagnosed as focal dystonia, Fleisher released the album Two Hands in 2004, a neurological condition that causes the fi ngers to which went on to hold a Top 5 Billboard Chart curl into the palm of the hand. position and was hailed by critics as one of the best After a period of great despair, Fleisher channeled recordings of the year. Two Hands is also the title of his creativity in new directions, mastering the piano the Oscar-nominated documentary fi lm about his repertoire for left hand and initiating a career in con- amazing life story. In 2013, Sony Classical issued a ducting. He renewed his dedication to teaching at 23-CD box set of his entire recorded output, and in Peabody, where he has been the inspiration to hun- 2014, Fleisher released his fi rst solo CD in a decade, dreds of students since 1959. Leon Fleisher holds the the Grammy nominated All the Things You Are. Andrew W. Mellon Chair at the Peabody Institute of In 2006, in Paris, Leon Fleisher received the honor the Johns Hopkins University. As a teacher, he has of Commander in the Order of Arts and Lett ers by carried on a tradition that descends directly from the Minister of Culture of the French government. Beethoven himself, handed down generationally At age 86, in addition to his teaching at Peabody, through Carl Czerny, Theodor Leschetizky, Artur Fleisher continues with an international schedule of Schnabel and Leon Fleisher himself. master classes, performances and orchestral guest In the mid-90s, with the combined therapies of conducting. 

Q&A WITH LEON FLEISHER Fanfare Cincinnati: This will be your fi rst performance sense of an orchestra of 80–90 playing as one—that with the Cincinnati Symphony Orchestra since 1987, is a team! although you’ve performed with other chamber ensembles FC: Prokofi ev’s Fourth Piano Concerto is one you’ve in the region since then. What is special about performing performed for quite some time, including a recording with in Cincinnati? the Boston Symphony Orchestra, but this is the work’s Leon Fleisher: Cincinnati occupies quite a unique CSO subscription premiere. What should audiences listen position amongst the major orchestras in the coun- for in this piece? try. You have an extraordinary history of extraor- LF: I’ve always resisted the idea that one should tell dinary conductors going back to, what I remember, an audience or people listening to music what to Max Rudolf and Thomas Schippers. These are all listen for. Because in their eagerness to hear what they quite historic musicians. And they gave Cincinnati should be listening for, they don’t hear a lot of the rest a kind of stamp of quality that is really quite rare. of the piece. I think they should just kind of relax and FC: Your multi-faceted career has evolved to include hear whatever it is they hear. The thing about great teaching, conducting, performing, etc. How do you keep art and great music is that you can listen and re-listen each facet fresh and interesting? endless times and you will hear new and diff erent LF: I don’t have to keep it [fresh and interesting], it things—new and diff erent relationships and colors is so by its very nature by the diff erence in activities. depending on who’s playing. And that’s one of the Teaching is a fascinating activity. Usually the teacher great riches of great art. Just keep your ears open. learns more from a curious student than vice versa. FC: The CSO’s organizational mission is “To seek and And conducting is quite a diff erent activity than share inspiration.” Where do you seek and fi nd inspira- playing an instrument. One of the examples might tion, musically or otherwise? be the fact that a symphony orchestra, through its LF: I’m involved, as are most of the people connected variety of instruments and the way they are played, with the CSO, with music, and it is a never-ending provides often a real challenge for ensembles to be source of beauty, a never-ending source of challenge, together. Some instruments respond very quickly and we’re unbelievably lucky to be involved with and some instruments respond very slowly and music, to be in the position of our life’s work being to keep it going together is sometimes a challenge. connected to such a degree with something we The other thing I think is so extraordinary about love. That’s unbelievably fortunate. So I think that orchestras is that we’re a country that’s in love with the music itself is the greatest source of inspiration. teams. For example on Sundays we are in love with At least for me. a football team—this group of 11 people behaving as one and we are in awe of that. So just that in a Visit cincinnatisymphony.org/stories to read the full Q&A.

cincinnatisymphony.org | FANFARE CINCINNATI | 33   

 2015–2016 SEASON SAT FEB 6, 10:30 am Music Hall

JOHN MORRIS RUSSELL, conductor CCM Youth Ballet | The Studio for Dance | Bryson Karrer, violinist

SLAVONIC DANCE NO. 8 in G Minor, Op. 46 POR UNA CABEZA Antonín Dvořák Carlos Gardel, arr. John Williams

CZARDAS from SWAN LAKE FOSTER’S FOLLY GARLAND WALTZ from THE SLEEPING BEAUTY Stephen Foster, arr. Timothy Berens Piotr Ilyich Tchaikovsky DANCE OF THE COMEDIANS BROTHER, COME AND DANCE WITH ME from THE BARTERED BRIDE from HANSEL AND GRETEL Bedřich Smetana Engelbert Humperdinck HOE-DOWN from RODEO TARANTELLA from SOIRÉES MUSICALES Aaron Copland Benjamin Britt en

The CSO extends its sincere appreciation to the George L. & Anne P. Heldman Fund of The Greater Cincinnati Foundation for its tremendous support of the Family Lollipops Concerts for the 2015–16 Season and to LPK, today’s artist sponsor.

cincinnatisymphony.org | FANFARE CINCINNATI | 35 Paycor is proud to support the Cincinnati Symphony & Pops Orchestra

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Call us at 800.381.0053 · Visit paycor.com ELEVENTH SUBSCRIPTION PROGRAM Ascent Series

2015–2016 SEASON FRI FEB 19, 8 pm SAT FEB 20, 8 pm Music Hall

LOUIS LANGRÉE conductor TIMOTHY LEES violinist

IVES The Unanswered Question (1874–1954)

BARBER Concerto for Violin and Orchestra, Op. 14 (1910–1981) Allegro Andante Presto in moto perpetuo

INTERMISSION COPLAND Suite from Appalachian Spring (1900–1990)

BERNSTEIN Symphonic Suite from On the Waterfront (1918–1990)

The CSO is grateful to Paycor, the CSO’s Ascent Series Sponsor. The CSO is grateful to Taft, Stett inius & Hollister, LLP, this weekend’s Concert Sponsor. Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the offi cial piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. These concerts will end at approximately 9:45 pm. 90.9 WGUC will broadcast this concert Sunday, March 20, 8 pm.

PROGRAM NOTES © 2015–16 Cincinnati Symphony Orchestra

CHARLES IVES but he was concerned about his musical future, since The Unanswered Question his professors had often criticized his compositions for their unorthodoxy. “If [a composer] has a nice TIMING: approx. 8 min. INSTRUMENTATION: 4 fl utes, trumpet, strings wife and some nice children, how can he let the CSO SUBSCRIPTION PERFORMANCES children starve on his dissonances?” he had writ- The CSO has performed this work on three previous ten. Although it would be many years before he subscription weekends, including the premiere in January had a nice wife and child, Ives decided to pursue a of 1959, Max Rudolf conducting, and the most recent in February of 2004, Paavo Järvi conducting. career in the insurance business and to relegate his composing to his spare time. Ives was born in Danbury, CT on October 20, 1874; From a practical standpoint, Ives’s decision was he died in New York on May 19, 1954. He composed right. In 1900, as biographer Jan Swaff ord points out, The Unanswered Question in 1906 and revised it in even the music of Brahms was considered diffi cult 1927 and again in the early 1930s. Theodore Bloomfi eld and modern, and that of Wagner was thought to be conducted the Juilliard Orchestra in the fi rst performance outlandish. What would audiences have thought of at Columbia University in New York on May 11, 1946. Ives’s radical new conceptions of music, had they heard his compositions? After graduating from Yale in 1898, Ives moved to But audiences never heard the path-breaking mu- New York, took up lodging with some former Yale sic of Ives until decades later—long after ill health students in a suite they dubbed “Poverty Flat,” and had forced him to stop composing. Instead of trying began a job as a clerk with the Mutual Life Insurance for commercial success as a composer, Ives made Company. The young man had majored in music, his livelihood in the insurance world, where he was

cincinnatisymphony.org | FANFARE CINCINNATI | 37 PROGRAM NOTES: FEB 19–20 extremely successful. His music was unknown to all pieces “as kinds [of] studies, or rather trying out but a few of his friends. He knew that his composi- sounds, beats, etc., usually by what is called politely tions would be incomprehensible to most listeners, ‘improvisation on the keyboard’—what classmates and he also understood that a composer would in [Poverty F]lat called ‘resident disturbances.’” not be respected in polite society. As a newspaper In these experiments Ives anticipated many of the observed in 1915, “Music is not generally regarded innovations of subsequent composers, who became as a profession for men. Men go into business; they known as avant-gardists while his scores still lay become brokers, lawyers, or politicians…but not unperformed and unknown. musicians. Music is still par excellence the avocation KEYNOTE. The originality of the best known of of long-haired libidinous foreigners.” these works, The Unanswered Question, lies in the Throughout his fi rst decade in New York, which way Ives separated his orchestra into three distinct ended with his 1908 marriage to Harmony Twitchell, groups: sustained strings, solo trumpet and jaggedly Ives led a double life. He rose quickly in his insur- contrapuntal winds. Each of these groups plays its ance company, until its collapse in 1906, whereupon own music at its own tempo; precise coordination the composer and his friend and colleague Julian between the groups is not indicated. Each group Myrick formed their own company. Ives and has not only its own characteristic color, texture, Myrick, Inc., eventually became the most successful and tempo but also its own distinct musical style. insurance agency in the United States. At the same Perhaps the greatest originality of this music is that time that he was pouring his energies into gett ing there is no att empt to unify the three diverse types his new company off the ground, Ives was creating of music. Rather, The Unanswered Question seems to some of the most unusual music the world would enjoy its disparity of styles and its outright disunity. ever know. So strange were these pieces that Ives Biographer Swaff ord off ers the following descrip- referred to them as “studies,” not as “compositions.” tion of this most unusual and forward-looking piece: At a time when Schoenberg, Webern, Stravinsky Here is music utt erly unlike anything before and Bartók—composers completely unknown to Ives, made of three planes that have little Ives in 1906—were still writing rather traditional audibly to do with one another. Each layer has music, Ives set out to create a series of frankly ex- its own texture and instrumentation and style, perimental works. The composer characterized these their juxtapositions only loosely controlled: a

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38 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: FEB 19–20 background of strings playing almost inaudibly Acknowledgement of Barber’s a slow-cycling, mysterious sequence made up of traditional chords but elusive in tonality; talents began soon after his periodically, six times over this background, a solo trumpet intones the same cryptic, unmistakable graduation from the Curtis Institute questioning phrase. After each of these questions of Music, which he had entered at a group of flutes lurches into a response, each time getting more frenzied, dissonant, and apparently the age of 14 to study composition, desperate. Finally the trumpet poses the Question once more and evokes only the strings fading piano, conducting and voice. into silence. This “cosmic drama,” as Ives called Recognition took the form of it, lasts under five minutes. commissions, performances and Ives himself offered a description of this “Contem- plation of a Serious Matter,” as he subtitled the work: prizes. The strings represent—“The Silences of the Druids—who Know, See, and Hear Nothing.” Prix de Rome and the Pulitzer Traveling Scholarship The trumpet intones—“The Perennial Question of enabled Barber to have several extended residen- Existence,” and states it in the same tone of voice cies in Europe, where he studied and composed each time. But the hunt becomes gradually more intensively. active, faster and louder through an animando to a con fuoco.… The “Fighting Answerers,” During one of these periods abroad Barber be- as time goes on and after a “secret conference,” gan the Violin Concerto. It was 1939, and he was seem to realize a futility, and begin to mock “The spending the summer in the village of Sils-Maria in Question”—the strife is over for the moment. Switzerland, far from the mounting threat of world After they disappear, “The Question” is asked for war. The concerto had been commissioned for a the last time, and the “Silences” are heard beyond young violinist by a wealthy merchant from Barber’s in “Undisturbed Solitude.” native Philadelphia. Progress was slow, and thus the —Jonathan D. Kramer composer took his unfinished manuscript with him when he moved to Paris in the fall. No sooner had SAMUEL BARBER he arrived in the French capital, however, than all Concerto for Violin and Orchestra, Op. 14 Americans were warned to leave Europe, as German TIMING: approx. 25 min. troops were invading Poland. Barber sailed for New INSTRUMENTATION: solo violin, 2 flutes (incl. piccolo), York with the concerto still unfinished. 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, Commissioning of music by wealthy individu- timpani, snare drum, piano, strings als is the modern equivalent of the 18th century’s CSO SUBSCRIPTION PERFORMANCES patronage by the aristocracy: someone of means The CSO has performed this work on eight previous subscription weekends, including the premiere in April thinks enough of a composer’s work to pay for the of 1978, Leonard Slatkin conducting, Jaime Laredo, creation of a new piece. Even the most generous of violinist, and the most recent in April of 2013, Jakub commissions usually just barely covers the costs Hrůša conducting, Sarah Chang, violinist. The CSO also of preparing a piece for performance, with a small performed this work under the direction of Jesús López- Cobos on its 1995 tour of Germany, Austria, Switzerland amount added in for the composer’s time. None- and the Canary Islands, with violinist Alyssa Park. theless, for a freelance composer (such as Barber was in 1939), commissions are an important source Barber was born on March 9, 1910 in West Chester, of income. Terms vary, but usually the composer Pennsylvania; he died in New York on January 23, 1981. receives a fee and the patron gets first performance He began the Violin Concerto in the summer of 1939 and rights and usually the dedication, plus of course the completed it in 1940. It was first performed by Albert satisfaction of knowing that he or she was directly Spalding and The Philadelphia Orchestra conducted by responsible for the creation and performance of Eugene Ormandy on February 7, 1941. what is hoped will be a major work. Barber entered into a contract for the violin con- Acknowledgement of Barber’s talents began soon certo in good faith. The Philadelphia merchant, on after his graduation from the Curtis Institute of the other hand, did not. He acted quite unprofes- Music, which he had entered at the age of 14 to study sionally. Barber’s biographer Nathan Broder chose composition, piano, conducting and voice. Recogni- to protect the guilty by withholding the names of tion took the form of commissions (such as that from the merchant and the violinist. Neither deserves the a wealthy businessman for the Violin Concerto), safety of anonymity. In his 1985 bio-bibliography performances (by The Cleveland Orchestra and by of the composer, musicologist Don A. Hennessee Arturo Toscanini) and prizes. The Bearns Prize, the names the culprits: Samuel Fels and Iso Briselli. It

cincinnatisymphony.org | FANFARE CINCINNATI | 39 PROGRAM NOTES: FEB 19–20 would be nice to think that they were ultimately The differences between the movements no longer chagrined by their scandalous behavior, since seem enormous, and the idea that the war might Barber’s concerto is an important composition that have provoked a change of style in the work of a has been performed successfully by a number of composer who never personally experienced the violinists and orchestras. horrors of armed combat seems naïve. What happened was this: Barber showed violinist The first movement is quite traditional. It is Briselli the first two movements when they were unabashedly tonal and thoroughly lyrical. It is cast finished. The soloist was disappointed because they in a sonata form based on two themes—a long line were not sufficiently virtuosic. Barber explained that introduced at the very beginning by the solo instru- he was reserving the bravura for the finale. When ment and a perky figure first heard in the clarinet. that movement was complete, Briselli pronounced Notice the use of the piano, a rare instrument in it unplayable. The sponsor, Fels, demanded that the orchestra of a violin concerto. It plays the very the composer return the commissioning fee. Barber first chord and is then silent until the second theme. replied that he had already spent the money while The biting, non-blending sound of the piano cuts he was living in Europe without a steady income. through the orchestra so that we always know Barber then asked another violinist—Herbert Bau- whether or not it is playing; it is thus a major source mel—to play the finale in the presence of Briselli, of contrast in the concerto. Fels and several witnesses. Baumel did so after a The lyricism of the first movement expands in the few hours of practice, readily demonstrating that the second, which is based on a beautifully arching long work had sufficient virtuosity and was quite within line. The finale, by contrast, is a fast moto perpetuo. the realm of possibility. Barber and Fels worked out For almost the entire movement someone—usually a compromise—the composer returned half of the the soloist—plays an unending chain of triplets. fee and Briselli relinquished all claims on the right Considerable drive and energy are built up in this of first performance. way. The few places where the triplet obsession is Barber had been treated shabbily. He had worked broken are refreshing, if not surprising—the second diligently on the concerto for well over a year, statement of the second theme (in flute and bassoon, and he had exactly upheld his side of the bargain. accompanied by snare drum and low piano), the When someone commissions a work, he or she accelerando of the triplets to 16th notes in the coda, chooses a composer whose musical judgment he and the dramatic fermata where, just before the end, or she trusts. There is then an implied obligation to the music seems to pause momentarily for a final accept the work the composer writes as long as it gasp of breath. fulfills any mutually agreed upon stipulations. By —Jonathan D. Kramer the time Barber wrote his later concertos (for flute, oboe and trumpet in 1944, for cello in 1945 and for AARON COPLAND piano in 1962), he was a renowned composer who no Suite from Appalachian Spring longer had to be subjected to the whims of ignorant TIMING: approx. 24 min. performers and devious patrons. INSTRUMENTATION: 2 flutes (incl. piccolo), 2 oboes, KEYNOTE. The concerto was premiered by still an- 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, other violinist, Albert Spalding. When people heard timpani, snare drum, orchestra bells, triangle, xylophone, claves, wood block, bass drum, suspended cymbals, tabor, the work, they were struck by the stylistic differences harp, piano, strings between the first two and the last movements. The CSO SUBSCRIPTION PERFORMANCES consonant lyricism of the earlier parts is replaced The CSO has performed this work on eight previous by a more angular dissonance in the finale. It then subscription weekends, including the premiere in October seemed that Barber was turning away from his of 1945, Eugene Goossens conducting, and the most recent in October of 2009, William Eddins conducting. conservative tonal style toward a more experimental The CSO also performed this work under the direction of idiom, but in retrospect it appears more that he was Jesús López-Cobos on its 1995 tour of Germany, Austria, expanding his range of expression to include the Switzerland and the Canary Islands. aggressive alongside the gentle. He never stopped writing lyrical music. Copland was born on November 14, 1900 in Brooklyn, It was tempting to understand the dissonances New York; he died December 2, 1990 in New York. He in the third movement as a response to the war. composed Appalachian Spring in 1943–44 as a ballet Perhaps critics were subliminally influenced by for Martha Graham, who first performed it with her knowledge of Stravinsky’s Symphony in C, in which company at the Library of Congress in Washington, D.C., two dissonant movements follow two consonant on October 30, 1944. Copland expanded the original ones. Stravinsky attributed his symphony’s change instrumentation from 13 players to full orchestra when of style in part to the war. Listening to Barber’s he made a condensed version in 1945 (the Suite heard concerto today, we hear only an integrated work. this weekend).

40 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: FEB 19–20

Like most composers of his generation, Aaron Copland was at first excited by the dissonant harmonies and jagged rhythms that he heard in the 1920s. But he was also concerned about the inaccessibility of mod- ern music. He preferred to create a musical language that was essentially American, in order to speak directly to an American audience. At first he tried to incorporate elements of jazz into his symphonic works, but with only limited success. A more drastic approach was needed. Therefore, in the late 1930s, the composer deliberately turned his back on his earlier dissonant style. He created a series of simple, straightforward, largely consonant works. Martha Graham, Erick Hawkins, and the Martha Graham Dance Company in Appalachian Spring. Photo: Library of Congress. During these years I began to feel an increasing dissatisfaction with the relations of the 1940s: “We wanted to find a music that would speak music-loving public and the living composer. The of universal things in a vernacular of American old “special” public of the modern music concerts speech rhythms. We wanted to write music on a had fallen away, and the conventional concert level that left popular music far behind—music with public continued to be apathetic or indifferent to anything but the established classics. It seemed to a largeness of utterance wholly representative of the me that we composers were in danger of working country that Whitman had envisaged.” in a vacuum. Moreover, an entirely new public The music Copland wrote for Martha Graham’s for music had grown up around the radio and ballet Appalachian Spring reflects his desire to create phonograph. It made no sense to ignore them and a non-elitist music, a music that expresses the ex- to continue writing as if they did not exist. I felt periences and visions of an American artist. Several that it was worth the effort to see if I couldn’t say years earlier he had written: “The conviction grew what I had to say in the simplest possible terms. inside me that the two things that seemed always to Thus was born Copland’s aesthetic of musical have been so separate in America—music and the populism. He realized that the communications life about me—must be made to touch. This desire media had vastly increased the size, but not the to make the music I wanted to write come out of the sophistication, of the music-listening public. He life I had lived in America became a preoccupation.” felt that the way to reach this large audience was to The immediacy of Appalachian Spring is evident make music not only for concerts but also for radio, right from the beginning. The first section, and movies, records and ballets. His populist style used many subsequent passages as well, uses a technique such items of Americana as cowboy songs, Latin- sometimes called “pandiatonicism.” All seven notes American rhythms, folksongs and New England of a particular key (in this case A major) are freely and Shaker hymns. The resulting music was as combined in traditional and non-traditional ways, immediate as it was simple. It is probably only a but the other five notes of the chromatic scale are coincidence, but surely an interesting one, that the studiously avoided. The resulting sound is open and crowning achievement of Copland’s musical popu- consonant without being much like traditional tonal lism—the ballet Appalachian Spring—includes (in its music, in which notes foreign to the prevailing key next ot last section) a set of variations on a Shaker invariably appear sooner or later. hymn tune that praises simplicity: The rhythms of Appalachian Spring are as direct and engaging as its pandiatonic harmonies. Some- ‘Tis the gift to be simple, ‘Tis the gift to be free, times their vitality comes from clever irregularities, ‘Tis the gift to come down but often Copland’s means are simpler: repeatedly Where we ought to be, coming to rest on the fourth beat of a measure in And when we find ourselves one section, or interruptions by silences of varying In the place just right, length in other places. ‘Twill be in the valley of Love and Delight. The composer explained the relationship of this Despite its direct appeal, Appalachian Spring is music to the folksong tradition of the Shakers: realized with consummate skill and subtlety, so that Appalachian Spring is generally thought to be folk its simplicity is not trivialized. It typifies the philoso- inspired. But…the Shaker tune “‘Tis the Gift to phy of many American composers of the 1930s and Be Simple” is the only folk material I actually

cincinnatisymphony.org | FANFARE CINCINNATI | 41 PROGRAM NOTES: FEB 19–20 By 1943 Martha Graham was their first audiences. The concert was a special 80th-birthday tribute to the lady who had made recognized as the country’s leading a tremendous impact on contemporary American modern dance choreographer, but music. As World War II was still raging, everything brought into the Library of Congress had to be she had not yet created a dance inspected. Graham’s costumes, iron, ironing board to original music. Thanks to the and dress were thoroughly searched for bombs. The performance was a complete success. Copland generosity of arts patron Elizabeth subsequently made a concert suite from the ballet, Sprague Coolidge, Graham was which was recorded by conductor Serge Koussev- itzky. Because it was this recording that first brought able to commission a score Copland’s music to a wide audience, Appalachian from Copland. Spring fulfilled the composer’s ideal of a music of and for the American people disseminated to them quoted in the piece. Rhythms and melodies that through the media of the phonograph and radio. suggest a certain American ambience…and the —Jonathan D. Kramer use of specific folk themes…are, after all, not quite the same thing. LEONARD BERNSTEIN You know, Appalachian Spring took me about a Symphonic Suite from On the Waterfront year to finish, and it was originally scored for only 13 players. I remember thinking how crazy it was TIMING: approx. 11 min. to spend all that time, because I knew how short- INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, 2 clarinets, lived most ballets and their scores are. But the E-flat clarinet, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, 2 suite for symphony orchestra that I derived from timpani, large tam-tam, snare drum, triangle, xylophone, Appalachian Spring was awarded a Pulitzer Prize vibraphone, glockenspiel, wood block, bass drum, small in 1945 and took on a life of its own. Actually, it tam-tam, chimes, cymbals, 3 tuned drums, harp, piano, had a lot to do with bringing my name before a strings wider public. CSO SUBSCRIPTION PERFORMANCES These are the first CSO subscription performances of the According to Graham, the ballet concerns the On the Waterfront Suite. Three previous performances following: included concerts at Riverbend, including in 1994 under Marvin Hamlisch, and a special Pops concert in …a pioneer celebration in spring around a newly November of 1965 under Skitch Henderson. built farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmer-husband enact the emotions, Bernstein was born in Lawrence, Massachusetts on joyful and apprehensive, their new domestic August 25, 1918 and died in New York City on October partnership invites. An older neighbor suggests 14, 1990. He composed the score for Elia Kazan’s film now and then the rocky confidence of experience. On the Waterfront in 1954; the symphonic suite drawn A revivalist and his followers remind the new from the film was first performed by the Boston Symphony householders of the strange and terrible aspects Orchestra under Bernstein’s direction at the Tanglewood of human fate. At the end the couple are left quiet and strong in their new house. Music Center on August 11, 1955. By 1943 Martha Graham was recognized as the Leonard Bernstein wrote only one original film country’s leading modern dance choreographer, but score in his life, but it was for a movie that is still she had not yet created a dance to original music. counted among the 100 greatest masterpieces of Thanks to the generosity of arts patron Elizabeth cinematic history. On the Waterfront, directed by Elia Sprague Coolidge, Graham was able to commis- Kazan (1909–2003), won eight Academy Awards. sion a score from Copland. She decided to base the Bernstein’s score, along with three supporting ac- ballet on the childhood memories of her 90-year-old tors, “only” received an Oscar nomination; yet the grandmother, who had spent most of her life on a eminent Austrian-British music critic Hans Keller Pennsylvania farm. The music was completed long declared it to be “about the best film score to have before Copland learned the title Graham had chosen. come out of America.” Kazan’s courageous film, He found out only just prior to the premiere that she based on true reportage from the New York Sun, had selected the name of the dance (and hence of was about dock workers in New Jersey whose labor his piece) from a poem by Hart Crane. union was controlled by the mob. Much of the plot The premiere took place at the Library of Con- revolved around the question as to whether one gress, where many works commissioned with funds should remain “D and D” (deaf and dumb) or speak provided by Elizabeth Sprague Coolidge found up against crime and injustice; the social message

42 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: FEB 19–20 was very strong and the cast, with Marlon Brando and Eva Marie Saint in two of the leading roles, was legendary. Bernstein had turned down several invitations to write fi lm scores, and it took all the persuasive pow- ers of producer Sam Spiegel to get him to accept this project. In a special clause that was rarely included in Hollywood contracts, Bernstein was granted exclusive rights to an orchestral suite that he might derive from the fi lm score. In that form, Bernstein was able to develop his musical material with full artistic autonomy. The word “suite” usually sug- gests a succession of several short movements, but

Bernstein’s suite is in reality a well-integrated single- Eva Marie Saint and Marlon Brando as Edie and Terry in On the movement tone poem based on a small number of Waterfront. Photo: © Columbia Pictures Industries, Inc. themes undergoing extensive transformations. The music captures both the brutality of the fi ght- accompanied by a particularly ferocious percussion ing and the romance between longshoreman Terry batt ery, suggesting great violence. Then, in another Malloy (Brando) and Edie Doyle (Saint), the sister abrupt musical scene change, the love theme is of another dock worker who is killed by the mob introduced; we hear a haunting saxophone solo at the beginning of the fi lm. The suite opens with followed by a lyrical duet between the fl ute and an unaccompanied horn melody that will be heard, the harp. Finally, the violent music returns and the in various transformations, several times in the suite ends on a highly dramatic note. course of the piece. Bernstein described this theme According to Bernstein’s biographer Burton as “a quiet representation of the tragic nobility that Humphrey, “On the Waterfront can be seen as a 20th- underlies the surface crudity and violence of the century equivalent of Tchaikovsky’s fantasy overture main character.” This introduction is interrupted by Romeo and Juliet, with the fi lm’s principal characters, a “Presto barbaro,” with a jazzy saxophone theme Terry and Edie, as the star-crossed lovers.” —Peter Laki

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

Don't miss out! Brahms Fest continues MAR 11-12 2016

cincinnatisymphony.org/brahmsfest

cincinnatisymphony.org | FANFARE CINCINNATI | 43 GUEST ARTIST Feb 19–20

TIMOTHY LEES, violinist including Jaime Laredo, Joseph Timothy Lees enjoys an exciting and Silverstein, Yefim Bronfman, Ida eclectic career as Concertmaster of Kavafi an, Peter Wiley and others. the Cincinnati Symphony Orches- Additionally, he has appeared as tra, soloist, recitalist and chamber guest artist with the St. Lawrence musician. Since his arrival in Cin- and Apollo string quartets and is cinnati as Concertmaster in 1998, featured regularly in chamber music Lees has also been appointed to on established series, including the the violin faculty of the University Linton Music Series, CCM Faculty of Cincinnati College-Conservatory Artist Series, Oberlin Conservatory of Music (CCM), where he serves Series, concert:nova, as well as ap- a dual role as teacher and private pearances on Aspen Music Festival coach in preparing students in de- Faculty Artists Series and Spoleto veloping their orchestral audition Festival Series. Recent recordings in- skills. A member of the Sarasota clude the soon-to-be released Bruch Festival faculty since 2004, Lees has Octet, a collaboration featuring Lees also been a faculty member of the Timothy Lees with members of the Jupiter Quartet Aspen Music Festival and School. and faculty from the Oberlin Conservatory. Lees’ fl exibility and command of the solo violin A native of Philadelphia, Lees received the repertoire is evident through his numerous solo coveted Performer’s Certifi cate from the Eastman appearances with the Cincinnati Symphony as well School of Music, where he studied with Charles as on many other stages throughout North America. Castleman. Prior to his arrival in Cincinnati, Lees As a recitalist, he has been featured in solo recitals served as Concertmaster of the Spoleto Festival and in Cincinnati, Philadephia and San Diego and at the of the New Jersey and Charleston (SC) symphony Sarasota, Spoleto, Sebago-Long Lake and Mainly orchestras. He has led master classes at universities Mozart festivals, among others. including CCM, Indiana University, University of An avid chamber musician, Lees frequently col- Kentucky, Northern Kentucky University, Ohio laborates with the world’s most prominent artists, University, Biola University and elsewhere. 

Daubigny • Monet • Van Gogh I  of L February 20–May 29, 2016

is groundbreaking exhibition gives a new perspective on the birth of Impressionism. e Ta is the exclusive U.S. venue.

www.taftmuseum.org Charles François Daubigny, Sunset near Villerville (detail), about 1876, oil on canvas. The Mesdag Collection, The Hague, The Netherlands

44 | FANFARE CINCINNATI | cincinnatisymphony.org

THIRD CHAMBER PLAYERS CONCERT 27th Season, 2015–2016 SUN FEB 21, 4 pm Music Hall

LOVE AND MIRTH R. STRAUSS Till Eulenspiegel—Einmal Anders! for Horn, Violin, Clarinet, (1864–1949) Bassoon and Double Bass arr. Hasenöhrl Anna Reider, violin Boris Astafiev, double bass Benjamin Freimuth, clarinet Martin Garcia, bassoon Elizabeth Freimuth, French horn

BRAHMS Trio for Piano, Clarinet and Cello in A Minor, Op. 114 (1833–1897) Allegro Adagio Andantino grazioso Allegro Ixi Chen, clarinet Theodore Nelson, cello Matthew Umphreys, piano INTERMISSION BRAHMS String Quartet in B-flat Major, Op. 67 Vivace Andante Agitato (Allegretto non troppo) Poco allegretto con variazioni Rebecca Culnan, violin Gerald Itzkoff, violin Julian Wilkison, viola Daniel Culnan, cello

YOU’RE INVITED to greet the musicians after the concert. The CSO Chamber Players series has been endowed in perpetuity by the ELEANORA C.U. ALMS TRUST, Fifth Third Bank, Trustee. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra andCincinnati Pops.

PROGRAM NOTES © 2015–16 Cincinnati Symphony Orchestra

RICHARD STRAUSS, arr. Hasenöhrl Richard Strauss’ interest in the medieval tale Till Eulenspiegel—Einmal Anders! for Horn, was prompted by attending a performance of Till Violin, Clarinet, Bassoon and Double Bass Eulenspiegel, an opera by forgotten composer Cyrill “Eulenspiegel” in German means “owl-mirror,” and Kistler in Würzburg in 1889. Strauss began writing a it is agreed that the name of this legendary character, libretto for a projected opera about Till in June 1893, who both symbolises and exploits human foibles, but his lack of experience at poetry and the failure refers to a German proverb: “Man sees his own of his first opera, Guntram, discouraged him from faults as little as an owl recognizes his ugliness by further work on the plan. When he returned to the looking into a mirror.” subject several months later, the opera had become a

46 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: FEB 21 tone poem. The work scored an immediate triumph at its premiere, and was soon being performed ENJOY CHAMBER MUSIC? around the world. Return in April for the final According to annotator Herbert Glass (LA Phil- “On Stage” concert of the season! harmonic), the little arrangement of the original tone Be sure to return to the Music Hall stage for the poem being performed today is… final “On Stage” CSO Chamber Players concert of the season, April 10 at 4 p.m. On the program are …the principal—perhaps sole—claim to fame compelling works by Dvořák, Shaposhnikov and of the Austrian Franz Hasenöhrl (whose name Schubert. translates as “little rabbit ears”!). He composed under a pseudonym, Franz Höhrl, but under his real name taught composition for many years at Vienna’s University of Music. His masterpiece, JOHANNES BRAHMS and seemingly only published work, is this clever String Quartet in B-flat Major, Op. 67 deconstruction of Richard Strauss’ tone poem…. The 50th anniversary of Brahms’ death was the oc- Hasenöhrl took the celebrated musical rendering casion for an essay by Arnold Schoenberg in which of some adventures of the medieval trickster and he set out to “prove” that Brahms, the classicist, the further distilled what is already the most compact academician, was a great innovator in the realm of of Strauss’ tone poems, from 15 minutes to musical language, that in fact he was a great pro- approximately eight—to what might be regarded gressive. This essay should prove of special interest as its essence—while shrinking the composer’s here, not only because it comes from one of the most vast orchestra to just five players: violin, double- penetrating minds among latter-day composers, but bass, clarinet, bassoon, and horn. He called his little joke piece Till Eulenspiegel—einmal anders! also because the string quartets of Brahms furnish (i.e., “another way,”—or, “for once differently”) much of the evidence on which he relies to prove adding the description “Grotesque musicale.” his point. Schoenberg writes: First performed in 1954, it has since proven to There is no doubt that Brahms believed in be the delight of mixed-instrument chamber working out the ideas he called “gifts of grace.” ensembles and their audiences…. Hard labor is, to a trained mind, no torture, but —Boris Astafiev rather a pleasure…. An improviser must, after all, anticipate before playing, and composing is JOHANNES BRAHMS a slowed-down improvisation; often one cannot write fast enough to keep up with the stream of Trio for Piano, Clarinet and Cello in A Minor, ideas. But a craftsman likes to be conscious of Op. 114 what he produces; he is proud of the ability of his In 1850, at the age of 58, Johannes Brahms retired hands, of the flexibility of his mind, of his subtle from composing, having declared his String Quintet sense of balance, of his never failing logic, of the Op. 111 to be his final work. multitude of variations, and last but not least, But in the summer of 1851, Brahms heard the clari- of the profundity of his idea and his capacity of net playing of Richard Mühlfeld and was inspired penetrating to the most remote consequences of an idea. One cannot do that with a shallow idea, to compose again, and in the final years of his life, but one can, and one can only, with a profound he composed the Trio Op. 114, Quintet Op. 115, and idea—and there one must. two sonatas Op. 120, all for Mühlfeld. Brahms’ friend Esebius Mandycsewski wrote of The first movement’s main theme has the fanfare- the Trio, “The inventive conception of the themes, like character of the hunting themes Haydn and born of the spirit of the wind instrument and, more Mozart loved so well. A merry chase ensues between especially, the harmonious blending of the tones the main theme and a number of minor sub-themes. of the clarinet and the cello, are magnificent; it is A songlike second movement maintains the ami- as though the instruments were in love with each able and sometimes playful mood of the first. In the other.” third movement a mood of veiled mystery prevails, It is remarkable the extent to which Brahms, in from a spooky episode of the con sordino (dampened) his first chamber work featuring the instrument, strings to the song of the mystery lady, the viola. completely grasped the registers and timbres of The last movement represents the happy synthesis the clarinet, and melds it so beautifully with a more of classical form, romantic fantasy and the warm familiar instrument to him, the cello. And we, the geniality of Brahms at his best. modern audiences and musicians, are incredibly —Julian Wilkison fortunate that Brahms found this muse (he referred to Mühlfeld as his Fräulein Klarinette) late in his life to inspire these wonderful compositions. —Theodore Nelson

cincinnatisymphony.org | FANFARE CINCINNATI | 47 Your legacy covers every little step – from novice to prima ballerina.

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2015–2016 SEASON THURS FEB 25, 7:30 pm SAT FEB 27, 8 pm Music Hall

GIANCARLO GUERRERO conductor CONRAD TAO pianist ANGELA MEADE soprano GARRETT SORENSON tenor HUGH RUSSELL baritone MAY FESTIVAL CHORUS Robert Porco, director

RACHMANINOFF Cinq Études-tableaux (1873–1943) La mer et les mouett es (The Sea and the Seagulls) orch. Respighi La foire (The Fair) Marche funèbre (Funeral March) Le Chaperon rouge et le loup (Litt le Red Riding Hood and the Wolf) Marche (March)

RACHMANINOFF Rhapsody on a Theme of Paganini for Piano and Orchestra, Op. 43 INTERMISSION RACHMANINOFF The Bells, Op. 35 Allegro, ma non tanto Lento Presto Lento lugubre

The CSO is grateful to U.S. Bank, the CSO’s Masterworks Series Sponsor. The CSO is grateful to Johnson Investment Counsel, this weekend’s Concert Sponsor. The appearance of Conrad Tao is generously underwritt en byMercer and Gabrielle Reynolds. The appearance of Hugh Russell is supported by Spectrum. These concerts are endowed by Martha Anness, Priscilla Haff ner & Sally Skidmore in loving memory of their mother, LaVaughn Scholl Garrison, a longtime patron of the CSO. These concerts are endowed by the Nancy & Steve Donovan Fund for Chorus and Orchestra. Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the offi cial piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. These concerts will end at approximately 9:30 pm Thursday, 10 pm Saturday. 90.9 WGUC will broadcast this concert Sunday, March 27, 8 pm.

PROGRAM NOTES © 2015–16 Cincinnati Symphony Orchestra SERGEI RACHMANINOFF (orch. Respighi) Rachmaninoff was born on April 2, 1873 in Oneg, in the Cinq Études-tableaux Novgorod district of Russia; he died on March 28, 1943 in Beverly Hills, California. Respighi was born on July 9, TIMING: approx. 25 min. 1879 in Bologna; he died on April 18, 1936 in Rome. INSTRUMENTATION: 3 fl utes (incl. piccolo), 2 oboes, Rachmaninoff composed the fi rst of the fi ve Études- English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, tableaux in 1917; the second is dated August 17, 1911; timpani, cymbals a2, tambourine, triangle, fi eld drum, the third was composed in 1917; the fourth was writt en glockenspiel, bass drum, tam-tam, chimes, strings on September 8, 1911 and revised on September 27, 1916; CSO SUBSCRIPTION PERFORMANCES the fi fth was composed on February 2, 1917. He fi rst The CSO has performed this work on three previous played the second of these pieces in Saint Petersburg on subscription weekends, including the premiere in March of 1932, Eugene Goossens conducting, and the December 5, 1911; he premiered the others on Novem- most recent in November of 2006, Gianandrea Noseda ber 29, 1917 in Petrograd. Respighi orchestrated the conducting. The CSO has also recorded this work under set in January 1930. Serge Koussevitz ky conducted the the direction of Jesús López-Cobos.

cincinnatisymphony.org | FANFARE CINCINNATI | 49 PROGRAM NOTES: FEB 25 & 27 first orchestral performance with the Boston Symphony thought of Respighi, because of the spectacular Orchestra in Brooklyn, New York, in December 1931. orchestration in his Roman triptych, the final work of which—Feste romane (“Roman Festivals”)—had Rachmaninoff, one of the great pianists of all times, recently made a big splash. Respighi’s success at composed a lot of music for his own instrument. scoring music by Rossini (La Boutique fantasque) and In addition to the concertos and Rhapsody on a others was well known. Furthermore, since Respighi Theme of Paganini, he composed numerous works had once been a student of the Russian master of for piano alone. Among these are two sets of pieces orchestration, Rimsky-Korsakov, Rachmaninoff called Études-tableaux (“Study-Pictures”). agreed to Koussevitzky’s proposal. Rachmaninoff’s biographer Geoffrey Norris Rachmaninoff chose five pieces from his two sets characterizes the etudes as miniature tone poems, of etudes. He sent the scores to Respighi, along with evocative of visual scenes or stories. The composer some clues of the programmatic meaning behind did not divulge the exact nature of his programmatic them, so that Respighi could invent titles and devise references, although one of the etudes (no one knows orchestrations appropriate to the intended images or which one) was supposed to depict gardens in the stories. The Russian composer put the slow, somber rain. Some of the etudes are extremely pianistic and pieces first and last, but his Italian colleague changed exhibitionist (Rachmaninoff actually broke a string the order. Respighi was not terribly enthusiastic of his piano while performing one of them), while about the task he had undertaken, believing it to others are intimate. be essentially a waste of time. But he nonetheless The first set of etudes, Op. 33, contains eight completed the orchestration with considerable skill pieces in different keys. Rachmaninoff composed and flair. it at his estate at Ivanovka in 1911. He had hoped Rachmaninoff’s etudes are so pianistic that for a summer of rest and relaxation but found that Respighi had to muster considerable inventiveness taking care of an estate was a time-consuming job. to make them work for orchestra. He used a lavish Thus he was able to compose only these few short ensemble, adding vivid colors to the etudes. When pieces that summer. he saw Respighi’s work, Rachmaninoff sent him A few years later he was suffering from depres- a telegram of congratulations, full of enthusiasm sion. He looked haggard, and thought of himself as for a “prodigious and brilliant orchestration” and an old man (he was 43). In the spring of 1916 he went for preserving the spirit of the original pieces. But to a spa in the Caucasus for a cure. By summer he Rachmaninoff had private reservations, finding was feeling better and returned to Ivanovka, only to Respighi’s scoring overdone in the more intimate learn that his father had died there two days before music and complaining that the bells at the climax the composer’s arrival. Depression returned. Rach- of the “Funeral March” movement seemed to turn a maninoff became obsessed with his own mortality. Russian funeral into a Roman festival. Rachmaninoff To keep his mind away from morbid thoughts, he began to refer to the work as “Respighi’s suite.” composed new Études-tableaux. These nine pieces, Part of Rachmaninoff’s displeasure was the eventually published as Op. 39, reveal in their almost result of careless editing of the orchestral version. unrelieved minor keys the composer’s unhappy He found literally hundreds of errors in the music. state of mind. In addition many of them include He lost all enthusiasm for the project, and even references to the Dies irae, the old Gregorian chant declined to attend either Koussevitzky’s rehearsals “Day of Wrath” (this song of death is most famous or the premiere. Instead he sent his wife, asserting for its appearance in Berlioz’s Symphonie fantastique; that whatever her reaction was would become his Rachmaninoff himself was to make use of it many opinion. Mrs. Rachmaninoff was not pleased—ei- years later in his Rhapsody on a Theme of Paganini.) ther with Respighi’s “overloaded” orchestration The conductor Serge Koussevitzky, with whom or with Koussevitzky’s “excessively fast” tempos. Rachmaninoff often collaborated, liked orchestral In later years “Respighi’s suite” sometimes transcriptions of virtuoso piano music. In 1922 he showed up on an orchestral program when Rach- persuaded Ravel to transcribe Mussorgsky’s Pictures maninoff was soloist in one of his own concertos. at an Exhibition, to great success. The conductor Whether or not he changed his opinion of the then thought of a similar project, in which a differ- orchestrated Études-tableaux after finally hearing ent composer would orchestrate another group of them is not known. Russian piano-pictures. The music was to be from —Jonathan D. Kramer Rachmaninoff’s Études-tableaux. The conductor

50 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: FEB 25 & 27

RACHMANINOFF Rachmaninoff based his Rhapsody not only on Rhapsody on a Theme of Paganini for Piano the music of Niccolò Paganini (1782–1840), the great and Orchestra, Op. 43 violinist who in essence invented virtuosity, but also on Paganini’s personality. In some of the variations TIMING: approx. 24 min. Rachmaninoff alludes to the violinist’s life and INSTRUMENTATION: solo piano, 2 flutes, piccolo, 2 oboes, character. Rachmaninoff used not only the theme English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, snare drum, cymbals a2, from the last of Paganini’s Twenty-Four Caprices for triangle, glockenspiel, bass drum, suspended cymbals, Solo Violin—the same theme Boris Blacher used for harp, strings his Paganini Variations—but also the ancient death CSO SUBSCRIPTION PERFORMANCES chant Dies irae (“Day of Wrath”), which had already The CSO has performed this work on 21 previous been quoted by Liszt in his Totentanz and by Berlioz subscription weekends (with a number of renowned pianists in the soloist role), including the premiere in in his Symphonie fantastique. October of 1937, Eugene Goossens conducting and Rachmaninoff wrote to choreographer Mikhail the composer himself as pianist, and the most recent in Fokine in 1937: October of 2008, Vasily Petrenko conducting and Jon Kimura Parker, pianist. Why not resurrect the legend about Paganini, who, for perfection in his art and for a woman, sold his soul to an evil spirit? All the variations Rachmaninoff composed the Rhapsody between July 3 and which have the theme of Dies irae represent the August 18, 1934. The composer was soloist and Leopold evil spirit. Variations 11–18 are love episodes. Stokowski conducted The Philadelphia Orchestra in the Paganini himself first appears in the theme first performance on November 7, 1934, in Baltimore. and again, for the last time, now conquered, in Variation 23.… The evil spirit appears for the Rachmaninoff was one of the world’s great pianists. first time in Variation 7, where…there can be a During his mature years he spent so much time con- dialogue with Paganini about his own theme and certizing that he was unable to compose regularly. the one of Dies irae. Variations 8, 9 and 10 are the Thus we find that in 1926 he wrote the first version development of the ‘evil spirit.’ Variation 11 is a of his Fourth Piano Concerto plus a work for chorus turning point into the domain of love. Variation and orchestra, yet no more music was forthcom- 12—the minuet—portrays the first appearance of ing until 1931 when he wrote a solo piano piece. the woman. Variation 13 is the first conversation Again he fell silent until the Paganini Rhapsody in between the woman and Paganini. Variation 19 is Paganini’s triumph, with his diabolic pizzicato. 1934, after which only two more works appeared: It would be interesting to represent Paganini the Third Symphony in 1936 and the Symphonic with his violin—not a real violin, of course, but Dances in 1940. something fantastic. Also, it seems to me that the He was able to compose only in relative seclu- other personages representing the evil spirit at the sion. Thus he felt the urge to take up his pen once end of the piece should be drawn as caricatures again after he had moved into a new home on Lake in their fight for the woman and Paganini’s art. Firwaldstadt, near Lucerne. He had supervised the Definitely as caricatures, representing Paganini. building of this house, which he called “Senar”—a They also should be with violins, but even more name derived from his and his wife’s names: SErgei fantastic and grotesque. and NAtaly Rachmaninoff. He greatly enjoyed what Paganini, a ballet in three scenes by Rachmaninoff time he could spend at Senar. He relaxed by motor and Fokine, opened in London in 1939. The scenario boating, gardening, visiting with his children and largely followed the composer’s ideas. grandchildren, and composing. KEYNOTE. The work opens with an introduction, He wrote from Senar to his friend Vladimir based on the principal motive from the Paganini Vilshau: theme. After the introduction the music goes directly into Variation 1, in which the theme is broken up in Two weeks ago I finished a new piece. It is called Fantasy for Piano and Orchestra in the Form of a “pointillistic” manner (divided among several in- Variations on a Theme of Paganini (the theme struments, forming “links” in a chain). Only after this on which Liszt and Brahms based their sets of variation do we hear the entire theme. Rachmaninoff variations). It is a very long piece, about twenty thus came up with an ingenious new way to treat the or twenty-five minutes. That is the size of a piano age-old form of theme and variations. He exposes the concerto. I am going to try it out in New York theme only after the first variation has been heard. and London, so that I can make the necessary The theme is unmistakable, as it is played by violins corrections. The composition is very difficult, in unison, accompanied by the piano. Variations 2–6 and I should start practicing it, but with every year I become more and more lazy about this work with this melody in its original tempo and finger work. I try to shirk practicing by playing mood. Variation 7 then introduces the Dies irae idea something old, something that already sits firmly in the piano, while the bassoon and pizzicato cellos in my fingers. play the Paganini theme. Variations 8 and 9 treat the

cincinnatisymphony.org | FANFARE CINCINNATI | 51 PROGRAM NOTES: FEB 25 & 27 theme ever more forcefully, and then the Dies irae In their biography of Rachmaninoff , Sergei Bertens- returns explicitly in the piano in Variation 10. son and Jay Leyda report an interesting story about The next variations are character pieces based on how The Bells came to be writt en. The narrator the Paganini tune. Variation 11 is an accompanied quoted by the authors is a friend of Rachmaninoff ’s, cadenza. Variation 12 is an eerie waltz in the minor. a cellist named Mikhail Bukinik. Variation 13 suggests a demonic waltz . Variation 14 I had a cello pupil, a Miss Danilova, who once is in the style of a march but still in the meter of a came to her lesson in great agitation; while she waltz , so that it sounds like a parade of three-footed played, she seemed very excited and eager to soldiers. tell me something. She finally revealed that The following three variations, beginning with Balmont’s translation of Poe’s poem The Bells the piano solo of Variation 15, are symphonic and had once made a great impression on her—she virtuosic. Variation 18 brings a romantic outpouring could think of it only as music—and who could reminiscent of Rachmaninoff ’s earlier music, such as write it as music but her adored Rachmaninoff ! the passionate Second Piano Concerto and Second That he must do this became her idée fi xe, and she wrote anonymously to her idol, suggesting that Symphony. This andante cantabile theme is not, as he read the poem and compose it as music. She some program notes claim, Rachmaninoff ’s own, excitedly sent off this lett er; summer passed, and but rather it is an inversion—an “upside-down” then in the autumn she came back to Moscow for playing—of the Paganini melody. her studies. What had now happened was that The string pizzicati and violin runs in Variations she read a newspaper item that Rachmaninoff 19 and 20 (respectively) suggest Paganini’s pro- had composed an outstanding choral symphony digious performing technique. Variations 21 and based on Poe’s Bells and it was soon to be 22 are scherzo-like. Variation 23 brings back the performed. Danilova was mad with joy. But Paganini theme, and Variation 24 is the fi nale. As someone had to be told her secret—and that’s how all her emotions were unloaded during it approaches the end, the music pushes toward a my lesson. She told me the whole story. I was typical grandiose conclusion, but at the last moment astounded to think that our reserved and quite it witt ily becomes a whisper and ends impishly with unsentimental Rachmaninoff could have been an echo of the introduction. capable of being inspired by someone else’s —Jonathan D. Kramer advice—to create such an important work! I kept my pupil’s secret until Rachmaninoff ’s death. RACHMANINOFF Note that Rachmaninoff is being described in The Bells, Op. 35 this excerpt as “unsentimental”—an adjective few TIMING: approx. 35 min. would associate with him on the basis of much INSTRUMENTATION: STB soloists, SATB chorus, of his best-known music. Yet Rachmaninoff was 3 fl utes, piccolo, 3 oboes, English horn, 3 clarinets, bass extremely reserved as a person (except in the com- clarinet, 3 bassoons, contrabassoon, 6 horns, 3 trumpets, pany of his closest friends and family), and not all 3 trombones, tuba, timpani, cymbals a2, tambourine, his music has the intense, heart-on-the-sleeve lyri- triangle, bass drum, tam-tam, chimes, bells, harp, pianino, celeste, organ, strings cism of the Second Piano Concerto or the Prelude CSO SUBSCRIPTION PERFORMANCES in C-sharp minor. The CSO has performed this work only once before on a In The Bells, for instance, we will hardly fi nd the CSO subscription weekend, in February of 1974 under broad, sweeping melodic gestures of those all-time Erich Kunzel with choirs from Miami University, favorites. It is an intensely dramatic composition Northern Kentucky University and Highlands High that operates on several levels. The imitation of School and soloists Patricia Wise, Seth McCoy and John Reardon. James Conlon led this work at May Festival the sound of bells, in turn joyful and sad, becomes concerts in 1982, 1989 and 2005. a backdrop for the expression of a wide range of emotions. That expression, however, is indirect. Rachmaninoff began work on his vocal symphony The Each movement begins with an invitation to listen Bells (in Russian, Kolokolá) in Rome during the summer to the bells, which are then described “from the of 1913, completing it upon his return to Russia later outside.” It is signifi cant that there are no verbs in that year. The work is based on Konstantin Balmont’s the fi rst person singular in the entire poem, except free Russian translation of Edgar Allan Poe’s famous when the fi re is personifi ed in the third movement poem. The fi rst performance took place on November (this is an element that appears only in Balmont’s 30, 1913, in St. Petersburg, with soloists and chorus of adaptation). In the last movement, which is about the Mariinsky Theatre, under Rachmaninoff ’s direction. funeral bells, the fi rst person plural is used to suggest The American premiere was given by Leopold Stokowski communal mourning: even here, a more personal and the Philadelphia Orchestra on February 6, 1920. The approach is avoided. music is dedicated “to my friend Willem Mengelberg and In addition to the sound of the bells, another aural his Concertgebouw Orchestra of Amsterdam.” element plays an important role in the music. The

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Tickets on sale now cincinnatisymphony.org PROGRAM NOTES: FEB 25 & 27 intoxicating rhythm of the poetry, so irresistible in entrance echoes the gently rocking theme. The quiet Poe’s original, was matched by Konstantin Balmont choral refrains suggest a certain detachment: the (1867–1942), who was one of the most respected chorus acts as a mere observer, not a participant. Russian poets of his time. It was probably that Next comes one of the wildest movements rhythmic element that made Miss Danilova wish Rachmaninoff ever wrote. The “alarum bells” are for a musical sett ing in the fi rst place, and the music sounding: there is a fi re raging. Instruments and does full justice to Poe-Balmont’s verbal fi reworks. voices (there is no soloist in this movement) express Rachmaninoff ’s fascination with bells did not great fear as the bells announce the terrible news. begin with the choral symphony. In his early A menacing tremolo in the strings introduces the Fantaisie-tableaux for two pianos (Op. 5, 1893), the voice of the fi re, which subsides for a brief moment, third and fourth movements imitate the sound of only to fl are up again in a fi nal eruption of violence. bells, which also appear in his opera The Miserly The last movement opens with a mournful Knight (1903–05). English-horn solo. The bells or pealing for a funeral The fi rst movement is about the sound of sleigh procession, led, as it were, by the baritone soloist. bells. The merry sleigh ride “in the icy midnight air” After images of happiness, solemnity and horror, is a symbol for youthful optimism. The orchestra, we are forced to confront the specter of death here, chorus and tenor solo join together in an exultant which makes this movement, perhaps, the most melody with a colorful accompaniment. In the personal in the piece. The orchestral colors are toned slower, dreamier middle section, the chorus sings down, and the solo part is more speech-like than with mouths closed, before a return to the joyful before. The inclusion of the “Dies irae” melody from Tempo I. the Gregorian Mass of the Dead, heard in so many of In the second movement, the soprano soloist Rachmaninoff ’s works, was really appropriate here. sings of wedding bells. The music, however, is by It appears briefl y in the bassoon, shortly before the no means a wedding march: it is, rather, a quiet and tempo begins to speed up for a vivid portrayal of a introspective piece concentrating on the solemn as- frightful ghost. The initial funeral music eventually pects of the ceremony. A gently rocking introductory returns, and the work ends with a lyrical postlude theme sets the stage; a more sensuous, chromatically for orchestra, singing the soul of the departed to rest. descending melody follows. The soprano’s fi rst —Peter Laki

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54 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: FEB 25 & 27

THE BELLS Till their frantic supplication Russian Poem by K. Balmont adapted from To the ruthless conflagration “The Bells” by E.A. Poe Grows discordant, faint and weak. English translation, adapted to the music, But the fire sweeps on unheeding, by Fanny S. Copeland And in vain is all their pleading With the flames! I. From each window, roof and spire, Listen, hear the silver bells! Leaping higher, higher, higher, Silver bells! Every lambent tongue proclaims: How they charm our weary senses with a sweetness I shall soon, that compels, Leaping higher, still aspire, till I reach the In the ringing and the singing that of deep crescent moon; oblivion tells. Else I die of my desire in aspiring to the moon! Hear them calling, calling, calling, O despair, despair, despair, Rippling sounds of laughter, falling That so feebly ye compare On the icy midnight air; With the blazing, raging horror, and the panic, and And a promise they declare, the glare, That beyond Illusion’s cumber, That ye cannot turn the flames, Births and lives beyond all number, As your unavailing clang and clamor mournfully Waits a universal slumber—deep and sweet past proclaims. all compare. And in hopeless resignation Hear the sledges with the bells, Man must yield his habitation Hear the silver-throated bells; To the warring desolation! See, the stars bow down to hearken, what their Yet we know melody foretells. By the booming and the clanging, With a passion that compels, By the roaring and the twanging, And their dreaming is a gleaming that a perfumed How the danger falls and rises like the tides that ebb air exhales, and flow. And their thoughts are but a shining, And the progress of the danger every ear distinctly And a luminous divining tells Of the singing and the ringing, that a dreamless By the sinking and the swelling in the clamour of the peace foretells. bells.

II. IV. Hear the mellow wedding bells, Hear the tolling of the bells, Golden bells! Mourning bells! What a world of tender passion their melodious Bitter end to fruitless dreaming their stern monody voice foretells! foretells! Through the night their sound entrances, What a world of desolation in their iron utterance Like a lover’s yearning glances, dwells! That arise And we tremble at our doom, On a wave of tuneful rapture to the moon within the As we think upon the tomb, skies. Glad endeavour quenched for ever in the silence From the sounding cells upwinging and the gloom. Flash the tones of joyous singing With persistent iteration Rising, falling, brightly calling; from a thousand They repeat their lamentation, happy throats Till each muffled monotone Roll the glowing, golden notes, Seems a groan, And an amber twilight gloats Heavy, moaning, their intoning, While the tender vow is whispered that great Waxing sorrowful and deep, happiness foretells, Bears the message, that a brother passed away To the rhyming and the chiming of the bells, the to endless sleep. golden bells! Those relentless voices rolling Seem to take a joy in tolling III. For the sinner and the just Hear them, hear the brazen bells, That their eyes be sealed in slumber, and their Hear the loud alarum bells! hearts be turned to dust In their sobbing, in their throbbing what a tale of Where they lie beneath a stone. horror dwells! But the spirit of the belfry is a sombre fiend How beseeching sounds their cry that dwells ‘Neath the naked midnight sky, In the shadow of the bells, Through the darkness wildly pleading And he gibbers, and he yells, In affright, As he knells, and knells, and knells, Now approaching, now receding Madly round the belfry reeling, Rings their message through the night. While the giant bells are pealing, And so fierce is their dismay While the bells are fiercely thrilling, And the terror they portray, Moaning forth the word of doom, That the brazen domes are riven, and their tongues While those iron bells, unfeeling, can only speak Through the void repeat the doom: In a tuneless, jangling wrangling as they shriek, and There is neither rest nor respite, save the quiet of shriek, and shriek, the tomb!

cincinnatisymphony.org | FANFARE CINCINNATI | 55 GUEST ARTISTS Feb 25 & 27

Giancarlo Guerrero Conrad Tao, © Brantley Gutierrez

GIANCARLO GUERRERO, conductor He has developed an active and visible profile in Giancarlo Guerrero is the Music Director of the Europe and has worked with great success in recent Nashville Symphony Orchestra and Principal seasons with the BBC Symphony Orchestra, London Guest Conductor of The Cleveland Orchestra’s Philharmonic, Brussels Philharmonic, DSO-Berlin, Miami Residency. Guerrero has led the Nashville Frankfurt Radio Symphony Orchestra, Orchestre Symphony to several Grammy wins in recent Philharmonique de Radio France, Orchestre Philhar- years, including in the category of Best Orchestral monique de Monte-Carlo, Strasbourg Philharmonic Performance in 2011. Orchestra, and the Orchestre National du Capitole In the 2015–16 season, Guerrero makes debuts de Toulouse. with the Pittsburgh Symphony, Copenhagen An advocate of new music and contemporary Philharmonic, NDR Hanover, Deutsche Radio composers, Guerrero has collaborated with and Philharmonie and Bilbao Symphony Orchestra. He championed the works of several of America’s returns to the symphony orchestras of Cincinnati, most respected composers, including John Adams, Detroit and Indianapolis; West Australian Sym- John Corigliano, Osvaldo Golijov, Jennifer Higdon, phony Orchestra; Malaysian Philharmonic; Brussels Michael Daugherty, Roberto Sierra and Richard Philharmonic; and to the Eugene Symphony (where Danielpour. His recordings with the Nashville he was formerly Music Director) in celebration of Symphony include releases of music by Danielpour the orchestra’s 50th anniversary. For many years and Sierra (Naxos), and Bela Fleck’s Banjo Concerto he has maintained a close association with the São (Deutsche Grammophone). Guerrero, together with Paulo State Symphony Orchestra in Brazil, and will composer Aaron Jay Kernis, recently developed and spend three weeks with the orchestra this summer. guided the creation of the Nashville Symphony’s Last season, Giancarlo Guerrero made his de- Composer Lab & Workshop initiative to further but with the Houston Grand Opera conducting foster and promote new American orchestral music. Puccini’s Madama Butterfly, and made European Early in his career, Guerrero worked regularly debuts with the Orchestre National de France, the with the Costa Rican Lyric Opera and in recent sea- Netherlands Philharmonic, Residentie Orkest and sons has conducted Carmen, La bohème and Rigoletto. Tonkünstler Orchester. In 2008 he gave the Australian premiere of Osvaldo Guerrero has appeared with many of the Golijov’s one-act opera Ainadamar at the Adelaide prominent North American orchestras, including Festival to great acclaim. the symphony orchestras of Boston, Cincinnati, Giancarlo Guerrero served as Associate Conduc- Cleveland, Dallas, Detroit, Houston, Indianapolis, tor of the Minnesota Orchestra from 1999 to 2004 Milwaukee, Montreal, Toronto, Vancouver, and The and was Music Director of the Eugene Symphony Philadelphia Orchestra, among others. He is also in Oregon from 2002 to 2009 known to audiences of major summer festivals such as the Hollywood Bowl (Los Angeles) and Blossom CONRAD TAO, pianist Music Festival (Cleveland). Conrad Tao has appeared worldwide as a pianist and composer. In June of 2011, the White House Commission on Presidential Scholars and the De- 56 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: FEB 25 & 27 partment of Education named Tao a Presidential ANGELA MEADE, soprano Scholar in the Arts, and the National Foundation American soprano Angela Meade is the winner of for Advancement in the Arts awarded him a Young both The Metropolitan Opera’s 2012 Beverly Sills Arts gold medal in music. Later that year, Tao was Artist Award and the 2011 Richard Tucker Award. named a Gilmore Young Artist, an honor awarded In 2008 she joined an elite group of history’s sing- every two years highlighting the most promising ers when, as Elvira in Verdi’s Ernani, she made American pianists of the new generation. In May of her professional operatic debut on the Met stage. 2012, he was awarded the prestigious Avery Fisher Since then she has fast become recognized as one Career Grant. of today’s outstanding vocalists, excelling in the During the 2015–16 season, Tao performs with most demanding heroines of the 19th-century bel the Philadelphia Chamber Orchestra, Pittsburgh canto repertoire as well as in the operas of Verdi Symphony Orchestra, Cincinnati Symphony, Dallas and Mozart. Symphony Orchestra, Buffalo Philharmonic, Pacific In the 2015–16 season, Meade sings Leonora in Symphony, Brazilian Symphony and Calgary Phil- Verdi’s Il trovatore on both sides of the Atlantic, at harmonic, among others; he also performs recitals in The Met, Deutsche Oper Berlin, and the Palacio Europe and throughout the U.S. with repertoire rang- de la Opera in Spain’s A Coruña, where she also ing from Bach to Frederic Rzewski to Rachmaninoff gives a solo recital. She revisits her celebrated to Julia Wolfe. Past notable symphonic engagements portrayal of Bellini’s Norma at Los Angeles Opera have included the San Francisco Symphony, Bal- and performs selections from Don Giovanni with the timore Symphony, Toronto Symphony, St. Louis Baltimore Symphony. In concert, she returns to The Symphony, Detroit Symphony, National Arts Centre Philadelphia Orchestra for a New Year’s Eve Gala Orchestra, Indianapolis Symphony and Nashville and performances of Mahler’s Eighth Symphony Symphony. Tao maintains a close relationship with under Yannick Nézet-Séguin, to celebrate the 100th the Aspen Music Festival and has appeared at the anniversary of the symphony’s U.S. premiere, as Sun Valley Summer Symphony, Brevard Music well as to her alma mater, Pacific Lutheran Univer- Center, Ravinia Festival and Mostly Mozart Festival. sity, for a Christmas concert that will be broadcast In June of 2013, Tao kicked off the inaugural on PBS. Besides making her Cincinnati Symphony UNPLAY Festival at the powerHouse Arena in debut in her first performances of Rachmaninoff’s Brooklyn, which he curated and produced. The The Bells, and her St. Louis Symphony debut in festival featured Tao with guest artists performing Beethoven’s Ninth, she sings Verdi’s Requiem on a wide variety of new works. Across three nights three continents, with the Boston Philharmonic, encompassing electroacoustic music, performance Brazil’s Fundação Orquestra Sinfônica do Estado art, youth ensembles, and much more, UNPLAY de São Paulo, and with Spain’s Asociación Bilbaína explored the fleeting ephemera of the internet, the de Amigos de la Ópera (ABAO Bilbao). possibility of a 21st-century canon, and music’s role Last season saw Meade—the face of the Opera in social activism and critique. That month, Tao, a News 2014 “Diva Issue”—reprise Verdi’s Elvira at Warner Classics recording artist, also released Voy- The Met, this time singing opposite Plácido Do- ages, his first full-length for the label. His next album, mingo under the leadership of James Levine. Among Pictures, which slots works by David Lang, Toru other season highlights, she undertook the title role Takemitsu, Elliott Carter and Tao himself alongside of Rossini’s Ermione at Palacio de la Opera, and, Mussorgsky’s familiar and beloved Pictures at an as one of the few sopranos to feature all three of Exhibition, was released in October of 2015. Donizetti’s Tudor queens in her repertoire, head- Tao’s career as composer has garnered eight con- lined Maria Stuarda in concert at Oregon’s Astoria secutive ASCAP Morton Gould Young Composer Music Festival. Awards and the Carlos Surinach Prize from BMI. Since her momentous Met debut, Meade’s In the 2013–14 season, while serving as the Dallas numerous returns to the storied New York house Symphony Orchestra’s artist-in-residence, Tao include the title roles of Norma and Anna Bolena, premiered his orchestral composition, The world is as Leonora in Il trovatore, as Alice Ford in Falstaff, very different now, commissioned in observance of the as seen around the world in the Met’s Live in HD 50th anniversary of the assassination of President series and just released on DVD by Decca Classics, John F. Kennedy. Most recently, the Chamber Or- and as Mozart’s Countess in Le nozze di Figaro. She chestra of Philadelphia commissioned a new work also reprised Verdi’s Elvira in a production seen for piano, orchestra and electronics, An Adjustment, both in The Met’s Live in HD series and as a Great which received its premiere in September of 2015 Performances at The Met presentation on PBS-TV. with Tao at the piano. At Carnegie Hall, she headlined Bellini’s Beatrice di Tao was born in Urbana, IL, in 1994. He has stud- Tenda and appeared in Rossini’s Moïse et Pharaon, ied piano with Emilio del Rosario in Chicago and while at Lincoln Center she sang Giselda in Verdi’s Yoheved Kaplinsky in New York, and composition I Lombardi with the Opera Orchestra of New York. with Christopher Theofanidis.

cincinnatisymphony.org | FANFARE CINCINNATI | 57 GUEST ARTISTS: FEB 25 & 27

A graduate of the Lindemann Young Artists Development Program, Sorenson made his company debut at The Metro- politan Opera with Bellini’s rarely- performed Il Pirata as Itulbo, opposite Renée Fleming. He later went on to per- form Cassio in the opening night gala Angela Meade, © Dario Acosta Garrett Sorenson, © Clinton Brandhagen Hugh Russell, © Larry Lapidus of Otello conducted by James Levine. On the concert stage, Meade has appeared in Additional roles at The Metropolitan Opera include recital at the Kennedy Center, and as soloist with Da-Ud in Richard Strauss’ Die Ägyptische Helena star- the New York Philharmonic, Baltimore Symphony, ring Deborah Voigt and conducted by Fabio Luisi, Boston Symphony, Cleveland Orchestra, Houston the Shepherd in Tristan und Isolde and the Youth in Symphony, Minnesota Orchestra, Montreal’s Moses und Aaron under the baton of James Levine, Orchestre Métropolitain, Philadelphia Orchestra, Alfred in Die Fledermaus, Scaramuccio in Ariadne Pittsburgh Symphony, Saint Paul Chamber Orches- auf Naxos, Arturo in Lucia di Lammermoor, and the tra, San Antonio Symphony and Seattle Symphony, Young Man in Die Frau ohne Schatten. among others. Sorenson debuted at San Francisco Opera as Nar- A native of Washington State and an alumna raboth in Salome conducted by Nicola Luisotti, Lyric of the Academy of Vocal Arts, Angela Meade Opera of Chicago as Kudryas in Katya Kabanova, and has triumphed in an astounding number of vocal Canadian Opera Company and West Australian competitions, 57 in all, including many of the opera Opera as Don José in Carmen. A member of the Santa world’s most important prizes. In addition to being Fe Opera Apprentice Program, Sorenson stepped in a winner at the 2007 Met National Council Audi- at the last minute for the title role of Werther in the tions, as documented in The Audition, a film that was Apprentice Showcase Scenes. He later returned to subsequently released on DVD by Decca, she was Santa Fe Opera to make his debut on the main stage the first singer to take first prize in both the opera in Strauss’ Daphne as Leukippos. and operetta categories of Vienna’s prestigious A consummate concert performer and recitalist, Belvedere Competition. Sorenson participated in “The Song Continues” under the auspices of the Marilyn Horne Founda- GARRETT SORENSON, tenor tion, a weeklong series of performances and master American tenor Garrett Sorenson has been praised classes at Carnegie Hall, as well as concert appear- as an artist of unique interest, garnering critical ances in St. Petersburg, FL. The George London acclaim for the beauty and power of his rich lyric Foundation was proud to host Sorenson in recital voice. Sorenson recently completed an extended in New York City. Symphonic appearances include run of Terrence McNally’s Master Class on Broad- Beethoven’s Symphony No. 9 with the Tanglewood way opposite Tyne Daly, which was successfully Festival under Kurt Masur, at the Verbier Festival transferred to London’s West End. The production in Switzerland with James Levine, and with the San received a 2012 Tony nomination for “Best Revival Francisco Symphony under Michael Tilson Thomas. of a Play.” In the same season, his performance as In addition to Salome, Sorenson has also performed Narraboth in Strauss’ Salome with The Cleveland in Elektra with The Cleveland Orchestra and in a Orchestra at Carnegie Hall was hailed for reveal- program of Viennese music with the New York ing “incipient heldentenor credentials with a fine Philharmonic. He also sang a concert version of Narraboth” (Musical America). Simon Boccanegra with James Levine and the Boston Sorenson’s 2015–16 season features his appear- Symphony Orchestra. ance with San Diego Opera as Anthony Candolino Among his honors and awards, Sorenson was in the West Coast premiere of Jake Heggie and Ter- the winner of the Opera Birmingham Young Singer rence McNally’s opera Great Scott, opposite Isabel Contest and the Sorantin Young Artist Award. A Leonard, Nathan Gunn and Frederica von Stade. finalist in the Loren L. Zachary Society Contest for He also appears with the Nashville Symphony in Young Opera Singers, Sorenson was also named Beethoven’s Symphony No. 9 and with the Mil- a winner at the 2003 George London Foundation waukee Symphony Orchestra in Verdi’s Requiem. Competition and a Sara Tucker Study Grant Win-

58 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: FEB 25 & 27 ner. In 2004, he was awarded the Richard Tucker Boston Lyric Opera, Taddeo in L’italiana in Algeri Foundation Career Grant. Sorenson is a graduate with Vancouver Opera, Valentin in Faust with Pitts- of Texas Tech University and currently resides burgh Opera, and Taddeo in L’italiana in Algeri and in Kentucky with his wife, Elizabeth Batton, his Eisenstein in Die Fledermaus with Arizona Opera. daughter, and two sons. MAY FESTIVAL CHORUS HUGH RUSSELL, baritone ROBERT PORCO, Director of Choruses Canadian baritone Hugh Russell continues to re- Heather MacPhail, Assistant to the ceive high praise for his charisma, dramatic energy Director of Choruses & Accompanist and vocal beauty. He is widely acclaimed for his Matthew Swanson, performances in the operas of Mozart and Rossini, May Festival Conducting Fellow and is regularly invited to perform with symphony Rosanne Wetzel, Chorus Manager orchestras throughout North America. At the center The May Festival Chorus has earned acclaim locally, of his orchestral repertoire is Orff’s popularCarmina nationally and internationally for its musicality, vast Burana, which Russell has performed with The Phila- range of repertoire and sheer power of sound. The delphia Orchestra, The Cleveland Orchestra, Los chorus of 150 professionally trained singers, under Angeles Philharmonic, San Francisco Symphony, the direction of Robert Porco since 1989, is the core Houston Symphony, Pittsburgh Symphony, Seattle artistic element of the Cincinnati May Festival as Symphony, Toronto Symphony and Vancouver well as the official chorus of the Cincinnati Sympho- Symphony, among others. ny Orchestra and Cincinnati Pops. Throughout each In the current season, Hugh Russell joins Calgary season the chorus members collectively devote more Opera as Papageno in The Magic Flute. Orchestral than 40,000 hours in rehearsals and performances. engagements include Carmina Burana with the Director Robert Porco has been recognized as one Columbus Symphony Orchestra, Fauré’s Requiem of the leading choral musicians in the U.S., and for with the Vancouver Symphony and the Houston nearly 40 years he has been an active preparer and Symphony Orchestra, and Rachmaninoff’sThe Bells conductor of choral and orchestral works, including with the Cincinnati Symphony. Last season Russell most of the major choral repertoire, as well as of performed the role of Falke in Die Fledermaus with opera. In 2011 Mr. Porco received Chorus America’s Vancouver Opera. Orchestral engagements included “Michael Korn Founders Award for Development Faure’s Requiem with the Dallas Symphony, opera of the Professional Choral Art.” scenes with the Princeton Symphony, and Carmina Burana with the Rhode Island Philharmonic, West Sopranos Megan Christman Larry Reiring Karen C. Allen Lindsey Dolan Stephen Scott Michigan Symphony and Louisville Orchestra. Tracy Bailey Sarah K. Dorger Adam Shoaff Kristin Berger Erika Emody David Skiff Russell has seen performances at New York City A. Maris Bernard Alicia Falcón Jeffrey Stivers Opera, where he made his company debut singing Leonardia Bidwell Margaret E. Hagar Matthew Swanson Dawn Bruestle Sarah Hamilton Gary Wendt the title role in Il barbiere di Siviglia, as well as the Beth A. Curtis Sally Vickery Harper Barry Zaslow Los Angeles Opera, where he sang Harlequin in Kathy Dietrich Abigail Hoyt Laurel Boisclair Spence B. Ingerson Basses Ariadne auf Naxos. He was both an Adler Fellow Ellsworth Lindsey Jeffers Mark Aiken Cindy Bosh Karolyn L. Johnsen Richard Arnest and a member of the Merola Opera Program at San Magdalena Alexandra Kesman Tony Barkley Francisco Opera, where he was heard in Ariadne auf Greenewald Andrea Kiehl Kenny Bierschenk Anita Marie Greer Julie Laskey John E. Black Naxos and in Messiaen’s St. François d’Assise. Sarah Grogan Kay M. Luccasen Andrew L. Bowers As a member of Pittsburgh Opera Center, Russell Dana Harms Kathy Mank Scott Brody Lauren Steiger Hess Melissa A. Martin Doug Bruestle sang the roles of Malatesta in Don Pasquale, the title Carolyn Hill Teri McKibben Tim Butz Ruth Hill Jennifer Moak Christopher Canarie role in Pelléas et Mélisande, and Guglielmo in Così Lisa Koressel Rozelia Park Lawrence E. Coleman fan tutte, a role he has also performed with Boston Judith C. LaChance Amy M. Perry Steven L. Dauterman Hilary Landwehr Jeanne E. Phillips Steve France Baroque. A further triumph with this company was Marissa Miller Laura Schapiro Jon Gibson his performance in Dominick Argento’s Postcard Lauren Peter Molly Scruta Bradley Kauffman Mary Beth Rachel Seymour Jim Laskey from Morocco. He has also been a regular performer Poulimenos Patricia Somers Armando H. Linares Kristi C. Reed Megan Weaver Jack W. McKee with New York Festival of Song and has sung in the Beth Roberts Linda Wiley Michael Merry Festival’s recitals at Merkin Concert Hall, Kaye Play- Julia H. Schieve Monica Wilson Justin Peter Hannah Scott James V. Racster house, and the Kennedy Center in Washington, DC. Yvon F. Shore Tenors Ron Schofield On the orchestral concert stage, he has been heard in Susan Thiel Jim Baxter James Shackson Christine A. Daniel Blosser Gerald Shannon Carmina Burana with the Seattle and San Francisco Wolterman Keith Dale Roger Sidebotham Maria Luisa Yerdon Brian Donaldson Samuel M. Stover symphony orchestras, in Fauré’s Requiem with the Nathaniel B. Garris Marc Tuel Orquestra de Sevilla, and in Tobias Picker’s Tres Altos Jeffrey Nielsen Joshua Wallace Robin Bierschenk Jon Olson Mark Weaver sonetos de amor with L’Orchestre Philharmonique Rachael Blum Scott C. Osgood Ronald M. Webber de Strasbourg, among many others. Other recent Cynthia Bourgeois Jason Ramler Joe White Barb Brown Evan T. Ratley operatic engagements have included the lead role of the Pilot in Rachel Portman’s The Little Princewith

cincinnatisymphony.org | FANFARE CINCINNATI | 59 BOARDS BOARD OF DIRECTORS (as of September 1, 2015) Harold Byers Peter Landgren Sandra Rivers Officers Myra Chabut Tad Lawrence Jack Rouse James E. Schwab, Chair Christopher C. Cole Wendy S. Lea Ryan Rybolt Francie S. Hiltz, Chair-Elect and Peter G. Courlas Edyth B. Lindner* Ann H. Santen Vice-Chair of Leadership Development Alvin H. Crawford, M.D. Patricia Gross Linnemann Jeffrey S. Schloemer Leonard M. Randolph, Jr., M.D., Secretary Dennis W. Dern Timothy J. Maloney Pamela Scott Otto M. Budig, Jr., Treasurer and Sally Dessner Jonathan McCann Edgar L. Smith, Jr. Vice-Chair of Finance Dianne Dunkelman Robert W. McDonald Matthew Q. Stautberg Thomas Charles Garber, Mrs. Charles Fleischmann III* Bernard L. McKay Thomas Stegman * Vice-Chair of Facilities Susan S. Friedlander* Sue McPartlin William D. Stenger Dianne M. Rosenberg, Jane Garvey Linda Freiberg Miller Randolph L. Wadsworth Jr.* Vice-Chair of Volunteerism Joseph W. Hagin Elizabeth Reitz Mullenix Nancy Wagner Rosemary Schlachter, Vice-Chair Carol C. Hake Stephen R. Mullin Patricia Wagner of Patron Development John L. Harrison Christopher Muth Nancy Walker* Sheila J. Williams, Vice-Chair of Patti Heldman Cora K. Ogle Geraldine B. Warner Community Engagement Joseph W. Hirschhorn* Eric V. Oliver Warren Weber Sandra F.W. Joffe Robert S. Olson Diane West Directors Lois Jolson Santa Jeremy Ono Stacey G. Woolley Stuart Aitken David Kirk Marilyn J. Osborn Honorable Tyrone K. Yates Kathleen Barclay Kevin Kline Jack Osborn Shau Zavon Paul M. Booth Ronald A. Koetters J. Marvin Quin II* *Director Emeritus Trish Bryan* Marvin Kolodzik James B. Reynolds*

BOARD OF OVERSEERS (as of January 1, 2016) The Board of Overseers is a group of advocates whose annual and love of the music and the institution. The only requirement gift level affords access to a unique, behind-the-scenes view of for membership is to support the Orchestra with a gift of $5,000 how the Orchestra brings world-class music to the community or more as an individual or $7,500 or more as an organization. and beyond. From lunch and learns to networking, the Board To learn more about becoming a member, contact Rachel of Overseers spend time with those who have a fascination for Kirley in the Philanthropy Department at 513.744.3291.

Adleta Group, Mr. Robert Adleta Mr. and Mrs. James T. Fitzgerald Calvin and Patricia Linnemann § Francie and Tom Hiltz Romola N. Allen § Mr. and Mrs. David Fleischer Thomas and Adele Lippert Digi and Mike Schueler Mr. Anatole Alper Mrs. Charles Fleischmann Whitney and Phillip Long Vivian and Jim Schwab Martha G. Anness § Susan Friedlander § Mark and Tia Luegering Ladislas & Vilma Segoe Family Mr. and Mrs. William T. Bahlman, Jr. § Frost Brown Todd, Ms. Jill Myer Macy’s, Mr. Matthew Q. Stautberg Foundation, Mr. David Ellis Mrs. Katy Barclay Dr. and Mrs. Harry F. Fry Mr. and Mrs. Timothy Maloney Irwin and Melinda Simon Bartlett & Co., Jane Vanderhorst Molly and Tom Garber, CCI Design, Inc. Elizabeth and Brian Mannion, MD Mr. Murray Sinclaire Ellen A. Berghamer § Ms. Jane Garvey Alan Margulies and Gale Snoddy Betsy and Paul Sittenfeld Mary Bergstein Richard D. Gegner Rhoda Mayerson Mr. and Mrs. Gerald Skidmore § Mr. and Mrs. David Berick Mrs. Philip O. Geier § Mr. and Mrs. Jonathan McCann Ms. Genevieve Smith Louis D. Bilionis and Ann Hubbard L. Timothy Giglio Mr. Robert W. McDonald Michael and Donnalyn Smith Cathy, Sam, and Anne Black Dr. Lesley Gilbertson and Dr. William Hurford Mr. Bernard McKay Tom and Dee Stegman § Mrs. Herbert Bloch, Jr. Mr. and Mrs. Michael H. Giuliani Laura Kimble McLellan § William D. Stenger Rosemary H. and Frank Bloom § Clifford J. Goosmann and Mrs. Susan M. McPartlin Mary S. Stern BMES, John Moore Andrea M. Wilson Mercy Health, Mario Cicchinelli Laurence G. Stillpass Robert L. Bogenschutz Priscilla Garrison Haffner § Messer Construction Co., Kathleen C. Daly Theodore W. and Carol B. Striker Dr. and Mrs. John and Suzanne Bossert § Mr. Joseph Hagin Mr. and Mrs. Douglas Miller Mr. and Mrs. Roy Sweeney Chris and Karen Bowman Dr. and Mrs. Edward Hake Mr. James A. Miller Taft Stettinius & Hollister, Mr. and Mrs. Frederick E. Bryan, III § David G. Hakes Linda and James Miller Mr. Jeffrey Schloemer Mr. Otto M. Budig, Jr. Tom and Jan Hardy § Monarch Construction, Mr. Ron Koetters Delle E. Taylor Mary Alice Burke § Mr. and Mrs. Brian E. Heekin Mrs. James Monroe § Ms. Anne D. Thomas Edward and Susan Castleberry Mrs. Anne P. Heldman § Mr. and Mrs. Thomas J. Mueller Laura G. Thomson CES/Link, Ms. Deborah Spradley Mr. and Mrs. Fred Heldman Stephen and Kristin Mullin § Towers Watson, George Morrison CFM, Ms. Jamie Jewell Robert and Patricia Henley Mr. and Mrs. Christopher Muth § Toyota Motor Eng. & Mfg. Co. N.A., Inc., Ms. Geraldine V. Chavez David C. Herriman Mrs. Ruth Myers David Fleischer Robert and Debra Chavez Mr. and Mrs. Joseph W. Hirschhorn § Anne Nethercott § UBS, Mr. Troy DeBord Chemed Corp., Sandra E. Laney Mrs. Harry M. Hoffheimer Ohio National Financial Services, Dale and Joyce Uetrecht Piotr Chomczynski HORAN, Terry Horan § Mr. Gary T. “Doc” Huffman Larry Uhlenbrock Cincinnati Symphony Club Dr. and Mrs. M. Howett § Dr. Santa Ono and Mrs. Gwendolyn Yip United Dairy Farmers, Mr. Brad Lindner Lois and Philip S. Cohen Dr. Murray Jaffe Marilyn J. and Jack D. Osborn § U.S. Bank, Bradley Scott Sheila and Christopher C. Cole Dr. and Mrs. Stephen Joffe Arlene Palmer Sallie and Duck Wadsworth § Coney Island, Victor W. Nolting Johnson Investment Counsel, John and Farah Palmer Nancy C. Wagner § Mr. and Mrs. Michael D. Connelly Mr. Dean Moulas Dr. and Mrs. John Parlin Patricia M. Wagner § Corporex Companies, LLC, Lois and Dick Jolson Paycor, Bob Coughlin Mr. and Mrs. Paul H. Ward § Mr. William Butler Frank Jordan § Joseph A. and Susan E. Pichler Ginger and David W. Warner Peter G. Courlas § Mr. Mace C. Justice § PNC Bank, Kay Geiger Gary and Diane West § Dr. and Mrs. Alvin Crawford Mr. and Mrs. Lorrence T. Kellar PricewaterhouseCoopers LLC, Western Pacific Holdings, Jodelle S. Crosset Dr. and Mrs. Lionel King Evelyn L. Cole Chiun-Teng Cheng Mrs. Thomas E. Davidson Mr. and Mrs. Kevin Kline Terry and Marvin Quin Western & Southern Financial Services, The Dehan Family Mrs. Thomas Klinedinst, Sr. Irene and Dan Randolph § Mr. Don Wuebbling Dennis W. and Cathy Dern Edward A. Klint Rendigs, Fry, Kiely & Dennis, Mrs. Pat Fry Mrs. Harris K. Weston (Alice) Mr. and Mrs. Steve Dessner Linda Dianne Knose Mercer and Gabrielle Reynolds World Pac Paper, LLC, Edgar Smith and Amy and Trey Devey § Florence and Ron Koetters Vicky and Rick Reynolds Toni Robinson-Smith Nancy and Steve Donovan Marvin P. Kolodzik § Melody Sawyer Richardson § Ms. Karen Wright Marjorie Drackett Michael and Marilyn Kremzar Ellen Rieveschl § Betsy and Alex C. Young § Dianne Dunkelman Kroger, Ms. Katy Barclay Elizabeth and Karl Ronn § Mr. and Mrs. James M. Zimmerman Mrs. David Ellis, Jr. Anne I. Lawrence J. David and Dianne Rosenberg Anonymous (5) Emory P. Zimmer Insurance Agency, Mr. and Mrs. Robert L. Lawrence Nancy and Ed Rosenthal Baker D. Bahlman Ms. Wendy Lea Moe and Jack Rouse § § Denotes members of The Thomas Ernst & Young, Mr. Scott Trosset Louis Levin Ann and Harry Santen Schippers Society. Individuals who have Harry and Linda Fath § Daniel R. Lewis Martha and Lee Schimberg made a planned gift to the Cincinnati Symphony Orchestra are eligible for Catherine Lepley Feig Mr. and Mrs. Brad Lindner Mark S. and Rosemary K. Schlachter § Jeffrey S. Schloemer and Marcia A. Banker membership in The Thomas Schippers Fifth Third Bank Foundation, Ms. Heidi Jark Edyth B. Lindner Society. For more information, please Dr. and Mrs. Carl G. Fischer Harold C. Schott Foundation, contact Ron Cropper at 513.744.3365.

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

Ohio Arts Council Rhodes State Office Tower 30 E Broad St, 33rd Floor Columbus, OH 43215-3414 Phone: 614/466-2613 Fax:614/466-4494 oac.ohio.gov FEBRUARY 2016 Who’s a Group? You’re a Group!

The Cincinnati Symphony Orchestra and Cincinnati Pops are • Discover our specially priced pleased to welcome the following groups to concerts this month: tickets for groups of 10 or more! • Find out how you can CSO, 2/5–6 Lollipops, 2/6 orchestrate a profitable Barrington of Oakley CCM Preparatory Department fundraising event Cedar Village Kindermusik by Cathy Siebert for your local organization. Findlay High School Miss Nancy’s Musikgarten Contact CSO Group Sales: Kentucky Country Day School Pianimals Kids Club 513.744.3590 or The Kenwood Senior Living Center Friends and Family of: csogroupsales.org The Knolls of Oxford Jeff Auer Maple Knoll Village Jackson Binkley Mason Christian Village Lucy Gruen Seasons Retirement Community Jason Hipskind Stepping Stones Tracey Rodriguez Twin Lakes at Montgomery Robert Stohlman

get close to the music

Voices Remembered with Hope: Commemorating Music of the Holocaust A festival with film, lecture, and concerts Curated by internationally-celebrated violinist, producer, and author Daniel Hope, events include Mar 1 - Film: Terezín – Refuge in Music at Kenwood Theater Mar 6 - Lecture: Daniel Hope, guest speaker at Congregation Beth Adam Mar 6 & 7 Linton Chamber Music and Encore! Linton Concerts

Information call 513.381.6868 or visit LintonMusic.org.

62 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT 2015–2016 SPONSORS The Cincinnati Symphony Orchestra and Cincinnati life in the Greater Cincinnati area. For information Pops are grateful for the generosity of our sponsors. on sponsorships, please contact the Philanthropy Sponsorship support is vital to the success of the Offi ce at 513.744.3363. We are proud to be partnered Orchestra and helps enhance the quality of cultural with the following:

PLATINUM BATON CIRCLE ($50,000+)

Tom & Molly Garber

Anonymous Thomas J. Emery Louise H. and David S. Memorial Ingalls Foundation, Inc.

The H.B., E.W. and Dr. and Mrs. Lois and Dick Florence and Ron F.R. Luther Charitable The Margaret McWilliams Dr. John & Louise Mulford The Carl Jacobs Rentschler Fund of Foundation Stephen Joff e Jolson Koetters Foundation, Fifth Third Fund for the CSO Bank and Narley L. Haley, the Greater Cincinnati Co-Trustees Foundation Jacob G. Schmidlapp The John A. Schroth Harold C. Schott Ginger & David W. Trusts, Fifth Third Family Charitable Trust, Ms. Genevieve Tom and Dee Jackie and Roy Foundation Warner Bank, Trustee PNC Bank, Trustee Smith Stegman Sweeney

GOLD BATON CIRCLE ($25,000–$49,999)

The Cincinnati Symphony Club

Sue Friedlander Ann & Gordon Mr. Mace C. Justice Getty Foundation Western & Southern Financial Group

The Patricia Kisker Ohio Valley The Ladislas & Mr. Daniel R. Lewis MusicNOW Vilma Segoe Family Louise Taft Semple Foundation Foundation, Fifth Foundation Third Bank, Agent Foundation CONDUCTOR’S CIRCLE ($10,000–$24,999)

Rosemary and Dr. & Mrs. Alvin H. Crosset Family Mrs. Thomas R. Linda and Mr. & Mrs. Robert L. The John C. Anne Heldman Mrs. & Mrs. Brian E. Frank Bloom Crawford Fund Davidson Harry Fath Lawrence Griswold Foundation Heekin

Instagram/ The Andrew Jergens The Kaplan Marvin P. Dr. & Mrs. John A. The Daniel & Susan The August A. Rendigs, Jr. and Rosemary and Mark Facebook Foundation Foundation Kolodzik Parlin Pfau Foundation Helen J. Rendigs Foundation, Schlachter W. Roger Fry, Trustee, and the fi rm of Rendigs, Fry, Kiely & Dennis The Wohlgemuth The Sutphin Family Herschede The Eric B. Yeiser Family Foundation Foundation Foundation

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

Queen City (OH) Chapter

Surgery

The Willard & Louis D. Bilionis & Suzanne The Dehan James M. Ewell Jean Mulford John and Farah Charles Scott Riley III William D. Woodward YOT Full Circle Ann Hubbard Bossert Family Foundation Charitable Fund Palmer Foundation Stenger Trust Foundation

ARTIST’S CIRCLE Makino CE Power Solutions Cincinnati USA Convention and Visitors Bureau $3,000–$4,999 Rhinegeist The ASCAP Foundation Hightowers Petroleum Co. Clark Schaefer Hackett ENCORE CIRCLE KMK Law Humana $2,500–$2,999 RiskSource Clark-Theders Katz, Teller, Brant & Hild The Amphion Foundation Roper’s Southern Cooking Restaurant Cynthia & Paul Booth, COBCO Enterprises, Inc.

cincinnatisymphony.org | FANFARE CINCINNATI | 63 FINANCIAL SUPPORT 2015–2016 Sponsors, cont. ARTSWAVE Partners The CSO and Pops acknowledges the thousands of individuals who generously participate in the ArtsWave Campaign at the following Partner Companies. Your support helps make our community vibrant and connects people across our region through the arts. P&G The Carol Ann & Ralph V. Haile University of Cincinnati and UC Health GE Aviation U.S. Bank Foundation Enquirer Media Fifth Third Bank Macy’s, Inc. Western & Southern Financial Group The Kroger Co. ArtsWave Partners | FEBRUARY 2016 Cincinnati Bell Cincinnati Children’s Hospital Medical Center The Cincinnati Insurance Companies U.S. Bank American Financial Group Ohio National Financial Services Procter & Gamble Duke Energy Corporation CSO, Feb. 19–20 Toyota Motor Engineering & Manufacturing CSO, Feb. 5–6 North America, Inc. Frisch’s Restaurants, Inc. PNC Bank Ohio National Financial Services Convergys Corporation Frisch’s Restaurants, Inc. GE Aviation American Modern Insurance Group CSO, Feb. 25 & 27 AK Steel Lollipops, Feb. 6

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

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

64 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT HONOR ROLL OF CONTRIBUTORS The Cincinnati Symphony Orchestra and Cincinnati our heartfelt thanks to each and every one and pay Pops are grateful to the following individuals and tribute to them here. organizations that support its efforts. We extend

PLATINUM BATON Larry Uhlenbrock In Memory of Herbert R. Bloch, Jr. Patricia M. Wagner § CIRCLE Gary and Diane West § Robert L. Bogenschutz Ms. Karen Wright Mr. and Mrs. James M. Zimmerman Chris and Karen Bowman Betsy and Alex C. Young § Gifts of $50,000 and above Edward and Susan Castleberry Anonymous (3) The Louise Dieterle Nippert Ms. Geraldine V. Chavez Musical Arts Fund CONDUCTOR’S CIRCLE Piotr Chomczynski The Otto M. Budig Family Foundation § Gifts of $10,000–$14,999 ARTIST’S CIRCLE Lois and Philip S. Cohen Harry and Linda Fath § Martha G. Anness § Gifts of $3,000–$4,999 Mr. and Mrs. Michael D. Connelly Susan Friedlander § Mary Bergstein Stuart and Sarah Aitken Peter G. Courlas § Molly and Tom Garber, CCI Design, Inc. Louis D. Bilionis and Ann Hubbard Drs. June and John K. Alexander The Lewis and Marjorie Daniel Foundation George L. and Anne P. Heldman Fund* § Robert and Debra Chavez Yousef Aouad Mr. and Mrs. Steve Dessner Dr. and Mrs. Stephen Joffe Jodelle S. Crosset Thomas P. Atkins Amy and Trey Devey § Mrs. Anne I. Lawrence Mrs. Thomas E. Davidson Mrs. Robert J. Ayer Dianne Dunkelman Daniel R. Lewis The Dehan Family Dr. and Mrs. William L. Barrett Dr. and Mrs. Carl G. Fischer Edyth B. Lindner Dennis W. and Cathy Dern Mrs. Thomas S. Benjamin Mr. and Mrs. David Fleischer Vicky and Rick Reynolds Emory P. Zimmer Insurance Agency David and Elaine Billmire Dr. and Mrs. Harry F. Fry Margaret McWilliams Rentschler Fund* Mr. and Mrs. James T. Fitzgerald Mr. and Mrs. Joseph Brinkmeyer § Ms. Jane Garvey Ann and Harry Santen Mr. Joseph Hagin Mr. and Mrs. Larry Brueshaber Richard D. Gegner Ms. Genevieve Smith Tom and Jan Hardy § Mr. and Mrs. William P. Butler L. Timothy Giglio Tom and Dee Stegman § Mr. and Mrs. Brian E. Heekin Janet and Bruce Byrnes Dr. Lesley Gilbertson and Mr. and Mrs. Roy Sweeney Mr. and Mrs. Fred Heldman Dr. and Mrs. Charles O. Carothers Dr. William Hurford Mr. and Mrs. Randolph L. Wadsworth, Jr. § Robert and Patricia Henley § Mrs. Jackson L. Clagett III § Frank Jordan § Mr. and Mrs. Michael H. Giuliani Miss Norma L. Clark § Clifford J. Goosmann and Andrea M. Wilson GOLD BATON CIRCLE Dr. and Mrs. Lionel King Bob and Tisha Clary Mr. Thomas Klinedinst, Sr. Priscilla Garrison Haffner § Mary Ellen and Thomas G. Cody Gifts of $25,000–$49,999 Florence and Ron Koetters Dr. and Mrs. Edward Hake Drs. Fuheid and Ingrid Daoud Mr. and Mrs. Frederick E. Bryan, III § Mr. and Mrs. Robert L. Lawrence David C. Herriman Mr. and Mrs. Albert C. Dierckes, Jr. Mrs. Charles Fleischmann Ms. Wendy Lea and Centrifuse Mrs. Harry M. Hoffheimer Jim and Elizabeth Dodd Mrs. Philip O. Geier § Levin Family Foundation Dr. Murray Jaffe Betty M. Duncan Lois and Dick Jolson Thomas and Adele Lippert Mr. and Mrs. Lorrence T. Kellar* Mrs. Diana T. Dwight Mr. Mace C. Justice § Mr. and Mrs. Timothy Maloney Mr. and Mrs. Kevin Kline Jane F. and David W. Ellis Fund* § Marvin P. Kolodzik § Rhoda Mayerson Edward A. Klint Ann A. Ellison Calvin and Patricia Linnemann § Mrs. Susan M. McPartlin Linda Dianne Knose Marlana and Walter Frank Marilyn J. and Jack D. Osborn § Malcolm and Ruth Myers Family Fund * Michael and Marilyn Kremzar Mr. and Mrs. Otto P. Geier Terry and Marvin Quin Dr. and Mrs. John Parlin Whitney and Phillip Long Ms. Louise J. Gissendaner Moe and Jack Rouse § The Daniel & Susan Pfau Foundation Mark and Tia Luegering Dr. and Mrs. Glenn S. Gollobin Mark S. and Rosemary K. Schlachter § August A. Rendigs, Jr. Foundation Mandare Foundation Mr. and Mrs. Robert R. Heidenreich Vivian and Jim Schwab Mercer and Gabrielle Reynolds Elizabeth and Brian Mannion, MD Dr. and Mrs. Robert S. Heidt, Jr. William D. Stenger Irwin and Melinda Simon Alan Margulies and Gale Snoddy In Memory of Alma Huenefeld Dale and Joyce Uetrecht Mary S. Stern Mr. and Mrs. Jonathan McCann Drs. Marcia Kaplan and Michael Privitera Ginger and David W. Warner Laurence G. Stillpass Mr. Robert W. McDonald Mr. and Mrs. Richard Kovarsky Mrs. Harris K. Weston (Alice) Theodore W. and Carol B. Striker Mr. Bernard McKay Peter Landgren and Judith Schonbach Delle E. Taylor Mr. and Mrs. Douglas Miller Elizabeth and Terry Lilly SILVER CIRCLE Ms. Anne D. Thomas Mr. James A. Miller Mrs. Vladimir Lukashuk Gifts of $15,000–$24,999 Tomcinoh Fund* Mrs. James Monroe § Mary Ann Meanwell Rosemary H. and Frank Bloom Malcolm Thomson, in honor of Stephen and Kristin Mullin § Mr. and Mrs. David A. Millett Special Fund *§ Louis Langrée Mr. and Mrs. Christopher Muth § Mr. and Mrs. David E. Moccia § Dr. and Mrs. John and Suzanne Bossert § Mr. and Mrs. Paul H. Ward § Dr. Santa Ono and Mrs. Gwendolyn Yip George and Sarah Morrison III Sheila and Christopher C. Cole Anonymous (2) Arlene Palmer Mr. and Mrs. David W. Motch Dr. and Mrs. Alvin Crawford John and Farah Palmer Mr. Scott Nelson and Dr. Susan Kindel Nancy and Steve Donovan CONCERTMASTER’S Ellen Rieveschl § Mr. and Mrs. Robert S. Olson Marjorie Drackett Elizabeth and Karl Ronn § Gary and Nancy Oppito Catherine Lepley Feig CIRCLE Nancy and Ed Rosenthal Mr. and Mrs. Thomas R. Ruthman Mr. and Mrs. L. Thomas Hiltz Gifts of $5,000–$9,999 Martha and Lee Schimberg Clifford R. and Peter R. Scholes Mr. and Mrs. Joseph W. Hirschhorn § Romola N. Allen § Jeffrey S. Schloemer and Marcia A. Banker James Schubert Doris M. and Charles B. Levinson Fund * Mr. Anatole Alper Mike and Digi Schueler Elizabeth Schulenberg Linda and James Miller Mr. and Mrs. William T. Bahlman, Jr. § Mr. Murray Sinclaire Sue and Glenn Showers Mr. and Mrs. Thomas J. Mueller Mrs. Katy Barclay Betsy and Paul Sittenfeld Mr. and Mrs. William A. Starr Joseph A. and Susan E. Pichler Fund* Ellen A. Berghamer § Mr. and Mrs. Gerald Skidmore § Bunny and Frank Szecskay Melody Sawyer Richardson § Mr. and Mrs. David Berick Michael and Donnalyn Smith Dr. and Mrs. Shiro Tanaka J. David and Dianne Rosenberg § Cathy, Sam, and Anne Black Nancy C. Wagner § Sarah and Neil Thorburn

Trey Devey enjoys the fall Schippers Society Luncheon with Otto Budig, Alisa Weilerstein greets Paycor guests following the performance of Mace Justice and Norman Johns. Shostakovich’s Cello Concerto No. 1 on Friday, Dec. 4.

cincinnatisymphony.org | FANFARE CINCINNATI | 65 FINANCIAL SUPPORT

Louis and Aimée Langrée attend the Cincinnati Symphony Club’s Guests of Graeter’s visit with JMR and New York Voices in the Green Room December Luncheon to accept the Club’s generous annual contribution following the Holiday Pops performance. to the Orchestra. Pictured with Louis and Aimée are members of the April Affair Planning Committee.

Nydia C. Tranter § Bette and Alan Griffith Mr. Thomas Schiff Tom Carpenter and Lynne Lancaster Robert and Audrey Varley § Dr. Donald and Laura Harrison Mr. and Mrs. Peter A. Schmid Dr. Julia H. Carter Christopher and Nancy Virgulak Mr. John L. Harrison Dr. and Mrs. David Schwartz Becky and Sam Cassidy Vance and Peggy Wolverton Dr. and Mrs. Morton Harshman § Theodore Schwartz and Minette Hoffheimer Mike and Shirly Chaney Anonymous (3) Emma D. Hartkemeier Judith Scott Catharine W. Chapman Irmgard and Horst Hehmann Dr. and Mrs. Carl M. Sedacca Matthew Chimsky § ENCORE CIRCLE Dr. Bernard Hertzman Mrs. Mildred J. Selonick § Michael and Minnie Clements Gifts of $1,500–$2,999 Ms. Janet Hickman Mrs. Robert B. Shott § Dr. Margaret Conradi Mr. and Mrs. James R. Adams § Drs. Robert C. Hodges and William A. and Jane Smith Jean and Gene Conway William and Janet Albertson Anthony A. McIntire Harold and Faye Sosna Robin Cotton and Cindi Fitton Mr. and Mrs. Richard H. Allen Elizabeth and Lawrence Hoyt Howard and Nancy Starnbach Mr. and Mrs. Charles E. Curran III § Dr. Victor and Dolores Angel In Memory of Benjamin C. Hubbard § Matt and Shannon Stautberg John and Lynne Curtiss Mr. Richard Antoine Mr. and Mrs. Bradley G. Hughes Bill and Lee Steenken Mr. and Mrs. Henry F. Dabek, Jr. Dr. Norita Aplin and Stanley Ragle § Barbara M. Johnson Elizabeth A. Stone Robert B. Dick, Ph.D. Dr. Bruce Aronow Takashi and Chiseko Kato Mr. and Mrs. Peter Strange Jeannie Donaldson Robert and Janet Banks Mr. and Mrs. Geoffrey Keenan Ralph C. Taylor § Emilie and David Dressler Jane and Ed Bavaria § Mr. and Mrs. Thomas Kirkpatrick Susan and John Tew Patricia Dudsic Rexford and Sharon Bevis Leonard Kuertz Dick and Jane Tuten § Shirley and Roy Duff Jane Birckhead Kevin L. Langston Dr. Barbara R. Voelkel Mr. and Mrs. John G. Earls § Drs. Bennett and Helene Blitzer Mrs. Robert G. Lanzit Robert and Antoinette Warden Mr. Jimmy Edwards Mr. and Mrs. John P. Boorn Rita and Pete LaPresto Dr. and Mrs. Galen R. Warren Jerome H. and Jean K. Eichert Glenn and Donna Boutilier Richard and Susan Lauf Jim and George Ann Wesner Mr. Erwin F. Erhardt III Dr. and Mrs. William Bramlage Mary Mc and Kevin Lawson Mary E. West Hardy and Barbara Eshbaugh Mr. Thomas A. Braun III § Philip and Judy Leege JoAnn Wieghaus Barbara Esposito-Ilacqua Mr. and Mrs. Larry Brueshaber Mr. Peter F. Levin § Curt and Virginia Wilhelm Alice Fegelman and Leo Munick, M.D. Mrs. Ann J. Bunis Drs. Douglas Linz and Ann Middaugh Sheila Williams and Bruce Smith Drs. Thomas W. Filardo and Nora L. Zorich Linda Busken and Andrew M. Jergens § Mrs. Robert Lippert Ronna and James Willis Mr. Laughton Fine Anna K. and G. Gibson Carey Jennifer Loggie, M.D. Gene Wilson Vaden Fitton Joan Carlin Al and Mary Lopez Mrs. James W. Wilson, Jr. Ashley and Bobbie Ford Paul and Judy Carlson Mr. and Mrs. Clement H. Luken, Jr. Steve and Katie Wolnitzek Mr. and Mrs. William Fotsch Mr. and Mrs. Martin Chambers Jacqueline M. Mack and Wright Brothers, Inc. Gregrick A. Frey and Karen L. Frey Michael L. Cioffi Dr. Edward B. Silberstein Don and Carol Wuebbling Mr. and Mrs. Richard Friedman Susan and Burton Closson Mr. and Mrs. Donald Marshall Mr. Tyrone K. Yates H. Jane Gavin § Drs. David and Nina Clyne David Martin Mrs. Andrea Levenson Young Dr. and Mrs. Freidoon Ghazi Mr. Rick Coffey and Mr. Jonathan Williams Ms. Amy McDiffett Anonymous (12) Mrs. Nicholas Giannestras Mr. and Mrs. Stanley Cohen § Stephanie McNeill Mrs. Jocelyn Glass Dr. and Mrs. John M. Collins Charles and JoAnn Mead SYMPHONY CIRCLE Dr. and Mrs. Charles J. Glueck Dr. Pearl J. Compaan Joe Mendelsohn III Fund* Gifts of $750–$1,499 Donn Goebel and Cathy McLeod Mr. and Mrs. Richard J. Coomes Miami University College of Creative Arts Mr. and Mrs. Richard N. Adams Shelley and Steven Goldstein Randy K. and Nancy R. Cooper Mrs. Patricia Misrach Drs. Frank and Mary Albers Ms. Arlene Golembiewski Dr. Youssef and Suzanne Costandi Mrs. Sally A. More Arne and Sharon Almquist Thomas W. Gougeon Martha and David Crafts Judith and David Morgan Dr. F. Javier Alvarez-Leefmans Sam and Wanda V. Grace Mr. and Mrs. John A. Crittenden Dr. and Mrs. William H. Newell Helen T. Andrews Joseph N. Green Mr. and Mrs. Patrick Cunningham Dr. Cora Ogle Nancy J. Apfel Lesha and Samuel Greengus Ms. Geralyn J. Daly Mr. and Mrs. Eric Oliver Carole J. Arend § Donald E. Grigsby Stephen J. Daush Mr. and Mrs. John T. Osterman Judy Aronoff and Marshall Ruchman Kurt and Joanne Grossman Mr. and Mrs. James Dealy Patricia and Morris Passer Ms. Laura E. Atkinson Mr. Bob J. Grutza George Deepe and Kris Orsborn Poul D. and Jo Anne Pederson Mr. John G. Avril William P. Hackman § Bedouin and Randall Dennison John and Francie Pepper* Mr. and Mrs. Thomas B. Avril Mr. and Mrs. John S. Heldman § Jon and Susan Doucleff § Mr. and Mrs. George Perbix David Axt and Susan Wilkinson Dr. James and Ms. Susan Herman Mrs. Jack E. Drake Alice and Burton Perlman Dr. Diane S. Babcock § Mrs. F. W. Hersman § Rev. Virginia A. Duffy Phillip and Karen Pflaumer Bob and Beth Baer Karlee L. Hilliard § Ms. Maureen Dunne Mr. and Mrs. Robert D. Phelps Mr. and Mrs. Carroll R. Baker Ruth C. Holthaus Dr. and Mrs. Stewart B. Dunsker Alice and David Phillips Mrs. Polly M. Bassett Mr. and Mrs. Terence Horan Mrs. Joyce Elkus Mr. John W. Plattner Judy A. Bean Mr. David Huberfield David and Kari Ellis Fund* Mr. and Mrs. David A. Powell Mr. James Benoski Mr. and Mrs. Michael C. Hughes Dr. and Mrs. Alberto Espay Michael and Katherine Rademacher Barbara and Milton Berner Mr. and Mrs. Marshall C. Hunt, Jr. Gail F. Forberg § Dr. and Mrs. Leonard M. Randolph, Jr. Dava L. Biehl § John and Mary Ellyn Hutton § Ms. Jacqueline S. Francis Marjorie and Louis Rauh Walter B. Blair § Dr. Maralyn M. Itzkowitz Richard Freshwater James W. Rauth § Randal and Peter Bloch Heidi Jark and Steve Kenat Yan Fridman Mrs. Robert S. Read Lucille and Dutro Blocksom § Mr. Thaddeus Jaroszewicz Carol S. Friel David and Marilyn Reichert Mr. and Mrs. Kenneth Borisch Mrs. Morse Johnson § Frank and Tara Gardner Mr. Alexander Resly Marilynn K. Braude Lois M. Jones Mr. and Mrs. James R. Gardner Becky and Ted Richards Charlotte Brooks Mr. Timothy Juenke Dr. and Mrs. Ralph Gianella Sandra Rivers Rachelle Bruno and Stephen Bondurant Susan Kamon and David Blazer Mary and Jack Gimpel Marianne Rowe § Chris and Tom Buchert Holly H. Keeler John B. Goering James Rubenstein and Bernadette Unger Donald L. and Kathleen Field Burns Dr. Robert W. Keith and H. Drewry Gores and George Warrington Ann Ruchhoft Stephen and Diedra Burns Ms. Kathleen Thornton Mr. and Mrs. Gary Greenberg The Saenger Family Foundation John Byczkowski Dr. Magdalena Kerschner Dr. and Mrs. James M. Greenberg Dr. and Mrs. Michael Scheffler Ms. Deborah Campbell § Don and Kathy King Dr. Patrick G. Kirk and Mrs. Mary M. Vondrak 66 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT

Mr. and Mrs. Dennis Kirley Mr. Paul E. Potter Neil Tollas and Janet Moore Mr. and Mrs. Robert L. Zierolf John and Lynn Klahm Barbara S. Reckseit § Mr. William Trach Mr. John W. Zorio Jeff and Mary Ann Knoop Dr. and Mrs. Robert Reed Mr. Dennis L. Turner Anonymous (13) Steven Kohler Dr. Robert Rhoad Dr. Tammy Turner-Vorbeck and Kathleen B. and Michael C. Krug Fund* Marilyn Rismondo Mr. Dave Vorbeck GIFTS IN-KIND Carol Louise Kruse Dr. and Mrs. Jack F. Rohde Stephen F. Voellmecke Family Mrs. Charles Fleischmann III Mr. and Mrs. Lawrence H. Kyte, Jr. Dr. Raymond H. Rolwing Mr. and Mrs. Jason R. Waggoner Clark Schaefer Hackett Patricia Lambeck Mr. and Mrs. Marcus Rose Mary and Jack Wagner § Mr. Thomas D. Croft Everett and Barbara Landen Mrs. Elizabeth R. Rost Mrs. Ronald F. Walker Funky’s Catering Mrs. Jean E. Lemon § James and Mary Russell Sarella Walton Intrust IT Dr. and Mrs. Lynn Y. Lin Ryan and Kara Rybolt Greg and Diane Wehrman Jungle Jim’s International Market Paula and Nick Link Catherine B. Saelinger Ted and Mary Ann Weiss Ms. Kathleen Kiely Mr. and Mrs. David B. Lopez Dr. and Mrs. Joshua J. Sands Linda Wellbaum Nancy C. Wagner Ms. Merlanne Louney Mr. and Mrs. William C. Schmidter, III Donna A. Welsch Patricia M. Wagner Mrs. Max L. Lurie Ms. Pamela Schneider E. E. West Dr. Michael J. Maloney, MD Mr. George Schober Franklin H. White List as of January 1, 2016 Andrew and Jean Martin Timothy W. Schraw Cathy S. Willis Ms. Alessandra Massa Mr.a nd Mrs. David V. Schwab Mr. and Mrs. Robert L. Wilson, Jr. * Denotes a fund of The Greater Mr. and Mrs. Dean Matz Pamela Scott Mrs. Barbara A. Witte § Cincinnati Foundation Lynn and Glen Mayfield Martha S. Seaman § Mr. John M. Yacher § Denotes members of The Thomas Eleanor S. McCombe Mr. Thomas Shepherd Dr. and Mrs. Marvyn H. Youkilis Schippers Society. Individuals who have Drs. Brian and Janice McConville Jack Sherman, Jr. David and Sharon Youmans made a planned gift to the Cincinnati Janet P. McDaniel Alfred and Carol Shikany Zaring Family Foundation Symphony Orchestra and Cincinnati Mary Sue McDuffie Mr. Eli E. Shupe, Jr. Carlos Zavala Pops are eligible for membership in The Powell McHenry Rennie and David Siebenhar Mr. and Mrs. Dan Zavon Thomas Schippers Society. For more Daniel and Elizabeth McMullen Kenneth and Janet Smith Irene A. Zigoris information, please contact Ron Cropper Ms. Kristin Medlin Dr. and Mrs. Robert Sefton Smith 513.744.3365. Dr. and Mrs. C. Nelson Melampy Dr. and Mrs. Roger D. Smith Dr. and Mrs. Richard A. Meyer Stephen and Lyle Smith Mrs. Katerina Minevich Mr. Troy R. Snider The Cincinnati Symphony Orchestra is grateful for William A. and Elizabeth Mitchell Ellen and Clark Sole the support of the following: Ms. Mary Lou Motl Jeff and Juddy Solomon Fund* Mrs. David A. Nelson Phillip and Karen Sparkes Jim and Marty Neumeister Ethan and Barbara Stanley Cheryl and Roy Newman Dr. Jean and Mrs. Anne Steichen Matt Nitzberg and Family Jerry and Melinda Stenger Mr. and Mrs. John Noelcke Mark and Anne Stepaniak Mr. and Mrs. Joe Orndorff Ms. Judy H. Stewart Dr. and Mrs. Thomas W. Osborn, III Brett Stover and Christopher Hassall § Nan Oscherwitz Mr. and Mrs. Richard Stradling, Jr. Marilyn Z. Ott Patricia Strunk § Paul and Roberta Pappenheimer Mrs. Sally Sundermann Dr. and Mrs. Richard Park § Kathy Teipen Dr. Manisha Patel and Dr. Michael Curran Cliff and Diane Thornsburg Mr. and Mrs. Robert T. Pike Mr. and Mrs. Ronald Tinklenberg Sandy Pike § Janet Todd

cincinnatisymphony.org | FANFARE CINCINNATI | 67 FINANCIAL SUPPORT THE GIFT OF MUSIC April 29, 2015–January 4, 2016 The following people provided gifts to the Gift of Music Fund to celebrate an occasion, to mark a life of service to the Orchestra, or to commemorate a special date. Their contributions will provide tickets to music lovers from all walks of life who would not ordinarily be able to enjoy the Cincinnati Symphony Orchestra’s performances. For more information on how to contribute to this fund, please call 513.744.3271.

Mary Armstrong, Mr. and Mrs. St. John Bain, Mr. Sue Friedlander in honor of the marriages of David and Mrs. Rod Barr, Carolyn Bell, Mr. and Mrs. J. E. and Kit Reynolds and Melody Sawyer Richardson Benoski, Trish Bryan, Leland M. and Carol C. Cole, and Malcolm Thomson, and in memory of Rita Driehaus, Bruce and Barbara Fisher, Graydon Chuck Teller Head & Ritchey LLP, Mary and Alan Joslyn, James Eleonora Fusco and Ingo Kiesewetterin honor of the McCord, Robert and Gretchen McCormick, Dick and 35th Wedding Anniversary of Michelle and Lynne Mileham, Montvue Capital Management, Inc., Rhys Evans Julie Northrop, Deborah Pendl, Mrs. Robert Preston, Mr. and Mrs. Thomas Scheid, Ginny and Al White in Dr. Charles and Barbara Glueck in memory of memory of Katharine Davis Linda Abrahamson Peg and Tom Bach, Banita Bailey, Bethany Christie, Rabbi Tami Elliott Goodmanin memory of Dr. Mr. and Mrs. Timothy Davis, M. Karen Gromada, Jed Stanford M. Goodman Hartings, Hattenbach & Company CPA Inc., David Hali F. Grauvogel in memory of Catherine Harris and Barbara Purdy, Michael and Shirley Radomski, Mr. and Mrs. Fred Heldman in honor of Otto Budig, Jolene Struebbe, Susan and Paul Toth in memory of Dianne Dunkelman and Dianne Rosenberg William Starr Denise Hickson, Kroger’s Human Resources Team, Ann and Alan Fischoff, Mr. and Mrs. Guy Ann Reed in honor of the retirement of Katy Barclay Frederick, Charles and Barbara Glueck, Mr. and Mrs. Fred Heldman, Flo Hoffheimer, Dian Levine, Marilyn and Joe Hirschhorn in honor of Otto Budig, Maverick Corporation, Sue Ransohoff, Alberta in honor of the birthday of Marilyn Reichert; in and Bob Schneider, Gerald and Ann Silvers, Jami memory of Vaden Fitton, Harold Pockrose and Vallandingham, Alice Weston in memory of Roberta Shifrin Phyllis Weston Charlotte Hunter ni memory of Chad Smith Merrilee Atkins, Gerald Federle, Gail Fiebig, Neil and Barb, Joe and Scott Jolsonin honor of the 60th Carol Offen, Marianne and James Shelton, Beverly Wedding Anniversary of Lois and Dick Jolson Spangler in memory of Jack T. Vander Ven Elaine and Andy Kaplan in honor of the 75th Larkin Paul Austin in honor of Amy Catanzaro birthday of Svetlana Korenblit Joan and Oliver Baily, Sue Friedlander, Mr. and Mrs. Helen Kovach in memory of Helen Bohlander Laurence Stillpass in memory of Snowden Rowe Michael Lacinak in honor of Dennis and Laura Kirley Jessica and Bob Baron in honor of Christy and Mr. and Mrs. Robert Marsh in memory of Mrs. Mary Terry Horan Krombholz and in honor of Mr. and Mrs. Joe Frey James Bloch in honor of Rosemarie Bloch Mr. and Mrs. Fred Moore in memory of Amy Brackin in honor of the birthday of John Wild Dorothy Howard Carol R. Bruestle in memory of George O. Bruestle Carol and Jim Pearce in honor of Jim and Margaret Champion in honor of The Rosevears, Vivian Schwab season subscribers for 76 years David Reichert in honor of the 60th Wedding Burton and Susan Closson, William S. Hepp, Joan Anniversary of Albert (Buzzy) and Marion Brown Ireton, William and Roseann Ogden, Jack and Susan Eugene L. Saenger, Jr. in honor of Schmidt, Earl and Kathy Wirtzin memory of Andrea Vos-Rochefort in the CSO Box Office William A. Ogden III Barbara and Bruce Schimberg in honor of Martha and Joanne and Sidney Cohen in honor Sylvia Samis and Lee Schimberg her retirement from the Orchestra Dan Schimberg in honor of his father, Lee Schimberg The Devey Family in appreciation of Tom and Mr. and Mrs. Laurence Stillpass in memory of Dee Stegman Beryl Merritt Rick and Vicki Endres in memory of M. Kay Sudbrack in memory of Dr. Dale Wiethe, Sr. John Francis Curley Dale Swisher in memory of Kenneth J. Furrier and Darryl Etling, Roberta Good, Paul and Debra Martins Paul W. Schuch in memory of Joan S. Reis Dr. and Mrs. Thomas R. Ware in memory of Rhys and Michelle G. Evans in honor of the birthday Hank Kleinfeld of Eleonora Fusco Richard Weiland in honor of Mary Jo Barnett Beverly G. Williams in memory of Shirley Gershuny-Korelitz

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

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

cincinnatisymphony.org | FANFARE CINCINNATI | 69 We APPLAUD Our Loyal Subscribers For over 100 years, the Cincinnati Symphony Orchestra and Cincinnati Pops have been proud to perform for the people of Cincinnati. e thank every subscriber ho makes these concerts possible. e ould not be on stage ithout you! The CSO applauds these patrons ho have been subscribers for 25 or 50 years or more.

e thank every member of the audience for supporting great music in Cincinnati and elcome our OPUS 50 and OPUS 25 honorees.* List as of December 28, 2015

*If we have inadvertently left your name off the list or if we need to make corrections, please call us at 513.744.3320 or email us at [email protected].

Peter G. Courlas Eleanor S. McCombe We applaud John and Lynne Curtiss Mr. and Mrs. John S. McCullough We applaud Clara Dantic Ted and Barb Mechley patrons who Mrs. Thomas E. Davidson Mrs. Edward P. Merkes patrons who Sally H. Dessauer Mrs. Murray S. Monroe have been Jahnett M. Dickman Dick and Bethoe Monson have been Mr. and Mrs. Albert C. Dierckes, Jr. Mrs. Evangeline Morse subscribers for Mrs. Rupert A. Doan Mrs. Edward L. Mueller subscribers for Suzanne F. Dunbar Michael and Linda Myers 50 years or more: Betty Duncan Norman and Marcia Neal 25 to 49 years: Mrs. E. Kent Eanes Mr. and Mrs. Herbert Nichols Mrs. Elizabeth Easley Dorothy and Lowell Orr, Jr. New Opus 50 Mr. and Mrs. Kenneth F. Eick Marilyn Z. Ott New Opus 25 Members Jane F. Ellis Richard and S. Diane Park Ms. Carol A. Abbott Members Mrs. Juliana Fey Patricia and Morris Passer Mr. and Mrs. Greg Adams Dennis and Peg Beatty Shirley Fingerman Father Giles H. Pater Ms. Sandra D. Adams Mr. and Mrs. William M. Bryan Dr. David Flaspohler and Alice and Burton Perlman Mr. and Mrs. David B. Allardyce Mrs. Jackson Clagett, III Dr. Cynthia Crown Dr. Glenn W. Pfister, Jr. Mr. and Mrs. Mark Anderson Charles and Patricia Cordes Gail F. Forberg Mrs. Charles F. Pope, Jr. Mr. and Mrs. Andrew S. Andrea Mrs. Jacqueline L. Cutshall Mr. and Mrs. Ashley L. Ford Mrs. Stewart Proctor Mr. Juan M. Arredondo Mr. and Mrs. C. Thomas Dupuis Mrs. Marion D. Francis Mrs. Bernard S. Reckseit Mrs. Mary C. Barlow Mr. Vincent Foken David and Mo Freytag Joan F. Reckseit, Ph.D. Mr. and Mrs. Chris Barnes Mikki and Walter Frank Susan Friedlander Mrs. Joan S. Reis Mr. John A. Belperio Caryl S.C. and Clifford E. Fullman Carol S. Friel Mr. and Mrs. William A. Renz Mr. and Mrs. Ralph Berens Clifford J. Goosmann & Andrea M. Wilson Mrs. Charles W. Fryer Dillon and Bev Rhodenbaugh Mr. and Mrs. John D. Bever Mrs. Joan D. Hauser Mrs. Nancy Gard Nancy and Ed Rosenthal Dr. David A. Billmire Alex and Joan Keller Dr. James M. Garvey Sondra and Fred Ross Dr. and Mrs. Kevin E. Bove Phyllis R. MacMillan Mrs. William R. Geiler, Jr. Solveiga Rush Mrs. Betty M Brewer Mr. and Mrs. Robert R. Marsh Mrs. Ethel P. Gilbert Mrs. Betty J. Salzer Mr. and Mrs. Mark O. Bricker Art and Sandy Miller Mr. and Mrs. Michael H. Giuliani Lee and Martha Schimberg Mrs. Kathy J. Bright Mr. and Mrs. G. Franklin Miller Sharon L. Goodcase Henk and Mary Jane Schipper Mr. and Mrs. Robert Brodbeck Janet J. Nailor Lynne Meyers-Gordon, M.F.A. Zell Schulman Dr. Kathleen J. Burch and Dr. and Mrs. Roger E. Reavill Esther Grubbs and Karen Dennis Mrs. William Schwerin Mr. Rodger L. Gamblin Mr. and Mrs. Robert Shokler Margaret Guentert Martha A. Selzer Mr. James Burger Dr. and Mrs. James B. Willis William P. Hackman Jacqueline M. Mack and Ms. Barbara L. Bussell Priscilla Garrison Haffner Dr. Edward B. Silberstein Mr. John W. Cahill Opus 50 Members Mary and Phil Hagner Mr. and Mrs. David Lee Smith Ms. Dorothy Chadburn Mr. and Mrs. Milton Coleman, Jr. Dr. and Mrs. Edward Hake Donald A. Spencer Ms. Karen C. Cheyne E. Dieter and Ilse van der Bent Mr. and Mrs. Irving Harris Mrs. Edward P. Staubitz Ms. Janette Christiasen Susan G. Stanton Mrs. Emma D. Hartkemeier Mrs. Henry R. Stefanik Mr. and Mrs. Hirsh J. Cohen Mr. and Mrs. Richard N. Adams Charlotte Hattenbach Mary & Joseph S. Stern, Jr. Mrs. Jacqueline L. Conner Dr. J. Wesley and Maureen Alexander Mr. and Mrs. James L. Haven Mr. Frank H. Stewart Mr. Paul W. Counts Joyce W. Asfour Anne P. Heldman Mr. and Mrs. Laurence G. Stillpass Ms. Connie Crissman Mr. and Mrs. Thomas B. Avril Mr. and Mrs. John S. Heldman Lenore Stulbarg Mr. and Mrs. Henry F. Dabek, Jr. Mr. and Mrs. Oliver L. Baily Mary Esther Higgs Ms. Ruth Mary Sullivan Ms. Margaret R. Dawson Ms. Ellen Bamberger Mr. and Mrs. Joseph W. Hirschhorn Mr. and Mrs. Reymont Szeliga Mr. Roy Deaton Mrs. Lillian Becker Mrs. Harry M. Hoffheimer Mr. Thomas L. Tallentire Ms. Marion DiFalco Mrs. Thomas S. Benjamin Minette Hoffheimer Mrs. Thomas E. Tanke Mrs. Dianne Dunkelman Dr. and Mrs. Alfred J. Berger Ms. Carolyn R. Hunt Mrs. William Thaman Mr. David G. Edmundson Mary Bergstein Mr. and Mrs. Marshall C. Hunt, Jr. Mr. and Mrs. James Thomas Dr. and Mrs. John M. Evans Glenda and Malcolm Bernstein Becker Jackson Family Mr. Norman J. Thomas Dr. Ralph O. Ewers Mrs. Robert L. Black, Jr. James and Marlene Johnson Mrs. Judith B. Titchener Ms. Gwendoline M. Finegan Mr. Walter B. Blair Mr. Mace C. Justice Mrs. Richard Todd Mr. and Mrs. Harry J. FinkeIV Eugene Blee Irmela K. Pogue Dr. and Mrs. Samuel P. Todd, Jr. Mr. and Mrs. Kenneth C. Frederick Lucille and Dutro Blocksom Dr. and Mrs. Lionel R. King Mrs. Henry P. Trounstine Mr. and Mrs. Alan L. Fredette Rosemary H. and Frank Bloom Dr. and Mrs. Earl Kisker Madge Van Buskirk Mr. and Mrs. Ralph B. Friedman Rev. Richard W. Bollman, S.J. Margaret W. Kite Joanne and Frank Veith Mr. and Mrs. Richard Friedman Bill and Mary Bonansinga Mrs. Bob Kolesar Lois and Ron Volkmann Mr. Durward Garner Eleanor A. Botts Mrs. William G. Konold Jack and Mary Wagner Ms. Madeleine Garvin Byron and Wilhelmina Branson Ms. Harriett Krumpelman Ms. Rosemary J. Waller Mr. and Mrs. Steven J. Gates Dr. and Mrs. Gilbert L. Braun Mrs. Polk Laffoon Paul and Jo Ann Ward Dr. and Mrs. Donal Gaynor Marilyn and John Braun The Lazarus Family Carole and Ed Warfel Drs. Michael and Janelle J. Gelfand Winifred Cairns Mr. Peter F. Levin Mrs. Linda Wellbaum Ms. Moira Grainger Dr. & Mrs. Charles O. Carothers Mr. and Mrs. H. Spencer Liles Maryhelen West Mr. Gary Gregory John and Gloria Clark Mrs. Stanley Lucas Ms. Mary Theresa White Ms. Margaret Groeber Leland and Carol C. Cole Dr. and Mrs. Joseph T. Luttmer Beverly P. Williams Mr. and Mrs. Thomas J. Gruber Dr. Margaret Conradi Edmund D. Lyon Barbara Witte Mr. and Mrs. Scott Gruner Ted and Ruth Martin Betsy and Alex C. Young Mr. Robert C. Hageman Mr. Stephen W. Heinzman and Ms. Sharon Bergman Mr. and Mrs. Alan D. Heitner

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Ms. Rosemary Hentschel Opus 25 Members Mr. and Mrs. Joseph T. Balmos Lu Ann and Michael Burke Mr. and Mrs. Richard E. Hohn (25-49 years) Ms. Henrietta Barlag Mr. and Mrs. G. K. Burkman Mr. and Mrs. Michael L. Barnard Mr. and Mrs. William R. Burleigh Mrs. Paula E. Holstein Richard and Mary Aft Diane Barth Donald L. and Kathleen Field Burns Mr. Philip N. Howles Mr. Richard Barnes Mrs. Polly M. Bassett Mr. and Mrs. Robert W. Burns Dr. and Mrs. Ron Hsieh Dr. Stuart Blersch Michael A. Battersby Daniel Burr Mr. and Mrs. Michael C. Hughes Ms. Mary Lou Blount Michael and Amy Battoclette Mr. and Mrs. John B. Busche Ms. Judythe A. Huston Ms. Beverly Bodin Ms. Shirley Bear Mr. and Mrs. James Busche Mr. and Mrs. Neil Johnson Mr. and Mrs. Gaetano T. Bosco Mr. and Mrs. Michael C. Becker Mrs. Lesly Bush Mrs. Becky Jones Mr. Fred J. Brinkmiller Edward and Pat Beckman Vicki L. Butler Mr. and Mrs. Donald J. Junker Mr. and Mrs. David Burrow Mr. and Mrs. Richard Behrman Mr. and Mrs. John Butz Dr. and Mrs. James Kanter Ms. Franka A. Cope Mr. and Mrs. Herbert J. Beigel Mr. H. Keith Cahall Mr. and Mrs. Lawrence G. Karr Ms. Ruth Jane Cox Mr. and Mrs. Edward Beimesche Mr. and Mrs. Thomas Cahill Dr. and Mrs. Richard S. Kerstine James and Susan Crumpler Kendrick Bell Suzanne CaJacob Dr. Patrick G. Kirk Mrs. Lynn and Dr. Howard Deckter Dr. and Mrs Thomas E. Bell Mr. and Mrs. Michael Q. Caldwell Mr. and Mrs. Fred Kleiser Mr. and Mrs. Daniel Dell Ms. Peggy Bell-Lohr Dr. and Mrs. George M. Callard Mr. Marvin P. Kolodzik Mr. Ray Dick Mr. and Mrs. Bill Bender Ms. Janet C. Callif Mr. and Mrs. Kenneth J. Kramer Anne Dulle Mr. and Mrs. Gregory Benz Mr. and Mrs. Rick Calme Mrs. Sharon Kreitzer Mr. William Ellerhorst Christine Beran Mrs. Victor J. Camardo Mr. David M. Kundrat Ms. Claire Esselman Mrs. Donald F. Berg Mr. and Mrs. Rudolph R. Cammerer Ms. Marianne Kunnen-Jones Mark and Renee Glogowski Ms. Doris Bergen Jim and Nina Campbell Ms. Marian R. Lampl Mrs. Susan B. Grayson Mrs. Ellen Berghamer Mr. and Mrs. Albert J. Cannon Mr. and Mrs. Terry W. Lee Mr. and Mrs. Daniel W. Grey Mr. and Mrs. Alfred Berghausen III Ms. Barbara Caramanian Mrs. Dolly Levine Mr. Richard L. Gruber Mr. Robert D. Bergstein Mr. R. P. Carey Mrs. Barbara G. Lewis Mr. and Mrs. Clifford Hagner Rev. Milton T. Berner Joan Carlin Mr. and Mrs. Nicholas A. Link Mr. and Mrs. Stanley Hedeen Mrs. Karen M. Berno Mr. and Mrs. Stephen D. Carlson Dr. Nan E. Littleton Laura A. Hobson Nancy Bertaux and Kaleel Skeirik Dr. and Mrs. Gary G. Carothers Mrs. Martha Lunken Ms. Miriam E. Hoefflin Mr. and Mrs. James H. Bertke Stephen and Karen Carr Dr. and Mrs. Bryan L. Madison Mr. and Mrs. Robert K. Johnson Mrs. George Besuden Mr. and Mrs. Jack Carter Dr. and Dr. Theo J. Majka Dr. Don Julian Hon. Marianna Brown Bettman Mrs. Maria I. Carver Mr. and Mrs. Glen Mayfield Mr. and Mrs. Howard J. Krauss Mr. and Mrs. Rexford Bevis Ms. Sandra Case Dr. Carolyn McCabe Mr. Gus Lewin Mr. and Mrs. Rolf F. Bick The Castellini Company Ms. Amy McDiffett Mr. Earl Litton Mr. and Mrs. David R. Biddle Mr. and Mrs. Edward Castleberry Mr. and Mrs. George R. McIntyre Wanda Lunsford and Verlie Meyers Lisa Biedenbach Mrs. David Casuto Mr. Mark E. McKillip and Ms. Amira Beer Mr. and Mrs. James Mc Vey Mr. and Mrs. Steven A. Biedenbach Mr. and Mrs. Michael E. Cavanaugh Mr. and Mrs. Lawrence G. Merrill Ms. Maribeth S. Metzler Mr. and Mrs. Charles Birkenhauer Mr. and Mrs. Louis D. Chabut Mr. and Mrs. Erik G. Nelson Karl and Joyce Mohaupt Ms. Linda C. Bischof Dr. Alan Chambers Ms. Kathleen A. Nemann Ms. Phyllis A. Myers Mr. and Mrs. Thomas B. Bishop Mrs. Catharine W. Chapman Mr. and Mrs. James W. Neumeister Christopher Mystkowski Dabby Blatt Dick and Joy Chapman Mr. and Mrs. Thomas F. Noonan Ms. Mary Ellen O’Connor Mr. and Mrs. Peter M. Bloch Ms. Carole Charleville Mrs. Nancy Ohnmeis Mr. and Mrs. Dennis R. Osterhaus Mr. and Mrs. Donald R. Blum Mr. Eric J. Cheney Mr. and Mrs. Edward M. Oravec Ms. Dorothy J. Prichard Ms. Marcia Blust Mrs. Douglas S. Cherry Mr. and Mrs. David C. Phillips Ms. Bettie J. Rehfeldt Fay Boeh Mr. William L. Childress Dr. Marvin Pravda Ms. Deanna Reid Ms. Traci L. Boeing Ms. Joan H. Cholak Mr. and Mrs. John C. Raushenbush Mr. and Mrs. Howard B. Rottinghaus Mr. and Mrs. Wallace Bolduc Ms. Karen T. Cianciolo Mr. and Mrs. Mark Reckman Dr. Peter Schwenkmeyer Mrs. Martha Petrie Bolognini Cincinnati Financial Corporation Mr. and Mrs. Jeffrey Robbins J. and Vicki Smith Mr. and Mrs. Laurence Bonhaus Mr. Timothy Clarke Dr. Jenefer M. Robinson Ms. Michele A. Smith Mrs. Joyce R. Borkin Mrs. Winifred B. Clayton Mr. and Mrs. Samuel A. Rodner Miss Judy Stockmeier Mr. and Mrs. Gilbert Born Drs. David and Nina Clyne Dr. and Mrs. Jack F. Rohde W. Patrick and PenelopeThompson Mr. Neil K Bortz Mr. and Mrs. James Coates Mr. and Mrs. Michael A. Rolf Dale & Joyce Uetrecht Dr. and Mrs. John E. Bossert Mr. and Mrs. Michael Coffey Mrs. Rachael Rosen Mr. William H. Ware, Jr. Glenn and Donna Boutilier Professor and Mrs. Getzel M. Cohen Mr. Robert C. Ruckman Mrs. Shirley J. Wayne Bruce Bowson and Elaine Bratt Mr. and Mrs. Harvey Cohen Mr. and Mrs. Jerome Ruthman Charles and Mary Abbott Ms. Dorothy D. Boylan Dr. and Mrs. John S. Cohen Mrs. Linda L. Schmits Barbara Aberlin Mr. and Mrs. Charles R. Boylan Marc & Julie Colegrove Mrs. Ruth L. Schneider Mr. and Mrs. Anthony L. Ach Ann Boylan Ms. Nancy J. Colegrove Mr. and Mrs. William C. Schoenberger Mr. and Mrs. James R. Adams Mr. and Mrs. George R. Bradley III Mr. David S. Collins and Ms. Stephanie Sepate Mr. and Mrs. Donald R. Adick Mr. James J. Brady Ms. Sandra M. Gans Ms. Joann Serdar Dr. and Mrs. Khosrow Alamin Dr. and Mrs. William Bramlage Mrs. Diane M. Collins and Mr. and Mrs. Don Seyferth Mr. and Mrs. Thomas Albers Mr. Hugh J. Brandt and Mr. Jack W. Levi Mr. and Mrs. Gary T. Smith Drs. Marc and Barbara Alexander Ms. Nancy A. Tehan Mr. and Mrs. Ed R. Collins Mr. Gary A. Smith Mr. and Mrs. Edward F. Alf Mrs. Abraham S. Braude Mr. Marvin R. Collins and Mr. Richard K. Smith Mr. Gordon Allen Thomas A. Braun, III Mr. Jay D. Colville Mrs. Jean Springer Mrs. Robert H. Allen Mrs. Robert E. Breslin Mr. and Mrs. Thomas Collins Mrs. Ann P. Stanchina Dr. and Mrs. Baltazar Anaya Mr. and Mrs. John P. Bressler Dr. Pearl J. Compaan Mr. Raymond D. Stefanelli Mrs. Griffin S. Anderson Mr. and Mrs. Stephen D. Bretz Dr. C. J. and Carolyn Condorodis Mr. and Mrs. Charles J. Stenken Mr. and Mrs. John G. Anderson Mr. Charles G. Bretz, Jr. Mrs. Thomas Cones Mr. and Mrs. David E. Stocker Ms. Lynn R. Anderson Dr. Barbara G. Brewer Ms. Frances Consolo Mr. Brett A. Stover Dolores and Paul Anderson Virginia Brezinski Mr. and Mrs. Richard J. Coomes Dr. and Mrs. Richard F. Sulek Mr. and Mrs. Paul B. Anderson Ms. Ellen T. Briggs Dr. Youssef and Suzanne Costandi Mr. and Mrs. John A. Tensing R. Bruce and Patricia A. Anderson Mr. Raymond J. Brokamp Robin T. Cotton and Cynthia Fitton Mrs. Diane Teubner Theresa M. Anderson Mrs. Martha A. Brophy Mr. and Mrs. Anthony G. Covatta Mr. and Mrs. James A. Thiemann Mrs. Martha G. Anness Mrs. Allegra Brown Mr. and Mrs. J. Edgar Cox Mr. and Mrs. Charles L. Thomas, Jr. Mr. and Mrs. Bart Anson Mr. and Mrs. Bart A. Brown, Jr. Mr. and Mrs. Dennis P. Coyne Mr. and Ms. Peter N. Thomson Mr. and Mrs. Dan E. Antenen Mr. Don H. Brown Mr. and Mrs. Timothy M. Coyne Mrs. Paula B. Troup Nancy J. Apfel Ms. Dorothy J. Brown Mrs. Nancy Crace Mr. and Ms. Robert H. Turner, Jr. Norita Aplin and Stanley Ragle Mrs. Eugene A. Brown Mr. and Mrs. David P. Crafts Mr. Ronald B. Turner Mr. and Mrs. Jan Arnett Mr. and Mrs. F. Peter Brown, Sr. Kim and Jeff Crawford Mr. and Mrs. Alan J. Ullman Vicky Aronoff Mrs. James W. Brown Nancy Creaghead Unique Musical Products Mrs. Marvin Aronoff Marilyn B. Brown The Rev. Dr. and Mrs. Robert W. Croskery Ms. Valerie R. Van Iden Dr. and Mrs. Ronald M. Arundell Dr. and Mrs. Ralph P. Brown Ms. Jodelle Crosset Mr. and Mrs. Richard C. Veid Tom and Mary Anne Asbury Mr. Thomas H. Brown Ms. Natalie Crowe Mr. and Mrs. Paul R. Vollbracht Mary Lou Aufmann Mrs. Roger E. Brown Mr. and Mrs. Al Crowell Mr. and Mrs. Mark Weadick Dr. and Mrs. Spencer August Mr. and Mrs. Timothy Brown Mrs. Linda D. Crozier Ms. Rosiene H. Weaver Susan Wilkinson and David Axt Mr. and Mrs. R. Richard Broxon Mr. and Mrs. John Culp Mr. and Mrs. Robert H. Wilhelm Mr. and Mrs. Gerald R. Ayer Mr. and Mrs. William E. Broxterman Mr. and Mrs. William S. Culp Dr. Jeffrey C. Williams Dr. and Mrs. Bernard Bacevich Mr. and Mrs. James P. Bruckmann Mr. and Mrs. Ed Cummings Ms. Barbara J. Witte Mr. Donald J. Bachmann Mr. and Mrs. Frederick E. Bryan, III Mr. and Mrs. Thomas L. Cuni Mr. Jim Young Mrs. Joseph H. Backsman Mr. Steven G. Buchberger Mr. John F. Curley Mr. and Mrs. Robert L. Zierolf Mr. John F. Baer Chris and Tom Buchert Donald and Victoria Daiker Mrs. Irene Zigoris Beth and Bob Baer Mr. and Mrs. Otto M. Budig, Jr. Mr. and Mrs. Stephen F. Dana III Mrs. Susan S. Zuck Mr. and Mrs. William T. Bahlman, Jr. Ms. Gail A. Budkie Ms. Sonia Daoud Kathy and Ken Baier Mr. Jack A. Bunch Mrs. Nancy R. Darling Mr. and Mrs. Carroll R. Baker Mr. and Mrs. Thomas W. Burdin Mr. and Mrs. Thomas A. Darner Mr. and Mrs. Franchot Ballinger

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Opus 25 Members, Mr. and Mrs. Fred Friedman Mr. and Mrs. James Harper Karolyn and James Johnsen Jerry and Mary Jane Friedman Dr. and Mrs. Donald C. Harrison Mr. and Mrs. James G. Johnson cont. Mrs. Jules Friedman Mr. John L. Harrison Mr. and Mrs. Randy Johnson (25-49 years) Mr. Michael Friedman Mr. and Mrs. William K. Harrison, Jr. Mr. and Mrs. Charles A. Johnston Mr. Louis M. Dauner Mrs. Radell J. Friedman Rev. Raymond S. Hartman Dr. J. O’Neal Johnston The David J. Joseph Co. Mr. and Mrs. James Frisa Mr. Joseph E. Hathaway Lois and Dick Jolson April and Harry Davidow Ms. Therese A. Froehle Drs. Richard and Mary Ann Haubner Mrs. Howard H. Jones Ms. Beverly J. Davidson Dr. and Mrs. Harry F. Fry Dr. Deborah A. Hauger Mr. and Mrs. Robert E. Jones Mr. and Mrs. Harry Davis Mr. and Mrs. James H. Fryman Pat and Norm Hayes Frank Jordan Ms. Linda Sue Davis Ms. Jean B. Fuller Mr. and Mrs. Richard E. Haynes Mrs. William E. Jordan Mr. and Mrs. Sheldon R. Davis Kenneth J. Furrier Beryl Hazen Mr. and Mrs. Kenneth E. Jostworth Mrs. Caroline J. De Dreu Mrs. John M. Gallagher James A. and Betty M. Heathcote Ms. Susan L. Judis Mrs. Lilian Esteves de Pagani Dr. and Mrs. Wayne E. Gardiner Mr. and Mrs. John Heeney Mr. and Mrs. Richard Kaesemeyer Dr. John A. Deaver Frank and Tara Gardner Irmgard and Horst Hehmann Ms. Janice C. Kagermeier Dr. George S. Deepe Mr. and Mrs. Joseph H. Gardner Mr. and Mrs. Robert R. Heidenreich Mr. and Mrs. Nikolaus F. Kalti Mr. John Deering Ms. Martha J. Gardner Mrs. Debra E. Heidrich Dr. and Mrs. Steven Katkin Bedouin and Randall Dennison Mr. and Mrs. Robert G. Gardner Diane M. Heilmann Dr. and Mrs. James Katz Dr. and Mrs. Edward Desatnik Ms. Drusilla Garms Dr. Henry J. Heimlich Rita Katz Mr. and Mrs. Vincent J. DeVol Dean and Louise Gaudin Mr. and Mrs. Eric W. Heineke Mr. and Mrs. Irwin G. Katzman Mr. and Mrs. David W. Deye Mark S. Gay Ms. Carolyn Heitz Mr. Larry Kavanagh Mrs. Jean Dicken GE Aviation Mrs. Nadine Hellings Dr. and Mrs. James Kaya Ms. Rhonda Dickerscheid Mr. and Mrs. Michael F. Gehrig Mr. and Mrs. Ronald Henderson Mr. and Mrs. John J. Keating Mr. and Mrs. Richard C. Dickmann Mr. and Mrs. James K. Gehring Mr. and Mrs. James E. Henjum Ms. Holly Keeler Mr. and Mrs. Warren Dillon Mrs. Philip O. Geier Mr. and Mrs. Phillip Henry Fred and Maureen Keeley Mrs. Doris C. Dittoe Mrs. Angela Gellenbeck Mr. and Mrs. John Hepfinger Mr. & Mrs. Lorrence T. Kellar Mr. and Mrs. Robert J. Donlan Dr. Sheila Gelman and Mr. and Mrs. Daniel J. Hermann Mrs. Joan U. Keller Dr. Robert Donovan Dr. David Greenblatt David C. Herriman Mrs. Karen G. Keller Mr. and Mrs. Stephen P. Donovan, Jr. Mr. and Mrs. Henry Genther Sister Carren Herring Mr. Thomas J. Keller Father William J. Dorrmann Ms. Shelly Shor Gerson Mrs. Mercedes S. Hershey Mr. and Mrs. Tom Keller Mr. Robert W. Dorsey Dr. and Mrs. Freidoon Ghazi Mrs. F. W. Hersman Ms. Sonja E. Kelley Jon and Susan Doucleff Dr. and Mrs. Ralph Giannella Dr. and Mrs. Edward B. Herzig Ms. Roslyn L. Kelly Mrs. Joyce E. Drake Mrs. Nicholas Giannestras Mrs. Jane A. Heskamp Ms. Margaret C. Kelm Mrs. Mel B. Dreyfoos Kathleen Gibboney Mr. and Mrs. James Heyser Ms. Cynthia A. Kemper The Robert J. Driehaus Family Mr. Timothy P. Gilday Ms. Sheri Jo Hicks Mr. and Mrs. James T. Kent Tom and Leslie Ducey Mr. and Mrs. Walter M. Gildemeister Mr. and Mrs. Richard N. Hiernaux Zizi Khodadad Mr. and Mrs. William Dale Duermit Mr. and Mrs. Fred E. Gilliam Dr. and Mrs. Roger Higley Bill and Penny Kincaid Rev. Virginia A. Duffy Ms. Joan Dumbacher Dr. Leonard T. Gilman Mr. and Mrs. Brennan R. Hill Mr. and Mrs. John Kindel Mr. and Mrs. William L. Dunavant Mr. Gary L. Gilmer Mr. George M. Hillenbrand, II Dr. Harry R. Kinlaw Mr. and Mrs. Corwin R. Dunn Mr. and Mrs. James Gingrich Ms. Karlee L. Hilliard Mr. Jack M. Kirby Mr. and Mrs. Kenneth Dunn Dr. and Mrs. Daniel H. Gist Mr. and Mrs. Wayne Hinaman Dr. and Mrs. Jerry J. Kirkland Mrs. Diana T. Dwight Mr. and Mrs. Edward J. Givens Kathryn Hinkle Ms. Judith A. Kleemann Richard and Deirdre Dyson Mrs. Jocelyn Glass Mr. Michael H. Hirsch Dr. and Mrs. Ted Kleimeyer Mr. and Mrs. John Earls Dr. and Mrs. Seymour I. Glick Mr. and Mrs. Randy C. Hirtzel Mr. James Klein Mrs. J. Kay Eby Mr. and Mrs. Daniel W. Glier Emily M. Hodges Mr. and Mrs. Jerry E. Klein Dave and Kathy Eby Dr. Jerome Glinka and Mr. and Mrs. Timothy L. Hoerst Justin and Barbara Klein Mr. John Eddingfield Dr. Kathleen Blieszner Daniel J. Hoffheimer Jay and Diana Klenk Dr. Philip & Rita Edlin Mr. and Mrs. Robert W. Gloeckler Mr. Ronald J. Hoffman and Mr. and Mrs. Robert J. Klug Mr. and Mrs. Charles D. Edwards Ms. Karen L. Glover Ms. Barbara Gomes Mr. Frank B. Knapke, Jr. Dr. and Mrs. Stanley Elfenbaum Dr. and Mrs. Charles J. Glueck Mr. and Mrs. Terry Hoffmann Mr. and Mrs. Kenneth Knarr Mr. John Ellmore Mr. and Mrs. Robert A. Goering Irene A. Hofmann David and Patricia Knoll Mr. Leslie F. Chard II Mr. and Mrs. Bruce E. Goetzman Mr. and Mrs. James Hogan Mr. Christopher B. Knoop Mr. and Mrs. Richard L. Enghouser Mrs. Lewis A. Goldberg Lynda Hohnhorst Mr. and Mrs. William Koch Mr. and Mrs. Joseph Epplen Rabbi Edward Goldman and Mr. and Mrs. Richard W. Holmes Mrs. Carolyn W. Koehl Ms. Cathy C. Eubanks Dr. Roanete Naamani Ms. Ruth C. Holthaus Ms. Paula M. Koenig Mr. and Mrs. Allan W. Evans Mr. and Mrs. Stewart Goldman John and Terri Holubeck Mrs. Pamela Koester-Hackman Ms. Judith A. Evans Mr. and Mrs. Coleman B. Goldsmith Mrs. Robert S. Holzman Mr. and Mrs. Robert L. Koesters Evergreen Retirement Community Steven and Shelley Goldstein Mr. and Mrs. Roger W. Honebrink Ms. Gail Koizumi Ms. Jane Eyler Irvin and Beatrice Goodman Mr. and Mrs. Leroy Honkomp Paul and Carita Kollman Dr. Douglas K. Fairobent and Mr. and Mrs. Thomas W. Gougeon The HORAN Family Mrs. Arlene Koon Dr. Paulette M. Gillig Dr. Barbara Grajewski Mr. and Mrs. Ken L. Horan Mrs. Ruth A. Koppenhoefer Ms. Judith M. Fanning Mrs. Mary E. Gray Mr. and Mrs. Donald B. Hordes Mrs. Jacque and Mr. Ray Kopser Dr. Barbara S. Fant Robert and Cynthia Gray Mr. and Mrs. Henry N. Horne Mrs. Lois J. Korengel Mr. and Mrs. Carl F. Fauver Dr. & Mrs. Samuel Greengus Mr. and Mrs. Wm. Horning Carol W. Kortekamp Alice F. Fegelman Mrs. Barbara Greiner Bonnie and Carl Hosea Mr. and Mrs. Robert H. Kraimer Mr. and Mrs. Raymond J. Ferguson Dr. Sandra M. Grether Anne K. Hoskins Dr. and Mrs. George Kranias Don L. Fernandez Mr. David Greulich Mrs. Benjamin C. Hubbard Dr. Herb H. Kraus, DDS Mr. and Mrs. James V. Fierro Mr. and Mrs. Alan H. Griffith Mrs. Carol H. Huether Dr. and Mrs. Kenneth Kreines Drs. Thomas W. Filardo and Prof. Kenneth R. Griffiths Mr. and Mrs. Larry J. Hughes Mr. & Mrs. M. H. Kremzar Nora L. Zorich Mr. and Mrs. Lewis C. Grimes Mr. and Mrs. Robert L. Hughes Mr. and Mrs. Ronald Krieg John and Barbara Fillion Mr. and Mrs. Glenn A. Groh Mr. and Mrs. Gordon C. Hullar Mr. and Mrs. James Krismer Mr. Frederick A. Fink Mary Grooms Humbach Family Mrs. Kathleen Krug Mr. and Mrs. Jack G. Finn Mr. Robert Groszer Mr. and Mrs. Roderick Huron Carol Louise Kruse Mr. and Mrs. Carl Fiora Ms. Kathleen M. Grote Mrs. William M. Huster Mr. Leonard L. Kuertz Mr. Michael Fiorito Mr. and Mrs. Frank Gurry, Jr. Mr. and Mrs. R. Douglas Hutchens Mrs. Phyllis M. Kugler Joyce D. Fischer Ms. Judy C. Haag John and Mary Ellyn Hutton Mr. and Mrs. Joseph L. Kuhlman Henry and Elaine Fischer Dr. Janet C. Haartz Dr. and Mrs. Stanley B. Ignatow Mrs. Theresa M. Kuhn Ms. Arlene M. Fischesser Mr. and Mrs. R. C. Haberstroh Mr. and Mrs. Paul L. Inderhees Mr. and Mrs. W. C. Kuhnell Mr. and Mrs. Bruce Fisher Mr. and Mrs. Saul D. Hacker Dr. Maralyn M. Itzkowitz George C. Kunkel Ms. Carol M. Fisher Mrs. Barbara Hadden Drs. Tom and Marianne Ivey Mr. and Mrs. Robert F. LaChance Mr. and Mrs. Barry A. Fittes Mr. John S. Haddick Dr. and Mrs. Allen G. Jackson Dr. George W. Lackemann Vaden Fitton Eddy R. and Penny F. Hair Charles and Doris Jackson Ms. Mary A. Lamb Mr. and Mrs. James T. Fitzgerald Mr. Richard J. Hajer Mr. and Mrs. Donald R. Jackson Ms. Robin G. Lambert Mr. & Mrs. David J. FitzGibbon Dr. and Mrs. T. R. Halberstadt Dr. Donna R. Jackson Ms. Marianne Lamey Ms. Gladys Fitzpatrick Ham and Ellie Hamilton Skip and Joan Jackson Mrs. Barbara G. Landen Mrs. Charles Fleischmann Mrs. Margaret E. Hammelrath Prof. and Mrs. Dan Jacobs Diane McKay Landi Mr. and Mrs. Winston E. Folkers Mrs. Mercedes Hance Dr. Murray Jaffe Mr. and Mrs. Edward A. Lang Ms. Nancy B. Forbriger Mr. and Mrs. Robert L. Hancher, Jr. Mr. and Mrs. Michael R. Janson Mary Lou and Jim Lang Mr. and Mrs. Gregory S. Foster Stephen and Jeri Hancox Mr. and Mrs. Paul F. Jeanmougin Ms. Kathryn S. Lang Ms. Judy Foster Dr. and Mrs. Stuart Handwerger Ms. Louise K. Jenks Teresa T. Lange Dr. Charles E. Frank Mr. and Mrs. Carl F. Harbour Mrs. Barbara A. Jennings Mr. Walter E. Langsam Mr. and Mrs. Guy Frederick Dr. William H. Hardesty, III Rev. & Mrs. Andrew MacAoidh Jergens Rita and Pete LaPresto Harriet A. and William M. Freedman Mrs. Roslyn Harkavy Mr. and Mrs. Bruce Jewett Ms. Karen E. Larsen Mr. Richard A. Freudenberger Mary Pat Key and Wayne Harner Ruth and Frederick Joffe Ms. Sally L. Larson Mr. and Mrs. Joseph V. Frey Mr. G. William Harnish John & Thomas Schiff & Co.

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Mr. and Mrs. Richard I. Lauf Lee Meyer Mr. and Mrs. Robert D. Phelps Mrs. Harriet S. Schiebel Mr. and Mrs. Charles W. Lauterbach Dr. and Mrs. Richard A. Meyer Mr. Bradford E. Phillips James and Elizabeth Schiff Mrs. Deborah L. Lease Mr. and Mrs. George W. Meyers Mr. and Mrs. Paul Piazza Mark S. and Rosemary K. Schlachter Mr. and Mrs. Philip B. Leege James and Sarah Michael Mr. and Mrs. Joseph A. Pichler Mr. Wayne S. Schleutker M. Drue Lehmann Mr. Gerald Michaud Mr. Harley V. Piltingsrud David and Nancy Schlothauer Mrs. Dorothy A. Leiser Ms. Anne Wagner Middlekamp Mr. John W. Plattner Mary Kay Schmeing Mrs. Claire C. Leist Mr. John A. Mieling Ms. Sheryl Pockrose Dr. and Mrs. Michael Schmerler Ms. Martha C. Lemmink Mr. and Mrs. James L. Miller Mrs. Harold F. Poe Mr. and Mrs. James E. Schmid Mrs. Jean E. Lemon Ms. Lynn Miller Anne M. Pohl Mr. and Mrs. Carl W. Schmidt Ms. Donna Levi Mr. and Mrs. Richard T. Miller Dr. and Mrs. Donald L. Pollack Mr. and Mrs. William C. Schmidter III Mr. Louis Levin Drs. Robert and Elaine Miller Dr. and Mrs. Martin Popp Mr. and Mrs. Charles W. Schneider Mr. Herschell Levine Dr. and Mrs. Theodore H. Miller Mr. and Mrs. Richard Post Mr. and Mrs. Frederick R. Schneider Mr. and Mrs. Michael A. Lieberman Mr. and Mrs. David A. Millett Michael Potticary and Ms. Susan C. Schneider Mr. and Mrs. Stephen M. Liming Terence G. Milligan Tellervo Juula-Potticary Ms. Diane Schneiderman Prof. and Mrs. Cheyeh Lin Mr. and Mrs. Earl J. Mills Mr. and Mrs. Richard K. Powers Herb and Shirley Schnizer Mr. and Mrs. Norman Lindblad Ms. Susan Mineer-Wulsin Drs. Marcia Kaplan and Michael Privitera Kenneth Schonberg and Mrs. Phyllis M. Linder Mr. and Mrs. Issam Minkarah Mr. Frank Proto Deborah Schultz Edyth B. Lindner Mr. Harold E. Miracle Gordon and Diana Queen Mr. Dennis Schone Mr. Samuel K. Lindner Mr. and Mrs. David Moccia Bob and Susan Quirk Mr. Jack E. Schooley Mr. Alan Lindsey Mrs. William W. Mohr Mrs. Carolyn L. Raffenberg Mr. and Mrs. Timothy H. Schoonover Mr. and Mrs. Thomas Lindstrom Mr. Lars E. Molander Mr. Michael Ramundo and Roger and Glenda Schorr Mrs. Ruth A. Linesch Dr. and Mrs. Gerald Molfenter Ms. Beverly Thomas Mrs. Carol A. Schradin Mrs. Linda Linker Mr. Steven I. Monder Mr. and Mrs. Paul C. Rapien Ms. Carol J. Schroeder Dr. and Mrs. Calvin C. Linnemann Eileen W. and James R. Moon Mr. Joseph W. Raterman C. Jean Schroer Dr. Douglas H. Linz Mr. and Mrs. Fred Moore Mr. Fred Rausch Dr.and Mrs. Fritz L. Schuermeyer Mrs. Robert R. Lippert Mrs. Judith A. Moore Mr. James W. Rauth Mrs. Elizabeth Schulenberg Mr. and Mrs. Thomas J. Lippert Mr. Michael T. Moore, Jr. Dr. and Mrs. Ali Razavi Mr. Steven R. Schultz Mr. and Mrs. Jonathan R. Lippincott Mr. and Mrs. William P. Moore Mrs. Robert Read Ms. Christine Schumacher Ms. Ellen A. Litton Mr. and Mrs. John A. Morrison Elaine Reardon, Alma Meyers and Mr. Richard L. Schuster Roselyn and Burton Lloyd Mr. and Ms. Joseph Morrison Judy Schwallie Mr. and Mrs. Carl Schwab Mr. Ralph H. Locke Mr. and Mrs. Russ Morrison Mr. and Mrs. Richard A. Rechel Dr. and Mrs. David B. Schwartz Mr. and Mrs. Barry L. Loeb Ms. Suzanne Morrissey Dr. Jo Ann M. Recker James E. Schwartz Judy and Donald Lomax Ms. Natalie D. Morton Dr. and Mrs. Robert L. Reed Ms. Mary D. Schweitzer Mr. and Mrs. Phillip C. Long Betty Moscove Mr. and Mrs. Allan T. Reeves Mr. and Mrs. David Schwieterman Mr. and Mrs. Jon Paul Longtin Mr. and Mrs. Ira Moskowitz David and Marilyn Reichert Mr. William E. Schwinn Mr. & Mrs. David B. Lopez Mr. and Mrs. David W. Motch Mr. and Mrs. R. Daniel Reif Dorothy June Sciarra James and Virginia Lothrop Mr. and Mrs. Edward J. Mottola Mr. and Mrs. Philip F. Remmel Ms. Judy A. Scott Ms. Joanna M. Lounsbury Mrs. Kathleen Mueller Mr. and Mrs. Kenneth M. Revelson Mrs. William R. Seaman Dr. and Mrs. Robert A. Love, III Mrs. Mary Lou Mueller Ken Rex and Patricia Wade Mrs. Pollyanna Sedziol Dr. and Mrs. G. Franklin Lowe Mr. and Mrs. James E. Muething Vicky and Rick Reynolds Mr. John Sehr Mr. and Mrs. Ralph Lowenstein Mr. and Mrs. Lawrence D. Mullaney Donald and Helen Rhoad Peter Seidel Mr. David Lowry Mr. and Mrs. Gerald W. Mundy William and Linda Rhoads Mrs. Edward H. Selonick Mr. and Mrs. David S. Lucas Thomas and Marguerite Murtaugh Dusty and Jo Ann Rhodes Mr. Erich J. Semmler Mr. Thomas A. Luckey, Sr. Kevin and Lane Muth Mr. and Mrs. Edwin Rice Mr. and Mrs. Bruce Settell Ms. Mary W. Lund Mr. & Mrs. Malcolm Myers Becky and Ted Richards Shahani Family Mr. and Mrs. David C. Lundgren Henryka Nagy Mrs. Kathy F. Richardson Drs. Mick and Nancy Shaughnessy Mr. and Mrs. Ron Lyons Mr. and Mrs. Ahid D. Nashif Mr. and Mrs. Robert H. Riesenbeck Judith M. Shaw Ms. Carol A. MacGregor Ms. Bronwyn J. Nelson Mrs. George Rieveschl, Jr. Ms. Mary Jo Shearer Mr. and Mrs. James R. Mack Dr. and Mrs. E. Don Nelson Ms. Katrina D. Rigdon Mr. and Mrs. Jerry Shell Mr. Michael T. Mackzum Mrs. Oscar Nelson Ms. Janice Ring Ms. Sarah K. Shell Peter and Angela Madden Mrs. Karen K. Nesbitt Dr. and Mrs. Erich Ringel Mr. John M. Shepherd Timothy and Maureen McCarthy-Magill Larry and Carol Neuman Dr. and Mrs. John M. Roberts Dr. and Mrs. Rees W. Sheppard Mr. and Mrs. Julian A. Magnus Mr. and Mrs. Raymond D. Neusch Mrs. Sola H. Roberts Mr. and Mrs. John F. Sherlock Mr. and Mrs. Stuart Mahlin Mr. Frank Newbauer and Ms. Teresa Harten Ms. Susan Robinson Hon. Jack Sherman Mr. and Mrs. George S. Maley Mr. and Mrs. George W. Newman Rev. David C. Robisch Alfred and Carol Shikany Mr. and Mrs. Barry C. Malinowski Mr. and Mrs. Thomas L. Neyer, Sr. Mr. and Mrs. Donald B. Rogers William and Jacqueline Shinkle Mr. and Mrs. Chris Maloney Mr. and Mrs. John Niehaus Mr. and Mrs. Joseph H. Rohling Mr. and Mrs. Laurence A. 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Oestreich Mrs. Donald Rost Dr. and Mrs. Barry J. Simon Mr. and Mrs. Mulford Martin, Jr. Dr. Cora Ogle Dr. and Mrs. Kenneth W. Rothe John and Janet Simpkinson Mr. and Mrs. Warren L. Mason Mr. and Mrs. Robert S. Olson Mr. and Mrs. Bud C. Roudebush Richard Sininger Mr. and Mrs. J. D. Matchett Mr. Fred C. Orth III and Ms. Marlene Miner Snowden and Marianne Rowe Mr. and Mrs. Kenneth Skirtz Tom and Nancy Matthew Marilyn J. and Jack D. Osborn James Rubenstein and Bernadette Unger Ms. Gail Slater Mr. and Mrs. Randall S. Matthews Dr. and Mrs. Thomas W. Osborn, III Mr. and Mrs. Walter E. Rueger Robert and Judith Slater Ms. Roberta S. Mattimiro Mr. and Mrs. James Osterburg Mr. and Mrs. John H. Rumpke Mrs. Marilyn J. Slorp Mr. and Mrs. Ray Mauer Ms. Sylvia E. Osterday Ms. Lois Runden Mrs. Harriet R. Slutz Mr. Howard Mayers Mrs. Carol A. O’Toole Mr. and Mrs. Harry Russell Adrienne Angst Smith Mrs. Anne McAdams Mr. Rodney L. Owens Mr. and Mrs. James E. Russell Mrs. Charles L. 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Songer Mrs. Joan McLean Mrs. Ophelia A. Peck Mr. and Mrs. David J. Savage, Jr. Roberta L. Sontag Corinne F. McNally Jo Anne and Poul D. Pedersen Ms. Nancy G. Savage Mrs. Lois Spahn John and Stephanie McNeill Dr. and Mrs. Alter Peerless Anna Schalk Mr. and Mrs. John Spiess Mr. and Mrs. Dana H. Mehl Mrs. Gwendolyn C. Peerless Mr. and Mrs. M. J. Scharfenberger Dr. and Mrs. Harold B. Spitz Lynn Meloy and Lyle Cain Ms. Mary Pennycuff Mr. and Mrs. Eric Schaumloffel St. Mary’s Catholic Church Lon Mendelsohn Carol A. and Edwin A. Pfetzing Mr. and Mrs. William A. Schein Mrs. Berniece L. Stammer Mrs. Gloria A. Metz Mr. and Mrs. Kenneth Phelps Ms. Sharon A Scheper

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Opus 25 Members, M. J. Tenhundfeld John and Ann Wagner Dr. and Mrs. Stephen P. Whitlatch Mr. and Mrs. Richard W. Tepe Mr. and Mrs. John E. Wagner Mr. and Mrs. Daniel Whittenburg cont. Tom and Sue Terwilliger Nancy Wagner and Patricia Wagner Janice T. Wieland (25-49 years) Susan and John Tew Mrs. Valerie G. Wagner Robert and Marilyn Wildermuth Mr. and Mrs. Barry E. Stare Mr. and Mrs. Richard J. Thiem Robert and Joan Wallace Mr. and Mrs. Garth Wiley Dr. and Mrs. Howard Starnbach Mr. and Mrs. Harold M. Thomas Dr. and Dr. Mark Wallingford Heanon and Constance Wilkins Paul and Jill Staubitz Mr. and Mrs. J. Dwight Thompson Ms. Lesly Sue H. Walters Mrs. Kathleen J. Wilkins Mr. and Mrs. Thomas A. Steele James L. Thompson Mr. Michael L. Walton Shirley Gershuny-Korelitz Tom and Dee Stegman Sarah and Neil Thorburn Ms. Sarella M. Walton Mr. and Mrs. James A. Williams Mrs. Anne Duncan-Steichen and Cliff and Diane Thornsburg Dr. and Mrs. Marshall C. Wareham Mr. and Mrs. Robert Willis Dr. Jean J. Steichen Arlene A. Thorwarth Mr. and Mrs. Howard P. Warner Mrs. James W. Wilson, Jr. Mr. and Mrs. Jacob K. Stein Mr. and Mrs. Joe Thrailkill Claude and Camilla Warren Mr. and Mrs. Stephen D. Winslow Mrs. Marjorie A. Stephenson Carl and Marilyn Tillery Frederick and Jo Anne Warren Mr. Lothar F. Witt, Jr. Mr. Richard Sternberg Mrs. Helga Tillinghast Dr. and Mrs. Galen R. Warren Miss Elizabeth Wohlgemuth Mr. and Mrs. Francis H. Stewart Mr. and Mr.s Robert Timon Mr. and Mrs. Chad Warwick Ann Wolford Thomas Stitt Dr. and Mrs. Thomas U. Todd Mr. and Mrs. Robert J. Watkins Mr. and Mrs. Donald Wolnik Mr. and Mrs. Gary E. Stoelting Mr. and Mrs. Robert C. Togneri Mr. and Mrs. Richard Wayman Steve and Katie Wolnitzek Mrs. Lowella M. Stoerker Gloria and Peter Toot James Weaver Mr. and Mrs. Charles Wood Elizabeth A. Stone Paul and Diana Trenkamp Dr. and Mrs. Barry W. Webb Mr. and Mrs. David H. Wood Mrs. Joan C. Stouffer Ms. Debbie Bogenschutz and Mr. and Mrs. Terry N. Webb Mr. Tom Woodruff Mr. Victor Shaffer Mr. Harold Tucker Mr. and Mrs. Joseph A. Weber Dr. and Mrs. Mark Workman Catherine Stratman Ms. Phyllis Uffman Mr. and Mrs. Richard Webster Mr. and Mrs. William A. Wortman Edmund Strauss, M.D. Ms. Mary M. Uhlenbrock Dr. and Mrs. Warren A. Webster Ms. Marilyn R. Wray Mrs. Elizabeth Strickland Mr. and Mrs. Robert Ungar Mrs. William N. Weed Charles Wright Dr. & Mrs. Theodore W. Striker Mr. Robert Lindner, Sr. Mr. and Mrs. Frank Weibel Mr. and Mrs. Darren K. Wright Mrs. Patricia Strunk Mrs. Marilyn Vadas Mr. Gerald Weigle, Jr. Mr. and Mrs. Jerry Wuestefeld Ms. Judith A. Stubenrauch Mr. and Mrs. Leon H. Van Derzee Mrs. Sally S. Weiler Foster L. Wygant George and Jill Stump Mr. and Mrs. Milton L. VanSchoik Mrs. Richard Weimann William and Ellen Wyler Mr. and Mrs. Robert Sugerman Mr. and Mrs. David P. Varady Dr. and Mrs. Daniel L. Weinstein Mr. and Mrs. Robert L. Wylly Dr. and Mrs. Suranyi Mr. and Mrs. Robert A. Varley Mr. and Mrs. Richard Weis John M. Yacher Barbara and Edward Swain Mr. Thomas M. Vaughn Jacqueline D. Weist Mr. and Mrs. Matt Yosafat Mrs. John P. Sweeney Mr. and Mrs. Charles E. Venable Mr. and Mrs. Donald C. Wellington Dr. and Mrs. Marvyn H. Youkilis Ms. Judy Sylva Mrs. Mary Ellen H. Villalobos Ms. Liz F. Wenker Mr. Richard Young Mr. and Mrs. Charles E. Tackett Mr. Donald J. Vogeler DeeDee and Gary West Carol J. Yungbluth Virginia Tafel Mr. and Mrs. Stanton Vollman Mrs. Ranald S. West Mr. and Mrs. James Zarnowiecki Ms. Reiko Tanaka Ms. Molly A. Vollmer Mrs. Harris K. Weston Kathleen Zeinner Dr. and Mrs. Shiro Tanaka Dr. and Mrs. Charles R. Voluse Mrs. Doris Wheeler Mr. and Mrs. John E. Zeller Mr. and Mrs. Kenneth J. Tarvin William and Lois VonStrohe Miss Carolyn L. White Dr. Frank Zemlan Mrs. George Tassian Mr. and Mrs. James K. Votaw Franklin H. White Ms. Anita L. Ziegelmeyer Mr. Ralph C. Taylor, Jr. Mr. and Mrs. Randolph L. Wadsworth Jr. Mr. George White and Mrs. Dot Dervin Donald and Karen Zimmerman Mr. and Mrs. William Taylor Mr. and Mrs. Richard E. Wagner, Jr. Mr. and Mrs. Myron A. White, Jr. Ms. Sue Zimmerman Mr. Alexander W. Teass Mr. and Mrs. Conard Wagner Mr. and Mrs. Charles Whiting John and Jean Zoller Kathy Teipen Mr. and Mrs. J. Michael Wagner

Rigorous PREPARATION. JOYFUL environment. Students who find SUCCESS in any world.

ESTUDIÉ THIS IS VOCABULARIO MY DAY EN LA CLASE DE WON ESPAÑOL GOLD DISCUSSED KEYS CURRENT EVENTS IN IN THE SCHOLASTIC7 ART AND WRITING HONORS COMPETITION US GOVERNMENT WROTE EARNED A COLLEGE ESSAY IN AP ON SUMMER CAMP 5 PHOTO COUNSELOR EXPERIENCE JC ’16

Early Childhood (18 months) l Pre-Kindergarten l Montessori l Kindergarten l Grades 1 - 12 Before and After School Care l Enrichment Clubs l Youth Sports l Summer Programs

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74 20150903CSOPopsCincinnatiMagaziner.indd| FANFARE CINCINNATI | cincinnatisymphony.org 1 9/3/2015 3:40:01 PM ADMINISTRATION Dr. and Mrs. Stephen P. Whitlatch Mr. and Mrs. Daniel Whittenburg OFFICE OF THE PRESIDENT Logan Kelly Ron Cropper Ellen Graham Janice T. Wieland Community Learning Manager Director of Special Campaigns Group Sales Manager Robert and Marilyn Wildermuth Trey Devey President Mr. and Mrs. Garth Wiley Carol Dary Dunevant Teresa N. Ahrenholz Ricardo Mesina Heanon and Constance Wilkins Lauren Roberson Youth Ensembles Coordinator Philanthropy Assistant Graphic Designer Mrs. Kathleen J. Wilkins Shirley Gershuny-Korelitz Executive Assistant to the President COMMUNICATIONS Penny Hamilton Michelle Lewandowski Mr. and Mrs. James A. Williams Philanthropy Assistant Subscription Coordinator Mr. and Mrs. Robert Willis Christopher Pinelo Mrs. James W. Wilson, Jr. ARTISTIC ADMINISTRATION & Vice President of PRODUCTION Communications FINANCE PATRON SERVICES Mr. and Mrs. Stephen D. Winslow Richard Freshwater Supervisors Mr. Lothar F. Witt, Jr. Robert McGrath Miss Elizabeth Wohlgemuth Vice President & General Meghan Berneking Vice President & Andrew Peoples Ann Wolford Manager Director of Communications Chief Financial Offi cer Dan Erbland Jordan Rush Mr. and Mrs. Donald Wolnik Scott Eckner Steve and Katie Wolnitzek Zan Burkhardt Lee Snow Digital Communications IT Manager Representatives Mr. and Mrs. Charles Wood Production Assistant Elizabeth Fricke Mr. and Mrs. David H. Wood Manager Heather L. Stengle Will McCoy John Geiger Mr. Tom Woodruff Systems Support Specialist Dr. and Mrs. Mark Workman Director of Operations Laura Bock Meredith Green Mr. and Mrs. William A. Wortman Communications Assistant Molly Hanes Sarah Donahue Kyle Wynk Ms. Marilyn R. Wray Human Resources Manager Daniel Mahone Charles Wright Production Manager PHILANTHROPY Paul Poston Mr. and Mrs. Darren K. Wright Mary McFadden Lawson Megan Inderbitz in-Tsai Elizabeth Schmidt Mr. and Mrs. Jerry Wuestefeld Alex Magg Vice President of Philanthropy Jennifer Slaght Operations Project Coordinator Payroll Administrator Foster L. Wygant Jessica Smithorn William and Ellen Wyler Rachel B. Kirley Sam Strater Judy Prinz Jeff rey Stivers Mr. and Mrs. Robert L. Wylly Director of Individual Giving Receptionist John M. Yacher Director of Artistic and Donor Services Matt hew Swanson Mr. and Mrs. Matt Yosafat Administration, Cincinnati Melissa Scott Andrea Vos Rochefort Dr. and Mrs. Marvyn H. Youkilis Pops Orchestra Lindsay Stanley Director of Data Systems Matt hew White Mr. Richard Young Leadership Giving Manager Spencer Zembrodt Carol J. Yungbluth Isaac Thompson Kathleen Curry Mr. and Mrs. James Zarnowiecki Director of Artistic Joe Hammer Data Entry Clerk RIVERBEND MUSIC CENTER/ Kathleen Zeinner Administration, CSO Director of Institutional Giving PNC PAVILION/TAFT Mr. and Mrs. John E. Zeller Sharon D. Grayton Marissa Goodman Kristi Reed THEATRE/MUSIC & EVENT Dr. Frank Zemlan Data Services Manager MANAGEMENT INC. Ms. Anita L. Ziegelmeyer Assistant Artistic Administrator Grants Manager Tara Williams Donald and Karen Zimmerman Ahmad Mayes Sarah Anne Slaby The Hulbert Taft, Jr. Ms. Sue Zimmerman Data Entry Analyst Center for the John and Jean Zoller Director of Community Corporate Relations Manager Engagement & Learning Eric Smith Performing Arts, J. Ralph Hannah Johnson Controller Corbett Pavilion Charmaine Moore Director of Events Community Engagement and Marsha Munafo PNC Pavilion at Diversity Manager Emilee Suchomski Accounting Manager Riverbend Music Center Volunteer Manager Monica Putnick Michael Smith Accounting Manager Vice President of Project Development & Riverbend Concett a Bishop Music Center Accounting Clerk Matt hew Dunne Rosie Rothhaar General Manager Accounting Clerk Amy Dahlhoff Kelly Saylor Concessions Manager & Accounting Clerk Special Events Coordinator MARKETING & SALES Ryan Jaspers Sherri Prentiss Event/Operations Manager Vice President of Marketing James Kirby M. Todd Bezold Assistant Operations Manager Director of Marketing, Subscriptions Lane Kolkmeyer Assistant Marketing Manager Amy E. Catanzaro Director of Sales Bill Lane Corporate Sales Manager Erica Keller Director of Audience Engagement Rosemarie Moehring Marketing Manager Erica Minton Director of Marketing, Ed Morrell Special Projects General Manager Jared Webster Jennifer Schoonover Director of Marketing, Premium Seat Program Single Tickets Manager Heather Brown Kelly Benhase Box Offi ce Manager Box Offi ce Manager Melissa Foster Holly Dickman Patron Experience Manager Assistant Box Offi ce Manager Katie Murry Monty Wolf Marketing Manager, Subscriptions Plant Operations Manager Andrew Duncan Rick McCarty Marketing Manager Marketing Director Joan Wright Receptionist

cincinnatisymphony.org | FANFARE CINCINNATI | 75 CODA by Chris Pinelo

ardon our dust! As a temporary measure for the remaining While Music Hall remains open for concerts through May, restrooms have been con- performances through this year’s May structed where the bars are located in both the Festival, the critically important renova- north and south halls. Furthermore, Critic’s Club tion has begun in earnest in both Music restrooms will be opened for remaining CSO and Hall’s north and south ends in order to Pops performances starting in February when- Pkeep this complex project on schedule for comple- ever possible. This will provide a larger number tion in the fall of 2017. of available restroom fi xtures compared to what’s Due to important construction work specifi cally being closed, and concessions will be available via to the south end of the building and the carriage- portable bars at other points in the lobby area. ways starting this winter, the public restrooms This work is critically important to keep the located in the south hall of the lobby area will not project on schedule and limit the Orchestra’s dis- be available starting this month. To be clear, these placement from Music Hall to only one year. are the women’s and men’s restrooms at the bot- This does not impact Springer Auditorium and tom of the stairs on the south side, as well as the we remain steadfastly committed to unparal- women’s restroom near the former bar in the south leled concert experiences. You can always fi nd hall. We explored every possible way to avoid these the latest information about the renovation at restroom closures while Music Hall remains open, cincinnatisymphony.org/musichall, and if you have but again, in order to keep the project on schedule, any questions or comments, please don’t hesitate it was determined that construction in and around to contact us at [email protected]. them was unavoidable.

UP NEXT MRCH 2016

76 | FANFARE CINCINNATI | cincinnatisymphony.org THE MARKET HAD A BAD DAY. QUICK, DON’T DO SOMETHING.

OR

Remaining focused on the long term.

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

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