Cincinnati Symphony Orchestra

CINCINNTISYMPHONY.ORG NOVEMBER 2016

NOVEMBER 2016

CONTENTS

CONCERTS 53 Violinist Jennifer Koh, recognized for her dazzling virtuosity and technical 21 Pops: Sara Evans, Nov. 4–6 assurance, performs Salonen’s Violin 22 Guest artist: Sara Evans, vocalist Concerto—a showpiece that expertly weaves musical influences from Bach 25 CSO: Best of Baroque, Nov. 11–13 to rock and roll—with the CSO 35 Guest artist: Ton Koopman, conductor Nov. 18–19. 36 CSO Chamber Players: Autumn Spirits, Nov. 11 67 NEA (National Endowment for the Arts) Jazz Master, Grammy-winning 39 CSO: Northern Lights, Nov. 18–19 saxophonist and Tony Award nominee 52 Guest artists: Santtu-Matias Rouvali, Branford Marsalis is one of the most conductor; Jennifer Koh, violinist revered instrumentalists of his time. He 55 Lollipops Family Concert: Peter and the Wolf, will perform John Williams’ Escapades Nov. 19 from the score to the film Catch Me If You Can on this year’s One City, One 57 CSO: One City, One Symphony, Nov. 25–26 67 Guest artist: Branford Marsalis, saxophonist Symphony concerts Nov. 25–26.

22 Multi-platinum-selling country singer and songwriter Sara Evans DEPARTMENTS makes her Pops debut performing songs that capture the essence of 6 A Letter from the President the American music experience Nov. 4–6. 8 Your Concert Experience 10 Orchestra Roster 14 Artistic Leadership: Louis Langrée and John Morris Russell NEWS 15 Music Hall Renovation Update 17 If It Sounds Good, It Is Good! by JMR 12 Feature: Rediscovering Home with One City, One Symphony 18 Spotlight: CSO Encore 69 Boards 19 CSO Chamber Players Make Christ Church Cathedral Home 71 Financial Support Q&As with… 79 Administration 23 Sara Evans 80 Coda 53 Jennifer Koh 67 Branford Marsalis

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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 Melissa Knueven Editor/Layout McKibben Publications

CINCINNATI SYMPHONY & POPS ORCHESTRA Temporary Administrative Offices ON THE COVER Louis Langrée leads the 441 Vine Street, Eighth Floor Cincinnati Symphony Orchestra in its fifth annual One Cincinnati, OH 45202 City, One Symphony concerts Nov. 25–26. The all- Administrative Offices: 513.621.1919 American program, whose theme is “Home,” features a [email protected] world premiere by Cincinnati-based composer Michael Temporary Box Office & Concert Venue Fiday, as well as works by Leonard Bernstein, Aaron Taft Theatre Copland and John Williams. 317 East 5th Street Cincinnati, OH 45202 513.381.3300 CINCINNATI MAGAZINE: [email protected] Advertising and Publishing Partners for Fanfare Cincinnati Group Sales Publisher 513.744.3590 Ivy Bayer [email protected] Director of Advertising TTY/TDD Tammy Vilaboy Use TTY/TDD Relay Service 7-1-1 Art & Production Manager Julie Whitaker cincinnatisymphony.org | cincinnatipops.org Marketing Director facebook.com/CincySymphony or /CincinnatiPops Chris Ohmer Advertising & Marketing Designer twitter.com/CincySymphony or /CincinnatiPops Emily Nevius Custom Publishing Account Manager Maggie Wint Goecke Senior Outside Account Representative RECYCLE FANFARE CINCINNATI Laura Bowling Operations Director You are welcome to take this copy of Missy Beiting Fanfare Cincinnati home with you as a Business Coordinator souvenir of your concert experience. Erica Birkle Alternatively, please share Fanfare Advertising and Business Offices Cincinnati with a friend or leave it with Carew Tower an usher for recycling. Thank you! 441 Vine Street, Suite 200 Cincinnati, OH 45202 513.421.4300 Subscriptions: 1.800.846.4333 cincinnatimagazine.com 4 | FANFARE CINCINNATI | cincinnatisymphony.org for the inspiration of nature and music.

1,600 acres of spectacular forests, fields, streams and ponds. A LETTER FROM THE PRESIDENT

Dear Friends, adding musicians to its roster at a moment when many ensembles are shrinking.” As the fall air grows crisp- We wouldn’t be in the strong position we’re in er and the Thanksgiving without tremendous support from throughout holiday approaches, we’re the community, including our audiences, donors, grateful for everything that sponsors, civic and business leaders, educators and makes Greater Cincinnati partners. We also wouldn’t be in the strong position such a vibrant region. This we’re in without the collaborative spirit of our musi- is why we selected “Home” cians, staff, artistic leadership and Board members as a theme for our One City, that defines the Cincinnati Symphony Orchestra and One Symphony program on the Cincinnati Pops. November 25 and 26. Especially if you’re visiting the Thank you for staying with us through this transi- Queen City, I encourage you to go out and explore. tion—for continuing to support the Orchestra during Dine at one of the amazing restaurants, visit The our “home away from home” season—and thank you Banks, stop by Findlay Market or spend some time in for inspiring us. the region’s many parks. Cincinnati continues to expe- Enjoy the concert! rience a renaissance, fostering creativity, innovation and progress, and the enormous success this region Sincerely, is experiencing is certainly reflected in the Orchestra. In the wake of recent orchestra work stoppages in Philadelphia and Pittsburgh, just last month The New York Times noted that, in contrast, the CSO has “had a successful recent fund-raising campaign, is 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

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YOUR CONCERT EXPERIENCE

Welcome! Here are some tips for making the most of your concert experience.

The 2,500-seat, Art Deco-style Taft Theatre was Assistive listening devices and seating for built in 1928 and is the Orchestra’s temporary audience members with accessibility needs are home during Music Hall’s historic renovation. For available for all events. updates, visit cincinnatisymphony.org/musichall. Restrooms are located on the lower level and Stay up-to-date with the CSO and Pops via second level. Accessible restrooms are located Facebook, Twitter and Instagram. on the first level in the lobby.

Visit the Bravo Shop in the Mayfair Hallway Please silence all noise-making electronics on the far east side of the lobby. CD recordings, before entering the theatre. Flash photography, merchandise and gifts are available for purchase. glowing screens and audio/video recording are prohibited during concerts. Classical Conversations takes place one hour before CSO subscription concerts, and is free to Out of consideration for all patrons, children ticketholders. Program notes are also available online under 6 will not be admitted to CSO at cincinnatisymphony.org. performances. Ushers will assist patrons with young children to seats at the back of the auditorium. For Please donate unused tickets to the box office family concerts, booster seats are available on a first- prior to the concert, so that others may attend! come, first-served basis in the lobby. Subscribers have unlimited free ticket exchanges and single ticket buyers may exchange for a $3 per ticket Ushers will seat latecomers at appropriate service charge (some restrictions apply). breaks in the concert. If there is a need to leave the auditorium during the concert, re-seating Concessions are available for purchase prior to will happen in the same fashion. These policies are concerts and during intermission. based on patron survey feedback. Thank you for Lost and found is located at the box office; for understanding. inquiries, call 513.381.3300 during business hours.

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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, Cincinnati Pops Orchestra Keitaro Harada, Associate Conductor David G. Hakes & Kevin D. Brady Chair Gene Chang, Assistant Conductor

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

he said. “Writing ‘Flute, Oboe, Clarinet and Bas- Rediscovering soon’ in the left margin of the score instead of ‘Randy, Dwight, Ixi and Marty’ took some serious restraint!” Home with These relationships also manifested themselves in the score itself. “Though I may not have been conscious of it at the time, I believe this had a strong impact on One City, how I ended up approaching the orchestra, which was to treat it more as a collective body moving together One Symphony towards a common goal as opposed to an assemblage of individuals going in disparate directions,” he said. by Meghan Berneking The concert will also feature virtuoso saxophonist Branford Marsalis, NEA Jazz Master and a former Home. It’s where 46.9 million Americans will be travel- CSO Creative Director, performing Escapades by John ing this Thanksgiving weekend. It’s a word and a place Williams, adapted from the film scoreCatch Me If You easily taken for granted, but it still evokes feelings of Can. Music from Copland and Bernstein (Copland’s nostalgia, warmth or, in some cases, even heartache. Music from Our Town and Suite from The Tender Land Since its inception in 2012, the Cincinnati Symphony and Bernstein’s Overture to Candide) rounds out the Orchestra’s One City, One Symphony program explores program. The distinctly “American” music provokes a particular work or theme in depth through events a collective sense of togetherness, and thus emerges fostering community and conversation, in addition to the “Home” theme just in time for the most domestic the live performances. This year, the theme is “Home,” of American holidays. which promises to be a rich wellspring for dialogue One City, One Symphony is the CSO’s community- surrounding the NOV 25–26 concerts. wide initiative that brings people together through The all-American concert program includes the music. By connecting music the CSO performs to world premiere of a symphony by Cincinnati-based themes relevant in everyday life, One City, One composer Michael Fiday. An Associate Professor of Symphony seeks to inspire neighborhoods, provoke Composition at the University of Cincinnati College- discussion, and celebrate shared humanity. Various Conservatory of Music (CCM), Fiday’s connections events and projects taking place around the region to the CSO made the theme of “Home” particularly lead up to the live performances. Such events in the relevant. “Reflecting on the ‘home’ aspect of these past have included neighborhood listening parties, concerts was not at all difficult, as Cincinnati has now city-wide service days, a poetry contest and viral been my artistic home for the past 14 years, during digital elements. Themes have ranged from “Fate” which I have come to know the sound of this great to “Freedom,” inspiring area artists, musicians, poets ensemble quite intimately and become close friends and fans to rethink what these themes—and the music and acquaintances with a good many of its members,” accompanying them—really mean. This year’s theme acts in tandem with a larger Cincinnati’s arts and regional HOME initiative spearheaded by the Cin- culture sector—work cinnati USA Regional Chamber. Through various in tandem, and align partnerships and programs, the Chamber’s goal is with ArtsWave’s goal to make Cincinnati home, primarily by attracting to deepen roots in the young professionals and their families to the Queen region through the arts. City. “Cincinnati is a place where anyone can make One City, One Symphony a difference and everyone can get connected,” said in particular this year Erika Fiola, Manager of Strategic Initiatives for the poses opportunities Chamber. “As they relate to talent attraction, arts and for out-of-towners and culture are huge drivers for people, especially young natives alike to experi- professionals. Unlike previous generations, YPs are ence “Home” during less interested in ‘things’ and more interested in expe- Thanksgiving weekend. riences…Cincinnati excels at cultural experiences and Perhaps most notable it will help as we continue to attract YPs regionally, are several music and nationally and globally. We are working to make meal-sharing events in certain that Cincinnati is on the map as a potential neighborhoods across home for people from around the world,” she said. the Tri-State to cel- This Thanksgiving weekend, the Chamber will amp ebrate community and up its efforts. With thousands of former residents explore the place we returning home for the holiday, the goal is to put call home. Participants Cincinnati’s best foot forward, demonstrating the will share stories over rich culture, vibrant arts scene and the attitude of meals, breaking down innovation the Queen City has to offer. “Many of barriers and encourag- those coming to town [for Thanksgiving weekend] are ing dialogue. Members natives who left for college or work and are unaware of the CSO will also of the momentous changes in our core over the last ten perform “The Promise years,” Ms. Fiola said. “The positioning of the HOME of Living,” a live ex- weekend at the start of the holiday season creates cerpt from The Tender a natural platform to engage these audiences and Land Suite. The Public capture the Cincinnati spirit and showcase our Library of Cincinnati region’s transformation and momentum. The Cin- and Hamilton County cinnati Bell Connector streetcar will be running, our will also provide oppor- riverfront has never looked better and OTR will be at tunities for individuals its magical, holiday best.” to tell their own stories From top: American composers The Thanksgiving showcase will feature an “Ale of “Home” through a Leonard Bernstein, Aaron Copland, to the Queen City” food and craft beer festival at special partnership with Michael Fiday and John Williams The Banks, as well as a “passport” to encourage the national StoryCorps visitors and residents to explore various Cincinnati project. restaurants, bars, shops and entertainment venues. For a full schedule of events leading up to the One The CSO has partnered with the Chamber, City, One Symphony performances NOV 25–26, visit as the goals of both organizations—elevating cincinnatisymphony.org/onecity. ARTISTIC LEADERSHIP

LOUIS LANGRÉE, Music Director monic, Orchestre de Cincinnati Symphony Orchestra Paris, Deutsche Kam- The French conductor Louis Langrée has been Music merphilharmonie Bre- Director of Cincinnati Symphony Orchestra since 2013 men, Budapest Festival and of the Mostly Mozart Festival at Lincoln Center in and NHK symphony New York since 2002. With the Cincinnati Symphony orchestras. Festival ap- Orchestra, recent and future highlights include a pearances have included performance in New York as part of the anniversary the Wiener Festwochen, season of Lincoln Center’s Great Performers series, a Salzburg Mozartwoche tour to Asia, and several world premieres, including and Whitsun festivals, three Concertos for Orchestra by Sebastian Currier, and the BBC Proms. Thierry Escaich and Zhou Tian. He has held positions Guest conducting projects over the next two as Music Director of seasons include Louis Langrée’s debut with the the Orchestre de Picardie (1993–98) and Orchestre Philadelphia and Konzerthaus Berlin orchestras and Philharmonique Royal de Liège (2001–06) and was return engagements with the Leipzig Gewandhaus, Chief Conductor of the Camerata Salzburg (2011–16). Wiener Symphoniker and Hallé. With the Orchestre Louis Langrée was Music Director of Opéra National de France he will conduct Debussy’s opera National de Lyon (1998–2000) and Glyndebourne and Schoenberg’s tone poem based on Maeterlinck’s Touring Opera (1998–2003). He has also conducted Pelléas et Mélisande. He will also return to The Metro- at La Scala, Bayerische Staatsoper in Munich, the politan Opera in New York, Wiener Staatsoper and Royal Opera House Covent Garden, Opéra-Bastille Opéra Comique in Paris. and Théâtre des Champs-Elysées in Paris, Dresden Louis Langrée has conducted the Berliner Phil- Staatsoper and the Netherlands Opera in Amsterdam. harmoniker, Wiener Philharmoniker (in concert in Louis Langrée’s recordings have received several both Vienna and Salzburg) and London Symphony awards from Gramophone and Midem Classical. He Orchestra. He has worked with many other orchestras was appointed Chevalier des Arts et des Lettres in around the world, including the London Philhar- 2006 and Chevalier de la Légion d’Honneur in 2014. n

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14 | FANFARE CINCINNATI | cincinnatisymphony.org MUSIC HALL RENOVATION UPDATE

Where is the Music Hall Chandelier?

In each issue of Fanfare, we update audiences on the throughout the building—were donated by Patricia Music Hall renovation and answer some of the ques- and J. Ralph Corbett during Music Hall’s most recent tions that we are most frequently asked. Without a renovation, nearly 40 years ago. Audiences have doubt, one of the most popular questions is about the adored this sparkling feature of the Auditorium, and Music Hall chandelier. we are pleased that this chandelier will return to its Since 1969, Music Hall’s Springer Auditorium prominent place when Music Hall reopens. has featured a grand chandelier in the center of the So where is the chandelier now? After being care- frescoed ceiling. This chandelier—and the others fully packaged in June, the chandelier was whisked away to its temporary home in St. Louis, Missouri, where it is being rewired, repaired and cleaned to shine brightly on generations to come. According to Gary Behm, Historic Lighting Consultant and President of St. Louis Antique Lighting Company, the Music Hall chandelier’s 22-ft. diameter is considered “monumental,” and each of the thousands of crystals is being cleaned by hand. “We use an ultrasound bath,” says Behm, “which is same way the jewelers would clean your diamond ring.” We’d like to thank Scott Santangelo of Cincinnati Arts Association for sharing the photo below of the chandelier’s graceful exit from Music Hall. n Above: Music Hall’s chandelier awaits restorative treatment on specialty hanging racks.

cincinnatisymphony.org | FANFARE CINCINNATI | 15 ARTISTIC LEADERSHIP

JOHN MORRIS RUSSELL, Conductor ment has yielded a new level of artistic excellence. Cincinnati Pops Orchestra Mr. Russell is also Principal Pops Conductor of the A remarkable artist Buffalo Philharmonic Orchestra and Conductor with boundless en- Laureate of the Windsor Symphony Orchestra in thusiasm for music- Ontario, Canada, where he served as Music Director making of all kinds, for eleven years. John Morris Russell With the Cincinnati Pops, Mr. Russell regularly is a modern conduc- leads electric performances at Music Hall, the Taft tor who engages and Theatre and Riverbend Music Center and throughout enthralls audiences the Greater Cincinnati region and on tour. Mr. Russell with the full breadth has collaborated with generations of great perform- of the orchestral ex- ers including Ray Charles, Rosemary Clooney, Idina perience. Now in his Menzel, Vince Gill, Branford Marsalis, Brian Stokes sixth season as Con- Mitchell, Megan Hilty, Michael McDonald, George ductor of the Cincin- Takei, Amy Grant, Rosanne Cash, Brian Wilson, nati Pops Orchestra, Katharine McPhee and Marvin Winans. Mr. Russell’s diverse His first four recordings released with the Cincin- programming and nati Pops on the Orchestra’s Fanfare Cincinnati label, electric stage pres- Home for the Holidays, Superheroes!, Carnival of the ence have infused Animals and American Originals, have all appeared new creativity and on the Billboard charts. In December 2014, Mr. Russell energy into one of the world’s most iconic pops led the Cincinnati Pops on a Florida tour. 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- include 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, The Cleveland Orchestra and Orchestra in South Carolina, where his commit- Vancouver Symphony Orchestra, among others. n

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

November is “American Music Month”—a time for Joining us for these concerts is multi-platinum artist musicians and ensembles to celebrate and perform Sara Evans. Her hits represent the next generation of music born out of the American experience. For the Nashville music-making, with a sound that’s both past several years we have festooned our November gritty and deeply moving. It’s always exciting when Pops programs in red, white and blue, including this folks make their Pops debut, and I’m thrilled for the month’s performance of “American Voice.” I’m not opportunity to collaborate with this artist whose body just talking patriotic standards here, but the diverse of work is deeply rooted in the American musical musical styles that are the heart and soul of our na- experience. tion’s musical ethos. Here at the Cincinnati Pops, the unique American We kick off our concerts this month with a experience is at the heart of just about everything we couple works by Aaron Copland—perhaps the most do. The Queen City is situated, both geographically distinctly “American” composer in the orchestral and culturally, at the crossroads where bluegrass repertoire. Born of immigrant parents in Brooklyn, meets gospel, where classic German chorales inter- Copland distilled folk songs, jazz and the wide-open twine with Appalachian folk melodies, and where landscape of the west into a sound world that embod- Stephen Foster, James Brown, The National, Over ies the American spirit. Our own Tim Berens takes us the Rhine and Walk the Moon were all inspired. A to southern Louisiana with a rollicking rendition of walk through Downtown, Over-the-Rhine or Clifton Hank Williams’ “Jambalaya,” with a heady melange on any given night proves that the music scene here of cajun, country and rock-a-billy. We’ve also included in Cincinnati is as vibrant as ever, and it continues to a couple of tracks from our most recent Pops album, inspire me and my colleagues in the Orchestra. As we American Originals. “Rolling River” has become one explore together this amazing tapestry of American of the most beloved arrangements, which takes the music, we begin by opening our ears to Cincinnati’s classic folk song “Shenandoah” and bathes it in rich music that continues to resonate around us all. orchestral colors, while “Ring, Ring the Banjo” composed by the father of the Great American Songbook, Cheers, Cincinnati’s own Stephen Foster, highlights virtuosic solo work by Paul Patterson and Sylvia Mitchell.

cincinnatisymphony.org | FANFARE CINCINNATI | 17 SPOTLIGHT ON... Elisha says being part of CSO Encore makes the city “a little smaller,” by opening up doors to meeting people she otherwise might not have met. Although CSO Encore she was born in Cincinnati, she and her family lived in Harare, Zimbabwe for 18 years before she returned CSO Encore had its beginnings in the early 2000s, to attend Miami University (Oxford). After gradua- when a small group of young adult classical music tion, she got a job in Cincinnati and stayed. “They say lovers would go to a bar before and after CSO con- people from Cincinnati always find their way back certs and discuss the music and musicians they had here—I know that’s certainly true for me,” she said. experienced. Eventually this group of friends started Both Megan and Elisha find their involvement planning trivia nights and talk-back sessions with a in CSO Encore rewarding, not only for newfound focus on introducing their peers to the CSO. Today, friendships but also for “…the ability to be a part of Encore events range from intimate gatherings to big an amazing organization that gives back to the com- parties attended by young professionals—many of munity,” said Elisha. CSO Encore’s role in supporting whom have never before attended a CSO concert— the CSO’s mission and vision, particularly in engaging who socialize, dance, learn about music, and mingle young adults, is invaluable. with guest artists and musicians. “CSO Encore is a fabulous way to meet new people, The CSO Encore planning committee includes especially if you’re a transplant, as well as one that about 20 young professionals from around the region. enjoys the arts,” said Megan. “It truly has made me, While some have a musical background, many mem- as well as I’m sure others, feel as though they are a bers got involved as a way to meet other YPs with an part of a family—a lover of music kind of family!” interest in music and the arts. CSO Encore members Attending a CSO Encore-sponsored event is as often become regular concert attendees and patrons, easy as purchasing a ticket, which includes seating even when family or career obligations take priority at a CSO concert as well as access to the after-party. over after-parties. Several members have even gone As a bonus, parties are often attended by CSO musi- on to serve on the CSO’s Board of Directors. cians and star guest artists. The 2016–17 CSO Encore CSO Encore co-chairs, Megan Selnick and Elisha season kicked off Sept. 30 with The Pelléas Trilogy Roser, have both been involved with Encore for several and after-party at L. The series continues Nov. 12 years. “Having grown up attending the CSO, when with the CSO’s “Best of Baroque” concert, Mar. 11 a friend asked me to get involved, it was an obvious with “Rhapsody in Blue” and May 9 with the Pops’ ‘Yes!’” said Megan, who works as a Cause Curator highly anticipated performance with Ben Folds. For with BowTie Cause & The BowTie Foundation. While each event, attendees sit with other YPs at the concert, the ways people prefer to get involved with organiza- mix and mingle during intermission and continue tions like the CSO are ever-changing, she noted that the party at a unique venue. Attendees who wish the family-like atmosphere and exciting collaborations to get more involved may also contact the planning have made her involvement rewarding. committee to help curate future events. Want to get involved? Visit facebook.com/ csoencore or cincinnatisymphony.org/encore and sign up to receive email updates or to contact the committee.n

CSO Encore co-chairs (l-r) Megan Selnick and Elisha Roser at the recent after-party following the CSO’s performance of Fauré’s Pelléas et Mélisande. Members of CSO Encore mingle with guest soloist Colin Currie (second from left) and CSO Principal Timpanist Patrick Schleker (left) at an after-party at Jimmy G’s.

18 | FANFARE CINCINNATI | cincinnatisymphony.org CSO Chamber Players Make Christ Church Cathedral Home in 2016–17 Season

ounded in 1988 by then-Music Director Jesús The beautiful, sonically rich Cathedral offers a López-Cobos, the CSO Chamber Players breathtaking experience for audiences and musicians series has become something that CSO alike. No stranger to professional live music, the musicians eagerly anticipate every year. Cathedral regularly hosts performances by a diverse FOne unique aspect of the series is that the program array of Cincinnati’s musical ensembles. “Music is curated entirely by the musicians performing it. is an integral part of who we are at Christ Church Repertoire is chosen out of passion, whether personal Cathedral,” said Stephan Casurella, Music Director or technical, and out of the sheer joy of performing of Christ Church Cathedral. “We are delighted to be beloved or rare works with colleagues. The collegial hosting the CSO Chamber Player Series this season, relationship CSO musicians share with each other and we know that audiences will love the clarity and shines in these intimate performances. Audiences intimacy they experience when listening to music in benefit from enjoying concerts in close proximity to our sanctuary!” the players, giving rare insights into their technical Audiences will also enjoy another perk of the new mastery and interpretive depth. venue—each concert includes a pre-concert reception Since its inception, different venues that have in the Cathedral’s Gallery South, featuring art exhibits hosted the Chamber Players series include Memorial with a variety of subjects and media. Hall, the School for Creative and Performing Arts and The partnership with Christ Church Cathedral goes Music Hall, with musicians and audiences together beyond Chamber Players, as this season CSO musi- on the stage of Springer Auditorium. This year, the cians are also participating in the Music Live at Lunch CSO embraces its temporary downtown “home away series. Fans can pack a lunch, and, on select Mondays from home;” as the Orchestra performs its subscrip- at 12:10 p.m., enjoy solo and chamber performances tion season at the Taft Theatre, each of the four CSO from members of the CSO at the Cathedral. Chamber Players concerts (Nov. 11, Jan. 6, Feb. 3 and As Cincinnati’s own orchestra, the CSO is commit- May 12) will take place just down the street at Christ ted to enlivening neighborhoods and communities, Church Cathedral. including downtown, and helping to make the Queen City a vibrant place to call home. n

cincinnatisymphony.org | FANFARE CINCINNATI | 19 your performance will stick with us forever.

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

2016–2017 SEASON FRI NOV 4, 8 pm SAT NOV 5, 8 pm SUN NOV 6, 2 pm Taft Theatre

AMERICAN VOICE featuring SARA EVANS

John Morris Russell, conductor

FANFARE FOR THE COMMON MAN Aaron Copland BUCKAROO HOLIDAY from RODEO Aaron Copland JAMBALAYA (On the Bayou) Hank Williams, arr. Berens ROLLING RIVER (Sketches on “Shenandoah”) Traditional Songs, arr. Boyer RING, RING THE BANJO Stephen Foster, arr. Walden THE PROMISE OF LIVING from THE TENDER LAND SUITE Aaron Copland

INTERMISSION

Selections by Sara Evans will be announced from the stage.

The Cincinnati Pops Orchestra is grateful to PNC, Presenting Sponsor of the Pops Series. Major underwriting provided by Mrs. Edyth B. Lindner. The is the Concert Sponsor and the Pops Artist Series Sponsor Major underwriting Otto M. Budig Family Foundation provided by for these concerts. Edyth B. Lindner Corporex and the Ascent at Roebling’s Bridge is the Encore Sponsor for these concerts. The Cincinnati Pops Orchestra is grateful to Mr. & Mrs. Val Cook whose generous endowment supports these performances.

The Cincinnati Pops Orchestra is grateful for the thousands of people who give generously to the ArtsWave Community Campaign. WVXU is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. The use of photographic and recording devices at these concerts is prohibited. Cincinnati Pops Orchestra recordings are found on the Fanfare Cincinnati, Telarc, Moss Music Group, Vox Cum Laude, MCA Classics, Caedmon and Musical Heritage Society labels.

cincinnatisymphony.org | FANFARE CINCINNATI | 21 GUEST ARTIST: Nov 4–6

SARA EVANS Sara Evans at her finest, with her n Previous Pops Performances: signature powerful vocals that will Debut serve as a reminder of why she has n Noteworthy: Sara was the first had a level of success reserved for country artist to compete on ABC’s few. Evans co-wrote three of the Dancing with the Stars. She was album’s 11 tracks and some of named among People magazine’s “50 Most Beautiful People.” Nashville’s finest songwriters are n Read more: SaraEvans.com represented. Since emerging on the scene in Multi-platinum-selling country the late 1990s, Evans has had a singer and songwriter Sara Evans prolific recording career that has has been called “one of the most seen the sale of more then six mil- compelling vocalists of her genera- lion albums. She’s had five no. 1 tion.” Evans released her seventh songs, four others appearing in the studio album Slow Me Down in Top 10, two no. 1 Billboard Coun- 2014, two years after the release try albums, five appearing on Sara Evans of Stronger, her second Billboard Billboard’s Top 200 all-genre chart Country Album Chart no. 1. Slow Me Down’s title track and four consecutive RIAA certified gold, platinum or was her biggest first week Country radio single ever multi-platinum albums. She’s received awards from and was named by Billboard as one of the “10 Best the Country Music Association, Academy of Country Country Singles of 2013.” Music, Billboard Music Award and has garnered Slow Me Down is co-produced with Mark Bright nominations for Grammy Awards (2), American (Reba McEntire, Rascal Flatts and Carrie Underwood), Country Awards (10) and CMT Music Awards (5). who Evans last worked with on her platinum-selling Sara has been an active member of the American no. 1 Country album Real Fine Place (2005), and Red Cross’ National Celebrity Cabinet since 2005 and features collaborations with Vince Gill, Isaac Slade was presented with the national Crystal Cross for her of The Fray and Gavin DeGraw. Slow Me Down is work with the organization. n

22 | FANFARE CINCINNATI | cincinnatisymphony.org Q&A with Sara Evans

Fanfare Cincinnati: Have you collaborated with an FC: What is the role of orchestra before? What are some of the rewards/challenges music in American cul- of that experience? ture, in your opinion? Sara Evans: Yes, I’ve been very fortunate to perform SE: Music literally is with some amazing orchestras before. It’s hard for the soundtrack to our me to even accurately describe the feeling I get when lives. I think Ameri- I’m on stage and I hear the orchestra first start to play cans love music so with one of my songs. It’s hard for me to stay focused much that we need and sing because I am SO moved and it makes me it to thrive…. Music emotional. There’s nothing that compares to the literally goes with beautiful sound an orchestra produces and to have us on the journey that sound paired with my band and songs literally through our lives takes my breath away. and affects us more than we realize. FC: You’ve been performing and recording since you were a teenager. How do you continue to keep your music FC: What projects are Sara on the Grand Ole Opry stage. career fresh? on the horizon for you? SE: Other than being a mother and wife, I was put on SE: I just signed a new record deal with Concord this earth to sing. It’s definitely my calling and every Records and have begun writing and working on my time I get on stage it’s like a wave of happiness hits first album with them. So far we have some amazing me and any other stresses or life issues disappear songs, and I couldn’t be happier with the early direc- for that time I’m performing…. I love working with tion it’s taking…. new producers, musicians, songwriters, etc. because everyone brings their own perspective and fresh take Please visit cincinnatipops.org/evans to read the full on the music and may push me to look at something interview. n I wouldn’t have thought of on my own.

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Proudly supporting art that inspires 7x10.875.indd 1 7/19/16 9:44 AM SIXTH SUBSCRIPTION PROGRAM Masterworks Series | Sunday Matinee Series

2016–2017 SEASON FRI NOV 11, 11 am SAT NOV 12, 8 pm SUN NOV 13, 2 pm Taft Theatre

TON KOOPMAN conductor, harpsichordist

HANDEL Suite No. 1 in F Major from Water Music, HWV 348 (1685–1759) Ouverture Adagio e staccato Hornpipe and Andante Jig Air Minuet Bourrée and Hornpipe Gavotte

HANDEL Music for the Royal Fireworks, HWV 351 Overture Bourrée La Paix: Largo alla Siciliana La Réjouissance: Allegro Menuets I and II

INTERMISSION

BACH Brandenburg Concerto No. 3 in G Major, BWV 1048 (1685–1750) [Allegro]—Adagio— Allegro

BACH Suite No. 3 in D Major, BWV 1068 Ouverture Air Gavotte Bourrée Gigue

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. Friday Morning Shuttle Partner: Croswell Bus Lines. Friday Morning Coffee Partner: Carabello Coffee.

Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the thousands of people who give generously to the ArtsWave Community Campaign. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. These concerts will end at approximately 12:45 pm Friday, 9:45 pm Saturday, 3:45 pm Sunday. 90.9 WGUC will broadcast this concert February 26, 2017, 8 pm.

It is always important and revealing in the study of the humanities to consider source material. Inevitably, this compels us to ask important questions, and offers a glimpse into how developments in art, literature and music came about. It also allows us to draw connections to the past, which inevitably informs how we interpret the present and future. In many ways, the Baroque period in music (lasting from 1600 until 1750) serves as the source material for much of the music of the last two and a half centuries, and inspired composers from Mendelssohn to Brahms, to composers writing music today. As Brahms once famously stated: “Study Bach. There you will find everything.” This program offers the rare and important opportunity to hear the CSO performing timeless works by Bach and Handel under the direction of one of the greatest performers and scholars of music from this era, Ton Koopman. —Louis Langrée

GEORGE FREDERIC HANDEL Good stories die hard, the truth notwithstanding. One Suite No. 1 in F Major from Water Music, begun in 1760, the year after Handel’s death, by the HWV 348 composer’s first biographer, Reverend John Mainwar- ing, is no exception. Louis Biancolli recounted the tale: n Born: February 23, 1685, Halle, Germany Died: April 14, 1759, London According to the long-accepted story, Handel n Work composed: 1717 planned the Water Music in 1715 as a gesture n Premiere: July 17, 1717, on the River Thames near of appeasement to King George I. Handel had London—Handel conducting been George’s Kapellmeister when he was still n Instrumentation: 2 oboes, bassoon, 2 horns, keyboard, Elector of Hanover in 1712. Handel obtained strings permission from his ruler to visit England. The n CSO subscription performances: CSO premiere; visit proved highly lucrative and Handel failed to however, some movements frequently performed starting return to the Hanoverian post. Finally Mahomet in 1923 (Hamilton Harty arrangement) went to the mountain. Queen Anne died in 1714, n Duration: approx. 32 min. and Handel’s former employer found himself proclaimed King George I of England. The King was supposedly incensed over Handel’s playing

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26 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: OCT 7–8

truant. Lord Burlington and Baron Kielmansegg, who play’d all the Way from Lambeth…the finest the Master of the King’s Horse, thought up a plan Symphonies, compos’d express for the Occasion, of reconciliation, which was carried out. During by Mr. Hendel [sic]; which his Majesty liked so a “royal water party” on the Thames, the King’s well, that he caus’d it to be plaid over three times barge was followed by another bearing Handel and going and returning. a group of musicians. The King was enchanted by the music and naturally asked its composer’s name. Another account noting the same July 1717 date When told it was Handel, the two were promptly came from Frederic Bonnet, a Prussian envoy at court: reconciled. Next to the King’s barge was that of the musicians, Biancolli went on to note, however, that neither about 50 in number, who played all kinds of the dates nor the relationship between composer instruments, to wit trumpets, horns, hautboys [oboes], bassoons, German [transverse] flutes, and King bears out this story. Concerning the royal French flutes [recorders, probably equivalent to the disposition, King George apparently never sought modern piccolo], violins and basses; but there were to ostracize Handel after his elevation to the throne. no singers. The music had been composed specially Indeed, music was one of the few things George liked by the famous Handel, a native of Halle, and His about English life, and he had no intention of throw- Majesty’s principal Court Composer. ing up barriers between himself and the country’s Though the Water Music was not directly respon- greatest composer. He appeared at a performance of sible for Handel achieving a secure position with Handel’s new Te Deum in St. James’s Palace within a King George, there can be no doubt that the delight it week of his arrival in London. He attended the revival engendered in the royal breast accounted in no small of Rinaldo a few months later, and did so incognito. part for the favor he enjoyed. He continued the annual stipend of £200 awarded to Handel modeled his Water Music on the festive Handel by his predecessor, Queen Anne, and added outdoor compositions written by such French masters another £200 to it. When the King visited Hanover in as Lalande and Mouret to accompany the al fresco 1716, Handel went along to see after the music. These suppers, parties and barge excursions at Versailles. signs indicate that the rift between the two was never (The original theme for television’s Masterpiece Theater very serious, if it existed at all. derived from just such a work by Mouret.) The Water The dates of the various events also conflict with Music, like those French works, is simple in texture, the old story. The “reconciliation,” it seems, was dance-like in rhythm and majestic in spirit, and relies supposed to have taken place in 1715, but most of on the bracing sonorities of the wind instruments that the Water Music was not composed until 1717. (A made outside performance viable. In Handel’s score, handful of movements may be of an earlier date, but many of the individual movements recall the dance their provenance is uncertain.) On July 19, 1717, two forms that are the basis of all Baroque suites. (The days after the event, the Daily Courant carried the manuscript of the Water Music is lost, and there is no following report: way to know exactly the order or even the precise On Wednesday Evening, the King took Water instrumentation in which the various movements at Whitehall…and went up the River towards were intended to be played. The compilation of the Chelsea. Many other Barges with Persons of music into suites was the job of later editors, and it is Quality attended, and so great a Number of Boats, from these that present-day interpreters choose the that the whole River in a manner was cover’d; a City Company’s Barge was employ’d for the specific movements to be performed. The actual music Musick, wherein were 50 Instruments of all sorts, heard, therefore, may differ from one concert to an-

WHAT TO LISTEN FOR: n The various French Baroque dances incorporated into Handel’s Water Music Suite No. 1 and Music for the Royal Fireworks. n The fantastic interplay of the nine solo string instruments in Bach’s Brandenburg Concerto No. 3. n The beautiful and popular Air from Bach’s Orchestral Suite No. 3.

QUESTIONS TO DISCUSS ON THE WAY HOME: n The word Baroque is derived from the Portuguese word barroco, which roughly translates to “oddly shaped pearl.” Why do you think this term was ascribed to music of this period? n This performance featured a smaller orchestra than that which is typically seen at CSO concerts (most repertoire from the Baroque era requires smaller forces). How did the sonic experience differ than other CSO concerts that you have attended? Did you hear things differently?

cincinnatisymphony.org | FANFARE CINCINNATI | 27 PROGRAM NOTES: NOV 11–13 other.) The dances include the minuet, a stately court GEORGE FREDERIC HANDEL dance in triple meter that became a regular fixture Music for the Royal Fireworks, HWV 351 in the Classical symphony; the leaping, triple-meter n Work composed: 1749 gigue, derived from an English folk dance, and the n Premiere: April 27, 1749, London—Handel model for many instrumental finales by French and conducting Italian musicians when it migrated to the Continent n Instrumentation: 3 oboes, 2 bassoons, contrabassoon, 3 in the 17th century; the bourrée, a spirited duple-meter horns, 3 trumpets, timpani, keyboard, strings dance of French origin; the English hornpipe, whose n CSO subscription performances: Six previous nautical associations are particularly appropriate for subscription weekends | Premiere: March 1928 (Emery the Water Music; and the rigaudon, a Provençal dance Auditorium), Fritz Reiner conducting | Most recent: November 1996, Jesús López-Cobos conducting especially popular in the French opera-ballet. The n Duration: approx. 19 min. other quick movements, though untitled, are related to these types. The slow sections derive either from When Frederick the Great of Prussia set off in 1740 to the limpid, flowing operatic aria of which Handel conquer the Austrian province of Silesia to expand was undisputed master or from such dances as the his own political and economic base and diminish saraband. A majestic ouverture in the French style the power of the Habsburg ruler, Maria Theresia, he rounds out the complete set. Of this wonderful suite, began the eight years of conflict known as the War of Martin Bookspan wrote, “Let it merely be said that for the Austrian Succession. Britain was drawn into the sheer entertainment and joy, the music that Handel fracas by its king, George II, a German, who wanted to composed for the King’s pleasure on that summer’s make sure that he retained his succession in the house evening has few rivals in the whole literature.” of Hanover. So determined was George to protect his —Dr. Richard E. Rodda privilege that he even took a contingent into battle, the last British monarch to actively lead troops in conflict. After the war had shifted enough national boundaries to satisfy the participants, the business was brought to an end by the Treaty of Aix-la-Chapelle in 1748. Though George was pleased personally with the

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28 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: NOV 11–13 outcome, Britain gained little from the settlement, except for enough economic strength from standing down its troops to institute a 3% bank interest rate that remained in effect for decades. George thought, however, that a grand celebration was in order, and he allowed that it should be the most magnificent thing of its kind ever seen in England. As soon as the Aix-la-Chapelle treaty was signed on October 7, 1748, George II appointed the Duke of Montague, Master General of Ordnance, to oversee the celebratory festivities. The famed French architect (of Saint-Sulpice, Paris) and stage designer (of the Paris Opéra) Jean Nicolas Servan, who had trans- Machine for the fireworks for the peace of Aix la Chapelle in April lated his name into the more theatrically fashionable 1749 performed in Green Park. Structure designed by Franco- Servandoni, was engaged to provide an ostentatious Italian architect Giovanni Niccolo Servandoni setting for the highlight of the celebration, a brilliant display of fireworks. So immense was the set—the whole, and there was a special gallery for musicians “machine”—Servan devised, that work on it had to large enough to accommodate a hundred men.” begin in early November, fully six months before the Special music for the occasion was commissioned date of the festivities. Louise Beck described the fin- from the Composer to the Royal Chapel, a shrewd, ished edifice as “a Doric temple of huge proportions; thickly accented Saxon immigrant who was also a center structure, one hundred feet high, with wings England’s most popular musician—George Frideric to the right and to the left, which measured more than Handel. Handel was put out by the King’s insis- four hundred feet. A gigantic figure of Peace attended tence that only “martial instruments” be used—“no by Neptune and Mars, and a likeness of equal size fiddles,” declared George—since the ensemble and of good King George delivering peace to Britannia, intonation of military bandsmen of the day was adorned the pavilion. A monster sun topped the something to give any sensitive musician pause.

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cincinnatisymphony.org | FANFARE CINCINNATI | 29 PROGRAM NOTES: NOV 11–13

As the April 27, 1749 date for the jubilee drew near, Servan was so unhinged by the disaster that he there was still some question whether Handel would drew his sword on the Duke of Montague and had provide the music (“…if he won’t let us have his to be arrested. After appropriate apologies, he was overture [suite] we must get another,” wrote the released from jail the following day, but the whole Duke of Montague to a fellow organizer on April affair was apparently more than the Duke’s health 9th), but the composer was won over by his strong could tolerate, since he died the following summer. feelings about patriotism and profit, and the plans A sad ending for a glorious undertaking. were allowed to proceed. Handel’s Fireworks Music enjoyed a more thorough A public rehearsal of the Fireworks Music was an- success than the event for which it was created. It nounced for the spacious, park-like Vauxhall Gardens was acclaimed immediately (though the cannons in south London for April 21st. A great band of wind were given far more reportorial notice than the new instruments by the dozens to play the new piece was music at the celebration), and Handel was obliged to advertised, and interest in the event ran so high that include it on a benefit concert in May for his favorite 12,000 tickets were sold in advance. The descent of charity, the Foundling Hospital, which also received this throng on the main Thames crossing “occasioned the proceeds from his annual presentations of Messiah. such a stoppage on London Bridge that no carriage For this performance, he reduced the number of extra could pass for three hours,” reported the Gentlemen’s wind players (though not the number of parts) and Magazine. Footmen obstructing the passage were so added strings and continuo. The piece was published numerous that scuffles broke out and some gentlemen in this version in June by Walsh, and has remained were injured in the fray. Still, the dress rehearsal went one of Handel’s most popular instrumental works. as planned and further whetted the town’s appetite The Royal Fireworks Music combines the pomp of the for the grand spectacle on April 27th. French courtly style with the rhythmic drive and in- The principal celebration, centered on Servan’s strumental inventiveness of the Italian concerto grosso. elaborate “Temple of Peace,” was planned for Green It consists of six movements: a majestic Overture (with Park, in St. James’s. “For a week before, the town has alternating slow and fast sections) followed by a series been like a country fair,” wrote Horace Walpole to of brief dances, including a perky Bourrée, a swaying his friend Horace Mann. “The streets are filled from Largo alla Siciliana (titled La Paix—“Peace”), a martial morning to night, scaffolds building wherever you strain called La Réjouissance (“Rejoicing”) and a pair could see or not see, and coaches arriving from every of concluding Menuets. corner of the kingdom. The immense crowds, the —Dr. Richard E. Rodda guards, the machine itself, which was very beautiful, were worth seeing.” Handel’s music was readied, the JOHANN SEBASTIAN BACH 101 cannons that would contribute to the deafening Brandenburg Concerto No. 3 in G Major, roar of the event were wheeled into place, the King BWV 1048 had final fittings for his new ceremonial clothes. The n Born: March 21, 1685, Eisenach, Germany morning of April 27 dawned dusty and windy, and Died: July 28, 1750, Leipzig, Germany afternoon thunder threatened weather problems, n Work composed: c. 1720 which were realized when a chill drizzle began n Premiere: Unknown to fall at dusk. King George, touring the machine, n Instrumentation: keyboard, strings promenaded and inspected and commented and n CSO subscription performances: Ten previous rewarded workmen despite the rain, and bade the subscription weekends | Premiere: January 1913, Ernst show begin. Handel’s suite served as prelude, the Kunwald conducting, Eugène Ysaÿe, violinist | Most recent: February 1986, Michael Gielen conducting heavy guns roared an armipotent salute, and the n Duration: approx. 10 min. fireworks started. Walpole continued his account: Brandenburg, in Bach’s day, was a political and The rockets, and whatever was thrown up into the air, succeeded mighty well; but the wheels and all military powerhouse. It had been part of the Holy that was to compose the principal part were pitiful Roman Empire since the mid-12th century, and its and ill-conducted, with no change of colored fire ruler—the Markgraf, or Margrave—was charged and shapes; the illumination was mean, and lighted with defending and extending the northern imperial so slowly that scarce anybody had patience to wait border (“mark,” or “marche” in Old English and Old the finishing, and then, what contributed to the French), in return for which he was allowed to be an awkwardness of the whole, was the right pavilion Elector of the Emperor. The house of Hohenzollern catching fire and being burnt down in the middle acquired the margraviate of Brandenburg in 1415, and of the show. Very little mischief was done, and but two persons were killed. the family embraced the Reformation a century later with such authority that they came to be regarded as

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Join us for a series of free community events throughout the month of November! cincinnatisymphony.org/onecity PROGRAM NOTES: NOV 11–13 the leaders of German Protestantism; Potsdam, near contrast the subtle timbres of the three instrumental Berlin, was chosen as the site of the electoral court in groups. The movement bounds along with great the 17th century. good humor and high spirits to its conclusion. After Johann Sebastian Bach met Christian Ludwig, a brief respite of a lone adagio measure, the whirl- Margrave of Brandenburg, in 1719, during his tenure ing motion resumes with a vigorous gigue, the fast, as music director at the court of Leopold of Anhalt- triple-meter dance often used as the closing move- Cöthen. Bach worked at Cöthen from 1717 to 1723, ment of Baroque instrumental pieces. Like all such and early in 1719, he was sent by Leopold to Berlin 18th-century dances, this movement is divided into to finalize arrangements for the purchase of a new two large sections, each of which may be repeated. harpsichord, a large, two-manual model made by —Dr. Richard E. Rodda Michael Mietke, instrument-builder to the royal court. While in Berlin, Bach played for Christian Ludwig, JOHANN SEBASTIAN BACH who was so taken with his music that he asked him Suite No. 3 in D Major, BWV 1068 to send some of his compositions for his library. Bach n Work composed: pre-1725 lost an infant son a few months later, however, and in n Premiere: Unknown 1720, his wife died and he rejected an offer to become n Instrumentation: 2 oboes, bassoon, 3 trumpets, organist at the Jacobkirche in Hamburg, so it was timpani, keyboard, strings more than two years before he fulfilled Brandenburg’s n CSO subscription performances: 12 previous request. By 1721, Leopold had become engaged to subscription weekends | Premiere: January 1898, Frank marry a woman who looked askance at his huge Van der Stucken conducting | Most recent: October 2006, expenditures for musical entertainment. Bach seems Robert Porco conducting n Duration: approx. 20 min. to have realized that when she moved in, he would probably be moved out, so he began casting about for The term “suite,” which first appeared in 1557, a more secure position. He remembered the interest originally referred to a set of dances known as bran- the Margrave Brandenburg had shown in his music, les. By the late 17th century, the term had come to so he picked six of the finest concertos he had writ- mean a group of varied dances, all in the same key, ten at Cöthen and sent them to Christian Ludwig in preceded by a prelude. Such pieces were at one time March 1721 with a flowery dedication in French—but used to accompany social dancing at court balls, to no avail. No job materialized at Potsdam, and in but the dances found in a typical suite soon went 1723, Bach moved to Leipzig’s Thomaskirche, where out of fashion. Late baroque suites therefore consist he remained for the rest of his life. of stylized dance movements meant for listening The Third Brandenburg represents a special type of entertainment, not dancing. Musicologists have tried the Baroque concerto grosso—the orchestral concerto. to find a unifying principle common to all baroque Rather than a specific group of solo instruments suites, but the search has been fruitless. There is no being set off against the ensemble, the orchestra is, universally shared characteristic. Even once a fairly in effect, a collection of soloists. Each of the nine standard sequence of dances (allemande, courante, instruments comprising the ensemble (three each of sarabande, gigue) emerged, there were still many violins, violas and cellos) may act as soloist, but more exceptions: added dances, movements omitted, extra frequently a single group is featured while the oth- movements that were not dances, changed order, ers serve as accompaniment. The Third Brandenburg etc. When the baroque suite became a concert form, also differs from others in the set in that it has only composers’ imaginations were no longer restricted two movements, the usual slow, middle movement by social convention. As baroque ideals gave way being reduced to just two chords occupying a single to classical-period aesthetics, the suite was gradu- measure. Bach probably intended that some of the ally replaced by the sonata and the symphony. The performers improvise in this place (he may well have minuet remained as the one link between the suite done so himself on the violin or, as Mr. Koopman will and the symphony. do at these concerts, on the harpsichord), but he left The culmination of the baroque suite tradition lies no specific instructions. in the music of J.S. Bach, who composed at least 45 Lacking, as it does, a slow movement, the Third such works. His solo violin and solo cello suites and Brandenburg becomes a virtual dynamo of rhythmic his keyboard suites—English Suites, French Suites, energy. The opening measures not only introduce and Partitas—are magnificently sophisticated exam- the movement, but also serve as a storehouse of ples of concert dances. Often the textural complexity motives from which the ensuing music is spun. The is so great that it is difficult for a performer to project work’s “conversational” quality is much in evidence the underlying rhythmic patterns of the dance. Bach as the concerto unfolds, with special care taken to also composed several suites for orchestra, of which

cincinnatisymphony.org | FANFARE CINCINNATI | 33 PROGRAM NOTES: NOV 11–13 only four have survived. Each of these orchestral Leipzig period, when he was directing a series of suites is divided into two parts. The first is a long weekly concerts with the Collegium Musicum. Bach overture and the second is a set of dance movements worked with this ensemble in 1730–37 and 1739–44. and other short pieces. The orchestral suites tend to Because of its large orchestra, it is believed that be less complex than the solo and keyboard pieces, Suite No. 4 may have been composed in Leipzig. Since which implies that they were probably intended as Suite 3 is similar to Suite 4, some scholars feel that it entertainment music. Their often brilliant orchestra- too was composed in Leipzig rather than Cöthen. The tion would seem to support this notion. use of three trumpets in the orchestra would seem to KEYNOTE. When Bach entered the service of support this theory, since the ensemble at Cöthen had Prince Leopold of Anhalt-Cöthen, he was for the first but two trumpeters. time in his life expected to devote the major portion Suite No. 3 begins with a typical French overture, of his compositional efforts to secular music. Thus an elaborate movement with a slow introduction much of his chamber, keyboard and orchestral music featuring dotted rhythms, followed by a fugal allegro dates from this period (1717–23). Prince Leopold, an and a return of the introduction. The second move- accomplished violinist, viola da gambist and harpsi- ment, an air, is well known, since it was rewritten chordist, often held concerts for which Bach supplied for violin and piano in 1871 by one A. Wilhelm, who the music. Several of the orchestral suites that have called it “Air on the G String.” In this bastardized been lost were written for such occasions. After a few form the movement has been played quite often as an years the Prince married a woman who did not care encore piece on violin recitals. The dances start with for music, and his concert activities were diminished. the third movement, a gavotte. The brilliance of the Bach therefore took a new position at Leipzig, where trumpets makes this stately movement quite regal. he was expected to compose both sacred and secular The bourrée is a fast and lively dance in 6/8 time, as music. The remaining orchestral suites date from the is the final gigue. —Jonathan D. Kramer

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34 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTIST: Nov 11–13

TON KOOPMAN, conductor Among Koopman’s most ambitious n Previous CSO Performances: Debut projects has been the recording of the n Noteworthy: Koopman will conduct complete Bach cantatas, a massive from the harpsichord this weekend for undertaking for which he has been performances of Bach’s Brandenburg awarded the Deutsche Schallplattenpreis Concerto No. 3. “Echo Klassik,” the BBC Award and n Read more: TonKoopman.com the Hector Berlioz Prize and has been Born in Zwolle (The Netherlands) nominated for a Grammy and the Ton Koopman had a classical educa- Gramophone Award. Koopman also tion and studied organ, harpsichord has long been an advocate of the music and musicology in Amsterdam. He of Bach’s predecessor, Dieterich Buxte- received the Prix d’Excellence for both hude, and following the completion of instruments. Naturally attracted by the Bach project, he embarked in 2005 historical instruments and fascinated on the recording of the Buxtehude- by the philological performance style, Opera Omnia. Ton Koopman, © Foppe Schut Koopman concentrated his studies on In recent years, Koopman has been Baroque music, with particular attention to J.S. Bach, very active as a guest conductor, having worked with and soon became a leading figure in the “authentic the most prominent orchestras of the world. He has performance” movement. recorded an enormous number of records for Erato, As organist and harpsichordist Koopman has Teldec, Sony, Deutsche Grammophon and Philips. In appeared in the most prestigious concert halls of 2003 he founded his own label, “Antoine Marchand,” the world and played the most beautiful historical a sub-label of Challenge Classics. instruments of Europe. At age 25, he created his first Ton Koopman is Professor at the University of baroque orchestra; in 1979 he founded the Amsterdam Leiden, Honorary Member of the Royal Academy of Baroque Orchestra followed in 1992 by the Amster- Music in London and artistic director of the Festival dam Baroque Choir. Itinéraire Baroque. n

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cincinnatisymphony.org | FANFARE CINCINNATI | 35 FIRST CHAMBER PLAYERS CONCERT “AUTUMN SPIRITS” 28th Season, 2016–2017 FRI NOV 11, 7:30 pm Christ Church Cathedral Cincinnati

KHACHATURIAN Trio for Clarinet, Violin and Piano (1903–1978) Andante con dolore, con molto espressione Allegro Moderato Rebecca Kruger Fryxell, violin Ronald Aufmann, clarinet Dror Biran, piano

TOCH Serenade for Two Violins and Viola, Op. 25, “Spitzweg” (1887–1964) Sylvia Mitchell, violin Paul Patterson,violin Paul Frankenfeld, viola

INTERMISSION

KEVIN PUTS And Legions Will Rise (b. 1972) Rachel Charbel, violin Ronald Aufmann, clarinet Michael Culligan, percussion

BEETHOVEN Piano Trio in D Major, Op. 70, No. 1, Ghost (1770–1827) Allegro vivace e con brio Largo assai ed espressivo Presto Rebecca Culnan, violin Daniel Culnan, cello Julia Siciliano, piano

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 and Cincinnati Pops.

ARAM KHACHATURIAN (1931) and this trio (1932) were written while he was a Trio for Clarinet, Violin and Piano student in Moscow. Despite being an early work, this Considered by many the foremost Armenian com- trio shows signs of his eclectic mature style. Having poser of the 20th century, Aram Khachturian was heard the music of many cultures as a young man in born in 1903 in Tbilisi, Georgia of Armenian parents. Tbilisi he often used actual folk melodies as well as Although largely self-taught, he was able to enter melodies inspired by folk styles in his music. Here the Gnessin Musical Institute and later, the Moscow he has mixed them to create a complex texture of Conservatory. He is best known for his orchestral rhythm and melody. music, including his Piano Concerto, Violin Concerto The first movement, Andante con dolore, uses the and later, his ballet scores for Gayane (featuring the clarinet and violin as both complementary and com- famous “Sabre Dance”) and Spartacus. Khachaturian’s peting voices, repeating musical material rather than only two pieces of chamber music, a string quartet developing it, but creating an evocative texture that requires careful balancing by the players. 36 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: NOV 11

The Allegro second movement starts with a down- one, or sometimes both, of the other instruments. ward pizzicato scale motive. It quickly moves to a This style of composition continues throughout the folklike melody in the clarinet that is passed to both work, with all of the voices having very independent violin and piano in different tempos and treatments, lines, yet weaving together to create singular musi- returning at the end to the beginning scale motive. cal ideas. After a generally slower introduction and The third movement is a Theme and Variations that melancholy middle, the piece makes distinct changes begins simply with the clarinet stating an Uzbeck folk heading into the final section. Rhythmically charged tune, then builds in tempo and level of excitement and with a bright major tonality, the clarinet and before finally returning to a quiet ending. violin are featured in beautiful soaring melodic lines, —Ronald Aufmann while the marimba maintains a steady running pulse underneath. All three voices come together toward ERNST TOCH the end of the work. Through the use of harmonic Serenade for Two Violins and Viola, Op. 25, tension and a relentlessly driven pulse, Puts creates “Spitzweg” an energetically charged finale that only resolves at As a man who described himself in 1960 as “the the very conclusion of the work. The composer had world’s most forgotten composer of the 20th century,” this to say about the composition: Ernst Toch still lived a most remarkable life. Born in And Legions Will Rise is about the power in all of us a suburb of Vienna to the family of a modest leather to transcend during times of tragedy and personal merchant, Toch studied philosophy, medicine and crisis. While I was writing it, I kept imagining one of music. He was a highly accomplished pianist who those war scenes in blockbuster films, with masses toured Europe to great acclaim, and he became a pro- of troops made ready before a great battle. I think fessor of both composition and piano in Mannheim we have forces like this inside of us, ready to do after serving in the Austrian army in Italy for several battle when we are at our lowest moments. years during World War I. Following the ascent of —Rachel Charbel Adolf Hitler in 1933, Toch first moved from Germany to Paris and then to London, before settling in the LUDWIG van BEETHOVEN United States in 1935. He moved from New York to Piano Trio in D Major, Op. 70, No. 1, Ghost Los Angeles one year later in order to pursue a film score career, but found greater success as a profes- And there you have the whole secret of Beethoven. sor of both music and philosophy at the University He could design patterns with the best of them; of Southern California. His chamber music works he could write music whose beauty will last you always enjoyed great favor among the outstanding all your life; he could take the driest sticks of instrumental studio musicians of Los Angeles, and themes and work them up so interestingly that Toch could count André Previn as one of his many you find something new in them at the hundredth hearing; in short, you can say of him all that you successful composition students. can say of the greatest pattern composers; but his The Serenade, Op. 25, dates from 1916, the year diagnostic, the thing that marks him out from all Toch married and settled in Mannheim after his the others, is his disturbing quality, his power of military service. The piece is named for Carl Spitz- unsettling us and imposing his giant moods on us. weg, a German romantic painter of the 19th-century —George Bernard Shaw Biedermeier style. Cast in a single movement of 13 minutes duration, the Serenade is a richly tonal and The German composer Ludwig van Beethoven was accessible piece that creates a lovely atmosphere and born in Bonn in 1770 and died in Vienna in 1827. He features Toch’s great understanding of string textures composed the Piano Trio in D Major, Op. 70, No. 1 and chromatic modulations. in the fall of 1808. —Paul R. Frankenfeld Beethoven began going deaf around the turn of the 19th century. As disturbing as this was for him, KEVIN PUTS he was a prolific composer for the next several years, And Legions Will Rise his “middle period.” He became more adventurous, Kevin Puts composed And Legions Will Rise in the gradually breaking out of the classical period model, summer of 2001, with its premiere occurring in including grander gestures, more imagination and October of that year at Matsukata Hall, in Kobe, surprises. Japan. Written at the request of Makoto Kamura, and The “Ghost” trio is so named for the eerie aura of commissioned by the Kobe Shimbun newspaper, the the slow middle movement. Beethoven’s student, work is scored for the unique combination of violin, Czerny, likened the music to the ghost of Hamlet’s clarinet and marimba. Primarily amelodic in nature, father. And Beethoven was considering composing the work relies heavily on the use of musical motifs. an opera based on Macbeth at the time. The word Although the work is structured within a single “MacBett” can be seen in the margin of his original movement, there are clear sections, often alternat- autograph. This movement, in D minor, is the main ing between slow and fast tempi. Puts masterfully event. The first and third movements are shorter, conveys singular melodic fragments that often begin lighter and more uplifting. in one instrument and are seamlessly completed by —Daniel Culnan

cincinnatisymphony.org | FANFARE CINCINNATI | 37 It feels good to give back.

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

It adds up to nearly $71 million a year. It’s a good feeling we can all share, and to us, that’s the magic of giving.

Macys-CSO.indd 1 7/28/16 9:58 AM SEVENTH SUBSCRIPTION PROGRAM Boundless Series

2016–2017 SEASON FRI NOV 18, 8 pm SAT NOV 19, 8 pm Taft Theatre

SANTTU-MATIAS ROUVALI conductor JENNIFER KOH violinist

SMETANA Vltava (“The Moldau”), No. 2 from Má Vlast (“My Fatherland”) (1824–1884)

ESA-PEKKA SALONEN Violin Concerto (b. 1958) Mirage Pulse I It feels good Pulse II Adieu to give back. INTERMISSION

And together with our generous customers SIBELIUS Symphony No. 6 in D Minor, Op. 104 and employees, Macy’s averages more than (1865–1957) Allegro molto moderato Allegretto moderato $1 million a week to initiatives important to Poco vivace you and your community – arts, education, Allegro molto HIV/AIDS, and women’s health and wellness. SIBELIUS Symphony No. 7 in C Major, Op. 105 It adds up to nearly $71 million a year. Adagio— Un pochetto meno adagio. Vivacissimo. Adagio— It’s a good feeling we can all share, and to Allegro molto moderato— us, that’s the magic of giving. Vivace. Presto; Adagio. Largamento molto. Affetuoso

The CSO is grateful to Macy’s, the CSO’s Boundless Series Sponsor. The CSO is grateful to The Ladislas and Vilma Segoe Family Foundation, this weekend’s Presenting 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 thousands of people who give generously to the ArtsWave Community Campaign. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. These concerts will end at approximately 10 pm. 90.9 WGUC will broadcast this concert March 5, 2017, 8 pm.

cincinnatisymphony.org | FANFARE CINCINNATI | 39

The tiny Scandinavian country of Finland has become a kind of incubator for producing a remarkable array of composers and performers over the past century. Sibelius is considered the patriarch of Finnish music, and since his death in 1957, has assumed the role of a lauded national hero. This program features Sibelius’s two final symphonies, works of remarkable introspection, and in the case of the Seventh Symphony, the beguiling conclusion of Sibelius’ compositional output, even though he would live for 31 more years following its completion. The first half of the program features the Violin Concerto by the visionary composer and conductor, Esa-Pekka Salonen, as well as The Moldau from Smetana’s beautiful tone poem, Má Vlast (“My Homeland”). —Louis Langrée

BEDŘICH SMETANA (Pike Opera House), Frank Van der Stucken conducting | Vltava (“The Moldau”), No. 2 from Má Vlast Most recent: March 2007, Paavo Järvi conducting (“My Fatherland”) n Duration: approx. 12 min. n Born: March 2, 1824 in Litomyšl , Bohemia Smetana’s Má Vlast (“My Fatherland”) is a powerful Died: May 12, 1884 in Prague example of musical nationalism. At the time of its con- n Work composed: November 20–December 8, 1874 ception, the Czech people were restless for a political n Premiere: Adolf Čech conducted the first performance independence that would allow them to experience in Prague on April 4, 1875. Čech also was the first fully and express their national identity. The indepen- conductor to perform the cycle of six symphonic poems in dence of Bohemia had ended centuries earlier, and the its entirety, on November 5, 1882. Czech people had been under Austrian domination n Instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, for a long time—too long a time, it was generally 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals a2, suspended cymbals, felt. Even Smetana himself, who became a musical triangle, harp, strings spokesman for Czech nationalism, had grown up in n CSO subscription performances: 20 previous a German-speaking family and had learned to write subscription weekends, plus several Pops, tour and fluently in the Czech language only at the age of 40. regional concert performances | Premiere: March 1896 Yet it was he—more than any other composer and

40 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: NOV 18–19 possibly more than any other artist—who created I am going deaf.… It was in July that I noticed a Czech national identity, first through a series of that the higher octaves in my ears were tuned operas on nationalistic themes and then in his cycle at a different pitch. From time to time I had a rushing noise in my ears as if I were standing of six symphonic poems, which he collectively called near a forceful waterfall. The condition was Má Vlast (“My Fatherland”). continuously changing until the end of the month, This monumental cycle is, according to the New when it became permanent, being accompanied Grove Dictionary of Music and Musicians, second edition, by spells of giddiness. I began to reel, and only by “a unique musical apotheosis of the homeland, of the concentrating all my strength could I manage to country in which the existence of the nation is rooted, walk straight. and a celebration of the countryside which for the Because of his deafness, Smetana was forced to emergent Czech nation was filled with mythical and resign his positions as Principal Conductor of the historical reminiscences all bound up with a vision Prague Provisional Theater and Artistic Director of the future.” of the Prague Opera School. He was no longer able Má Vlast consists of six symphonic poems, which to teach. Thus his previously substantial income may be performed separately or as a six-movement dwindled to almost nothing. Since he could no longer cycle. Vyšehrad, the first work, is named for the royal support his wife, marital tensions increased. palace in Prague, the ruins of which still overlook the Smetana’s deafness worsened. He sought help city. The music depicts the tournaments and battles from various doctors, but to no avail. Shortly after the that took place at Vyšehrad, and tells the story of its premiere of Vltava he was confined for four weeks to destruction. The second piece, Vltava (also known one small room in the clinic of a Dr. Zoufal. as The Moldau), is a picture of the river that flows through the countryside from its sources to Prague They have begun the treatment rubbing ointment and beyond. Smetana depicts musically what the behind the ears and smearing it all over my body. I Vltava passes by: a forest hunt, a village wedding, am isolated here and must remain so for a month or more. To play the piano is forbidden, and I am not nymphs swimming by moonlight, ruined castles, even allowed to speak. May the good Lord help me! rapids, Vyšehrad, and finally out to sea. Šárka is a musical portrayal of a Hungarian princess who takes When this treatment failed, Dr. Zoufal ordered revenge on all men because of her lover’s infidelity. it continued for another six weeks. The composer The next work, From Bohemia’s Meadows and Forests, wrote in his diary, is a musical picture of country life. The final two I am condemned to interminable loneliness. Since works invoke the struggles for national independence I am neither allowed to move from the room nor in 15th-century Bohemia. Tábor is named for a city talk to anyone, and no one is permitted to see me, I that was the Hussite warriors’ headquarters during begin to wonder if I will ever speak again, indeed, an uprising that symbolized Czech resistance to if I will ever move, let alone hear again. I sit for foreign domination. Blaník, the final work, is named hours staring into space and it seems as if I have for the hill where the defeated warriors awaited the been alone for nearly six months.… Oh, God, if only I could hear again! opportunity to renew their efforts. Shortly before beginning to compose Má Vlast, The doctor gave up on this bizarre treatment, and Smetana wrote to a friend, Smetana returned home to ever-increasing marital battles. Betty Smetana, who had known high society

WHAT TO LISTEN FOR: n The gorgeous flowing melody of Smetana’s The Moldau, which opens the program and is meant to evoke Bohemia’s great rivers. n The first movement of Esa-Pekka Salonen’s imaginative Violin Concerto, which was used as part of a recent Apple iPad commercial. n The haunting and unresolved conclusion of Sibelius’s Seventh Symphony.

QUESTIONS TO DISCUSS ON THE WAY HOME: n Esa-Pekka Salonen’s music is highly innovative, rhythmically intricate and virtuosic. Salonen described his Violin Concerto as “a door to the next part of my life…a departure with all the thrills and fears of the unknown.” What feelings did listening to the Salonen Violin Concerto evoke for you? n Esa-Pekka Salonen once said: “The Northern idea of form is more of a process. The various units of the form overlap. You can’t tell where some things stop and new things start. This is typical of Sibelius.” Did you hear these overlapping elements in Sibelius’s Sixth and Seventh Symphonies?

cincinnatisymphony.org | FANFARE CINCINNATI | 41 PROGRAM NOTES: NOV 18–19

He created the Ma Vlast cycle in praise of his native IF YOU LIKE THIS CONCERT… country, its people, its countryside and its heroic past. Be sure to return to the Taft Theatre Two days after completing Vyšehrad Smetana began Jan. 27–28, when the CSO performs The Moldau, or Vltava. By the end of 1877 he had added Danish composer Carl Nielsen’s dramatic Symphony No. 4, and violinist Christian Šárka and From Bohemia’s Meadows and Forests, but the Tetzlaff performs Bartók’s compelling composer was not finished. Four symphonic poems Concerto No. 4. John Storgårds conducts. needed to be expanded to six. I have completed in these three years of deafness more than I had otherwise done in ten; besides and wealth but now found herself reduced to poverty, many piano pieces, I have written the tetralogy was in the humiliating position of having to accept for large orchestras with the title Fatherland.… charity from her stepdaughter. In addition, she found These pieces have been performed in Prague with it all but impossible to live with a man who could not unexpected success, and…[this] is persuading hear what she said, who was constantly shouting, and me not to finish here but to enlarge the cycle with who was morbid and withdrawn. other movements. Smetana submitted to another desperate medical By the time the set was completed in 1879, it had procedure to try to cure his deafness. grown to six pieces—almost an entire evening’s First [Doctor] Klima pierced me behind the ears concert when played together. with an instrument called a bunky, and then in the Má Vlast was enormously popular, but it brought neck. He oiled my ears and neck, and promised the composer little financial reward. Although des- that within three days I would be able to hear perately poor, he agreed to sell the rights to a pub- again.… Instead of being able to hear, I have only lisher for a small sum with no royalties. He remained a swollen neck. I am as deaf as before, and Klima poor until the end of his life, five years after the cannot understand why I do not hear. For my part, completion of Blaník, the last of the Fatherland pieces. I cannot understand how he could have cured me. The syphilis which had caused his deafness eventu- Nonetheless, Smetana allowed Klima to try again ally affected Smetana’s memory. “I tend to lose my seven months later. memory when composing, so that if a movement is The source of Smetana’s deafness was syphilis, too long I cannot remember the principal melody. If which was not curable in the 1870s. The composer the working out takes some time, I forget the qualities finally had to accept not only his permanent isola- of the melody and look on it as if it were the work tion from external sound but also the interminable of a stranger.” rushing sound that was constantly in his ears. “It Shortly before entering the Prague Lunatic Asy- is even stronger when my head is active and less lum, where he was to die, the composer wrote, “I, noticeable when I am quiet. When I compose it is a musician, have had my hearing destroyed. Why, always in evidence.” I have never even heard the little voices of my own Although Smetana was devastated over his deaf- grandchildren!… If martyrs are still born, then I am ness and its effect on his personal, social and artistic the unhappiest of them all, for fate has sentenced me life, he continued to write music. In fact, his social to a silent tomb where voices are unknown!” isolation forced him to withdraw into himself and Smetana’s illness spread to his brain and through- thus he became more productive than ever. Five of out his body. He lost his mental faculties completely. the six tone poems of Má Vlast were created during Deaf like Beethoven, mentally ill like Schumann, the first years of his deafness. syphilitic like Schubert, Smetana continued to com- How is it possible, one may wonder, for a deaf pose as long as possible. When he could no longer person to compose music? Composers imagine the practice his art, his unhappy life came to an end. sounds of their music in their minds. They usually KEYNOTE. Smetana provided explanatory pref- do not need to rely on the actual physical sounds of aces for each of the six symphonic poems. He headed instruments. If they compose at the piano at all, for the score of Vltava with this paragraph: example, it is more for convenience than necessity. The composition depicts the course of the river, Smetana, like Beethoven before him, was already an from its beginning where two springs, one cold experienced composer when he lost his hearing. He and the other warm, join to form a stream, which knew exactly what his music sounded like, without runs through forests and meadows and a lovely having actually to listen to it. countryside where merry feasts are celebrated; Smetana did not pour his heart out into composi- water-sprites dance in the moonlight; on nearby tions of personal anguish. Instead, he continued the rocks can be seen the outline of ruined castles, nationalism of his recently completed opera Libuše. proudly soaring into the sky. The Moldau swirls through the St. John rapids and flows as a broad

42 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: NOV 18–19

river toward Prague. It passes Vyšehrad and Pekka Salonen. Born in Helsinki on June 30, 1958, disappears majestically into the distance, where Salonen majored in horn at the Sibelius Conservatory, it joins the Elbe. where he founded a “collective” called Ears Open for The undulating figures of the opening, which promoting and performing new music with Jouni represent the springs, are present in much of the Kaipainen, Magnus Lindberg and Kaija Saariaho, now succeeding music. The piece grows and develops all major musical figures in Finland. After graduating as it follows the course of the Vltava (The Moldau), in 1977, Salonen studied composition privately with growing from its sources into a mighty river. The Einojuhani Rautavaara and conducting with Jorma opening depicts the two springs. The flutes, playing Panula, and attended conducting courses in Siena and a constant running figure, represent one spring. The Darmstadt; he also studied composition with Niccolò clarinets join in, playing the same music in inver- Castiglioni and Franco Donatoni in Italy. sion to show that the second spring is warm whereas In 1979, Salonen made his professional conducting the first is cold. The Moldau theme enters in strings debut with the Finnish Radio Symphony Orchestra, when the two streams join. Horn and trumpet fanfares and he was soon engaged as a guest conductor across indicate that people are hunting in the dense forests Scandinavia. Successful appearances conducting on the Moldau’s banks. The texture finally changes Wozzeck at the Swedish Royal Opera and the Mahler to a rhythmic polka, mainly in strings, danced at a Symphony No. 3 with the Philharmonia Orchestra of rustic wedding. A veiled high melody in the violins, London led to his appointment as conductor of the accompanied by running woodwind figuration, Swedish Radio Symphony Orchestra in 1985, a post represents the water-sprites dancing in the moonlight. he held until 1995. He was principal guest conductor The Moldau theme returns, along with underlying of the Oslo Philharmonic from 1984 to 1989, and of undulations in the strings. The swirling sounds the London Philharmonia from 1985 to 1994; he has become louder and more turbulent as the river flows also held positions with the New Stockholm Chamber through St. John’s Rapids (which, incidentally, no Orchestra, Avanti! Chamber Orchestra, Helsinki longer exist, because of a dam having been built). A Festival and London Sinfonietta. Salonen made his majestic statement of the main theme portrays the American debut with the Los Angeles Philharmonic broad river that the Moldau has become. In the final in 1984, and was that orchestra’s music director section, the river flows by and salutes Vyšehrad. Here from 1992 until 2009; he was named the ensemble’s Smetana quotes the theme from the first work ofMá Conductor Laureate in April 2009. Since 2008, he has Vlast. Afterwards, the sounds of the river die away as been Principal Conductor and Artistic Advisor of it flows into the distance. Two full chords bring the London’s Philharmonia Orchestra. He also continues symphonic poem to a close. to guest conduct concerts and opera throughout the —Jonathan D. Kramer world and to serve as artistic director of the Baltic Sea Festival, which he co-founded in 2003. ESA-PEKKA SALONEN Esa-Pekka Salonen was the first-ever Creative Violin Concerto Chair of the Tonhalle Orchester Zürich in 2014–15, after which he was appointed to be the Marie-Josée n Born: June 30, 1958, Helsinki, Finland Kravis Composer-in-Residence with the New York n Work composed: 2008–2009 Philharmonic for a four-year term. Salonen is the n Premiere: April 9, 2009 by the Los Angeles recipient of several major awards, including the Philharmonic, conducted by the composer with Leila Grawemeyer Award (for the 2009 Violin Concerto, Josefowicz as soloist n Instrumentation: solo violin, 3 flutes (incl. alto flute, written for Leila Josefowicz), Nemmers Prize in piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, Musical Composition from Northwestern University, contrabass clarinet, 2 bassoons, contrabassoon, 2 horns, 2 Siena Prize from the Accademia Chigiana (the first trumpets, 2 trombones, timpani, bass drum, glockenspiel, conductor ever to receive that distinction), Royal log drum, marimba, tam-tam, 4 tom-toms, tuned gongs, Philharmonic Society’s Opera Award and Conductor vibraphone, drum set, harp, celeste, strings Award, honorary doctorates from the Sibelius Acad- n CSO subscription performances: CSO premiere emy, Hong Kong Academy of Performing Arts and n Duration: approx. 30 min. University of Southern California, and the Helsinki Conducting is tough, composing probably even hard- Medal. In 1998, he was awarded the rank of Officier de er, but some of the most brilliant musicians—Busoni, l’Ordre des Arts et des Lettresby the French government. Mahler, Bernstein, Boulez, Previn—have pursued Musical America named him its “2006 Musician of the parallel careers in both fields that enriched all facets Year.” On July 26, 2012, he was chosen to carry the of their creative personalities. To this select company Olympic Flame as part of the 2012 London Summer must be added the Finnish composer-conductor Esa- Games torch relay.

cincinnatisymphony.org | FANFARE CINCINNATI | 43 PROGRAM NOTES: NOV 18–19

Though his widest recognition has been as a con- line that leads into some impossibly fast music. The ductor, Salonen is also an accomplished composer, music zooms out once again at the very end, this and he has devoted increasing time to his creative time straight up in the air. The violin follows. Finally work since leaving the Los Angeles Philharmonic. (“I all movement stops on the note D, which leads to… actually think of myself more as a composer than a “II. Pulse I. All is quiet, static. I imagined a room, conductor,” he said in 1998.) His early compositions, silent: all you can hear is the heartbeat of the person including a Saxophone Concerto, an orchestral piece next to you in bed, sound asleep. You cannot sleep, but titled Giro and a few works for solo instruments and there is no angst, just some gentle, diffuse thoughts on unconventional chamber groupings, are rooted in your mind. Finally the first rays of the sun can be seen the avant-garde enthusiasms of his student days, through the curtains, here represented by the flutes. but since his LA Variations of 1996, written for the “III. Pulse II. The pulse is no longer a heartbeat. This Los Angeles Philharmonic, his work has been more music is bizarre and urban, heavily leaning towards immediate and easily approachable. popular culture with traces of (synthetic) folk music. Salonen composed his Violin Concerto in 2008–09 The violin is pushed to its very limits physically. for Leila Josefowicz, who premiered it with the Los “IV. Adieu. This is not a specific farewell to any- Angeles Philharmonic on April 9, 2009 under his thing in particular. It is more related to the very basic direction; the work won the 2012 Grawemeyer Prize process of nature, of something coming to an end and from the University of Louisville, one of the most dis- something new being born out of the old. Of course tinguished awards for musical composition. Salonen this music has a strong element of nostalgia, and some noted that the Concerto was written at a pivotal time of the short outbursts of the full orchestra are almost in his professional and personal life: violent, but I tried to illuminate the harmony from “My long and very happy tenure as music direc- within. Not with big gestures, but with light ones. tor of the Los Angeles Philharmonic was coming to “When I had written the very last chord of the piece an end. After 17 years I had decided it was time to I felt confused: why does the last chord—and only move on and try to devote more time for composing. that—sound completely different from all the other It felt like a seismic shift in my life, and during the harmony of the piece? As if it belonged to a different composing process of the Violin Concerto I felt that composition. Now I believe I have the answer. That I was somehow trying to sum up everything I had chord is a beginning of something new. I saw it as a learned and experienced up to that point in my life as door to the next part of my life of which I didn’t know a musician. This sense of having reached a watershed so much yet, a departure with all the thrills and fears was heightened by the fact that I had just turned of the unknown.” 50, the kind of number that brutally wipes out any —Dr. Richard E. Rodda hallucinations of still being young. There is a strong internal, private narrative in my Concerto, and it is not JEAN SIBELIUS a coincidence that the last movement is called Adieu. Symphony No. 6 in D Minor, Op. 104 “I composed my Violin Concerto between June 2008 n Born: December 8, 1865, Hämeenlinna, Finland and March 2009. Nine months, the length of human Died: September 20, 1957, Järvenpää, Finland gestation, a beautiful coincidence. I decided to cover n Work composed: November 1914–February 1923 as wide a range of expression as I could imagine over n Premiere: February 19, 1923 in Helsinki with the its four movements: from the virtuosic and flashy to composer conducting the aggressive and brutal, from the meditative and n Instrumentation: 2 flutes, 2 oboes, 2 clarinets, bass static to the nostalgic and autumnal. This concerto is clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, a kind of summary of my experiences as a musician timpani, harp, strings and a human being at the watershed age of fifty. n CSO subscription performances: One previous subscription weekend, September 2001, Paavo Järvi “I. Mirage. The violin starts alone, as if the music conducting had been going on for some time already. Very light n Duration: approx. 28 min. bell-like sounds comment on the virtuosic line here and there. Suddenly we zoom in to maximum mag- The Sixth Symphony was composed during a difficult nification: the open strings of the violin continue their period for Sibelius. Yet its surface is often untroubled, resonance, but amplified; the light playfulness has which may indicate that an artist’s circumstances do been replaced by an extreme close-up of the strings, not necessarily correlate with the nature of his art. now played by the cellos and basses; the sound is Finland was internally torn during the First World dark and resonant. Zoom out again, and back in after War. Some people, mainly of the upper classes, a while. The third close-up leads into a recitative. remained loyal to the Russian Tsarists, while other The solo violin is playing an embellished melodic Finns felt allegiance to Germany. Sibelius was deeply

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513.354.3700 BEACONSPINE.COM PROGRAM NOTES: NOV 18–19 affected by the war, both emotionally and practically. In January 1917, partly to escape his frustrations He was emotionally disturbed by the constant reports over the Fifth Symphony, and partly to turn away of killings. His royalty income was drastically reduced from the tensions in his personal life, Sibelius plunged because Finland, a Rus- into the composition of the sian province, was cut off Biographer Guy Rickards Sixth Symphony, finally from Germany, where most aptly describes the unique in earnest. But it was dif- of Sibelius’ compositions sound-world of Sibelius’ Sixth ficult for him to concentrate, had been published and because wartime political were being performed. Ger- Symphony: “The character of pressures were escalat- man musicians no longer the music is unlike anything ing and coming closer to wanted to perform music home. In nearby Russia, by a composer living in a else in the modern repertoire. the Bolsheviks mounted the country that was part of It captures in sound the rarified, October Revolution. Seeing their enemy’s empire, nor an opportunity for inde- did the Russians support limpid quality of the light of the pendence, Finland acted performances of music by Nordic countries….” quickly, hoping to take ad- a composer whose music vantage of the confusion in was published in an enemy land. Furthermore, Rus- Russia. The new Soviet government granted Finland sia—and hence Finland—refused to sign the Berne its sovereignty, and Russian troops were withdrawn Convention on Copyright, and thus Sibelius could from the new country. The move to independence not receive the foreign royalties rightly due to him. had been achieved without violence, but soon Finland He had hoped to earn income by conducting his erupted in a civil war in which leftists (Reds, oriented works in other countries—including possibly another toward Russia) and conservatives (Whites, oriented tour to North America—but the German submarine toward Germany) vied for power. campaign, which culminated in the sinking of the pas- Not surprisingly, Sibelius’ sympathies were senger ship Lusitania, made such travel impossible. with the Whites. Deeply troubled by the civil war, Sibelius had made plans for three new symphonies, he composed a march, the Jäger Marsch, that the including the Fifth and Sixth and what eventually White troops sang during their campaigns. He may became the tone poem Tapiola, but there was no point have sympathized with the Whites, but he was not in writing large-scale pieces which would not be prepared to go so far as to advocate pro-German widely performed as long as Europe was engulfed in sentiments exclusively. Adding to his complicated war. Instead, he wrote small pieces for particular oc- political situation was the Red occupation of Sibelius’ casions, music sometimes of unabashed triviality—an town of Järvenpää, which led to the composer being activity that brought in only an inadequate income. forbidden to leave his home. He recorded in his diary, He dreamed of writing his three symphonies, but was “All educated people are in danger for their lives. able to do little more than dabble with their materials. Murder upon murder. Soon, no doubt, my hour will The composer did manage to finish the Fifth come, for I must be especially hateful to them as the Symphony (in a version he then withdrew, in order composer of the Jäger Marsch.” In fact, the Red troops to make what turned out be a series of drastic recom- did not know who Sibelius was. When they searched positions over the next four years), but he was able his house for food and arms, they had no idea that to do little more than think about the Sixth. Sibelius they were in the presence of a celebrity who had had hoped that the war would last but three months, written one of their enemy’s war songs. but it dragged on and on. Even his few conducting Neither the end of World War I nor the end of the engagements in Scandinavian countries stopped. civil war terminated Finland’s problems. The new Deprived not only of income but also of the excite- country had trouble gaining international recognition, ment of traveling to other countries to present his and so Sibelius’ royalties were not restored. Some works, Sibelius felt like a prisoner in his own home. money did come in once the Fifth Symphony was His financial and emotional tensions led to marital finally completed in its final form and performed problems and to the resumption (after seven years in several cities. But the composer, who had always of abstinence) of his excessive drinking and smok- had a taste for high living, drank most of the money. ing—which his doctor had forbidden and which Scenes of public as well as domestic drunkenness led disgusted his wife (it should be noted that, despite to increased marital tensions. Sibelius was still unable his uncontrollable fondness for alcohol and tobacco, to concentrate on the new symphony, and instead Sibelius lived well into his 90s). he continued to turn out potboilers in the hopes of

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CREATIVE DIRECTOR ACCOUNT DIRECTOR PROGRAM NOTES: NOV 18–19 earning some quick remuneration. By 1920, six years phony. In September 1922 he turned his full attention after he had begun to plan the Sixth Symphony, he to this demanding work. By the following February still had little idea of its overall shape. he completed the symphony that had plagued him As life in Finland gradually returned to normal, for nearly a decade. Sibelius found himself once again in the public eye. KEYNOTE. Biographer Guy Rickards aptly de- A frequent social guest, he could not find uninter- scribes the unique sound-world of Sibelius’ Sixth rupted time to devote to the new symphony, which Symphony: demanded intense concentrations because of its The character of the music is unlike anything else unique nature. And his financial situation was still in the modern repertoire. It captures in sound the precarious: postwar inflation made his Germany rarified, limpid quality of the light of the Nordic royalties almost worthless, and the cessation of trade countries, and is almost—though not quite—bereft with Russia had devastated the Finnish economy. of the “wild and impassioned” character he had A lifeline of sorts was thrown to Sibelius in Au- forecast…in 1918. There is a luminosity in its gust 1920. He was offered a position as director of textures that is in stark contrast to the heroism depicted in the Fifth Symphony, seeming to depict the Eastman School of Music in Rochester, NY, for the streams and forests of his country in full flood a princely salary. He would be expected to teach of spring—the same landscape, perhaps, as that and to conduct several concerts of his works. The conjured up in the Fourth, but in a more benevolent composer was ambivalent: although he had enjoyed season…. In it he [has] given expression to the “rare the United States on a previous visit, he was unsure sense of rapture” he had experienced as a boy in about moving there. And he had always resisted Hämeenlinna, and there is a pronounced mystical academic positions. But the monetary offer was nearly atmosphere. This led him to comment how when irresistible. His spirits lifted, and he was finally able so many other composers were concocting strange cocktails of outlandish colors, he offered “pure, cold to increase his compositional activities. Still not ready water” (the most refreshing drink of all). “In any for the demands of the Sixth Symphony, however, case,” he declared, “I do not think of a symphony he tried to compose still more commercially viable only as music in this or that number of bars, but smaller pieces. rather as an expression of a spiritual creed, a phase His longtime friend Rosa Newmarch tried to dis- in one’s inner life.” suade him from moving to America: What is it in the music that creates its unique I beg you not to squander your energies teaching atmosphere? One of the important factors is its use young American harmony and orchestration.… of the Dorian mode, adopted from Sibelius’ study They can find all that by studying your works. of renaissance music (he was deeply involved with You are a composer, not a pedagogue, possibly the music of Palestrina and Monteverdi at the time the greatest creative musician of our times—and of his most intense work on the Sixth Symphony). certainly one of the noblest and most individual. That is your mission. Au diable les dollars! Spend Sibelius lists the symphony as being in D minor, but the summer in Järvenpää; don’t smoke too many D Dorian would be a more accurate description of its Corona cigars for the sake of your finances; don’t pitch organization. The Dorian scale uses the white drink too often…; and compose your Sixth (on notes (e.g., on a piano keyboard) but with D rather the Almighty’s command). This will give your life than C as the central pitch. real meaning. You do not have the right to freely Sibelius’ music only occasionally actually invokes dispose of those years that remain to you, which that of the renaissance (the very beginning of the most certainly do not belong to young Americans. symphony is one of those places). More often, Seeing the wisdom of these sentiments, Sibelius de- Sibelius has his own idea of how to use the Dorian clined the Eastman offer. His most challenging works mode, derived from Finnish folk music. Whereas a to date—the Fourth and Fifth symphonies—were composer like Palestrina would normally raise the beginning to be played in many countries, often to note C to C-sharp, in order to drive the music toward positive responses. Sibelius gradually came to realize a cadence on D, Sibelius generally uses the purer form that his destiny lay not in composing trifles expected of C-natural. The result is a music with less pointed to earn a bit of money, and not in teaching, but in drives, a music of cool placidity. This Dorian flavor creating large original works. He was finally ready infuses the entire symphony. to devote himself wholeheartedly to the Sixth Sym- —Jonathan D. Kramer

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JEAN SIBELIUS The composer was reluctant to call the work a Symphony No. 7 in C Major, Op. 105 symphony at first, so far removed is its structure from that of a classical symphony. At its premiere it n Work composed: Although plans for it date back was listed as Fantasia sinfonica. Only later did Sibelius to 1918, Sibelius set to work in earnest on the Seventh Symphony while on a trip to Italy in March 1923. He realize that its scope warranted its inclusion in his completed the piece on March 2, 1924. symphonic canon. We should not be perplexed by n Instrumentation: 2 flutes (incl. 2 piccolos), 2 oboes, 2 the lack of common characteristics between a classical clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, symphony and the Sibelius Seventh. What the music timpani, strings is counts far more than what the composer chose to n CSO subscription performances: 10 previous call it. The word “symphony” originally referred subscription weekends | Premiere: April 1939, Eugene to a form, but by 1924 it indicated more a genre. It Goossens conducting | Most recent: September 2005, Paavo Järvi conducting suggested a degree of seriousness, a stature and a n Duration: approx. 21 min. grandness, but no longer a structural mold. Sibelius once spoke about the nature of a symphony Sibelius is not generally thought of as an innovator. He with another composer who redefined symphonic never indulged in the extravagantly original orchestral form—Gustav Mahler. Sibelius later recalled: colors of Richard Strauss; he never experimented with …contact between us was established in some new harmonies to the extent that Claude Debussy did; walks during which we discussed all the great he was never interested in the emotionally charged questions of music very thoroughly from every dissonances of Arnold Schoenberg or the massive angle. When our conversation touched on the collages of Charles Ives; he was never attracted to the nature of the symphony, I said that I admired its exciting new rhythms of Igor Stravinsky. Yet, in his style and severity of form and the profound logic own quiet way, Sibelius was an original composer. that created an inner connection between all the His innovations were more subtle than those of his motives.… Mahler’s opinion was just the opposite. contemporaries. Sibelius experimented with form: us- “No! The symphony must be like the world. It must be all-embracing.” ing traditional sounds he found new ways to integrate large-scale compositions. While his interest in new The severity, the restrictions, the tightly controlled means of continuity and development is evident as structural logic of Sibelius’s Seventh Symphony early as the Second Symphony, it reaches its culmina- (qualities that necessitated a one-movement form) tion in the one-movement Seventh Symphony. are the aesthetic opposite of the sprawling, visionary Sibelius was not the only composer to recast a panorama of, for example, Mahler’s Third Symphony. traditionally multi-movement form as one continuous And both of these symphonies are equally far re- piece. Several earlier composers wrote symphonies in moved from the classical forms of Mozart and Haydn. which the individual movements are not separated Sibelius was correct to speak of an inner logic of by pauses (in Schumann’s Fourth Symphony, for motivic connection. The Seventh Symphony contains example, the beginning of one movement follows several independent motives, such as the rising scale immediately the end of the preceding one). Elimi- that opens the work, that pervade the music. These nating a pause is a simple matter; replacing it with motives are subjected to variation and development, a transition (as in Beethoven’s Fifth Symphony) is a but they are rarely expanded into complete melodies. more sophisticated procedure. Some composers went The one outright melody is the powerful trombone beyond inter-movement transitions and telescoped solo that is heard in three different places. Each time two movements into one (in Franck’s D Minor it is treated in a magnificently contrapuntal fashion Symphony the slow movement includes a scherzo that leads to a wonderfully climactic intensification. interlude). Other composers tried to cast a tradi- Notice how, at its first appearance a few minutes into tional three- or four-movement form continuously: the symphony, the trombone sound cuts through the Schubert’s Wanderer Fantasy, Liszt’s Second Piano entire orchestra. And notice the wonderfully expan- Concerto and Schoenberg’s First String Quartet and sive music the orchestra is playing: after a certain First Chamber Symphony, for example. tonal tentativeness, the music has at last reached These earlier pieces, though interesting and origi- its home key of C major with a wonderful sense of nal, do not go as far as the Sibelius Seventh, which is stability. The increasing complexity of the counter- a thoroughly symphonic composition in one continu- point on subsequent appearances of the trombone ous movement that does not readily subdivide into theme recalls the music of the 16th-century composer independent sections. It is a sweeping, concentrated, Giovanni Palestrina, whom Sibelius greatly admired highly integrated work. There are elements of sonata and carefully studied. form and of rondo form, but the Seventh does not fit —Jonathan D. Kramer such traditional molds.

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SANTTU-MATIAS ROUVALI, This season, in addition to a tour conductor with the Orchestre de Chambre de n Previous CSO Performances: Debut Lausanne in Europe, he returns to the n Noteworthy: After completing studies BBC Symphony Orchestra, Deutsches in percussion at the Sibelius Academy, Symphonie-Orchester Berlin and Ber- Rouvali entered the conducting class of gen Philharmonic Orchestra. He also Leif Segerstam in 2007; he also studied leads the Los Angeles Philharmonic with Jorma Panula and Hannu Lintu. and Minnesota Orchestra and returns n Read more: harrisonparrott.com/ to Japan following two successful artist/profile/santtu-matias-rouvali engagements there with the Tokyo Chief Conductor of the Tampere Symphony Orchestra, but this time Philharmonic Orchestra and Principal he takes his own orchestra—the Guest Conductor of the Copenhagen Tampere Philharmonic. Philharmonic, Santtu-Matias Rouvali Rouvali’s recordings include a takes up the position of Chief Con- disc featuring the Hakola and Ho- Santtu-Matias Rouvali, © Kaapo Kamu ductor of the Gothenburg Symphony sokawa Guitar Concertos with Timo Orchestra in the 2017–18 season. Korhonen and Oulu Symphony Orchestra (Ondine) With an already established career the Finnish and his latest release, of Nielsen and Sibelius’ Violin conductor regularly works with the Philharmonia Concertos with the Tampere Philharmonic Orchestra Orchestra, Royal Stockholm Philharmonic Orchestra, and Baiba Skride (ORFEO). Orchestre Philharmonique de Radio France and the In addition to strong relationships with Nordic art- Finnish Radio Symphony Orchestra, to name a few. ists such as Vilde Frang, Pekka Kuusisto, Truls Mørk, Debuts this season include Bamberger Symphoniker Håkan Hardenberger and Kari Kriikku, notable solo- for their Sibelius anniversary celebrations and the ist collaborations include Alisa Weilerstein, Benjamin SWR Sinfonieorchester Baden-Baden und Freiburg Grosvenor, Alison Balsom and Martin Grubinger. immediately following a return to the Dresdner As an opera conductor, Rouvali has performed Philharmonie. Bizet’s Carmen and Mozart’s Die Zauberflötewith West

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Coast Kokkola Opera, and conducted nections between music of all eras, as Verdi’s La forza del destino with Tampere in her recent projects Shared Madness, Opera last season. Bridge to Beethoven, Bach and Beyond and Two x Four. She believes that all JENNIFER KOH, violinist the arts and music of the past and n Previous CSO Performances: This is present form a continuum, and she Jennifer Koh’s fourth performance with the has premiered over 60 works written CSO, including her most recent appearance especially for her. Koh is also an active in March of 2016 as part of MusicNOW. recording artist, and her recent album n Noteworthy: Koh began playing the of Tchaikovsky’s complete works for violin by chance, choosing the instrument violin and orchestra, performed with in a Suzuki program only because spaces for cello and piano had been filled. She the Odense Symphony Orchestra has recorded another work by Esa-Pekka under Alexander Vedernikov, is her Salonen, his Lachen Verlernt, on her eleventh recording for Chicago-based Jennifer Koh, © Juergen Frank Rhapsodic Musings CD (Çedille). Çedille Records. Koh is a winner of n Read more: JenniferKoh.com the International Tchaikovsky Competition and the recipient of an Avery Fisher Career Grant. She is also Violinist Jennifer Koh, Musical America’s 2016 the Artistic Director of arco collaborative, a non-profit Instrumentalist of the Year, is recognized for her organization that promotes collaborations between intense, commanding performances, delivered with artists of diverse disciplines and styles. dazzling virtuosity and technical assurance. She During the 2016–17 season, Jennifer Koh performs has performed as a soloist with leading orchestras a variety of classic and contemporary concertos, around the world and frequently appears in recital including works by Finnish composers Kaija Saa- at major music centers and festivals. An adventurous riaho, Esa-Pekka Salonen and Jean Sibelius. She also musician, Koh collaborates with artists of multiple performs solo and chamber works by Saariaho as disciplines and curates projects that uncover con- part of a year-long focus on the composer’s music. n Photo: Juergen Frank

Q&A with Jennifer Koh

Fanfare Cincinnati: Have you previously performed FC: What other projects are Esa-Pekka Salonen’s Violin Concerto? If so, do you have on the horizon? any insights about your previous experience with the piece? JK: I’m working on a con- What should audiences listen for? certo commissioning proj- Jennifer Koh: I love this concerto and I can’t wait to ect called Mix Tape, which play it again for Cincinnati audiences. I’ve known is really about engaging Salonen for a very long time as a composer and contemporary culture with conductor…. The great part of contemporary music is classical music. I think if you see how composers pull from both past traditions you look at history, that’s traditionally what classical and contemporary elements and I think that’s really music did… I’m also creating a project called The what art is all about. 38th Parallel.… It will be a fully staged production with violin, electronic, percussion and a dancer, with FC: You will be doing another recital in Cincinnati while choreography from Luca Veggetti. you’re in town for these concerts with works from Shared Madness. Tell us a little about this project. FC: Where do you seek and find inspiration, musically or JK: Shared Madness is about this incredible com- otherwise? munity of artists and composers, many of whom are JK: I love my fellow artistic community, and that friends in addition to colleagues. I had been working includes composers as well as dancers, people in to pay off my violin and a lovely couple stepped in theatre, and frankly also authors.… And really every and offered to loan me money for the instrument. But moment in life. When you’re really in art, you’re an rather than accept money for repayment, they agreed artist 24 hours a day. So I try to remain open and curi- to accept commissioned works. So I reached out to ous. In a way, I don’t want to know what I’m doing the community of composers I had been working in five to 10 years; I want to have changed enough with. I started every conversation with, “Feel free so that I don’t know. to say no,” because I believe that art really is work. But what was really remarkable was that nearly Please visit cincinnatisymphony.org/koh to read the n everyone said yes.… full interview.

cincinnatisymphony.org | FANFARE CINCINNATI | 53  ....

    2016–2017 SEASON SAT NOV 19, 10:30 am .... Taft Theatre

JOHN MORRIS RUSSELL, conductor Illustrations by C.F. Payne | Angela Powell-Walker, narrator

SHEPHERD’S HEY Percy Grainger, arr. Langey

THE KOOKABURRA SONG (sing-along) arr. Russell

PETER AND THE WOLF, Op. 67 Sergei Prokofiev

THE WILD BEARS from THE WAND OF YOUTH Edward Elgar

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 Lollipops Family Concerts for the 2016–17 Season. Additional support provided by The Cincinnati Symphony Club. The Cincinnati Symphony Orchestra is grateful to George and Sarah Morrison III for their support of the newly commissioned illustrations by C.F. Payne.

Recommended NEW! F L Family Fun Zone for AGES 2-9 A M I Y at 9:30 am AND after the concert! Recommended (11/19, 1/28, for AGES 2-9 F U N and 6/10) at the TAFT THEATRE N 28, 201 3, 2016 JA 7 C 2 JUNE 1 E 0,  D 20

 17

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LOUIS LANGRÉE conductor BRANFORD MARSALIS alto saxophone OCOS 2013 COMMUNITY PARTNERSHIPS AND COLLABORATIONS BERNSTEIN Overture to Candide (1918–1990)

THE CARNEGIE COPLAND Our Town, Music from the Film Score GALLERY EDUCATION THEATRE (1900–1990)

MICHAEL FIDAY Three for One WORLD PREMIERE (b. 1961) starting over presence/absence twitter

INTERMISSION

JOHN WILLIAMS Escapades for Alto Saxophone and Orchestra (b. 1932) from Catch Me If You Can

COPLAND Suite from The Tender Land Introduction and Love Music Party Scene— Finale: The PromiseSENIOR of LIFESTYLE Living CHOICES

College of Mount St. JosephThe CSO is gratefulMidPointe to Paycor Library, the CSO’s Ascent Series Sponsor. The CSO is gratefulWest Chesterto Minnillo & Jenkins, LLP, this weekend’s Artist Sponsor. European-American The CSO is grateful to , this weekend’s Concert Sponsor. Chamber of Commerce Skirball ChemedMuseum Corporation M MINNILLO Findlay& J ENK MarketINS Classical Conversations are endowed by Melody Sawyer Richardson. CO . LPA,ATTO RNEY S AT L AW WGUC is the MediaOCOS Partner 2013 for these SCHOOL concerts. PARTNERSHIPS (NON-COLLEGE) The Cincinnati Symphony Orchestra is grateful for the thousands of people who give generously to the ArtsWave Community Campaign. Steinway Pianos, courtesy of Willis Music, is the official piano Walnutof the Cincinnati Hills High Symphony School Orchestra and Cincinnati Pops. These concerts will end at approximately 9:30 pm. Forest Hills School District 90.9 WGUC will broadcast this concert March 12, 2017, 8 pm. Loveland High School

The great crusader for freedom and friend of the CSO, Maya Angelou once wrote: “I long, as does every human being, to be at home wherever I find myself.” This year’s One City, One Symphony considers the idea of Home in all its myriad connotations. The CSO is blessed to be woven into the rich cultural fabric of our home, Cincinnati. In addition to wonderful music by Leonard Bernstein and Aaron Copland (both regular visitors to Cincinnati during their respective lifetimes), this rich and varied program features former CSO Creative Director Branford Marsalis performing John Williams’ inventive Escapades, as well as a world premiere by Cincinnati-based composer Michael Fiday. —Louis Langrée

LEONARD BERNSTEIN conducting; this work also appeared on the CSO’s most Overture to Candide recent LUMENOCITY program in August of 2016. n Duration: approx. 5 mins. n Born: August 25, 1918, Lawrence, Massachusetts Died: October 14, 1990, New York City François Marie Arouet de Voltaire (1694–1778) was n Work composed: 1956 the leading figure of the French Enlightenment and n Premiere: October 29, 1956 in Boston one of the 18th century’s most vitriolic intellectual n Instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, iconoclasts. He railed throughout his long career E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, against absolutism and persecution and dogma- 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass tism, extolling rationalism and skepticism as the drum, cymbals a2, glockenspiel, snare drum, tenor drum, proper foundations for human society. Among the triangle, xylophone, harp, strings n CSO subscription performances: Five previous best-known of his vast number of writings is the subscription weekends, plus several performances on Pops, “philosophical novel” Candide of 1759, a swift and regional and youth concerts as well as the CSO’s 2009 pointed satirical finger in the eye of unthinking con- Asian tour and 1969, 1995 and 2001 European tours | vention that flattens the notion that “this” (whenever Premiere: January 1962, Haig Yaghjian conducting | and wherever “this” is) is “the best of all possible Most recent: September 1997, Jesús Lopez-Cóbos worlds.” One such less-than-best world was created in the United States in the early 1950s by Senator

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58 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: NOV 25–26

Joseph McCarthy, whose ideological witch-hunt have joined hands transforming Voltaire’s Candide targeted some of the country’s most creative and into a really spectacular disaster,” wrote Walter Kerr independent personalities. Among those who bein the New York Herald Tribune.) Bernstein’s music, came ensnared in McCarthy’s machinations was the however, received nothing but praise, which Guthrie writer Lillian Hellman, who had visited Russia in the neatly summarized in his autobiography: “Bernstein’s 1930s and been involved with Communist activities facility and virtuosity are so dazzling that you are during the following decade. In 1951, her lover, the almost blinded—if ever I have seen it, the stuff of mystery writer Dashiell Hammett, was called before genius is here.” Though the show closed after just the congressional committee, refused to answer its 73 performances, Godard Lieberson of Columbia questions, and was sentenced to prison. Hellman Records produced a splendid original cast album that was subpoenaed, wrote to the committee that she won for Candide, or at least for Bernstein’s score, an would testify about her politics but no one else’s, inextinguishable following. and was allowed to remain silent, though she was An occasional brave production was mounted dur- blacklisted for a time by Hollywood. She vented her ing the following years, but it was not until director rage in an anti-establishment adaptation of The Lark Harold Prince took the piece in hand in 1973, stripped by Jean Anouilh, based on the story of Joan of Arc, for it of Hellman’s proselytizing text and gave it a riotous which the young composer and conductor Leonard new book by Hugh Wheeler based more faithfully Bernstein supplied the incidental music. Hellman’s on Voltaire’s novel (and with additional lyrics by next artistic reaction to her political harassment was Stephen Sondheim) that Candide at last became a a theatrical rendering of Voltaire’s Candide. popular success, though at the expense of the loss or Lillian Hellman conceived a contemporary stage reshuffling of some of Bernstein’s music as well as the version of Candide as early as 1950, but it was not submerging of the dramatic structure and ethical core until 1956 that the project materialized. She origi- of the original work. In 1982, the brilliant and eclectic nally intended the piece to be a play with incidental conductor John Mauceri, a Bernstein protégé, revised music, which she asked Bernstein to compose, but Candide for performance at the New York City Opera, his enthusiasm for the subject was so great after restoring several cuts, enlarging the orchestration and re-reading Voltaire’s novel that the venture swelled reworking Wheeler’s book into the conventional two into a full-blown comic operetta; Tyrone Guthrie acts. For a Scottish Opera production in 1988, Mauceri was enlisted as director and Richard Wilbur wrote prepared with John Wells yet another version of most of the song lyrics (after that task had passed Candide, which included virtually all of the music through several other hands). Candide was first seen Bernstein had written for the show over the years in a pre-Broadway tryout at Boston’s Colonial The- and reassigned numbers to their original intended atre on October 29, 1956 (just days after Bernstein’s characters and situations. Bernstein used this Scottish appointment as co-music director of the New York Opera version, with a few additional revisions and Philharmonic had been announced for the following restorations, for his London concert performances season), and opened at the Martin Beck Theatre in and his Deutsche Grammophon recording in 1989, New York on December 1. Reviews in both cities were just a year before his death. Candide, like its title mixed. All agreed that the production, designed by character, had made a long journey before reaching Oliver Smith, was opulent and attractive, but that the its settled state. show itself was disjointed and clumsy. (“Three of the The Overture to Candide was taken almost imme- most talented people our Theatre possesses—Lillian diately into the concert hall—Bernstein conducted Hellman, Leonard Bernstein and Tyrone Guthrie— it with the New York Philharmonic only six weeks

WHAT TO LISTEN FOR: n The playful energy of Leonard Bernstein’s Candide Overture (which was also featured on this past year’s LUMENOCITY performance). n The world premiere of a new work by Michael Fiday, a Cincinnati-based composer and professor at the University of Cincinnati College-Conservatory of Music. n The gorgeous finale of Copland’s Suite from The Tender Land, appropriately titled “The Promise of Living.”

QUESTIONS TO DISCUSS ON THE WAY HOME: n This program is part of the CSO’s One City, One Symphony initiative, focusing on the theme of Home. Home can mean many different things to different people. What does Home mean to you? n In this holiday season, what aspects of your Home are you thankful for?

cincinnatisymphony.org | FANFARE CINCINNATI | 59 PROGRAM NOTES: NOV 25–26 after the play opened on Broadway—and it has n CSO subscription performances: CSO premiere remained one of the most popular curtain-raisers in n Duration: approx. 11 mins. the orchestral repertory. Its music, largely drawn from Copland composed his first film music for The City, the show, captures perfectly the wit, brilliance and a documentary produced for the 1939 New York slapstick tumult of Voltaire’s novel. The group of first World’s Fair by Pare Lorenz, the American director themes (the work is disposed, like many of Rossini’s most widely known for The Plow That Broke the Plains overtures, in sonatina form) comprises a boisterous (1936) and The River (1937), to which Virgil Thomson fanfare, a quicksilver galop, and a brass proclamation, contributed two of his finest and most characteristic used later in the show to accompany the destruction scores. The City caught the attention of producer Hal of Westphalia, the hero’s home. Lyrical contrast is Roach when he saw the film in Hollywood, and he provided by a broad melody from the duet of Candide and director Lewis Milestone settled on Copland as and his beloved Cunegonde, “Oh, Happy We.” These the appropriate composer to score their film version musical events are recounted, and the Overture ends of Of Mice and Men, John Steinbeck’s powerful and with a whirling strain from Cunegonde’s spectacular controversial novel about life on a California ranch. coloratura aria, “Glitter and Be Gay.” Copland flew from New York to California in October —Dr. Richard E. Rodda 1939, and his arrival created a stir on both coasts: the Hollywood people congratulated themselves AARON COPLAND on getting such a high-toned composer involved in Our Town, Music from the Film Score their venture; the East Coast concert establishment n Born: November 14, 1900, Brooklyn, New York worried that Copland might be slipping from serious Died: December 2, 1990, North Tarrytown, New York composition into the lucrative maw of commercial n Work composed: 1940 filmmaking. Copland finished the score in less than n Premiere: June 9, 1940 in New York City, conducted six weeks, and Of Mice and Men was premiered at by Howard Barlow a glamorous Hollywood opening night on Decem- n Instrumentation: 3 flutes, 2 oboes, English horn, ber 22, 1939. 3 clarinets (incl. bass clarinet), 2 bassoons, 3 horns, 3 trumpets, 2 trombones, tuba, glockenspiel, strings Copland returned briefly to New York, but he was back in Hollywood in March and April 1940 to

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60 | FANFARE CINCINNATI | cincinnatisymphony.org Presented by Supported by INSPIRE SUPPORT ACT Cincinnati Magazine announces Cincinnati Gives, an unprecedented online fundraising challenge designed to raise awareness and funds for philanthropic organizations in Cincinnati this November 29 – December 27, 2016.

Visit crowdrise.com/cincinnatigives to donate to Cincinnati charities in need. PROGRAM NOTES: NOV 25–26 compose the score for producer Sol Lesser’s screen the simple beauties and truths of humble folks as adaptation of Thornton Wilder’s 1938 Pulitzer Prize- very few pictures ever do; it is rich and ennobling in winning play, Our Town. “I welcomed the opportu- its plain philosophy—and it gives one a passionate nity,” wrote Copland in his autobiography. “With desire to enjoy the fullness of life even in these good the threat of impending war, the atmosphere was old days of today.” Buoyed by his early successes, one of nervousness and insecurity.... Composers as Copland returned several times to the film medium well as writers and artists were drawn to patriotic and in later years, writing scores for The North Star (1943, nostalgic themes, and the American public, fearing by Lillian Hellman), The Cummington Story (1945, a the violence to come, was comforted by works like documentary about rural New England life produced Wilder’s Our Town, which looked back at an America by the United States Office of War Information),The of simple, homespun values that seemed to have been Red Pony (1948, Steinbeck), The Heiress (1948, based lost.” Copland was also drawn to the project because on Henry James’ novel Washington Square; Copland Wilder had written his play at the MacDowell Colony won an Academy Award for his music) and Something in Peterborough, New Hampshire, which he used as Wild (1961, adapted from Alex Karmel’s novel Mary the model for the small town of “Grover’s Corners,” Ann by director Jack Garfein). the setting of the drama—Copland had also spent By the time Our Town had its official opening, in many happy summer months at the Colony, and Boston on May 24, 1940, Copland had hastily worked knew Peterborough well. In creating the atmosphere about 10 minutes of its score into an orchestral piece, for Wilder’s New England town, Copland employed which the Columbia Broadcasting Symphony Orches- what he called “a kind of musical naturalness” which, tra played under the direction of Howard Barlow on like Wilder’s characters, is plain and straightforward June 4. Copland later prepared what he called “a more and devoid of frills and small-mindedness, yet richly careful version” of the suite, which Leonard Bernstein evocative and deeply moving. When the film opened introduced at a Boston Pops concert on May 7, 1944. in June 1940, Bosley Crowther wrote in The New York This definitive version includes three sequences from Times, “We hesitate to use superlatives, but of Our the film: the title music, scenes in the churchyard, and Town the least we can say is that it captures on film daily life in Grover’s Corners. —Dr. Richard E. Rodda

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62 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: NOV 25–26

MICHAEL FIDAY Three for One n Born: March 10, 1961, Joliet, Illinois n Work composed: 2016 n Premiere: This weekend’s performances mark the work’s world premiere n Instrumentation: 3 flutes (incl. piccolo), 3 oboes, 3 clarinets, 3 bassoons (incl. contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano, harp, strings n Duration: approx. 12 mins.

In an interview during his residency at the MacDowell Composer Michael Fiday Colony in Peterborough, New Hampshire during the summer of 2010, Michael Fiday vividly recounted Fiday began to answer that question by trying to his introduction to classical music, a testament to the write a few of his own pieces and beginning violin efficacy of music education in the schools: lessons with a man he said was a “very inspiring This happened in 5th grade growing up in teacher who encouraged me to take formal studies Colorado, when our general music teacher, Mrs. in composing.” He did, at the University of Colorado Hebert, played a recording of Edvard Grieg’s In (with Richard Toensing) for his baccalaureate, at the the Hall of the Mountain King for the class. I was University of Pennsylvania (with George Crumb, Jay very excited by what I heard, and left school that Reise and Richard Wernick) for his master’s degree day with the conviction that “I was going to be a and doctorate, and at the Royal Conservatory in The composer.” I went to the nearest department store, Hague on a Fulbright Grant. Fiday then taught at found a little music paper notebook, went home, West Chester University in Chester, Pennsylvania opened up the booklet, saw these mysterious groups of five lines and said…“Wait a minute… and at Temple University before joining the faculty of What do I DO with this?” the University of Cincinnati College-Conservatory of Music (CCM) in 2002, where he has served as teacher

BRAHMS FEST CONTINUES! Get inspired with Louis Langree's exploration of the masterful music of Johannes Brahms as we connect you to the musical roots of the Orchestra and our city.

JAN 5 & 7 • Taft Theatre featuring Symphony No. 4

JAN 6 • Christ Church Cathedral CSO Chamber Players featuring Serenade No. 1

APR 14-15 • Taft Theatre featuring Piano Concerto No. 2 and Symphony No. 3

MAY 12 • Christ Church Cathedral CSO Chamber Players featuring Clarinet Quintet

cincinnatisymphony.org/brahmsfest

cincinnatisymphony.org | FANFARE CINCINNATI | 63 PROGRAM NOTES: NOV 25–26 of composition and orchestration and as department “Each of the movements centers on or emanates chair, directed the CCM New Music Ensemble, devel- from a specific orchestral choir: the woodwinds in oped collaborative multimedia workshops and classes movement I, strings in movement II, and brass (es- with other departments, and pecially horns) in movement received several grants and Michael Fiday: “I am humbled III. While each movement awards. His compositions, by the opportunity to write inhabits a consistent and which include works for distinct expressive space— orchestra, dance and diverse for the Cincinnati Symphony the first giddy and strident, chamber ensembles, have Orchestra on this occasion: an the second meditative and been performed by the At- incredibly wonderful ensemble elegiac, the third bright lanta Symphony, American and propulsive—they all Composers Orchestra, Oak- whose sound I’ve come to emanate from the same har- land East Bay Symphony, know well these past 14 years, monic source/game, which Percussion Ensemble of The explores the variety of ways Hague, pianists James Tocco and many of whose members I in which notes can be added and Marc-André Hamelin, count as close friends.” to the interval of a perfect electric guitarist Seth Josel, fifth to form a spectrum of and other noted artists and ensembles. Michael harmonies ranging from dark to light. Fiday is the recipient of numerous awards, grants “Each movement bears a title that gives clues into and residencies from, among others, BMI, ASCAP, how it is put together and/or plays out in time. In American Composers Forum, Virginia Center for the starting over, a manically optimistic yet conflicted Creative Arts, Yaddo, Headlands Center for the Arts figure in the woodwinds feigns forward motion and Ohio Arts Council. before stopping abruptly, repeating the process a Michael Fiday wrote, “Three for One is a collection of total of three times, each time advancing further three character sketches composed especially for the towards some sort of resolution. presence/absence is Cincinnati Symphony Orchestra to be premiered on essentially a four-voice chorale in which the chords their One City, One Symphony concert in November in the strings build and dissipate one note at a time, of 2016.

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64 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: NOV 25–26 much like the steady ebb and flow of a wave. twitter Close Encounters of the Third Kind, Superman, Home simply refers to the constant propulsive 16th-note Alone, The Witches of Eastwick, Schindler’s List and energy that pervades the last movement, particu- Saving Private Ryan. His recent projects include the larly when it ascends into the higher register of the Harry Pottermovies, Memoirs of a Geisha, Munich, War woodwinds. The second movement in particular of the Worlds, Minority Report, Catch Me If You Can, (presence/absence) is dedicated to Richard Toensing, The Adventures of Tin-Tin and Lincoln. Williams has an important teacher, mentor and friend who passed received 50 Academy Award nominations (the most away two summers ago. of any living person and second only to Walt Disney) “I am humbled by the opportunity to write for the and has won five Oscars, 22 Grammys, four Golden Cincinnati Symphony Orchestra on this occasion: an Globes and four Emmys, as well as numerous gold incredibly wonderful ensemble whose sound I’ve and platinum records. The original soundtrack album come to know well these past 14 years, and many of from Star Wars has sold nearly five million copies, whose members I count as close friends.” more than any non-pop album in recording history. —Dr. Richard E. Rodda In addition to his film music, Williams has written many concert pieces, including two symphonies as JOHN WILLIAMS well as concertos for violin, cello, flute, clarinet, bas- Escapades for Alto Saxophone from Catch Me soon, tuba, horn, saxophone and trumpet. For the If You Can 350th anniversary of the city of Boston, he composed the Jubilee 350 Fanfare; for the Boston Pops, he wrote n Born: February 8, 1932, Flushing, New York the Esplanade Overture and Pops on the March. In 1986, n Work composed: 2002–2003 he wrote the Statue of Liberty March for the celebrations n Premiere: Premiered on July 12, 2003 in Washington, D.C. by the United States Marine Band conducted by marking the centenary of that national monument. the composer and Staff Sergeant Gregory Ridlington He was among the 21 composers who contributed as soloist; orchestral premiere given on June 6, 2003 fanfares to the Houston Symphony Orchestra’s cel- in Pittsburgh, conducted by the composer with Mark ebration of the Texas Sesquicentennial in 1986. His Ortwein as soloist. additional concert works include the Essay for Strings, n Instrumentation: solo alto saxophone, 3 flutes (incl. the official themes of the 1996 Summer Olympics piccolo), 2 oboes (incl. English horn), 3 clarinets (incl. (Summon the Heroes) and the 2002 Winter Olympics 2 bass clarinets), tenor saxophone, 2 bassoons (incl. (Call of the Champions), and numerous chamber pieces. contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, bell tree, chimes, glockenspiel, Williams composed Air and Simple Gifts for Clarinet, marimba, sleigh bells, suspended cymbals, tambour de Cello and Piano for the inauguration ceremony of basque, triangle, vibraphone, xylophone, harp, celeste, Barack Obama as President of the United States on piano, strings January 20, 2009. n CSO subscription performances: CSO subscription From 1980 to 1993, Williams served as conductor of premiere the Boston Pops. In addition to leading that orchestra n Duration: approx. 14 mins. in Boston, on tours across the country and abroad, John Williams is one of America’s most widely known and in many recordings, he has also appeared as composers. Born in New York in 1932, he moved with guest conductor with major orchestras in London, his family when he was 16 to Los Angeles, where his Cleveland, Chicago, Pittsburgh, Philadelphia, Hous- father was active as a studio musician. After serving ton, Toronto, Los Angeles and elsewhere. Williams in the Air Force, Williams returned to New York in holds 20 honorary degrees, including those from 1954, working there as a jazz pianist in clubs and on the Juilliard School, Boston College, Northeastern recordings while attending the Juilliard School. He University, Tufts University, Boston University, New subsequently moved back to Los Angeles to enroll at England Conservatory, University of Massachusetts, UCLA and study privately with Mario Castelnuovo- Eastman School and Oberlin College. On June 23, Tedesco. By the early 1960s, he was composing music 2000, he was the first person inducted into the Hol- for feature films and television, as well as working lywood Bowl Hall of Fame. On New Year’s Day 2004, as a pianist, arranger and conductor for Columbia he served as the Grand Marshal of the Rose Parade Records. His music began to receive wide recognition in Pasadena, and the following December he was during the 1960s, when he won Emmys for his scores awarded a Kennedy Center Honor, America’s highest for the television movies Heidi and Jane Eyre. award for artistic achievement. In June 2006, Williams Williams has since composed music and served received the prestigious Golden Baton Award for as music director for more than 300 movies and Lifetime Achievement from the League of American television shows, including all of the Star Wars and Orchestras; in 2010, he was awarded the National Indiana Jones films, Jaws, E.T.: The Extra-Terrestrial, Medal of Arts at the White House.

cincinnatisymphony.org | FANFARE CINCINNATI | 65 PROGRAM NOTES: NOV 25–26

John Williams called Catch Me If You Can (2002) a AARON COPLAND “delightful departure” for director Stephen Spielberg. Suite from The Tender Land The film, based on a true story, tells of the precocious n Work composed: 1952–1954 Frank Abagnale, Jr. (played by Leonardo DiCaprio), n Premiere: April 1, 1954, New York City who drops out of high school and within a few years n Instrumentation: 2 flutes, piccolo, oboe, English horn, poses as a Pan Am pilot, a pediatrician and an at- 2 clarinets (incl. bass clarinet), 2 bassoons, 4 horns, 3 torney, and passes $4,000,000 in bad checks before trumpets, 3 trombones, tuba, timpani, bass drum, cymbals fleeing to France and being extradited, tried and a2, orchestra bells, ratchet, slapstick, snare drum, triangle, jailed through the persistent pursuit of dour FBI agent wood block, xylophone, harp, celeste, piano, strings Carl Hanratty (Tom Hanks). Despite Frank’s many n CSO subscription performances: One previous encounters, his only emotional attachment is with his subscription weekend, December 1968, Max Rudolf conducting (“Party Scene” only, October 2002, John father (Christopher Walken), whose wife left him and Adams conducting) whose financial difficulties his son tries to ease with n Duration: approx. 19 mins. his schemes. “The film is set in the now nostalgically tinged 1960s,” wrote Williams, “and so it seemed to The Tender Land, Aaron Copland’s only full-scale me that I might evoke the atmosphere of that time opera, was composed in 1954 on a commission by writing a sort of impressionistic memoir of the from Richard Rodgers and Oscar Hammerstein II to progressive jazz movement that was then so popular. celebrate the 30th anniversary of the League of Com- The alto saxophone seemed the ideal vehicle for this posers. Copland wrote of The Tender Land, composed expression and the three movements of this suite are in his distinctive American idiom, “The opera takes the result. In Closing In, we have music that relates place in the Thirties, spring harvest time. It’s about a to the often humorous sleuthing that took place in the farm family—a mother (Ma Moss), a daughter (Lau- story. The following movement, Reflections, refers to rie) about to graduate from High School, her sister the fragile relationships of Abagnale’s broken family. (Beth), and a grandfather (Grandpa Moss). Two drift- Finally, in Joy Ride, we have the music that accom- ers (Martin and Top) come along asking for odd jobs. panied Frank’s wild flights of fantasy that took him The grandfather is reluctant to give them any, and around the world before the law finally reined him in.” the mother is alarmed because she’s heard reports of —Dr. Richard E. Rodda two men molesting young girls of the neighborhood. Nevertheless, they sleep in the shed for the night. The graduation party begins the second act. The heroine has naturally fallen in love with one of the drifters. And they prove it by singing a 12-minute love duet. SUPPORT YOUR But there is something of a complication. You see, she associates him with freedom, and he associates her ORCHESTRA! with settling down. Martin asks Laurie to run away Ticket sales only cover 53% of with him, but in the middle of the night he decides our costs — your generosity that this kind of roving life is not for Laurie, so he provides the rest! silently steals off with Top. When Laurie discovers she’s been jilted, she decides to leave home anyway, Make your contribution online and at the conclusion, the mother sings a song of ac- at cincinnatisymphony.org ceptance that is the key to the whole opera. In it she or call Pamela at looks to her younger daughter as the continuation 513.744. 3239 of the family cycle that is the whole reason for their existence.” The Suite consists of the introduction to Act III, the love duet, the party scene from Act II, and the quintet The Promise of Living, which closes Act I. —Dr. Richard E. Rodda

66 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTIST: Nov 25–26

BRANFORD MARSALIS, as the Chicago, Detroit, Düsseldorf saxophonist and North Carolina symphonies n Previous CSO Performances: and the Boston Pops, with a growing Marsalis previously served as a CSO repertoire that includes compositions Creative Director during the 2012–13 by Debussy, Glazunov, Ibert, Mahler, season. He performed on a subscription Milhaud, Rorem and Vaughan Wil- program in November of 2012, as well liams. Making his first appearance as at the March 2013 Classical Roots concert. with the New York Philharmonic in n Noteworthy: Marsalis composed the summer of 2010, Marsalis was original music for a Broadway revival again invited to join them as soloist of August Wilson’s Fences, for which in their 2010–11 concert series, where he garnered a Drama Desk Award and he unequivocally demonstrated his a Tony nomination. He has recorded versatility and prowess, bringing “a Williams’ Escapades on his CD gracious poise and supple tone… and American Spectrum (Bis). an insouciant swagger” (New York n Read more: BranfordMarsalis.com Branford Marsalis, © Palma Kolansky Times) to the repertoire. In 2013, he NEA (National Endowment for the Arts) Jazz Mas- served as Creative Director for the Ascent Series of ter, renowned Grammy Award‐winning saxophon- the Cincinnati Symphony Orchestra, which included ist and Tony Award nominee Branford Marsalis two week‐long residencies as well as a number of is one of the most revered instrumentalists of his concerts with the CSO. Whether on the stage, in the time. Leader of one of the finest jazz quartets today, recording studio, in the classroom or in the com- and a frequent soloist with classical ensembles, munity, Branford Marsalis embodies a commitment Branford has become increasingly sought after as to musical excellence and a determination to keep a featured soloist with such acclaimed orchestras music at the forefront. n

Q&A with Branford Marsalis

Fanfare Cincinnati: The erywhere else. When I’m playing symphonic music, work you’ll be perform- I am reacting to what the orchestra is playing, as ing, John Williams’ Es- opposed to merely starting when it’s my turn to start, capades from Catch Me and stopping when I’m required to stop. I’ve been If You Can, is essentially told that my downbeat is slightly different than the a movie score turned sax standard classical musician. I think the space between concerto. What are some my notes is slightly wider, which creates a different insights the audience effect than many would be accustomed to. should listen for? Have Photo: Roger Thomas you performed this work FC: What other projects are on the horizon for you? before? BM: I tend to focus on the present more than the fu- Branford Marsalis: The only recognizable parts from ture. I see myself as perpetually preparing for the next the movie are the initial melodies in the 1st and 3rd thing, as opposed to trying to create the next thing. movements. Otherwise, there are few things the audience would be familiar with. I’ve played the FC: The CSO’s mission statement is “To Seek and Share piece many times, and look forward to playing it Inspiration.” Where do you seek, find and share inspiration, with the CSO. musically or otherwise? BM: I do not try to seek or find inspiration. It finds FC: How has your background as a jazz musician in- me. My job is to prepare for the possibility of being fluenced the way you approach music in an orchestral/ surprised; that way I don’t feel the need to double symphonic setting? down on what I already know. It is important for us to BM: I think my being a New Orleans jazz musician share how we feel about the music with the audience. has more influence than the modern jazz musician. I hope that I can accomplish that when I’m playing New Orleans guys hear more music than they can with the CSO. n describe technically, and it’s often the opposite ev-

cincinnatisymphony.org | FANFARE CINCINNATI | 67

BOARDS

BOARD OF DIRECTORS (as of September 1, 2016) Officers Randi S. Bellner Marvin Kolodzik James B. Reynolds* Francie S. Hiltz, Chair Paul M. Booth Peter E. Landgren Sandra Rivers Otto M. Budig, Jr., Trish Bryan* Tad Lawrence Jack Rouse Treasurer and Vice-Chair of Finance Harold Byers Wendy S. Lea Ann H. Santen Robert W. McDonald, Secretary Myra Chabut Spencer Liles* Pamela Schmitt Dianne Dunkelman, Christopher C. Cole Edyth B. Lindner* Dennis L. Schoff Vice-Chair of Volunteerism Peter G. Courlas Patricia Gross Linnemann Pamela Scott Thomas Charles Garber, Alvin H. Crawford, M.D. Mark Luegering Edgar L. Smith, Jr. Vice-Chair of Facilities Dennis W. Dern Timothy J. Maloney Thomas Stegman * Dianne M. Rosenberg, Shaun Ethier bruce d. mcclung William D. Stenger Vice-Chair of Leadership Development Mrs. Charles Fleischmann III* Bernard L. McKay Ken L. Stone Rosemary Schlachter, Susan S. Friedlander* Sue McPartlin Theodore W. Striker, M.D. Vice-Chair of Patron Development Jane Garvey Anne Mulder Randolph L. Wadsworth, Jr.* James E. Schwab, Immediate Past Chair L. Timothy Giglio Elizabeth Reitz Mullenix Patricia Wagner Sheila J. Williams, Joseph W. Hagin Stephen R. Mullin Nancy Walker* Vice-Chair of Community Engagement Carol C. Hake Christopher Muth Geraldine B. Warner Patti Heldman Eric V. Oliver Warren Weber Directors Joseph W. Hirschhorn* Marilyn J. Osborn Diane West Jessica C. Adelman Sandra F.W. Joffe Thanh T. Pham Stacey G. Woolley Lars C. Anderson Lois Jolson J. Marvin Quin II* Honorable Tyrone K. Yates Kathleen Barclay Peter E. Koenig Thomas H. Quinn, Jr. Shau Zavon *Director Emeritus

n BOARD OF OVERSEERS (as of September 1, 2016) The Board of Overseers are devotees of classical music and all things Orchestra related. With annual gifts of $5,000 or more for an individual and $7,500 or more for an organization, donors gain unique access to the people who make the music happen and a behind-the-scenes view into the workings of the Orchestra. To learn more about becoming a member, contact Rachel Kirley in the Philanthropy Department, 513.744.3291.

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

cincinnatisymphony.org | FANFARE CINCINNATI | 69 NOVEMBER 2016 Who’s a Group? You’re a Group!

The Cincinnati Symphony Orchestra and Cincinnati Pops are pleased to welcome the following groups to concerts this month: • Discover our specially priced tickets for groups of 10 or Pops, Nov 4–6 Lollipops Family Concert, Nov 19 more! Anderson Senior Center CCM Preparatory Department • Find out how you can Berkeley Square Girl Scout Troop 49875 Howard Financial Fairview-Clifton German orchestrate a profitable Seasons Retirement Community Language School fundraising event Kindermusik by Cathy Siebert for your local organization. Little Songbird Music Studio CSO, Nov 11–13 Miss Nancy’s Musikgarten Contact CSO Group Sales: Barrington of Oakley Pianimals Kids Club Cedar Village 513.744.3590 or Christian Village at Mason csogroupsales.org Maple Knoll CSO, Nov 25–26 Otterbein Retirement Community UC International Seasons Retirement Community The Kenwood Senior Living Center The Knolls of Oxford Twin Lakes at Montgomery Wyoming High School

70 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT

2016–2017 SPONSORS The Cincinnati Symphony Orchestra and the Cincinnati Pops sponsors are an integral part of the Orchestra’s vibrant performances whether supporting a series, a concert or an artist. For information on becoming a sponsor, contact Sarah Anne Slaby at 513.744.3371. We are proud to be partners with the following organizations:

PLATINUM BATON CIRCLE ($50,000+)

Tom & Molly Garber

Anonymous Thomas J. Emery Memorial

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

GOLD BATON CIRCLE ($25,000–$49,999)

The Cincinnati Symphony Club

Sue Friedlander Ann & Gordon Mr. Mace C. Justice The Patricia Kisker Getty Foundation Foundation

Jeffrey & Jody Lazarow Ohio Valley The Ladislas & and Janie & Peter Schwartz Mr. Daniel R. Lewis MusicNOW Family Fund of the Greater Foundation, Fifth Vilma Segoe Family Cincinnati Foundation Third Bank, Agent Foundation

CONDUCTOR’S CIRCLE ($10,000–$24,999)

Rosemary and Crosset Family Mrs. Thomas R. Mr. & Mrs. Robert L. Frank Bloom Fund Davidson Lawrence

The August A. Rendigs, Jr. and The John C. Anne Heldman Marvin P. Kolodzik Anne Lawrence The Daniel & Susan Helen J. Rendigs Foundation, Griswold Foundation Pfau Foundation W. Roger Fry, Trustee, and the firm of Rendigs, Fry, Kiely & Dennis Rosemary and Mark William D. The Sutphin Family The Wohlgemuth The Eric B. Yeiser Family Schlachter Stenger Foundation Herschede Foundation Foundation

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

Queen City (OH) Chapter M MINNILLO & J ENKIN S CO . LPA,ATTO RNEY S AT L AW

The Willard & Louis D. Bilionis & Dr. and Mrs. The Dehan James M. Ewell Jean Mulford YOT Full Circle Surgery Ann Hubbard John E. Bossert Family Foundation Charitable Fund Foundation

ARTIST’S CIRCLE ENCORE CIRCLE Clark Schaefer Hackett Delta Dental $3,000–$4,999 $2,500–$2,999 The ASCAP Foundation The Amphion Foundation EY Paul and Cynthia Booth, COBCO Enterprises LLC Hightowers Petroleum Co. CE Power Solutions The J.M. Smucker Company Cincinnati USA Convention and Visitors Bureau Ohio CAT RiskSource Clark-Theders

cincinnatisymphony.org | FANFARE CINCINNATI | 71 FINANCIAL SUPPORT 2016–2017 Sponsors, cont. ARTSWAVE Partners ArtsWave provides significant support to the Orchestra. The CSO and Pops thanks all who generously participate in the ArtsWave Campaign, including employees at the following partner companies. PP&G Fifth Third Bank and the Fifth Third Bank Foundation NOVEMBER 2016 GE ArtsWave Partners | The Kroger Co. The Cincinnati Insurance Great American Insurance Group: Macy’s, Inc. Western & Southern Financial Companies: Pops, Nov. 4–6 CSO, Nov. 18–19 Cincinnati Bell U.S. Bank Toyota Motor Engineering & Ohio National Financial Services: Cincinnati Children’s Hospital Medical Center Manufacturing North America, Inc.: CSO, Nov. 25–26 The Cincinnati Insurance Companies Toyota Motor Engineering & Manufacturing CSO, Nov. 11–13 North America, Inc. Great American Insurance Group Ohio National Financial Services Duke Energy PNC Frisch’s Restaurants Convergys Corporation Enquirer Media

PERMANENT ENDOWMENTS Endowments provide stability for the Orchestra, help us attract and retain world-class musicians, and allow us to concentrate on fulfilling our core mission to seek and share inspiration. We extend our deep gratitude to the donors who have provided permanent endowments to enrich lives today and in perpetuity. For more information about endowment gifts, contact Ron Cropper at 513.744.3365. 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 Irene & John J. Emery Chair Eleanora C. U. Alms Trust, Fifth Third Bank, Trustee Excellence+ James M. Ewell Chair Rosemary and Frank Bloom Endowment Fund*+ Jean K. Bloch Music Library Fund Susan S. & William A. Friedlander Chair+ Cincinnati Bell Foundation Inc. Cora Dow Endowment Fund Charles Gausmann Chair Mr. & Mrs. Val Cook Corbett Educational Endowment** Susanne and Philip O. Geier, Jr. Chair+ Nancy & Steve Donovan* Belmon U. Duvall Fund Emma Margaret & Irving D. Goldman Chair Sue and Bill Friedlander Endowment Fund*+ Ewell Fund for Riverbend Maintenance Charles Frederic Goss Chair Mrs. Charles Wm Anness*, Linda & Harry Fath Endowment Fund David G. Hakes & Kevin D. Brady Chair Mrs. Frederick D. Haffner, Ford Foundation Fund Dorothy & John Hermanies Chair Mrs. Gerald Skidmore and the Natalie Wurlitzer & William Ernest Griess Josephine I. & David J. Joseph, Jr. Chair La Vaughn Scholl Garrison Fund Cello Fund Lois Klein Jolson Chair Fred L. & Katherine H. Groll Fund for Fred L. & Katherine H. Groll Trust Harold B. & Betty Justice Chair Musical Excellence Music Director Fund for Excellence Marvin Kolodzik Chair+ Fred L. & Katherine H. Groll Fund for Great Artists Josephine I. & David J. Joseph, Jr. Al Levinson Chair Fred L. & Katherine H. Groll Trust Pianist Fund Scholarship Fund Patricia Gross Linnemann Chair+ The Carol Ann and Ralph V. Haile, Jr./ Richard & Jean Jubelirer & Family Fund* Alberta & Dr. Maurice Marsh Chair U.S. Bank Foundation Endowment Fund Elma Margaret Lapp Trust Laura Kimble McLellan Chair Anne Heldman Endowment Fund** Jésus López-Cobos Fund for Excellence The Henry Meyer Chair Lawrence A. & Anne J. Leser* Mellon Foundation Fund Louise Dieterle Nippert & Louis Nippert Chairs Mr. & Mrs. Carl H. Lindner** Nina Browne Parker Trust Ida Ringling North Chair PNC Financial Services Group Dorothy Robb Perin & Harold F. Poe Trust Rawson Chair The Procter & Gamble Fund Rieveschl Fund The Vicky and Rick Reynolds Chair Vicky & Rick Reynolds Fund for Diverse Artists+ Thomas Schippers Fund in Honor of William A. Friedlander+ Melody Sawyer Richardson* Martha, Max & Alfred M. Stern Ticket Fund Donald & Margaret Robinson Chair Rosemary and Mark Schlachter Endowment Fund*+ Mr. & Mrs. John R. Strauss Student Ticket Fund Dianne & J. David Rosenberg Chair+ The Harold C. Schott Foundation, Anna Sinton & Charles P. Taft Fund Ruth F. Rosevear Chair Francie and Tom Hiltz Endowment Fund+ Lucien Wulsin Fund The Morleen & Jack Rouse Peggy Selonick Fund for Great Artists Wurlitzer Season Ticket Fund Associate Principal Timpani Chair+ Dee and Tom Stegman Endowment Fund*+ CSO Pooled Income Fund Emalee Schavel Chair Mr. & Mrs. Joseph S. Stern, Jr. Fund CSO Musicians Emergency Fund Karl & Roberta Schlachter Family Chair for Great Artists Serge Shababian Chair U. S. Bank Foundation* *Denotes support for Annual Music Program Fund Melinda & Irwin Simon Chair+ Sallie and Randolph Wadsworth Endowment Fund+ **Denotes support for the 2nd Century Campaign +Denotes support for the Fund for Musical Excellence

72 | FANFARE CINCINNATI | cincinnatisymphony.org

It’s time for a new identity.

One that tells the story of creativity in Ohio and illustrates it.

Expression is an essential need.

By better illustrating our story, we can better help you express yours.

Complete the story at oac.ohio.gov/identity.

30 EAST BROAD STREET, 33RD FLOOR, COLUMBUS, OHIO 43215-3414 | 614-466-2613

OAC.OHIO.GOV | @OHIOARTSCOUNCIL| #ARTSOHIO FINANCIAL SUPPORT HONOR ROLL OF CONTRIBUTORS The Cincinnati Symphony Orchestra and Cincinnati Pops extends our heartfelt thanks to the donors who support our work, providing nearly one third of the funding needed to bring great music to Cincinnati and the world. You can join our circle of supporters online at cincinnatisymphony.org/give or by contacting Pamela Taylor at 513.744.3239.

PLATINUM BATON Doris M. and Charles B. Levinson Fund * Edward and Susan Castleberry Betsy and Alex C. Young § CIRCLE Linda and James Miller Ms. Geraldine V. Chavez Anonymous (2) Joseph A. and Susan E. Pichler Fund* Michael L. Cioffi Gifts of $50,000 and above Terry and Marvin Quin Peter G. Courlas § The Louise Dieterle Nippert ARTIST’S CIRCLE Irwin and Melinda Simon The Lewis and Marjorie Daniel Foundation Gifts of $3,000–$4,999 Musical Arts Fund Dale and Joyce Uetrecht The Dehan Family Mr. and Mrs. Frederick E. Bryan, III § Stuart and Sarah Aitken Mr. and Mrs. Gregory Waddell Mr. and Mrs. Steve Dessner Mrs. Cecile D. Allyn The Otto M. Budig Family Foundation § Mr. and Mrs. Paul H. Ward § Amy and Trey Devey § Susan Friedlander § Yousef Aouad Gary and Diane West § Mr. and Mrs. Albert C. Dierckes, Jr. Mrs. Thomas S. Benjamin Molly and Tom Garber, CCI Design, Inc. Dianne Dunkelman George L. and Anne P. Heldman Fund* § David and Elaine Billmire CONDUCTOR’S CIRCLE Dr. and Mrs. Carl G. Fischer In Memory of Herbert R. Bloch, Jr. Francie and Tom Hiltz, Harold C. Schott Dr. and Mrs. Harry F. Fry Foundation Gifts of $10,000–$14,999 Mr. and Mrs. Joseph Brinkmeyer § Martha G. Anness § Ms. Jane Garvey Mr. and Mrs. Larry Brueshaber Dr. and Mrs. Stephen Joffe Richard D. Gegner Lois and Dick Jolson Mary Bergstein Janet and Bruce Byrnes Mr. and Mrs. Allan Berliant Dr. Lesley Gilbertson and Dr. and Mrs. Charles O. Carothers Florence and Ron Koetters Dr. William Hurford Mrs. Anne I. Lawrence Louis D. Bilionis and Ann Hubbard Miss Norma L. Clark § Robert and Debra Chavez Clifford J. Goosmann and Mary Ellen and Thomas G. Cody Daniel R. Lewis Andrea M. Wilson Edyth B. Lindner Sheila and Christopher C. Cole Mr. and Mrs. Michael D. Connelly Jodelle S. Crosset Dr. and Mrs. Edward Hake Mr. Stephen J. Daush Marilyn J. and Jack D. Osborn § Mr. and Mrs. Fred Heldman Margaret McWilliams Rentschler Fund* Mrs. Thomas E. Davidson § Jim and Elizabeth Dodd Emory P. Zimmer Insurance Agency Patricia Henley § Betty M. Duncan Ms. Genevieve Smith David C. Herriman Tom and Dee Stegman § Mr. and Mrs. James T. Fitzgerald Mrs. Diana T. Dwight Mr. and Mrs. Michael H. Giuliani Mrs. Harry M. Hoffheimer Jane F. and David W. Ellis Fund* § Mrs. Roy Sweeney Dr. Murray Jaffe Mr. and Mrs. Randolph L. Wadsworth, Jr. § Mr. Joseph Hagin Ann A. Ellison Tom and Jan Hardy § Mr. and Mrs. Lorrence T. Kellar* Marlana and Walter Frank Ginger and David W. Warner Dr. and Mrs. Lionel King Anonymous Mr. and Mrs. Brian E. Heekin Carol S. Friel Mr. and Mrs. Joseph W. Hirschhorn § Michael and Marilyn Kremzar Mr. and Mrs. Otto P. Geier Mark and Tia Luegering GOLD BATON CIRCLE Frank Jordan § Dr. and Mrs. James M. Greenberg Mrs. Thomas Klinedinst, Sr. Dr. and Mrs. Brian A. Mannion Mr. and Mrs. Robert R. Heidenreich Gifts of $25,000–$49,999 Mrs. Anne I. Lawrence Alan Margulies and Gale Snoddy Dr. and Mrs. Robert S. Heidt, Jr. Mrs. Charles Fleischmann Ms. Wendy Lea and Centrifuse Andrew and Jean Martin Drs. Robert C. Hodges and Anthony A. McIntire Mr. Mace C. Justice § Levin Family Foundation Mr. and Mrs. Jonathan McCann Drs. Marcia Kaplan and Michael Privitera Mr. Jeffrey W. Lazarow Whitney and Phillip Long Mr. Robert W. McDonald Takashi and Chiseko Kato Calvin and Patricia Linnemann § Mr. and Mrs. Timothy Maloney Mr. Bernard McKay Mr. and Mrs. Richard Kovarsky Vicky and Rick Reynolds Rhoda Mayerson Mr. James A. Miller Peter E. Landgren and J. David and Dianne Rosenberg § Mrs. Susan M. McPartlin Mr. and Mrs. David A. Millett Judith Schonbach Landgren Moe and Jack Rouse § Dr. and Mrs. John Parlin Mrs. James Monroe § Elizabeth and Terry Lilly Ann and Harry Santen The Daniel & Susan Pfau Foundation Stephen and Kristin Mullin § Mrs. Robert Lippert Mark S. and Rosemary K. Schlachter § Mercer and Gabrielle Reynolds Mr. and Mrs. Christopher Muth § George and Sarah Morrison III Vivian and Jim Schwab Pamela F. Schmitt Arlene Palmer Mr. and Mrs. David W. Motch William D. Stenger Mary S. Stern John and Farah Palmer Mr. Scott Nelson and Dr. Susan Kindel Larry Uhlenbrock Laurence G. Stillpass August A. Rendigs, Jr. Foundation Mr. and Mrs. Robert S. Olson Mrs. Harris K. Weston (Alice) Theodore W. and Carol B. Striker Ellen Rieveschl § John and Francie Pepper* Ms. Anne D. Thomas Elizabeth and Karl Ronn § Mr. John W. Plattner SILVER CIRCLE Tomcinoh Fund* Nancy and Ed Rosenthal Sandra Rivers Gifts of $15,000–$24,999 Mr. and Mrs. James M. Zimmerman Martha and Lee Schimberg Ann Ruchhoft Mr. Anatole Alper Anonymous (2) Jeffrey S. Schloemer and Marcia A. Banker Mr. and Mrs. Thomas R. Ruthman Rosemary H. and Frank Bloom Mike and Digi Schueler Elizabeth Schulenberg Special Fund *§ CONCERTMASTER’S David and Abby Schwartz Mr. and Mrs. William A. Starr Dr. and Mrs. John and Mr. Murray Sinclaire Bunny and Frank Szecskay Suzanne Bossert § CIRCLE Elizabeth C. B. and Paul G. Sittenfeld Sarah Thorburn Dr. and Mrs. Alvin Crawford Gifts of $5,000–$9,999 Mr. and Mrs. Gerald Skidmore § Robert and Audrey Varley § Dennis W. and Cathy Dern Dr. Norita Aplin and Stanley Ragle § Michael and Donnalyn Smith Christopher and Nancy Virgulak Nancy and Steve Donovan Thomas P. Atkins Delle E. Taylor Dr. Barbara R. Voelkel Marjorie Drackett Mr. and Mrs. William T. Bahlman, Jr. § Nancy C. Wagner § Mr. and Mrs. James L. Wainscott Priscilla Garrison Haffner § Mrs. Katy Barclay Patricia M. Wagner § Jim and George Ann Wesner Mrs. Philip O. Geier § Robert L. Bogenschutz Mrs. James W. Wilson, Jr. JoAnn Wieghaus Marvin P. Kolodzik § Chris and Karen Bowman Vance and Peggy Wolverton Anonymous (2)

Guests of PNC with JMR and Edward Kate and Pete Brown enjoy cocktails Francie and Tom Hiltz and their guests with Lang Lang James Olmos following his appearance with prior to the 2016 Orchestra Gala at The and Louis Langrée following Lang Lang’s appearance the Pops in September. Renaissance Hotel. with the CSO on September 21.

cincinnatisymphony.org | FANFARE CINCINNATI | 75 FINANCIAL SUPPORT

Guests of Paycor with Louis Langrée following the Orchestra’s Guests of Paycor with Louis Langrée following the Orchestra’s performance featuring Hilary Hahn on September 23. performance featuring Hilary Hahn on September 24.

ENCORE CIRCLE Mrs. Nicholas Giannestras Dr. Raymond H. Rolwing Chris and Tom Buchert Gifts of $1,500–$2,999 L. Timothy Giglio Marianne Rowe § Donald L. and Kathleen Field Burns Mr. and Mrs. Richard N. Adams Mary and Jack Gimpel James Rubenstein and Bernadette Unger Stephen and Diedra Burns William and Janet Albertson Mrs. Jocelyn Glass James and Mary Russell John Byczkowski Mr. and Mrs. Richard H. Allen John B. Goering Dr. and Mrs. Michael Scheffler Ms. Deborah Campbell § Romola N. Allen § Dr. and Mrs. Glenn S. Gollobin Mr. and Mrs. Peter A. Schmid Shannon and Lee Carter Arne and Sharon Almquist H. Drewry Gores and George Warrington James Schubert Amy and Robert Catanzaro Dr. Victor and Dolores Angel Joseph N. Green Mr. and Mrs. David V. Schwab Mike and Shirly Chaney Dr. Bruce Aronow Mr. and Mrs. Gary Greenberg Pamela Scott Catharine W. Chapman § Ms. Laura E. Atkinson Dr. and Mrs. Jack Hahn Dr. and Mrs. Carl M. Sedacca Leland M. and Carol C. Cole § Mr. and Mrs. Thomas B. Avril Dr. Donald and Laura Harrison Mrs. Mildred J. Selonick § Dr. Margaret Conradi Robert and Janet Banks Mr. John L. Harrison Mrs. Robert B. Shott § Mr. and Mrs. Patrick Cunningham Mr. and Mrs. Robert T. Betz Emma D. Hartkemeier Sue and Glenn Showers Mr. and Mrs. Charles E. Curran III § Rexford and Sharon Bevis Ms. Elizabeth A. Harty William A. and Jane Smith John and Lynne Curtiss Jane Birckhead Irmgard and Horst Hehmann Ellen and Clark Sole Mr. and Mrs. Henry F. Dabek, Jr. Drs. Bennett and Helene Blitzer Mr. and Mrs. John S. Heldman § Jeff and Juddy Solomon Fund* Stephen and Cynthia DeHoff Rebecca Bolce and Keith Wood Dr. Bernard Hertzman Harold and Faye Sosna Robert B. Dick, Ph.D. Mr. and Mrs. John P. Boorn Ms. Janet Hickman Howard and Nancy Starnbach Jeannie Donaldson Cynthia Booth Ruth C. Holthaus Bill and Lee Steenken Shirley and Roy Duff Glenn and Donna Boutilier Elizabeth and Lawrence Hoyt Elizabeth A. Stone Mr. and Mrs. John G. Earls § Dr. and Mrs. William Bramlage In Memory of Benjamin C. Hubbard § Brett Stover § Ms. Ruth Engel Thomas A. Braun III § Doug and Melanie Hynden Patricia Strunk § Hardy and Barbara Eshbaugh Rachelle Bruno and Stephen Bondurant Barbara M. Johnson Ralph C. Taylor § Barbara Esposito-Ilacqua Linda Busken and Andrew M. Jergens § Mr. Timothy Juenke Kathy Teipen Mr. Laughton Fine Anna K. and G. Gibson Carey Don and Kathy King Susan and John Tew Mrs. Nancy Finke Joan Carlin Jeff and Mary Ann Knoop Mr. and Mrs. Ronald Tinklenberg Ashley and Bobbie Ford Paul and Judy Carlson Carol Louise Kruse Mr. William Trach Gregrick A. Frey and Karen L. Frey Tom Carpenter and Lynne Lancaster Rita and Pete LaPresto Nydia C. Tranter § Linda P. Fulton Dr. Julia H. Carter Richard and Susan Lauf Dick and Jane Tuten § Ms. Louise J. Gissendaner Becky and Sam Cassidy Mary Mc and Kevin Lawson Mrs. Ronald F. Walker Dr. and Mrs. Charles J. Glueck Mr. and Mrs. Martin Chambers Philip and Judy Leege Robert and Antoinette Warden Donn Goebel and Cathy McLeod Mrs. Jackson L. Clagett III § Mrs. Jean E. Lemon § Dr. and Mrs. Galen R. Warren Shelley and Steven Goldstein Michael and Minnie Clements Mr. Peter F. Levin § Mr. and Mrs. Warren Weber Ms. Arlene Golembiewski Susan and Burton Closson Drs. Douglas Linz and Ann Middaugh Donna A. Welsch Thomas W. Gougeon Drs. David and Nina Clyne Ms. Merlanne Louney Mary E. West Mr. Don Gray Dr. and Mrs. John M. Collins Mr. and Mrs. Clement H. Luken, Jr. Virginia Wilhelm Lesha and Samuel Greengus Dr. Pearl J. Compaan Jacqueline M. Mack and Sheila Williams and Bruce Smith Kathy Grote § in loving memory of Mr. and Mrs. Richard J. Coomes Dr. Edward B. Silberstein Cathy S. Willis Robert Howes Randy K. and Nancy R. Cooper Mandare Foundation Ronna and James Willis Mr. Louis Guttman Dr. Youssef and Suzanne Costandi Mr. and Mrs. Donald Marshall Gene Wilson William P. Hackman § Robin Cotton and Cindi Fitton David Martin Andrea Wiot William and Joanne Harvey Martha and David Crafts Lynn and Glen Mayfield Mrs. Barbara A. Witte § Deborah Hauger, MD Mr. and Mrs. John A. Crittenden Eleanor S. McCombe Steve and Katie Wolnitzek Mr. and Mrs. Donald L. Henson Drs. Fuheid and Ingrid Daoud Ms. Amy McDiffett Wright Brothers, Inc. Dr. James and Ms. Susan Herman Mr. and Mrs. James Dealy Stephanie McNeill Don and Carol Wuebbling Mr. and Mrs. Stephen Hicks George Deepe and Kris Orsborn Charles and JoAnn Mead Mr. Tyrone K. Yates Karlee L. Hilliard § Red and Jo Deluse Mary Ann Meanwell Dr. and Mrs. Marvyn H. Youkilis Mr. and Mrs. Terence Horan Bedouin and Randall Dennison Miami University College of Creative Arts Mr. and Mrs. Dan Zavon Mr. David Huberfield Jon and Susan Doucleff § Mrs. Patricia Misrach Anonymous (6) Mr. and Mrs. Bradley G. Hughes Mrs. Jack E. Drake Mr. and Mrs. David Moccia § Mr. and Mrs. Michael C. Hughes Patricia Dudsic Mrs. Sally A. More SYMPHONY CIRCLE Mrs. Thomas Huheey Rev. Virginia A. Duffy Judith and David Morgan Gifts of $750–$1,499 Mr. and Mrs. Marshall C. Hunt, Jr. Ms. Maureen Dunne Dr. and Mrs. William H. Newell Mr. and Mrs. James R. Adams § Yuzo and Shinobu Imoto Dr. and Mrs. Stewart B. Dunsker Dr. Cora Ogle Tracy Agyemang and Ebow Ivory Vroom Dr. Maralyn M. Itzkowitz The Dyer Family Mr. and Mrs. Eric Oliver Drs. Frank and Mary Albers Heidi Jark and Steve Kenat Mr. Jimmy C. Edwards Patricia and Morris Passer Jeff and Keiko Alexander § Mr. and Mrs. Robert Judd Jerome H. and Jean K. Eichert Poul D. and Jo Anne Pedersen Helen T. Andrews Susan Kamon and David Blazer Mrs. Joyce Elkus Mr. and Mrs. George Perbix Nancy J. Apfel Holly H. Keeler David and Kari Ellis Fund* Alice and Burton Perlman Carole J. Arend § Mr. and Mrs. Geoffrey Keenan Mr. Erwin F. Erhardt III Alice and David Phillips David Axt and Susan Wilkinson Dr. Robert W. Keith and Dr. and Mrs. Alberto Espay Phillip and Karen Pflaumer Robert and Beth Baer Ms. Kathleen Thornton Gail F. Forberg § Mr. and Mrs. David A. Powell Mr. and Mrs. Carroll R. Baker Dr. Patrick G. Kirk and Ms. Jacqueline S. Francis Michael and Katherine Rademacher Mrs. Polly M. Bassett Mrs. Mary M. Vondrak Richard Freshwater Dr. and Mrs. Leonard M. Randolph, Jr. Judy A. Bean John and Lynn Klahm Yan Fridman Marjorie and Louis Rauh Dava L. Biehl § Marie and Sam Kocoshis Frank and Tara Gardner James W. Rauth § Dabby Blatt Steven Kohler Mr. and Mrs. James R. Gardner Mrs. Robert S. Read Randal and Peter Bloch Diane and Matt Kolleck Theresa Deters Gerrard Dr. and Mrs. Robert Reed Lucille and Dutro Blocksom § Kathleen B. and Michael C. Krug Fund* Dr. and Mrs. Ralph Gianella Diane and Alex Resly Martha Bolognini Patricia Lambeck Dr. and Mrs. Jack F. Rohde Mr. and Mrs. Kenneth Borisch Mrs. Joseph A. Lane

76 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT

Charles and Jean Lauterbach Ms. Pamela Schneider Dianne Whitten Taft Stettinius & Hollister Dr. and Mrs. Brad Lemberg Mr. George Schober Mr. and Mrs. Robert L. Wilson, Jr. Nancy C. Wagner Dr. and Mrs. Lynn Y. Lin Timothy W. Schraw Mrs. Richard Wurzelbacher Patricia M. Wagner Mr. and Mrs. James A. Link Mary D. Schweitzer Mr. John M. Yacher Ms. Molly Wellmann Paula and Nick Link Martha S. Seaman § David and Sharon Youmans Mr. and Mrs. Gary West Mrs. Marianne Locke Alfred and Carol Shikany Carlos Zavala Al and Mary Lopez Mr. Eli E. Shupe, Jr. Mr. and Mrs. Robert L. Zierolf List as of September 19, 2016 Mr. and Mrs. David B. Lopez Rennie and David Siebenhar John and Mary Ann Zorio * Denotes a fund of The Greater Cincinnati Marshall and Nancy Macks Dr. Toni Robinson-Smith and Mrs. Beth Zwergel Foundation Mr. and Mrs. Dean Matz Mr. Edgar L. Smith, Jr. Anonymous (17) § Denotes members of The Thomas Drs. Brian and Janice McConville Kenneth and Janet Smith Schippers Society. Individuals who have Dr. Janet P. McDaniel Dr. and Mrs. Robert Sefton Smith GIFTS IN-KIND made a planned gift to the Cincinnati Mr. and Mrs. Michael McDonnell Dr. and Mrs. Roger D. Smith Mrs. Charles Fleischmann III Symphony Orchestra and Cincinnati Robert and Heather McGrath David and Sonja Snyder Comics 2 Games Pops are eligible for membership in The Daniel and Elizabeth McMullen Phillip and Karen Sparkes FRCH Design Worldwide Thomas Schippers Society. For more Dr. and Mrs. C. Nelson Melampy Matt and Shannon Stautberg Dr. and Mrs. Edward H. Hake information, please contact Ron Cropper Dr. and Mrs. Richard A. Meyer Mr. and Mrs. Timothy Stautberg Lightborne 513.744.3365. Dr. Stanley R. Milstein § John Steele, Sr. Scottish Rite Valley of Cincinnati Ms. Mary Lou Motl Dr. Jean and Mrs. Anne Steichen The Phoenix David and Beth Muskopf Mark and Anne Stepaniak Mr. William Naumann Ms. Judy H. Stewart Jim and Marty Neumeister Stephanie and Joseph Stitt Dr. James Newberne Mr. and Mrs. Richard Stradling, Jr. Cheryl and Roy Newman Amy Summerville and Michael Wolfram The Cincinnati Symphony Orchestra is grateful for Matt Nitzberg and Family Mrs. Robert D. Swanson Mr. and Mrs. John Noelcke Carol Thaman the support of the following: Gary Oppito Mr. and Mrs. Alexander Thomson Mr. and Mrs. Joe Orndorff Cliff and Diane Thornsburg Dr. and Mrs. Thomas W. Osborn, III Janet Todd Marilyn Z. Ott Neil Tollas and Janet Moore Paul and Roberta Pappenheimer Fran Turner Dr. Manisha Patel and Dr. Michael Curran Dr. Tammy Turner-Vorbeck and Mr. and Mrs. Robert T. Pike Mr. Dave Vorbeck Sandy Pike § Stephen F. Voellmecke Family Mr. Paul E. Potter Mr. and Mrs. Jason R. Waggoner Mr. Phillip Potter Mary and Jack Wagner § Barbara S. Reckseit § Sarella Walton David and Marilyn Reichert § Chad and Betsy Warwick Dr. Robert Rhoad Elizabeth Weber Becky and Ted Richards In Memory of Milton and Helen Weber Mr. and Mrs. Marcus Rose Greg and Diane Wehrman Ryan and Kara Rybolt Ted and Mary Ann Weiss Mrs. Richard B. Salzer E. E. West Mr. and Mrs. Robert A. Sanders Franklin H. White

DID YOU KNOW THAT OVER 20 FULLTIME CSO MUSICIANS ARE ALSO CCM FACULTY MEMBERS… AND NEARLY 40 CSO MUSICIANS AND ADMINISTRATORS ARE ALSO CCM ALUMNI?

Learn more about what makes CCM a preeminent institution for the performing and media arts by visiting ccm.uc.edu.

COLLEGE-CONSERVATORY OF MUSIC

cincinnatisymphony.org | FANFARE CINCINNATI | 77 FINANCIAL SUPPORT THE THOMAS SCHIPPERS LEGACY SOCIETY Thomas Schippers was Music Director from 1970 to 1977. He left not only wonderful musical memories, but also a financial legacy with a personal bequest to the Orchestra. The Thomas Schippers Legacy Society recognizes those who contribute to the Orchestra with a planned gift. We thank these members for their foresight and generosity. For more information on leaving your own legacy, contact Ron Cropper at 513.744.3365.

Mrs. Jay Harris * Ellen Rieveschl Dr. & Mrs. Thomas Todd * Dr. & Mrs. Morton L. Harshman ** Elizabeth & Karl Ronn Nydia Tranter* Mary J. Healy* Moe & Jack Rouse* Dick & Jane Tuten * Frank G. Heitker* Marianne Rowe * Mr. & Mrs. Robert Varley * Anne Heldman * Solveiga Rush Thomas M. Vaughn* Dr. Ira & Linda Abrahamson * Betty & John Heldman * Ms. Emalee Schavel ** Mr. & Mrs. Randolph Wadsworth, Jr. * Mr. & Mrs. James R. Adams * John Hermanies * Rosemary & Mark Schlachter ** Jack K. & Mary V. Wagner Jeff & Keiko Alexander * Ms. Roberta Hermesch * Mr. & Mrs. Arthur F. Schmitt * Nancy C. Wagner * Mrs. Robert H. Allen * Karlee L. Hilliard* Mrs. William R. Seaman Patricia M. Wagner * Mrs. Charles William Anness Mr. & Mrs. Joseph W. Hirschhorn Dr. & Mrs. William Blake Selnick * Mr. & Mrs. Paul Ward * Dr. Norita Aplin & Stanley Ragle Daniel J. Hoffheimer ** Mrs. Mildred J. Selonick* Debie Crosset Warkany * Jean L. Appenfelder Mr. & Mrs. Edward A. Hogan * Joyce Seymour Jo Anne & Fred Warren* Carole J. Arend * Kenneth L. Holford * Mrs. Robert B. Shott * Anne M. Werner * Donald C. Auberger, Jr. * Mr. & Mrs. Terence L. Horan ** Sarah Garrison Skidmore Gary & Diane West * Dr. Diane Schwemlein Babcock Evelyn V. Hess Howett, M.D. Adrienne A. Smith Mary West Mr. & Mrs. William T. Bahlman, Jr. ** Mrs. Benjamin C. Hubbard Roberta L. Sontag * Charles Wilkinson Henrietta Barlag Isabelle F. Hugo* Marie Speziale Sarah E. Wilkinson Peggy Barrett Carolyn R. Hunt Mr. & Mrs. Christopher L. Sprenkle* Harriet C. Wilson * Jane & Ed Bavaria * Mrs. William H. Hutcherson, Jr. Michael M. Spresser Mrs. Monte Witte * Dava L. Biehl * Mary Ellen Hutton Susan Stanton * Mrs. Joan R. Wood Walter Blair * Julia M. F. B. Jackson * Barry & Sharlyn Stare Harris Wright ** Lucille & Dutro Blocksom * Michael & Kathleen Janson * Mrs. Edward P. Staubitz * Betsy & Alex C. Young ** Rosemary & Frank Bloom ** Andrew MacAoidh Jergens Dee & Tom Stegman* Dr. & Mrs. Daryl Zeigler Fay Boeh * Jean C. Jett Mary & Bob Stewart * Anonymous (28) Dr. John and Suzanne Bossert Mrs. Morse Johnson * Brett Stover & Christopher Hassall Mollie H. Bowers-Hollon Frank Jordan Dr. Robert & Jill Strub * * Schippers Society Member Ronald Bozicevich Margaret H. Jung Patricia M. Strunk for 10 or more years Thomas A. Braun, III Rosalind Juran * Ralph & Brenda Taylor * ** Schippers Society Member Joseph Brinkmeyer Mace C. Justice ** Conrad F. Thiede for 20 or more years Mr. & Mrs. Frederick Bryan, III * Karen Kapella* Minda F. Thompson New Schippers members are in bold Mary Alice Heekin Burke * Dr. & Mrs. Steven Katkin * Carrie & Peter Throm* Deborah Campbell & Eunice M. Wolf Paul C. Keidel * Dimitra A. Campbell ** Dr. Robert A. Kemper * Myra Chabut ** Mrs. Paul N. Kibler* Catharine W. Chapman Alan and Jill Kinstler Jean & Matthew Chimsky Rachel Kirley and Joseph Jaquette Mrs. Jackson L. Clagett III* Marvin Kolodzik * Norma L. Clark Randolph & Patricia Krumm Lois and Philip Cohen 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 Jack and Janice Cook Mr. & Mrs. Peter F. Levin * Mr. & Mrs. Charles Cordes ** George & Barbara Lott ** Peter G. Courlas & Nick Tsimaras ** Mr. & Mrs. Ronald Lyons * Mr. & Mrs. Charles E. Curran III** Marilyn J. Maag Amy & Scott Darrah Margot Marples Meredith & Will Darrah, children Allen & Judy Martin Caroline H. Davidson Mrs. Thomas H. McCrary * Harrison R.T. Davis* Laura Kimble McLellan Miriam Deshon* Dr. Stanley R. Milstein Amy & Trey Devey Mrs. William K. Minor Robert W. Dorsey Mr. & Mrs. D.E. Moccia Jon & Susan Doucleff Mr. & Mrs. James Monroe * Mr. & Mrs. John Earls * Mrs. Arthur E. Motch, Jr. * Dale & Lillian Eickman * Kristin and Stephen Mullin Linda and Harry Fath Ms. Maryjane N. Musser * Alan Flaherty Christopher & Susan Muth Mrs. Richard A. Forberg Patti Myers Guy & Marilyn Frederick ** Anne Nethercott* Susan Friedlander ** Susan & Kenneth Newmark* Mr. & Mrs. Nicholas Fry* Dr. & Mrs. Theodore Nicholas Mrs. Charles W. Fryer* Patricia Grignet Nott H. Jane Gavin Jane & Erv Oberschmidt * Mrs. Philip O. Geier * Julie & Dick Okenfuss * . Kenneth A. Goode** Jack & Marilyn Osborn * it Clifford J. Goosmann & Andrea M. Wilson The Palmer Family—Cletus and ir Mrs. Madeleine H. Gordon Mary Lou, David and Kathy, Sp J. Frederick & Cynthia Gossman* Bill and Jamie * d Kathy Grote Sandy Pike * an Esther B. Grubbs, Marci Bein, Mindi Hamby Mrs. Harold F. Poe ** ind William Hackman* Anne M. Pohl* t, M Priscilla Garrison Haffner Mr. & Mrs. Robert C. Porter, Jr. r Hear David G. Hakes* Irene & Daniel Randolph * for you Vincent C. Hand & Ann E. Hagerman James W. Rauth Tom and Jan Hardy Barbara S. Reckseit William L. Harmon Edward J. Requardt * Bill Harnish & John Harnish Melody Sawyer Richardson

78 | FANFARE CINCINNATI | cincinnatisymphony.org ADMINISTRATION

OFFICE OF THE PRESIDENT Logan Kelly Sarah Maguire Ricardo Mesina Trey Devey Manager of Education Programs Volunteer Manager Graphic Designer President Carol Dary Dunevant Ron Cropper Michelle Lewandowski Lauren Roberson Ensembles & Musician Training Director of Special Campaigns Subscription Coordinator Executive Assistant to the President Coordinator Teresa N. Ahrenholz PATRON SERVICES ARTISTIC ADMINISTRATION & COMMUNICATIONS Philanthropy Assistant Supervisors PRODUCTION Christopher Pinelo Penny Hamilton Danielle Mahone Robert McGrath Vice President of Communications Philanthropy Assistant Jordan Rush Vice President & General Manager Matthew White Meghan Berneking Zan Burkhardt Director of Communications FINANCE Representatives Production Assistant Richard Freshwater Erica Archer Lee Snow Vice President & Robert Brown Heather L. Stengle Digital Communications Manager Chief Financial Officer Jonathan Dellinger Director of Operations Melissa Knueven Scott Eckner Justin Exposito Andy Gurley Communications Assistant IT Manager Elizabeth Fricke Production Manager John Geiger PHILANTHROPY Will McCoy Nathanael Minor Alex Magg Mary McFadden Lawson Systems Support Specialist Elizabeth Schmidt Operations Project Coordinator Vice President of Philanthropy Kyle Wynk Jennifer Slaght Sam Strater Human Resources Manager Jessica Smithorn Rachel B. Kirley Kenji Ulmer Director of Artistic Administration, Director of Individual Giving Cincinnati Pops Orchestra Megan Inderbitzin-Tsai Andrea Vos-Rochefort and Donor Services Payroll Administrator Isaac Thompson RIVERBEND MUSIC CENTER/ Emily Selzer Judy Prinz Director of Artistic Administration, Leadership Giving Manager PNC PAVILION/TAFT CSO Receptionist THEATRE/MUSIC & EVENT Pamela Taylor Melissa Scott MANAGEMENT INC. Marissa Goodman Individual Giving Manager Assistant Artistic Administrator Director of Data Systems The Hulbert Taft, Jr. Center for the Kristi Reed Kathleen Curry Ahmad Mayes Performing Arts, J. Ralph Corbett Grants Manager Data Entry Clerk Director of Education & Community Pavilion Engagement Sarah Anne Slaby Sharon D. Grayton PNC Pavilion at Corporate Relations Manager Charmaine Moore Data Services Manager Riverbend Music Center Community Engagement and Hannah Johnson Tara Williams Michael Smith Diversity Manager Director of Events Data Entry Analyst Vice President of Project Eric Smith Development & Riverbend Controller Music Center Monica Putnick Matthew Dunne Accounting Manager General Manager Brandy Hauser Amy Dahlhoff Accounting Clerk Concessions Manager & Special Events Coordinator The new face of Rosie Rothhaar Accounting Clerk Ryan Jaspers Buddy Roger’s Music Event/Operations Manager A Commitment of Excellence Kelly Saylor Accounting Clerk James Kirby for the beginner and the professional Assistant Operations Manager MARKETING & SALES Lane Kolkmeyer We are YOUR specialists Sherri Prentiss Assistant Marketing Manager in woodwind, brass Vice President of Marketing and percussion Michele Ferrara M. Todd Bezold Corporate Sales Manager Director of Marketing, Subscriptions Rosemarie Moehring Amy E. Catanzaro Marketing Manager Director of Sales Ed Morrell Erica Keller General Manager Director of Audience Engagement Jennifer Schoonover Erica Minton Premium Seat Program Manager Director of Marketing, Special Projects Kelly Benhase Box Office Manager Heather Brown Box Office Manager Holly Dickman Assistant Box Office Manager Katie Murry Marketing Manager, Subscriptions Monty Wolf Plant Operations Manager 1939 W Galbraith Rd Andrew Duncan Cincinnati, Ohio 45239 Marketing Manager Rick McCarty 513-931-6780 www.buddyrogers.com Ellen Graham Marketing Director Group Sales Manager Joan Wright Receptionist

cincinnatisymphony.org | FANFARE CINCINNATI | 79 CODA by Chris Pinelo

o you have a favorite Cincinnati Sym- phony Orchestra or Cincinnati Pops recording? Many people from around the world have come to know the Orchestra Dthrough the millions of recordings sold, starting with the CSO’s very first commercial recording in 1917. That extraordinary recording legacy continues with the new Concerto for Orchestra album being released this month on our Fanfare Cincinnati label, and it showcases three exciting works premiered right here in Cincinnati. Since its founding, the CSO has maintained an unwavering commitment to commissioning new music, resulting in substantial new works from a diverse array of composers, including Aaron Copland and Philip Glass. Last season, three exciting composers originating from three different continents—Sebastian Currier, Thierry Escaich and Zhou Tian—were each commis- You can find out more about this new album at sioned to write a new concerto for orchestra, show- cincinnatisymphony.org/concertofororchestra casing the virtuosity, style and sound of the CSO. including links to purchase, download and stream. The resulting three works featured on this new live Thank you to all the wonderful donors who made recording represent the culmination of this exciting this important project possible. project conceived by Music Director Louis Langrée, and once again affirm the CSO’s core value of being a place of experimentation.

DEC 20

THIS DECEMBER AT OUR

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

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