Destiny & D Nte's Inferno

OCTOBER 2015 FANFARE CINCINNTI

FANFARECINCINNTI

DESTINY & DNTE’S INFERNO PGE 41

Here’s to you, Simon & Garfunkel P GE 21

The Tchaikovsky GUEST CONDUCTOR CINCINNTISYMPHONY.ORG Experience SIMONE YOUNG P GE 27 CSO Chamber Players Opener: Urban Legends P GE 38

OCTOBER 2015  Symphony Spooktacular for the ‘hole family P GE 53

Original Illustration by Gustave Doré Oxford proudly supports the Cincinnati Symphony Orchestra.

Thirst-quenching conversation An Exceptional Everyday Experience

Cheers to better living. At Twin Towers and Twin Lakes senior living communities, every day moments are just a bit more special. A friendly smile, a delicious meal, sharing a drink in the sunshine. It all adds up to an exceptional lifestyle. Find magic in the everyday. Oxford is independent and unbiased — and always will be. Call us to schedule a tour or visit us online at LEC.org. We are committed to providing families generational estate planning advice and institutions forward-thinking investment strategies. Twin Towers Twin Lakes 513.853.2000 513.247.1300 5343 Hamilton Avenue 9840 Montgomery Road Cincinnati, OH 45224 Cincinnati, OH 45242

Life Enriching Communities is affiliated with the West Ohio Conference CHICAGO ✦ CINCINNATI ✦ GRAND RAPIDS ✦ INDIANAPOLIS ✦ TWIN CITIES of the United Methodist Church and welcomes people of all faiths. 513.246.0800 ✦ WWW.OFGLTD.COM/CSO Oxford proudly supports the Cincinnati Symphony Orchestra.

Thirst-quenching conversation An Exceptional Everyday Experience

Cheers to better living. At Twin Towers and Twin Lakes senior living communities, every day moments are just a bit more special. A friendly smile, a delicious meal, sharing a drink in the sunshine. It all adds up to an exceptional lifestyle. Find magic in the everyday. Oxford is independent and unbiased — and always will be. Call us to schedule a tour or visit us online at LEC.org. We are committed to providing families generational estate planning advice and institutions forward-thinking investment strategies. Twin Towers Twin Lakes 513.853.2000 513.247.1300 5343 Hamilton Avenue 9840 Montgomery Road Cincinnati, OH 45224 Cincinnati, OH 45242

Life Enriching Communities is affiliated with the West Ohio Conference CHICAGO ✦ CINCINNATI ✦ GRAND RAPIDS ✦ INDIANAPOLIS ✦ TWIN CITIES of the United Methodist Church and welcomes people of all faiths. 513.246.0800 ✦ WWW.OFGLTD.COM/CSO OCTOBER 2015 CONTENTS

35 Pianist Bertrand Chamayou CONCERTS has established himself at the highest level on the international 21 Pops: Sounds of Simon & Garfunkel, Oct. 4 music scene. Liszt’s Totentanz, 23 Guest Artists: Michael Krajewski, music filled with dark drama and conductor; AJ Swearingen and Jonathan pianistic fireworks, will provide the Beedle, vocalists perfect showcase for Chamayou’s technical wizardry in CSO CSO: The Tchaikovsky Experience, 27 concerts Oct. 16–17. Oct. 16–17 35 Guest Artists: Semyon Bychkov, conductor; 49 The internationally renowned Bertrand Chamayou, pianist Australian conductor Simone 38 Chamber Players: Urban Legends, Oct. 18 Young leads the CSO and May Festival Chorus in two stunning 41 CSO: Destiny and Dante’s Inferno, works by Brahms, ethereal and Oct. 30–31 exquisite music whose titles 49 Guest Artists: Simone Young, conductor; translate to “Song of Destiny” and May Festival Chorus, Robert Porco, director “Funeral Song,” as well as Liszt’s 53 Lollipops: Symphony Spooktacular, Oct. 31 penetrating Dante Symphony, Oct. 30–31.

24 AJ Swearingen and Jonathan Beedle have been performing their DEPARTMENTS tribute to the music of Simon & Garfunkel for A Letter from the President more than a decade, and 6 as their sold-out shows 8 Your Concert Experience prove, the affect on their 10 Spotlight On: Minyoung Baik, Violinist audiences is undeniable. 11 Orchestra Roster Hear this talented duo as they capture the magic of Simon & Garfunkel with the Pops Oct. 4. 14 Artistic Leadership: Louis Langrée and John Morris Russell 17 If It Sounds Good, It Is Good! by JMR NEWS 54 Boards 57 Financial Support 63 Administration 12 Feature: “Elevating Cincinnati’s Vibrant Cultural Scene” 64 Coda 18 Music is the Ticket for Young People 19 Music Hall is the Site for New “Melodic Connections” 50 Q&A with Simone Young

2 | FANFARE CINCINNATI | cincinnatisymphony.org

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

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

ON THE COVER Gustave Doré’s famous CINCINNATI SYMPHONY & POPS ORCHESTRA illustrations of Dante’s Divine Comedy reflect themes Music Hall in two of the works the CSO will perform this month: 1241 Elm Street Tchaikovsky’s Francesca da Rimini and Liszt’s Dante Cincinnati, OH 45202 Symphony. The illustration above is of Dante being Administrative Offices: 513.621.1919 shown the dwelling place of God, depicted in the form [email protected] of an enormous rose, the petals of which house the souls of the faithful. Box Office Music Hall 1241 Elm Street CINCINNATI MAGAZINE: Cincinnati, OH 45202 Advertising and Publishing Partners 513.381.3300 for Fanfare Cincinnati [email protected] Publisher Ivy Bayer Group Sales Director of Advertising 513.744.3590 Tammy Vilaboy [email protected] Art & Production Manager TTY/TDD Julie Whitaker Use TTY/TDD Relay Service 7-1-1 Marketing Director Chris Ohmer cincinnatisymphony.org | cincinnatipops.org Advertising & Marketing Designer Emily Nevius facebook.com/CincySymphony or /CincinnatiPops Custom Publishing Account Manager twitter.com/CincySymphony or /CincinnatiPops Maggie Wint Goecke Senior Outside Account Representative Laura Bowling Operations Director RECYCLE FANFARE CINCINNATI Missy Beiting Business Coordinator You are welcome to take this copy of Erica Birkle Fanfare Cincinnati home with you as a Advertising and Business Offices souvenir of your concert experience. Carew Tower Alternatively, please share Fanfare 441 Vine Street, Suite 200 Cincinnati with a friend or leave it with Cincinnati, OH 45202 513.421.4300 an usher for recycling. Thank you! Subscriptions: 1.800.846.4333 cincinnatimagazine.com

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A LETTER FROM THE PRESIDENT

Dear Friends, This treasured performance venue has welcomed such greats as Sergei Rachmaninoff and Vladimir Last month, the Music Hall Horowitz, all performing unamplified recitals. It was Revitalization Company beautifully renovated only a few years ago, and we announced that the project are confident the Taft Theatre will offer a fantastic to restore and enhance our and intimate concert experience with the Orchestra beloved Music Hall is mov- you’ve come to know and love. ing forward, and that this We are deeply committed to making the transition massive undertaking will to the Taft Theatre next season and then back to the now be completed in the renovated Music Hall in the fall of 2017 as smooth fall of 2017. Considering as possible, and it’s vitally important to continue where we were only a year supporting the Orchestra through this transition ago, this is an extraordinary development that period with your subscriptions, donations and ticket simply wouldn’t have been possible without the purchases. We need your support now more than tremendous outpouring of support from throughout ever, and we will work hard to provide the best pos- the community, the project’s volunteer leadership, sible service leading up to the transition and beyond. and critically important contributions. We’ll have much more to share in the coming To be clear, the incredible programs we have in weeks and months in Fanfare Cincinnati and through store for you in this 2015–16 season are not affected. our website. Thank you in advance for your contin- Through the end of May 2016, you’ll continue ued support, and enjoy the performance! enjoying concerts right here at historic Music Hall as you know it. Sincerely, Following the 2016 May Festival, construction requires Music Hall to be closed during the 2016–17 season, and we are delighted to be presenting extraordinary performances at the renovated Taft Theatre in Downtown Cincinnati next year. Trey Devey

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

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

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3279CINADV_Cincinnati Symphony and Pops Program_04-15.indd 1 4/24/15 7:54 AM YOUR CONCERT EXPERIENCE

Welcome! Here are some tips for getting the ridor. For patron safety, walkers and strollers are most out of your concert experience. not permitted on the escalators. LEARN MORE ABOUT THE MUSIC Classical Conver- REFRESHMENTS Bar service and snacks are avail- sations take place one hour before Friday and Saturday able at the North and South lobby bars prior to CSO concerts and are free to ticketholders. Program concerts and during intermission. Specialty wines notes are also available in this publication and at are available in the lobby bar. Keurig coffee, tea and cincinnatisymphony.org. hot chocolate are offered at the North lobby bar. Pre-order your cocktail for intermission at any of TECHNOLOGY Please turn off all cell phones, wristwatch alarms or other devices that make noise. the bars. Food and beverages are not permitted in While we love it when people text their friends, post the auditorium during most performances (drinks to Facebook and Tweet about the Orchestra, we ask are permitted during Pops concerts). that you hold all electronic communications until RESTROOMS Restrooms are located in the north intermission or after the performance. Out of consid- and south corridors on the first and second floors eration for the musicians and your fellow audience and in the north corridor on the third floor. members, flash photography, glowing screens and EMERGENCY EXITS Please identify and observe audio/video recording are prohibited. emergency exits nearest to you. In the event of an MEET THE ARTISTS! You are welcome to meet the emergency, remain calm and await instruction from conductor and guest artists in the backstage Green ushers or building staff. Room after most performances. Ushers can assist you. EMERGENCIES AND SECURITY Cincinnati Police DINING Visit one of the excellent nearby restaurants officers are on duty around Music Hall beginning 1½ or, on CSO Thursday nights, enjoy a pre-concert hours before the performance until the last patron light buffet at Music Hall (free for subscribers, $7 leaves Music Hall. An emergency medical technician for single ticket buyers). For more information, call is on duty from one hour before the concert until all our box office at 513.381.3300. patrons have left the building. PARKING Parking is available in several lots sur- LOST AND FOUND Our Lost and Found is located rounding Music Hall, including the Central Parking at the coat room in the foyer, or call 513.744.3344. lot next to Music Hall, in the Town Center (CET) ABOUT MUSIC HALL Music Hall was built in 1878 Garage on Central Parkway and in the underground and has remained a cultural icon for Cincinnati. Washington Park Garage across Elm St. from Music Pre-concert tours are available for groups of eight Hall. Pay-on-entry parking is $5–$10 for special events. or more by calling 513.744.3344 at least one week Subscribers may order guaranteed parking in the before your concert. Washington Park Garage for $10 per concert, subject to availability. Call 513.381.3300 for details. TICKET EXCHANGES Can’t use your tickets to an upcoming concert? Please return them to the Box ACCESSIBILITY Handicapped parking is available Office in advance so someone else may enjoy them. in the three lots mentioned above, the closest of We’ll provide you with a tax-deductible receipt which are the Central Parking lot and Washington upon request. Subscribers also have unlimited free Park Garage. Assistive listening devices are avail- ticket exchanges. We must receive your request 24 able at the south foyer coatroom. Seating for persons hours before the concert. Single ticket buyers may with disabilities is available for all events. Accessible exchange their seats for another concert for a $3 per restrooms are located throughout Music Hall. ticket service charge (some restrictions apply). OUR YOUNGEST LISTENERS In consideration of LATE SEATING POLICY So as not to disturb other all our patrons, children under 6 will not be admit- patrons, latecomers will be asked to remain in the ted to classical performances. Ushers will assist lobby and view the concert via video monitors. patrons with young children to seats at the back Ushers will assist latecomers to their seats during of the auditorium. For our youngest listeners, we an appropriate musical break. If you need to leave invite you to experience our Family Concerts, many the auditorium during the concert for any reason, of which are especially geared for the enjoyment of you will be re-seated at an appropriate musical younger audiences. Booster seats are available on a break, at the discretion of the ushers/house manager. first-come, first-served basis in the lobby at family- These policies are based on extensive patron survey oriented performances. feedback and we appreciate your understanding. ELEVATOR/ESCALATORS An elevator is located COUGHING? The acoustical properties of Music in the north corridor with service to all three floors. Hall carry audience noise as well as the music. Please Escalators to all floors are located in the south cor- unwrap candies or lozenges before the music starts. n

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20150904CSOPopsCincinnatiMagaziner.indd 1 9/4/2015 2:38:37 PM SPOTLIGHT ON… at Riverbend this past summer was awesome. I’m a huge fan of his work and I was thrilled to share a stage with him. Minyoung Baik, Do you have any favorite pieces or composers you enjoy performing? Violinist Every time I get to play a Beethoven symphony, I’m reminded how great it is to be a musician and For this Spotlight we feature violinist to be able to make music with my colleagues. We Minyoung Baik. In coming months have had more opportunities to play Beethoven we’ll continue to spotlight other and Mozart since Maestro Langrée joined the CSO, which is a great pleasure. I also love playing musicians, patrons or leaders within the pieces by Mahler and Ravel. Last season, we played CSO and Pops community. Ravel’s Shéhérazade and I thought this music was from heaven. Tell us about your musical background What performances are you most looking forward and how you came to to in the 2015–16 season? Cincinnati. I’m looking forward to the NYC tour in January. I’m not from a musical family…. But one day, the Hobbies? sound of the violin cap- As for hobbies, I recently started playing golf. While tured my interest during vacationing in Korea this summer, I had the op- a particularly auspicious portunity to take regular lessons. Golf interests me play-date. At the ripe old because it is somewhat similar to playing violin. Both age of ten, I became very have important mental and physical components serious about becoming a and strive for perfection. But my favorite hobby violinist. All my early train- would be…online shopping. ing took place in Korea. After my first semester at What’s your favorite thing about living in Seoul National University, I decided to leave Korea Cincinnati? in order to continue my education in the United I moved to OTR about a year ago and it’s refreshing States in 2001. I transferred to Oberlin Conservatory and wonderful to stroll through Washington Park and finished my bachelor’s degree. Living in rural every day on my way to work. It has totally changed Ohio was an enormous change from the bustling, my life in Cincinnati. cosmopolitan city of Seoul. I arrived in farmland Ohio with zilch-O English skills. During my college Where do you seek inspiration, musically or years, my English skills blossomed as did my violin otherwise? technique. In 2005, I graduated from Oberlin and I love connecting with friends and experiencing moved to New York for a master’s degree at Juil- good dining. I love watching tennis—it has been liard. It was an amazing opportunity to learn from a hobby of mine for years. Tennis players are such the world’s best musicians—such as my teacher, complete athletes. Glenn Dicterow, former concertmaster of the New Please visit cincinnatisymphony.org/spotlight to read York Philharmonic. After graduation, I won a posi- the full interview. tion with the Albany and Harrisburg symphonies. A few years later, in April 2011, I won a section first violin job here in Cincinnati and started my first season with the CSO a few months later. What have been some of your favorite memories so far performing with the CSO and Pops? I can’t forget my very first concert with the CSO—we played Mahler’s First Symphony. As a newbie, I was slightly nervous (even though I was in the back of the section). The concert began, and I was able to loosen up and enjoy the gorgeous sound of the Cincinnati Symphony. Each and every player knew the piece inside out, and it flowed like water. I went home filled with joy. As for Pops shows, Seth Macfarlane

Minyoung with her parents after her graduation from Juilliard.

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

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

cincinnatisymphony.org | FANFARE CINCINNATI | 11 Elevating Cincinnati’s Vibrant taken grit and determination from not only the incinnati Ba C llet’s P ete r P an itself. In fact, the success of the most recent P Cultural Scene ho Ci to ncinn endowment campaign, which was driven ati by o P rld e by Meghan Berneking P te ia r no the Orchestra the means to add two M f you take a look at the Cincinnati C u o additional weeks of service to further e m ll Symphony and Pops Orchestra’s October p e e expand its role with the Cincinnati r t it io Ballet and solidify the relationship n Fanfare Cincinnati, you might easily P with the Cincinnati World Piano h make the assumption that the o t Competition. o

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Lady of the Camellias e collaborations with the Cincinnati for the Arts. With a full-time symphony Shakespeare Company, Ensemble orchestra in the pit, the Ballet dancers and CSYO Theatre, MYCincinnati, local dance troupes, churches, the Comet Blue- musicians who play together across all genres grass All-Stars, University of Cincinnati, year-round—a rarity for any performing arts Young Professionals’ Choral Collective and group, even in markets larger than Cincinnati. 19 local arts and music groups on the Washington Opera, the May Festival and Cincinnati World Piano Competition, the CSO takes the arts in “…the Cincinnati Symphony the Queen City to a superlative level. According to the Cincinnati Enquirer review of Swan Lake Orchestra gave a stunning “I am the envy of nearly all my impresario colleagues across the in October 2013, Cincinnati Ballet has improved performance of this magnificent nation for the truly luxury casting of the Cincinnati Symphony ‘in in recent years because “they now have the score. There are so many the pit.’ Since our very first season in 1920, the CSO has been our Cincinnati Symphony Orchestra—60 members gorgeous subtleties, from the impressive addition, as the CSO is larger and, loudest of gongs to shimmering and they have remained our loyal and illustrious musical partners in thanks to working together 52 weeks a year, a their home and ours, the spectacular Music Hall.” –Evans Mirageas, p Gr by Phili oshong hoto t P do –Cincinnati CityBeat ran Tu ’s Cincinnati Opera’s Turandot, One of the Orchestra’s driving values is to be ra e p July 2015 “Cincinnati’s Own.” This value is not just a O ti a vague reference to the fact that the Cin- n in cinnati Symphony and Pops Orchestra c in With a bold mission to seek and C happens to reside in Cincinnati, Ohio. share inspiration, the Orchestra Rather, through these deep collabo- makes a point to look around the rations, the Orchestra is able to at- community and actively engage tract and retain the world’s most other organizations and individ- talented musicians who in turn - create a vibrant arts scene that alleled musical experiences—and - make Cincinnati’s residents among g ness owners, families and others n o the luckiest audiences in the world. h who continue to cultivate the city s o The result is that the Orchestra has r on the banks of the Ohio River. G

ip become a place of experimentation il h not just within its own programming, P Cincinnati’s most beloved organiza- y but with the partners with which it con- b tions elevate the arts in our community to o nects. h and make the Queen City a more vibrant P al Of course, none of this comes easily. tiv place to live, work, visit, raise a family and es For Cincinnati to have world-class arts, it has y F call home. Ma nati Cincin Elevating Cincinnati’s Vibrant taken grit and determination from not only the incinnati Ba C llet’s P ete r P an itself. In fact, the success of the most recent P Cultural Scene ho Ci to ncinn endowment campaign, which was driven ati by o P rld e by Meghan Berneking P te ia r no the Orchestra the means to add two M f you take a look at the Cincinnati C u o additional weeks of service to further e m ll Symphony and Pops Orchestra’s October p e e expand its role with the Cincinnati r t it io Ballet and solidify the relationship n Fanfare Cincinnati, you might easily P with the Cincinnati World Piano h make the assumption that the o t Competition. o weekend of Oct. 23-24 is a quiet b It’s not just the main partner or- y

one for the Orchestra. But the Orchestra D ganizations to which the Orches- a

Iwill be as busy as ever, as it performs as v i

d tra turns for inspiration. The past

part of Cincinnati Ballet’s presentation of R

a few seasons have seen countless

fi

Lady of the Camellias e collaborations with the Cincinnati for the Arts. With a full-time symphony Shakespeare Company, Ensemble orchestra in the pit, the Ballet dancers and CSYO Theatre, MYCincinnati, local dance troupes, churches, the Comet Blue- musicians who play together across all genres grass All-Stars, University of Cincinnati, year-round—a rarity for any performing arts Young Professionals’ Choral Collective and group, even in markets larger than Cincinnati. 19 local arts and music groups on the Washington Opera, the May Festival and Cincinnati World Piano Competition, the CSO takes the arts in “…the Cincinnati Symphony the Queen City to a superlative level. According to the Cincinnati Enquirer review of Swan Lake Orchestra gave a stunning “I am the envy of nearly all my impresario colleagues across the in October 2013, Cincinnati Ballet has improved performance of this magnificent nation for the truly luxury casting of the Cincinnati Symphony ‘in in recent years because “they now have the score. There are so many the pit.’ Since our very first season in 1920, the CSO has been our Cincinnati Symphony Orchestra—60 members gorgeous subtleties, from the impressive addition, as the CSO is larger and, loudest of gongs to shimmering and they have remained our loyal and illustrious musical partners in thanks to working together 52 weeks a year, a their home and ours, the spectacular Music Hall.” –Evans Mirageas, p Gr by Phili oshong hoto t P do –Cincinnati CityBeat ran Tu ’s Cincinnati Opera’s Turandot, One of the Orchestra’s driving values is to be ra e p July 2015 “Cincinnati’s Own.” This value is not just a O ti a vague reference to the fact that the Cin- n in cinnati Symphony and Pops Orchestra c in With a bold mission to seek and C happens to reside in Cincinnati, Ohio. share inspiration, the Orchestra Rather, through these deep collabo- makes a point to look around the rations, the Orchestra is able to at- community and actively engage tract and retain the world’s most other organizations and individ- talented musicians who in turn - create a vibrant arts scene that alleled musical experiences—and - make Cincinnati’s residents among g ness owners, families and others n o the luckiest audiences in the world. h who continue to cultivate the city s o The result is that the Orchestra has r on the banks of the Ohio River. G

ip become a place of experimentation il h not just within its own programming, P Cincinnati’s most beloved organiza- y but with the partners with which it con- b tions elevate the arts in our community to o nects. h and make the Queen City a more vibrant P al Of course, none of this comes easily. tiv place to live, work, visit, raise a family and es For Cincinnati to have world-class arts, it has y F call home. Ma nati Cincin ARTISTIC LEADERSHIP

LOUIS LANGRÉE, Music Director Louis Langrée Cincinnati Symphony Orchestra was Music Director Music Director of the Cincinnati Symphony Orches- of Opéra National de tra since the 2013–14 season, the French conductor Lyon (1998–2000) and Louis Langrée is also Chief Conductor of the Cam- Glyndebourne Touring erata Salzburg and Music Director of the Mostly Opera (1998–2003). He Mozart Festival at Lincoln Center in New York. Dur- has also conducted at ing the 2015–16 season, concerts with the Cincinnati La Scala, the Royal Op- Symphony Orchestra will include a Brahms Festival era House Covent Gar- and three world premiere Concertos for Orchestra. den, Opéra Comique, The Orchestra will also perform in New York as part Opéra-Bastille and of Lincoln Center’s Great Performers series. With the Théâtre des Champs- Camerata Salzburg, Louis will tour Germany, and Elysées in Paris, Lyric other guest engagements will include the Leipzig Opera of Chicago, Gewandhaus Orchestra and performances of Così Dresden Staatsoper, Grand Théâtre in Geneva and fan tuttewith the Freiburger Barockorchester at the the Netherlands Opera in Amsterdam. Aix-en-Provence Festival. Louis Langrée’s first commercial recording He has worked with many other orchestras with the Cincinnati Symphony Orchestra features around the world, including the London Philhar- Copland’s Lincoln Portrait (narrated by Dr. Maya monic, Orchestre de la Suisse Romande, Santa Angelou) and world premieres by Nico Muhly Cecilia in Rome, Sao Paulo, Deutsche Kammer- and David Lang. Louis Langrée’s recordings have philharmonie Bremen and Budapest Festival received several awards from Gramophone and orchestras. Festival appearances have included Midem Classical. La Traviata, recorded at the Aix-en- Wiener Festwochen, Salzburg Mozartwoche, BBC Provence Festival with the London Symphony Or- Proms and Glyndebourne Festival Opera. He has chestra for Virgin Classics, was recently released on held positions as Music Director of the Orchestre de DVD and awarded a Diapason d’Or. Louis Langrée Picardie (1993–98) and Orchestre Philharmonique was appointed Chevalier des Arts et des Lettres in Royal de Liège (2001–06). 2006 and Chevalier de la Légion d’Honneur in 2014.

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

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We’ve reserved a front row seat for you… Great Performances “Dudamel Conducts the Verdi Requiem” October 5, 8:00pm Live from Lincoln Center “Kern & Hammerstein’s Show Boat” October 19, 7:30pm Great Performances “Billy Elliot: The Musical Live” October 26, 7:00pm

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

Lollipops Family Concerts have been a real favorite of mine since joining the Cincinnati Symphony and Pops Orchestra 20 years ago as assistant conductor. As a staff conductor, Young People’s concerts and Family concerts are often the first opportunity to lead the orchestra and, believe me, there is no more unforgiving crowd. Kids do not have the traditional “filters” we have developed as adults: when they are engaged and loving what they are experiencing on stage the response is volcanic, but when they hate it, they HATE it, and have no qualms expressing it. No one ever “trains” you to present programs for young about selecting an instrument for a son or daughter; people; you jump in and learn “on the job,” and let the Family Fun Zone is the place. The energy in the me tell you, a good sense of humor goes a long way! room is contagious, and by the time the kids get into If you pick the really good stuff for the program, Springer Auditorium for the concert, they are ready conduct with passion and intensity as you would for the full-on Cincinnati Pops Orchestra experience! for any concert, and express the sincere joy and For the last 30 years I’ve had the joy of leading wonderment you felt when you first experienced family concerts from Carnegie Hall to Victoria great orchestral music, concerts for kids can be the Island, and no matter where I go, the thrill of see- most fulfilling and thrilling concerts to conduct. ing the glowing faces of youngsters after their first Our new Associate Conductor, Keitaro live orchestral experience is unforgettable. I think Harada makes HIS Pops debut kicking off this it speaks to the universality of music that these year’s Lollipops series on Oct. 31 with “Symphony concerts awaken such delight in kids of all ages Spooktacular” and it promises to be an amazing around the world. concert experience. EVERYONE (that’s you, too, And in other news...Paul Simon and Art Gar- parents and grandparents!) is invited to come in funkel are two of the most unanimously beloved costume and enjoy the spine-tingling and boister- songwriters of all time, and I’ve had the pleasure ous music that we all love this time of year. Before of working with them both—separately. A reunion ALL of our Lollipops concerts here at Music Hall, concert, as tantalizing as it may seem, will probably we host the “Family Fun Zone,” where kids and never happen, but AJ Swearingen and Jonathan families can participate in all kinds of engaging pre- Beedle are the next best thing. You’ve probably concert activities, including arts & crafts, instrument never heard their names before, but they are amaz- demonstrations and even the opportunity to write ing vocalists and the premier interpreters of S&G’s a melody and hear it performed by a musician! I songbook. One night only, Sunday, Oct. 4, they’ll can’t tell you how often folks ask me how to go get the full Pops treatment, in a tribute that will be exquisitely refined and beauti- fully delivered.

Cheers,

Children have the opportunity to compose their own melodies and have them performed by JMR or other musicians in the Lollipops Family Fun Zone.

cincinnatisymphony.org | FANFARE CINCINNATI | 17 Music is the Ticket for Young People On Aug. 31, Duke Energy presented the CSO with a with the check supporting the “Music is the Ticket” program. world around Music is the Ticket ensures that any student can it, while in- attend Young People’s Concerts at Music Hall re- troducing gardless of economic background through free and students to reduced-price tickets. Last season, 55% of students music from who attended these performances were able to do so Bach, Tchai- thanks to this program and the generous sponsors kovsky and who help fund it. Ginastera. The 2015–16 season of Young People’s Concerts “We work kicks off on Oct. 14 with a “Big, Bad Brass Bash,” CSO Vice President of Philanthropy Mary closely with McFadden Lawson receives a check from Tim a concert program geared toward students in educators in Abbott, Director of Government and Community grades 1–4. With a program of works found just as our communi- Relations for Duke Energy. frequently on a standard CSO concert for adults, ty to develop concerts that connect to the standards Young People’s Concerts introduce students to the they are teaching in their classrooms. Likewise, we genre in creative ways that complement what they provide teachers with resources to prepare their are learning in their classrooms. For instance, the students for what they’ll be hearing in the concerts. “Bach to the Future” program in March will demon- Young People’s Concerts go far beyond a ‘field trip’ strate the different eras of orchestral music and how experience—they also bring music back into the the size and classroom to enrich everyday learning,” said Ahmad instrumenta- Mayes, CSO Director of Community Engagement tion of the and Learning. orchestra has Visit cincinnatisymphony.org/youngpeople for changed over more details. time along —Meghan Berneking

Eight Young People’s Concerts (four for grades 1–4 and four for grades 5–8) are scheduled for the 2015–16 school year.

Join host Saturdays at 6pm Evans Mirageas on CET weekly for a look Sundays at 8pm at Greater Cincinnati’s on CET Arts rich arts and cultural community.

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18 CSO| FANFARE Fanfare Ads-fnl.indd CINCINNATI 2 | cincinnatisymphony.org 9/3/2015 2:50:33 PM Music Hall is the Site for New ‘Melodic Connections’ by Lynn Migliara, Communications Manager, Melodic Connections

At a music conservatory in Cincinnati, a group of On volunteer days, Kara, Carole and Tommy dedicated musicians meets daily to practice, study help with a variety of tasks in the CSO office. They music theory and rehearse for performances. They restock merchandise in the lobby at the Bravo Shop, are immersed in their craft for six hours a day, and replenish concert brochures displayed around the they perform about 15 times a year. It’s a practice hall, organize the mailroom and help with special schedule that would be very familiar to any conser- projects. They love their new jobs; but even more, vatory student or professional musician. And while they are thrilled to be part of Cincinnati’s music they work really hard and have accomplished great scene in a way they never imagined possible. things, these musicians never imagined their efforts Tommy’s volunteer experience inspires his original would one day get them to Music Hall. drawings, one of which he gave to JMR as a birth- They are musicians with Melodic Connections, day present. Recently, they were invited on stage a non-profit organization in Cincinnati that pro- to explore the percussion instruments, and they vides music therapy-based music instruction and demonstrated their adapted instrument playing performance opportunities for individuals with skills as participants in the CSO and Pops Music developmental disabilities. This year the Cincinnati Lab before a Cincinnati Pops concert at Riverbend. Symphony Orchestra opened its doors to a group Our musicians are not the only ones who are of our musicians, inviting them to volunteer every changed by their volunteer experience. “As our staff Monday. gets to know the volunteers from Melodic Connec- Among the volunteers are Kara, Carole and tions, we are reminded that beautiful music comes Tommy. Kara is a singer with Down syndrome who from many diverse places, and dedicated musicians knows every word to “Shake it Off” and loves to come in all abilities,” said Erica Keller, Director of rap. Carole is a guitar player who learned to walk Audience Engagement at the CSO. “We love it when independently again when the music she played the volunteers are on site. Here we look forward to made her want to tap her toes. And Tommy is so Mondays.” dedicated to his adapted guitar that he has become The CSO is continuing to open doors for our musi- the “go to” guy for his friends and family who want cians from Melodic Connections. If you see them in to learn to play. the future, ushering at concerts or demonstrating their adapted instruments at events, please welcome these new faces that are a unique part of the CSO community. Melodic Connections is a Cincinnati-based 501 (c)3 organization that provides music therapy- based instruction and performance opportunities for people with developmental disabilities. They serve over 450 individuals ages five to 85 each year. For more information visit melodicconnections.org.

Volunteers Tommy and Kara meet percussionist Richard Jensen on stage Kara, Carole and Tommy show off their name tags in the CSO mail room. at Music Hall. “It was an honor to meet people who are moved by the music we make,” Richard said. “Meeting Kara and Tommy and seeing the excitement and joy that a symphony orchestra concert can bring to them was an honor, joy and inspiration for me. It charged my batteries that day!”

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

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

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2015–2016 SEASON SUN OCT 4, 7 pm Music Hall

SOUNDS OF SIMON & GARFUNKEL MICHAEL KRAJEWSKI, conductor AJ SWEARINGEN, vocalist JONATHAN BEEDLE, vocalist

SOUNDS OF SIMON & GARFUNKEL I AM A ROCK Paul Simon & Art Garfunkel, arr. Gregory Prechel Paul Simon, arr. David Yackley Bridge Over Troubled Water The Sounds of Silence THE SOUNDS OF SILENCE Mrs. Robinson Paul Simon HOMEWARD BOUND CECILIA Simon & Garfunkel, arr. Christopher J. Wills Simon & Garfunkel, arr. Wills THE 59th STREET BRIDGE SONG KEEP THE CUSTOMER SATISFIED (FEELIN’ GROOVY) Paul Simon, arr. Joel Pierson Simon & Garfunkel, arr. Wills NA NA MEDLEY ALL I HAVE TO DO IS DREAM Various, arr./orch. Gregory Prechel Felice & Boudeleaux Bryant, arr. Wills Land of 1000 Dances Kiss Him Goodbye Hey Jude INTERMISSION Program subject to change

cincinnatisymphony.org | FANFARE CINCINNATI | 21 PAUL SIMON IN CONCERT THE DANGLING CONVERSATION Paul Simon, arr. Prechel Simon & Garfunkel, arr. Wills You Can Call Me Al Kodachrome AMERICA Loves Me Like a Rock Simon & Garfunkel, arr. Wills Slip Slidin’ Away SCARBOROUGH FAIR Still Crazy Paul Simon 50 Ways to Leave Your Lover Me and Julio OLD FRIENDS/BOOKENDS Simon & Garfunkel, arr. Wills Mother and Child Reunion ALL I KNOW BRIDGE OVER TROUBLED WATER Simon & Garfunkel, arr. Wills Jimmy Webb, arr./orch. Prechel A HAZY SHADE OF WINTER MRS. ROBINSON Paul Simon, arr. Timothy Berens Simon & Garfunkel, arr. Wills

The Cincinnati Pops Orchestra is grateful to PNC, Presenting Sponsor of the Pops Series. The Otto M. Budig Family Foundationis this evening’s Concert Sponsor and the Pops Artist Series Sponsor. Amica Mutual Insurance and Lang Financial Group Inc. are tonight’s Artist Sponsor. The Cincinnati Pops Orchestra is grateful for the support of ArtsWave. WVXU is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony and Pops Orchestra. The use of photographic and recording devices at these concerts is prohibited. Cincinnati Pops Orchestra recordings are found on the Fanfare Cincinnati, Telarc, Moss Music Group, Vox Cum Laude, MCA Classics, Caedmon and Musical Heritage Society labels.

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22 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS Oct 4

MICHAEL KRAJEWSKI, Kitchener-Waterloo symphony conductor orchestras. Other international Known for his entertaining appearances include perfor- programs and clever humor, Mi- mances in Dublin and Belfast chael Krajewski is a much sought with the Ulster Orchestra as well after conductor of symphonic as performances with the Hong pops. He is Music Director of Kong Philharmonic, Malaysian The Philly Pops and Principal Philharmonic Orchestra, Iceland Pops Conductor of the Houston, Symphony Orchestra and this Atlanta and Jacksonville sym- season’s debut with Spain’s phony orchestras. Bilbao Symphony Orchestra. As a guest conductor Kra- Krajewski is the conductor of jewski has performed with the the video Silver Screen Serenade Cleveland and Philadelphia with violinist Jenny Oaks Baker Orchestras; the Boston and Cin- that aired worldwide on BYU cinnati Pops; the San Francisco, Broadcasting. On recording he Baltimore, Detroit, Indianapolis, Michael Krajewski, © Michael Tammaro has led the Houston Symphony Seattle, Dallas, St. Louis, Pittsburgh and National on two holiday albums: Glad Tidings and Christmas symphony orchestras; and numerous other or- Festival. In 2014–15 Krajewski led his original Sounds chestras across the United States. In Canada he of Simon & Garfunkel program across North Amer- has led Ottawa’s National Arts Centre Orchestra, ica, featuring national touring artists AJ Swearingen the Toronto Symphony Orchestra, Calgary Phil- and Jonathan Beedle. Krajewski’s other collaborative harmonic, and the Edmonton, Winnipeg and programs have included such artists as flutist James

MATINÉE MUSICALE CINCINNATI Our 103RD Season SOARS

REMAINING 103RD SEASON ROMAN RABINOVICH CONCERT SCHEDULE: PIANO THE TEMPEST TRIO: ILYA KALER, VIOLIN; AMIT TUESDAY, NOVEMBER 3 PELED, CELLO; ALON GOLDSTEIN, PIANO AT 11 A.M. THURSDAY, DECEMBER 3, 2015 AT 11 A.M. THE MAYERSON JEWISH COMMUNITY CENTER THE ANDERSON CENTER 8485 RIDGE RD, CINCINNATI, OH 45236

7850 FIVE MILE ROAD, ASHU, CLASSICAL SAXOPHONE CINCINNATI, OH 45230 TUESDAY, APRIL 5, 2016 AT 11 A.M. CHURCH OF THE REDEEMER 2944 ERIE AVE, CINCINNATI, OH 45208 “Mr. Rabinovich performed with uncommon sensitivity and feeling…crisp rhythmic bite and abundant colorings” NADINE SIERRA, SOPRANO SUNDAY, MAY 1, 2016 AT 3 P.M. - Anthony Tommasini WESTWOOD FIRST PRESBYTERIAN CHURCH The New York Times 3011 HARRISON AVE, CINCINNATI, OH 45211

“For more than a century, the daytime series Matinée Musicale has introduced a Who’s Who of talent to Cincinnati.” - Janelle Gelfand music/arts writer for cincinnati.com

SEASON TICKET PACKET $50 : Five tickets - any ticket may be used for any 2015-16 concert Call (513) 469-9819 or visit www.matinee-musicale-cincinnati.org

cincinnatisymphony.org | FANFARE CINCINNATI | 23 GUEST ARTISTS: OCT 4

Jonathan Beedle (l) and AJ Swearingen

Galway, mezzo-soprano Marilyn Horne, pianist SIMON AND GARFUNKEL EXPERIENCE Alicia de Larrocha, guitarist Angel Romero, and pop AJ Swearingen & Jonathan Beedle, vocalists artists Jason Alexander, Roberta Flack, Judy Collins, AJ Swearingen and Jonathan Beedle have been Art Garfunkel, Wynonna Judd, Kenny Loggins, Ben performing this remarkable tribute to the music of Folds, Doc Severinsen, Patti Austin, Sandi Patty, Ann Simon & Garfunkel for more than a decade, and Hampton Callaway, Chicago, the Preservation Hall as their sold-out shows prove, the affect on their Jazz Band, The Chieftains, Pink Martini, Rockapella, audiences is undeniable. Cirque de la Symphonie, Classical Mystery Tour, A chance meeting in 1991, in a local club in Big Bad Voodoo Daddy and The Midtown Men. Bethlehem, PA, brought these two talented artists With degrees from Wayne State University in together. A brief introduction and moments later Detroit and the University of Cincinnati College- they were blending their voices as if they had been Conservatory of Music, Krajewski furthered his performing together for a lifetime. AJ’s warm training at the Pierre Monteux Domaine School for baritone and Jonathan’s soaring tenor combine flaw- Conductors. He was a Dorati Fellowship Conductor lessly to capture the essence and magic of Simon & with the Detroit Symphony and later served as that Garfunkel’s sound of the early years in Greenwich orchestra’s assistant conductor. He was resident Village. With a quiet stage and an acoustic guitar, conductor of the Florida Symphony and for 11 years AJ and Jonathan re-create the memories of the clas- served as music director of the Modesto Symphony sic hits and obscure songs of Simon & Garfunkel. Orchestra. Krajewski lives in Orlando, Florida with Discover why audiences are cheering for this duo as his wife, Darcy. When not conducting he enjoys they capture the magic of Simon and Garfunkel. n travel, photography and solving crossword puzzles.

24 | FANFARE CINCINNATI | cincinnatisymphony.org BRING HOME THE MAGIC OF LUMENOCITY! On CD and flash drive $10 each

Flash drive also includes stunning photos from LUMENOCITY 2013!

Visit the Bravo Shop in the lobby for a selection of CDs, gifts and merchandise. All purchases benefit your Cincinnati Symphony & Pops Orchestra. Paycor is proud to support the Cincinnati Symphony & Pops Orchestra

WE LISTEN We enjoy the art of great product design and the sound of happy clients the same way you enjoy the sound of great music. For 25 years, Paycor has been delivering the best HR and payroll experience to organizations like the CSO.

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

2015–2016 SEASON FRI OCT 16, 8 pm SAT OCT 17, 8 pm Music Hall

SEMYON BYCHKOV conductor BERTRAND CHAMAYOU pianist

TCHAIKOVSKY Symphony No. 3 in D Major, Op. 29, Polish (1840–1893) Introduzione ed allegro—Moderato assai (Tempo marcia funebre) Alla tedesca: Allegro moderatoe semplice Andante elegiaco Scherzo: Allegro vivo Finale: Allegro con fuoco (Tempo di polacca)

INTERMISSION

LISZT Totentanz for Piano and Orchestra (1811–1886)

TCHAIKOVSKY Francesca da Rimini, Op. 32

The CSO is grateful to Paycor, the CSO’s Ascent Series Sponsor. These concerts are endowed by Martha Anness, Priscilla Haffner & Sally Skidmore in loving memory of their mother, LaVaughn Scholl Garrison, a long-time patron of the Symphony. Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony and Pops Orchestra. These concerts will end at approximately 9:45 pm. 90.9 WGUC will broadcast this concert Sunday, January 24, 8 pm.

PROGRAM NOTES © 2015–16 Cincinnati Symphony Orchestra

PIOTR ILYICH TCHAIKOVSKY The former is the unbridled outpouring of emo- Symphony No. 3 in D Major, Op. 29, Polish tion, while the latter is concerned with restraint. A TIMING: approx. 45 min. romantic tends to value content over form, while a INSTRUMENTATION: 2 flutes, piccolo, 2 oboes, classicist understands form as subservient to, and as 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, a means of expressing, content. Both tendencies are tuba, timpani, strings discernable in the music of virtually all composers, CSO SUBSCRIPTION PERFORMANCES Premiere: February 1943, Eugene Goossens conducting although some are more readily identified with Most Recent: March 2010, Arild Remmereit conducting one aesthetic over the other. For example, Mo- zart—whose music Tchaikovsky admired—is often Tchaikovsky was born on May 7, 1840 in Votkinsk, thought of as a supreme classicist, despite the deep Russia; he died on November 6, 1893 in St. Petersburg. emotional content of much of his music. A good The Third Symphony was composed between June 5 and example of a romantic composer whose expression August 1 of 1875. Nicolai Rubinstein conducted the first all but overwhelms its form is Tchaikovsky himself. performance at a concert of the Russian Musical Society Tchaikovsky did not come easily to emotionally in Moscow on November 19, 1875. supercharged music. In several early works we can discern a struggle between the classical forms he Romanticism and classicism are two basic music admired and the nascent romanticism that was his aesthetics that have been in conflict for centuries.

cincinnatisymphony.org | FANFARE CINCINNATI | 27 PROGRAM NOTES: OCT 16–17

themes (first movement), polyphonic development TCHAIKOVSKY FAN? HEAR MORE of a motivic fragment (first movement), extended OF HIS MUSIC THIS SEASON! pedal points (all movements) and fugato (finale). Be sure to return Nov. 19 & 21 when Louis Compared to that of the concerto, its emotional Langrée leads Tchaikovsky’s Romeo and Juliet temperature remains relatively cool, even in its Overture-Fantasie. Also on the program: the climactic passages. world premiere of Sebastian Currier’s Concerto Tchaikovsky’s method of composition seemed for Orchestra and Bruch’s Violin Concerto, aimed at maintaining a degree of distance. Rather featuring violinist Renaud Capuçon. than working in the white heat of inspiration, rather than wallowing in the work so that it took over nature. It is instructive in this regard to compare his entire consciousness, he refused to allow the the First Piano Concerto and the Third Symphony, symphony to interfere with his summer holiday. composed within a few months of each other. At first “I’m now composing a new symphony, and I’m the concerto was criticized for, among other things, doing a bit at a time. I don’t sit over it for hours on its distortions of classical forms. Its structure is end,” he wrote. undeniably strange by traditional standards, yet its After hearing the premiere, the composer ex- effusive emotions leave most listeners unconcerned pressed his typically unfavorable reaction to Nicolai with structural anomalies. The composer was deeply Rimsky-Korsakov. Tchaikovsky believed that the hurt by conductor and pianist Nicolai Rubinstein’s merits of the symphony lay more with its structure harsh reaction to the concerto. Perhaps Tchaikovsky than with its materials, more with its classical forms subsequently set out to counter those criticisms in than with its romantic emotions: “As far as I can see, his next work, particularly since Rubinstein, who this symphony presents no particularly successful had refused to play the concerto, was destined to ideas, but in workmanship it’s a step forward.” conduct the premiere of the Third Symphony. The It is significant that it was Rimsky-Korsakov to symphony contains none of the folk melodies of whom Tchaikovsky wrote about his disappointment the concerto. It is not programmatic. It uses such with the symphony. Rimsky-Korsakov was a strong classical devices as a systematic transformation of proponent, both in his own compositions and in

Performers and audience on stage together at historic Music Hall.

BEETHOVEN’S PIANO TRIO SUN DEC 6, 2015 • 4 pm

LOVE AND MIRTH SUN FEB 21, 2016 • 4 pm

SCHUBERT’S DEATH AND THE MAIDEN SUN APR 10, 2016 • 4 pm

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28 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: OCT 16–17 his teaching, of classicism. He spent his life trying The musical character of the Third to combat the tendency of Russian music toward loose forms in the service of vivid emotions. He saw Symphony may not be the outright Russian composers as insufficiently schooled in the romantic of the First Concerto, rigors of the western European tradition. He de- plored the episodic structures and freely expressed or of Romeo and Juliet or of the emotions of the Russian nationalists. Thus he must Pathétique Symphony, but it is have been quite pleased with Tchaikovsky’s new neo-classical symphony. nonetheless a fascinating musical The verdict of posterity is somewhat different. personality. We meet not the Audiences today tend to prefer the passionate works of Tchaikovsky to the academic symphonies morose protagonist of the other five of Rimsky-Korsakov. Furthermore, Tchaikovsky’s symphonies, all in minor keys, but an hyper-romantic First Piano Concerto is one of the almost happy character in D major. world’s best loved pieces, while the pseudo-classical Third Symphony remains perhaps the least known of the composer’s six numbered symphonies. The ment section based on a figure shared by the funeral Third is better appreciated today than it was earlier, march and the main theme, and a recapitulation that however. After it was introduced to America by the closely follows the exposition. New York Philharmonic in 1879, it had to wait 20 The second movement suggests several of Tchai- years for a second hearing on this side of the Atlantic. kovsky’s later symphonic waltzes. It has a gentle It was not until Igor Stravinsky conducted it in 1937 rhythmic vitality that comes from an interweaving that it began to be appreciated here. Similarly in Eng- of measures emphasizing, respectively, their first, land, it was apparently not performed at all between second and third beats. Sometimes this displace- the turn of the century and the Second World War. ment of accent is done consistently, so that the KEYNOTE. The relative unpopularity of the Third waltz-like 3/4 time is almost transformed into 2/4, Symphony may tell us something about how the while elsewhere the mixture is less predictable, public values romanticism over classicism, at least creating an engaging lilt. The middle section’s in the works of Tchaikovsky, but it should not blind triplets are sprightly. Toward the end of the move- us to the merits of the piece. The musical character ment, there is a long pedal point, in the service of of the Third Symphony may not be the outright stability in contrast to the first movement’s tension- romantic of the First Concerto, or of Romeo and Juliet producing pedals. or of the Pathétique Symphony, but it is nonetheless The middle movement is marked andante elegiaco. a fascinating musical personality. We meet not the Its elegiac character, fully in keeping with the sym- morose protagonist of the other five symphonies, phony’s classical restraint, is understated. It might all in minor keys, but an almost happy character in equally well be thought of as a pastoral piece, com- D major. We find him restrained, and his musical plete with birdcalls in the woodwinds. Biographer structures rigorous, only in comparison with the David Brown compares this movement with the personalities of those more overt, more impassioned tone poem The Tempest, composed two years earlier: compositions. In the symphony’s first movement, The main theme...grows straight from the lovers’ for example, the music surges forward not so much music of The Tempest, touched neither with the because of sweeping melodies as by the careful use of indulgent languor nor the unbridled ardor of harmony. The entire introduction—a funeral march Tchaikovsky’s earlier Shakespearean lovers, but of some 79 measures—takes place over a single diffusing a simpler, chaster warmth that contrasts movingly with the lighter matters treated in the reiterated bass note, suggesting dominant harmony scherzos that flank this movement. Though less despite changing chords in higher instruments. This wide-ranging and precipitate than Miranda’s and harmonic persistence builds a subliminal tension Ferdinand’s exploration of the realms of passion, that is released when the main theme bursts forth it nevertheless grows in richness. in the full orchestra. This harmonic device, called The light, almost elfin, fourth movement is per- a pedal point, returns later in the movement, again haps Tchaikovsky’s closest approach to the fairy creating long, gradual drives toward unmistakable world of Mendelssohn (although a trombone tune goals. In this way Tchaikovsky makes the formal reminds us who the real composer is). The trio sec- outlines straightforward: this is clearly a sonata tion is enlivened by subtle accent shifts, reminiscent form, with distinct themes, a contrapuntal develop- of those in the second movement. A sustained pedal

cincinnatisymphony.org | FANFARE CINCINNATI | 29 PROGRAM NOTES: OCT 16–17 in the horn pervades this passage. As transition back Liszt’s Romantic mind was to the main part of the movement, this horn pedal grows into an extraordinary sonority, in which all constantly preoccupied by the the strings play arpeggios ranging over their entire macabre, a concept of death instruments. Particularly subtle is the coda, which combines fragments from earlier sections. that emphasizes its terrifying The finale is cast in the style of a Polish folk dance, and grotesque aspects. The Last the polacca. Hence the symphony’s subtitle, the Pol- ish. August Friedrich Manns, who introduced the Judgement and the visions of symphony to London at his Crystal Palace concerts heaven and hell connected to it in 1899, added the name for reasons of publicity. Edward Evans, one of Tchaikovsky’s first English- figure prominently in several of language biographers, defended Manns by stating his works. that the composer had no objection to the name. This is no doubt true, since Tchaikovsky had by this time its terrifying and grotesque aspects. The Last Judge- been dead six years! Despite the inauthenticity of ment and the visions of heaven and hell connected the subtitle, and despite its inappropriateness to this to it figure prominently in several of his works. most Russian of symphonies—so Russian, in fact, The Dante Symphony that Cincinnati audiences that the Vienna Philharmonic refused to play it on will hear at CSO concerts on Oct. 30–31 proves that the grounds of its nationalism—the name has stuck. he was intensely preoccupied with Hell, Purgatory The last movement’s Polish rhythms resemble and Paradise. Likewise, the protagonist of the Faust the accent conflicts of the second movement, now Symphony proceeds from his initial pact with the presented in a more forthright manner. Tchai- Devil to an apotheosis in Heaven. kovsky’s classicism becomes particularly apparent Medieval and Renaissance artists often depicted in an extensive fugato, which is quite carefully impersonations of Death, usually in the form of constructed. This leads to a passage over a pedal skeletons, dancing or otherwise interacting with point, culminating in a triumphant restatement of mortals before they carried them off. Liszt knew the second theme. The grandiose ending, typical of at least two such representations of the “Dance of Tchaikovsky’s more bombastic works, is the only Death,” one being Francesco Traini’s 14th-century place in the symphony free from the influence of frescoes in the Camposanto (the hallway surround- classicism. ing the cemetery) at Pisa, Italy. (In the 19th century, —Jonathan D. Kramer they were attributed to Andrea Orcagna.) The other “Danse macabre” was the series of 16th-century FRANZ LISZT engravings by Hans Holbein, Jr. Liszt was probably Totentanz (“Dance of Death”) inspired by both when he adapted the medieval melody of the “Dies irae” melody as the basis for TIMING: approx. 15 min. INSTRUMENTATION: solo piano, 2 flutes, piccolo, a set of variations. The “Dies irae,” a Gregorian 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, hymn (technically, a “sequence”) about the Last 3 trombones, tuba, timpani, cymbals a2, triangle, tam- Judgment, is part of the Requiem, or the Mass of the tam, strings Dead. Hector Berlioz had famously used it in the last CSO SUBSCRIPTION PERFORMANCES Premiere: October 1946, Paul Paray conducting; movement of his Symphonie fantastique. (In the 20th Alexander Brailowsky, pianist century, the melody would appear in many works Most Recent: May 1992, Jesús López-Cobos conducting; by Sergei Rachmaninoff.) InTotentanz , Liszt gave the Nicholas Angelich, pianist Gregorian melody some strong accents that made it sound almost like an Eastern European folk dance. Franz Liszt was born in Doborján, Hungary (now Raid- Liszt started working on the Totentanz in the ing, Austria) on October 22, 1811 and died in Bayreuth, 1830s, while still in his twenties. At that time, he Germany, on July 31, 1886. He wrote his Totentanz also wrote a half-hour “instrumental psalm” for for piano and orchestra in 1849 and revised it ten years piano and orchestra on the Gregorian melody of later. The first performance was given at The Hague on Psalm 130 (“De profundis”). The two works were March 15, 1865; Liszt’s star student Hans von Bülow originally connected, and an early version of Toten- played the solo part and Johannes Verhulst conducted. tanz combined the Dies irae with the De profundis. Liszt’s Romantic mind was constantly preoccupied The best-known form of Totentanz, for piano and by the macabre, a concept of death that emphasizes orchestra, was written in 1849, with revisions made

30 | FANFARE CINCINNATI | cincinnatisymphony.org with Barbara Kellar

Join Barbara Kellar as she SUNDAYS showcases performing artists 8:30PM and cultural leaders from the Greater Cincinnati CET Arts is available community. over-the-air on channel 48.3, Time Warner Cable (Ohio) channel 987, Cincinnati Bell Fioptics channel 248, Time Warner Cable www.CETconnect.org/cet-arts (Northern Kentucky) channel 192. PROGRAM NOTES: OCT 16–17 in 1853 and 1859. Later, in the 1860s, Liszt made an Tchaikovsky’s short-lived and disastrous marriage arrangement for piano solo and another one for to Antonina Milyukova in 1877. two pianos. Small wonder that Tchaikovsky composed little In the course of the variations, the Dies irae theme for the better part of 1876. After completing his undergoes the kind of character transformation that String Quartet No. 3 in February, he wrote only a was one of the main novelties of Liszt’s works from series of short piano pieces (The Seasons) until Oc- his Weimar years (1849–60). The first variation is tober, when he was asked to contribute to a special a march, with the theme in the bass. Following a concert in support of the Serbs, who were fighting virtuosic second variation, the intensely rhythmic a war against the Turks. This commission resulted third variation brings the first section of the work in the popular Slavonic March. Tchaikovsky couldn’t to a brilliant climax. find the inspiration and the peace of mind necessary The tempo slows down for the dreamily romantic for composing until the end of the year, when he Variation IV, where the melody is developed in composed two major works within a period of three canonic imitation. The piano plays alone, except months: the symphonic fantasia Francesca da Rimini for a brief passage where a solo clarinet joins in. and the Rococo Variations for cello and orchestra. The fifth variation turns the theme into a brilliant The story of Francesca da Rimini had been on Tchai- fugato. Subsequently, the music becomes more and kovsky’s mind for about a year: it was in 1875 that more animated as the piece approaches its grandiose the writer and critic Konstantin Zvantsev offered conclusion. him an operatic libretto based on this episode from —Peter Laki Dante’s Divine Comedy. Although this project was never realized, the idea preoccupied Tchaikovsky PIOTR ILYICH TCHAIKOVSKY all year. When he finally got down to work, he chan- Francesca da Rimini, Op. 32 nelled all his turbulent emotions into the composi- tion. As he wrote to his brother Modest: TIMING: approx. 24 min. INSTRUMENTATION: 3 flutes (incl. piccolo), 2 oboes, I have written it with love, and the love [the central English horn, 2 clarinets, 2 bassoons, 4 horns, 4 trumpets section] seems to have come out respectably. (2 trumpets, 2 cornets), 3 trombones, tuba, timpani, With regard to the whirlwind, perhaps it might cymbals a2, bass drum, tam-tam, harp, strings correspond better to Doré’s picture. It has not CSO SUBSCRIPTION PERFORMANCES turned out quite what I wanted. However, a Premiere: October 1916, Ernst Kunwald conducting reliable judgment on the work is impossible so Most Recent: November 2012, Peter Oundjian long as it is neither orchestrated nor played. conducting Dante told the story of Paolo and Francesca (a true Tchaikovsky was born in Kamsko-Votkinsk, Russia on occurrence that had taken place in 1288, when Dante May 7, 1840 and died in Saint Petersburg on November 6, was a young man) in the fifth canto of hisInferno . The 1893. He completed his symphonic fantasia Francesca poet, guided by Virgil, visits the second circle of hell da Rimini in November of 1876. The first performance where, among the crowds of carnal sinners, he sees took place on March 9, 1877 in Moscow, with Nikolai Ru- the shades of two young lovers in eternal embrace. binstein conducting. The American premiere was given Urged by the poet, Francesca tells him her story. The by Adolph Neuendorff and the New York Philharmonic daughter of Guido da Polenta, Duke of Ravenna, she Society on December 21, 1878. had been forced to marry Giovanni (“Gianciotto”) Malatesta, one of four sons of the Duke of Rimini. The year 1876 was one of great upheavals for His younger brother Paolo fell in love with his sister- Tchaikovsky. Plagued by bouts of depression and in-law, who returned his feelings. The two young a variety of physical ailments, he traveled restlessly people spent much of their time reading together. across Russia and Western Europe in search of treat- One day, as they read about the first kiss exchanged ment and emotional relief. His stops included a few by the knight Lancelot and Lady Guinevere (King days at the spa of Vichy, France, where he started Arthur’s wife), they were overcome by their passion, taking a cure; a few weeks later he attended the and, as Francesca’s spirit tells Dante, “that day we first performance of Wagner’s complete Ring cycle read no more.” Dante’s narrative stops here, but we at Bayreuth (he hated it). It was also around this know from Giovanni Boccaccio’s commentary that time that he first started to contemplate marriage the lovers were surprised by Francesca’s husband (although he did not have anybody in particular in who killed them both on the spot. mind), no doubt in a desperate attempt to repress The artist to whom Tchaikovsky referred in the his homosexuality. These efforts were to lead to passage quoted above, Gustave Doré (1832–83),

32 | FANFARE CINCINNATI | cincinnatisymphony.org Start with the s himmering sound of strings

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4949 Tealtown Road • Milford, Ohio 45150 • www.CincyNature.org PROGRAM NOTES: OCT 16–17 was one of the greatest and The diminished sonorities, most prolific book illustra- the usual symbols of terror tors of the 19th century. and anguish since Classi- The passages Tchaikovsky cal times, continue to be called “the whirlwind” predominant; the novelty were certainly inspired by is that these dissonances the French artist’s wildly are not resolved according Romantic, dark and often to tradition, but are often frightening evocations of piled up, creating progres- Hell. sions of unusual poignancy KEYNOTE. The sym- and dramatic power. The phonic poem opens with an tension increases almost to “Andante lugubre” intro- the breaking point. At last, duction that Tchaikovsky Francesca begins to tell her described as “the gateway story as the first clarinet to the Inferno—the tor- intones a mournful melody tures and agonies of the over pizzicato (plucked) condemned.” This intro- strings. The melody is re- duction, which starts with peated several times in an ominous diminished The artist Gustave Doré’s illustration of Francesca da Rimini and various orchestrations, fi- seventh chord intoned by Paolo Malatesta, tossed endlessly by the gusts of Lust. nally building up to a more the brass, grows gradually louder and faster, before stringent tutti passage that forms the climax of the it returns to the initial tempo and harmonies. Then middle section. After another short transition, the comes “the whirlwind,” the “Allegro vivo” sec- “whirlwind” music returns, and the “Poco più tion that frames the central “love” melody and its mosso” coda ends the composition on an emotional development—replete with tremolos on the strings high point. and excited 16th-note passages in the woodwind. —Peter Laki

34 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS Oct 16–17

SEMYON BYCHKOV, the Munich Philharmonic, Royal conductor Concertgebouw Orchestra and Born in Leningrad (St. Petersburg) Vienna Philharmonic, as well as in 1952, Semyon Bychkov was 20 guest engagements with orches- when he won the Rachmaninoff tras including the Berlin Philhar- Conducting Competition. Two monic, Gewandhausorchester years later, having been denied his Leipzig, BBC Symphony Orches- prize of conducting the Leningrad tra, London Symphony Orchestra, Philharmonic Orchestra, he left Accademia Nazionale di Santa the former Soviet Union where, Cecilia, Orchestra Sinfonica Nazio- from the age of five, he had been nale della RAI Torino, Orchestre singled out for an extraordinarily National de France, Chicago Sym- privileged education in music. phony, New York Philharmonic, First studying piano, Bychkov was San Francisco Symphony and the then selected to study at the Glinka Los Angeles Philharmonic. Choir School and received his In 1986, Bychkov signed with first conducting lesson at age 13. Philips and began a significant Four years later he enrolled at the Semyon Bychkov, © Sheila Rock recording collaboration that pro- Leningrad Conservatory, where he duced an extensive discography studied conducting with the legendary Ilya Musin. with the Berlin Philharmonic, Bavarian Radio By the time Bychkov returned to St. Petersburg Symphony, Royal Concertgebouw Orchestra, Phil- in 1989 as the Philharmonic’s Principal Guest Con- harmonia, London Philharmonic and Orchestre de ductor, he had enjoyed success in the U.S. as Music Paris. These were later followed by a series of bench- Director of the Grand Rapids Symphony Orchestra mark recordings, the result of his 13-year collabora- and Buffalo Philharmonic. His international career, tion (1997–2010) with WDR Symphony Orchestra which began in France with debuts with the Opéra Cologne. The repertoire includes a complete cycle of de Lyon and at the Aix-en-Provence Festival, took off Brahms symphonies and works by Strauss (Elektra, when a series of high profile cancellations resulted in Daphne, Ein Heldenleben, Metamorphosen, Alpensin- invitations to conduct the New York Philharmonic, fonie, Till Eulenspiegel), Mahler (Symphony No. 3, Berlin Philharmonic and Royal Concertgebouw Das Lied von der Erde), Shostakovich (symphonies Orchestra. In 1989 he was named Music Director Nos. 4, 7, 8, 10, 11), Rachmaninoff, Verdi (Requiem), of the Orchestre de Paris; in 1997 he became Chief Detlev Glanert and York Höller. His recording of Conductor of the WDR Symphony Orchestra Co- Lohengrin was voted BBC Music magazine’s Record logne, and, the following year, he was named Chief of the Year in 2010. Conductor of the Dresden Semperoper. Semyon Bychkov currently holds the Klemperer Bychkov’s approach to music-making combines Chair of Conducting at the Royal Academy of Music, innate musicality with the rigors of Russian peda- and the Günter Wand Conducting Chair with the gogy. With his time carefully balanced between the BBC Symphony Orchestra, with whom he appears concert hall and the opera house, Bychkov conducts annually at the BBC Proms. repertoire that spans four centuries. In the opera house Bychkov is recognized for BERTRAND CHAMAYOU, pianist his interpretation of Strauss, Wagner and Verdi. Bertrand Chamayou has established himself at Nonetheless, while Principal Guest Conductor of the highest level on the international music scene, Maggio Musicale Fiorentino, his productions of performing in venues such as Paris’ Théâtre des Janáček’s Jenufa, Schubert’s Fierrabras, Puccini’s Champs Elysées, New York’s Lincoln Center, Mu- La bohème, Shostakovich’s Lady Macbeth of Mtsensk nich’s Herkulessaal and London’s Wigmore Hall. and Mussorgsky’s Boris Godunov were awarded the He has appeared at major festivals including Mostly prestigious Premio Abbiati. Most recently Bychkov Mozart, Lucerne and Rheingau, as well as the Rot- conducted Mussorgsky’s Khovanshchina at the Vienna terdam Gergiev Festival and Klavier-Festival Ruhr. Staatsoper. In 2015 he conducts Tchaikovsky’s Eugene He has worked with orchestras including the Onegin at the Royal Opera House—his recording of London and Rotterdam philharmonic orchestras, the work was chosen by Opera magazine as one of the The Deutsche Kammerphilharmonie Bremen, hr- 30 “all-time great recordings”—and, in 2016, he leads Sinfonieorchester, WDR Sinfonieorchester Köln and Wagner’s Parsifal at Madrid’s Teatro Real. Bychkov’s Orchestre National de France. Conductor collabora- symphonic engagements include annual tours with tions have included Pierre Boulez, Leonard Slatkin,

cincinnatisymphony.org | FANFARE CINCINNATI | 35 GUEST ARTISTS: OCT 16–17

Sir Neville Marriner, Semyon ing Schubertiade Schwarzen- Bychkov, Michel Plasson, Louis berg, Menuhin Festival Gstaad Langrée, Jérémie Rhorer, Sté- and Festival International de phane Denève, Ludovic Morlot Piano La Roque d’Antheron, as and Andris Nelsons. well as to Vienna’s Konzerthaus In the 2013–14 season, Chamay- and venues in Madrid, Lyon, ou debuted with the Deutsches Bordeaux and Tallinn. Sinfonieorchester at Berlin’s Chamayou has made a number Philharmonie and the NDR Sin- of highly successful record- fonieorchester in Hamburg. Last ings, including a Naïve CD of season he returned to the Or- music by César Franck, which chestre de Paris, Danish National was awarded several accolades Symphony Orchestra, Orchestre including a Gramophone Editor’s Philharmonique du Luxembourg Choice. In 2011, Chamayou cel- and La Chambre Philharmonique ebrated Liszt’s 200th anniversary among many others, and he de- with a Naïve recording of the buted with the NHK Symphony complete Années de Pèlerinage, Orchestra in Tokyo. which he performed in several Chamayou is a regular cham- Bertrand Chamayou, © Marco Borggreve venues throughout the world. ber music performer, with partners including The album was acclaimed worldwide—including Renaud and Gautier Capuçon, Quatuor Ebène, a Gramophone Choice recognition. The only artist to Antoine Tamestit and Sol Gabetta. A recital tour win France’s prestigious Victoires de la Musique on with Gabetta in 2014–15 took the duo to Zürich’s three occasions, he signed an exclusive recording Tonhalle, Baden-Baden’s Festspielhaus, Berlin’s contract with Warner/Erato. Philharmonie and Munich’s Prinzregententheater, Bertrand Chamayou was born in Toulouse. His among others. With fellow pianist Roger Muraro musical talent was quickly noted by pianist Jean- he performed Messiaen’s Visions de l’Amen at the François Heisser, who later became his professor at Théâtre des Champs-Elysées. Additonally, he took the Paris Conservatoire. He completed his training his all-Schubert recital program to festivals includ- with Maria Curcio in London. n CSO Ad .5 Page.pdf 1 10/4/2013 2:52:49 PM

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36 | FANFARE CINCINNATI | cincinnatisymphony.org CINCINNATI SYMPHONY ORCHESTRA LOUIS LANGRÉE • MUSIC DIRECTOR

One City, One Symphony is the CSO’s community-wide project that brings the community together through music. The 2015 theme of freedom celebrates the 150th anniversary of the 13th amendment and the legacy of Dr. Maya Angelou.

HOW CAN I PARTICIPATE?

• Join us for free, LISTENING PARTIES (OCT 19-NOV 5) in venues throughout the city, as CSO musicians and community leaders host informal conversations inspired by the music.

• New this year, tell us what freedom means to you with the CSO’s POETRY CONTEST. Winning poems will be read at the Corryville and Downtown branches of The Public Library of Cincinnati and Hamilton County during free special poetry readings (NOV 7 & 11).

• Want to learn more about Dr. Maya Angelou? Participate in the library’s November BOOK OF THE MONTH program as our community collectively reads Dr. Angelou’s I Know Why the Caged Bird Sings.

• Enjoy a pre-concert Classical Conversation and a live CONCERT by the CSO at Music Hall on NOV 13 or 14. The program features a CSO commission of three world premiere works inspired by the poetry of Dr. Maya Angelou. Concert tickets from $12!

BEETHOVEN: Leonore Overture No. 2 JONATHAN BAILEY HOLLAND / KRISTIN KUSTER / T.J. COLE: (World Premiere) Short works based on the poetry of Dr. Maya Angelou DVOŘÁK: Symphony No. 9, From the New World

cincinnatisymphony.org/onecity

Community partners include: ArtsWave • Church of the Advent • Elementz • Greater New Hope Missionary Baptist Church • Kenton County Public Library

• Madisonville Recreation Center • MyCincinnati • National CSO MASTERWORKS Underground Railroad Freedom Center • The Public Library of SERIES SPONSOR CONCERT SPONSOR POETRY WRITING Cincinnati and Hamilton County CONTEST SPONSOR FIRST CHAMBER PLAYERS CONCERT 27th Season, 2015–2016 SUN OCT 18, 4 pm Music Hall

URBAN LEGENDS

HAYDN String Quartet in D Major, Op. 20, No. 4 (1732–1809) Allegro di molto Un poco adagio e affettuoso Menuetto: Allegretto alla Zingarese Presto scherzando Rebecca Kruger Fryxell, violin Chika Kinderman, violin Stephen Fryxell, viola Matthew Lad, cello

MICHAEL CHERTOCK Urban Legends: Trio for Oboe, Bassoon and Piano (b. 1967) Quite fast Slow Christopher Philpotts, oboe Hugh Michie, bassoon Michael Chertock, piano

INTERMISSION

ZEMLINSKY Trio for Clarinet, Cello and Piano in D Minor, Op. 3 (1871–1942) Allegro ma non troppo Andante Allegro Jonathan Gunn, clarinet Alan Rafferty, cello Sandra Rivers, 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.

PROGRAM NOTES © 2015–16 Cincinnati Symphony Orchestra

FRANZ JOSEPH HAYDN With Op. 20 the historical development of String Quartet in D Major, Op. 20, No. 4 Haydn’s quartets reaches its goal; and further Haydn’s six string quartets, Op. 20, are considered progress is not progress in any historical sense but simply the difference between one masterpiece a landmark in his development as a composer. Pub- and the next...no later set of six quartets, not even lished in 1779, they possess an intensity similar to Op. 76, is, on its own plane, so uniformly weighty that found in his middle-period “Sturm und Drang” and so varied in substance. symphonies. According to Sir Donald Tovey:

38 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: OCT 18

Haydn introduced a strong contrapuntal element criticisms to heart in composing the Clarinet Trio; into the set and was more liberal and precise with Brahms approved of the work and recommended expression markings than in his earlier quartets. He that Simrock publish it. also experimented with a bolder use of keys and That same year Zemlinsky became friends with a movement types. With Op. 20, Haydn established young cellist in the orchestra he conducted—Arnold techniques that would define quartet composition Schoenberg. Schoenberg dedicated his Op. 1 lieder for the next 200 years. to him and wrote his first string quartet under his Quartet No. 4 in D major opens with a brisk Al- guidance. In 1901 Schoenberg married Zemlinsky’s legro, alternately calm and vigorous. The second sister Mathilde. The previous year, Zemlinsky, in the movement is a set of four variations on an elegiac wake of the artist Gustav Klimt, had become infatu- theme. This poignant movement encompasses the ated with his pupil Alma Schindler. She admired his styles of the Baroque, Classical and Romantic eras. “virtuoso hands” but taunted him for being short The Menuetto alla Zingarese with its cross-accents and ugly and married Mahler instead. This rejection and rhythmic shifts is reminiscent of Hungarian had a profound effect on Zemlinsky. Zemlinsky’s folk music, likely inspired by gypsy players Haydn post-Alma music, including his Lyric Suite and heard at and around the Esterhaza palace in Hun- the cathartic opera Der Zwerg (“The Dwarf,” based gary, southeast of Vienna. The gypsy influence on Oscar Wilde’s short story “The Birthday of the is evident as well in the exuberant finale—Presto Infanta”), became even more emotionally charged. scherzando. From 1903, Zemlinsky taught orchestration at the —Rebecca Kruger Fryxell Schwarzwald school, where his pupils included Berg and Webern; he later, privately, also taught MICHAEL CHERTOCK Korngold. In 1904, with Mahler’s support, Zem- Urban Legends: Trio for Oboe, Bassoon linsky and Schoenberg founded the Vereinigung and Piano schaffender Tonkünstler to promote new music in Urban Legends, a two movement trio for oboe, bas- Vienna. For a few months in the summer of 1908 soon and piano, draws on many influences, the most Mathilde left Schoenberg for a young Austrian obvious of which are jazz fusion, Ravel and Poulenc. painter Richard Gerstl, precipitating Schoenberg’s Composers have long sought trio combinations first atonal composition. Zemlinsky was never won beyond the traditional grouping of violin, cello over to atonalism, following a creed that he had set and piano. There are trios for clarinet, cello and out in a 1901 letter to Schoenberg: “A great artist, piano; horn, violin and piano; and flute, cello and who possesses everything needed to express the piano. The instrumentation of oboe, bassoon and essentials, must respect the boundaries of beauty, piano was probably appealing to Poulenc and even if he extends them far further than hitherto.” André Previn, who both composed trios for the Zemlinsky’s composing career was fitful, but he combination, because the double reed sound is exerted a major influence as a conductor, champion- penetrating enough to compete with the grand ing Mahler and conducting a Figaro in Prague that piano, and the focused sound of the two wood- was, for Stravinsky, the most satisfying operatic wind instruments allows for the clean rendition of performance he had ever heard. The Anschluss complicated harmonies. forced Zemlinsky to emigrate to New York, where I am grateful to Hugh Michie and Chris Philpotts in 1939 he suffered a stroke; his death three years for helping bring this music life. later went almost unnoticed. —Michael Chertock The Clarinet Trio of 1896 shows the influence of Brahms both in its form and its content, but with ALEXANDER von ZEMLINSKY added fin-de-siècle energy, develops the brooding Trio for Clarinet, Cello and Piano in intensity of the opening theme, contrasting its strong D Minor, Op. 3 passions with a lighter, altogether more optimistic Zemlinsky was born in Vienna of a Slovak father and and calmer (Ruhig) motif. The three instruments Sarajevan mother and studied at the Vienna Conser- weave around each other in the beautifully rhap- vatoire. In his early twenties his chamber work was sodic Andante, interrupted briefly by a Fantasia sec- performed at the Wiener Tonkünstlerverein. After tion. The last movement’s energetically optimistic the première of his String Quintet in 1896, Brahms Rondo is only briefly interrupted by memories of criticized Zemlinsky for his harmonic recklessness the previous movements before dismissing their and tonal inconsistency. Zemlinsky took Brahms’ concerns with a cheerfully peremptory flourish. —Chris Darwin (used with permission)

cincinnatisymphony.org | FANFARE CINCINNATI | 39 It feels good to give back.

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

2015–2016 SEASON FRI OCT 30, 8 pm SAT OCT 31, 8 pm Music Hall

SIMONE YOUNG conductor MAY FESTIVAL CHORUS Robert Porco, director

BRAHMS Schicksalslied, Op. 54 (1833–1897)

BRAHMS Nänie, Op. 82

INTERMISSION

LISZT Dante Symphony (1811–1886) Inferno: Lento. Allegro frenetuci Purgatorio: Andante con moto quasi. Allegretto. Tranquillo assai

The CSO is grateful to MACY’S, the CSO’s Boundless Series Sponsor. The Ladislas and Vilma Segoe Family Foundation is this weekend’s Presenting Sponsor. The appearance of the May Festival Chorus is made possible by a generous gift from the Nancy & Steve Donovan Fund for Chorus and Orchestra. Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony and Pops Orchestra. These concerts will end at approximately 9:45 pm. 90.9 WGUC will broadcast this concert Sunday, January 31, 8 pm.

PROGRAM NOTES © 2015–16 Cincinnati Symphony Orchestra JOHANNES BRAHMS compositions of Brahms (the Alto Rhapsody, Gesang Schicksalslied, Op. 54 der Parzen and Begräbnisgesang), form a mini-genre TIMING: approx. 16 min. of short choral-orchestral works in which evocative INSTRUMENTATION: SATB chorus, 2 flutes, 2 oboes, music of expressive purity reflects intensely moving 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, poetry. Although these pieces are more medita- timpani, strings CSO SUBSCRIPTION PERFORMANCES tive or stoic than Christian, they occupy a place in Premiere: April 1942, Eugene Goossens conducting; UC Brahms’ oeuvre comparable to that of the cantatas of Oratorio Society Chorus Bach in his. They all, in one way or another, explore Most Recent: March 2004, Jesús López-Cobos the unbridgeable separation of humanity from conducting, May Festival Chorus eternal happiness. MacDonald traces these works to Brahms’s solitary existence: “They all surely embody Brahms was born in Hamburg on May 7, 1833; he died a broader sense of himself as in some way fated, a in Vienna on April 3, 1897. He began Schicksalslied man apart, able (or forced) to view his merely human (“Song of Destiny”) in 1868 but needed three years to aspirations dispassionately, aware of the eternal gap complete it. Hermann Levi conducted the first perfor- between them and any kind of perfection.” mance on October 18, 1871 in Karlsruhe, Germany. Friedrich Hölderin’s poem Hyperion’s Schick- Although composed a decade apart, Schicksalslied salslied is divided into two parts: an evocation of shares several features with Nänie. Both works are the heavenly spirits is followed by a bleak picture based on legends from classical antiquity, revolv- of a confused humanity below. Brahms vividly ing around the theme of the aloofness of the gods underscored these contrasting settings and moods. from humanity. According to biographer Malcolm Within the serene opening, a quiet drumbeat hints MacDonald, these two pieces, along with other at the unhappiness of humankind; this drumbeat

cincinnatisymphony.org | FANFARE CINCINNATI | 41 PROGRAM NOTES: OCT 30–31

the problems of humanity can be solved in heaven. ENJOY BRAHMS? HEAR MORE OF At the suggestion of conductor Hermann Levi, the HIS MUSIC THIS SEASON! composer decided to make the recapitulation wholly Be sure to return Jan 14 & 16 when Louis orchestral, omitting any direct verbal restatement of Langrée leads Brahms’ Symphony No. 1 along everlasting peace. with Robert Schumann’s Piano Concerto, Is this musical recapitulation a Christian consola- featuring pianist Kirill Gerstein. Also this weekend: tion carried out in the abstract world of tones, or is it “Stories in Concert” featuring a discussion on a blatant musical contradiction of the meaning of the and performance of Brahms’ Symphony No. 1, poem, or is it—as seems most likely, given Brahms’s Sunday, Jan. 17, distrust of Christian doctrine—a statement on the inevitable gulf between humanity and paradise? If then becomes the transition into the middle sec- Brahms ever revealed his intentions, no record of it tion, which violently portrays blind humankind by has survived, and thus all three interpretations can means of aggressive cross rhythms. The poem ends be supported. Biographer MacDonald favors the at this point, but Brahms was uncomfortable with a third explanation: two-part form. His sense of musical completion de- It seems likely that Brahms intended his manded a return of the original material and mood: conclusion, so unaffected by the minor-key he needed the closure provided by a classic ABA anguish that preceded it, to reinforce the sense form. At first he tried a simple recapitulation, but to of an utter divorce between the human and the return to Elysium after describing the suffering on Divine. In the aftermath of that anguish it arouses earth seemed to resolve the inherent contradiction a sense of hopeless longing, while the fateful in Hölderin’s text, creating a false sense of comfort drum-rhythm remains quietly persistent, even in the closing bars. and what Brahms felt was a naïve suggestion that —Jonathan D. Kramer TEXT AND TRANSLATION Ihr wandelt droben im Licht In the light there above, blessed spirits, Auf weichem Boden, selige Genien! you wander in Elysian fields! Glänzende Götterlüfte Shimmering celestial airs Rühren euch leicht, touch you gently, Wie die Finger der Künstlerin as the player’s fingers Heilige Saiten. on the sacred strings.

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Schicksallos, wie der schlafende Free from destiny, as the sleeping babe, Säugling, atmen die Himmlischen; the celestial beings breathe; Keusch bewahrt preserved chaste In bescheidener Knospe in modest bud Blühet ewig their spirit blooms Ihnen der Geist, forever in them, Und die seligen Augen and their blissful eyes Blicken in stiller, shine eternally Ewiger Klarheit. in still serenity. Doch uns ist gegeben, But to us it is not given Auf keiner Stätte zu ruh’n; in any place to rest; Es schwinden, es fallen suffering humanity Die leidenden Menschen perishes and falls Blindlings von einer blindly from one Stunde zur andern, hour to the other, Wie Wasser von Klippe like water dashed Zu Klippe geworfen, from crag to crag, Jahrlang ins Ungewisse hinab. year after year, down into the unknown.

—Translation by Peggie Cochrane ©1969 The Decca Record Company Limited, London

JOHANNES BRAHMS Biographer Malcolm MacDonald considers Nänie Nänie, Op. 82 to be “possibly the most radiant thing [Brahms] ever wrote.” MacDonald believes that the reposeful TIMING: approx. 12 min. INSTRUMENTATION: SATB chorus, 2 flutes, 2 oboes, character of this lamentation derives from Schiller’s 2 clarinets, 2 bassoons, 2 horns, 3 trombones, timpani, penultimate line: “Even to be an elegy, on the lips harp, strings of the beloved, is glorious.” CSO SUBSCRIPTION PERFORMANCES The text’s classical references are appropriate in Premiere: March 1996, Jahja Ling conducting; May a work honoring a painter who preferred to depict Festival Chorus Most Recent: March 2004, Jesús López-Cobos classical scenes. Schiller writes of the separation of conducting, May Festival Chorus Orpheus and Eurydice through death, of Venus and the wounded Achilles, and of Thetis and the Brahms began Nänie in 1880 and completed it in the dead Achilles. All these Greek myths treat a favorite summer of 1881, working on it in both Ischl and Press- Brahms subject: the separation of humankind from baum. He conducted the first performance in Zurich on bliss. As biographer MacDonald explains: December 6, 1881. Here, for once, the roles are reversed, and Heaven Brahms felt a close affinity for the work of neo- is not uncaring: Thetis and the sea-goddesses classic painter Anselm Feuerbach, who was profes- rise from the triplet-patterned waves in a… sor of historical painting at the Vienna Academy of majestically mourning F-sharp major whose Fine Arts. Brahms found in Feuerbach’s precision broad and lyrical theme is soon set to the astonished observation: “Behold, the gods weep, and clarity a closeness to his own aesthetic of all the goddesses weep that the beautiful must classical form. The composer collected copies of fade, that perfection must die.” almost all of the painter’s canvases and became his personal friend. The meter of Schiller’s verses—lines of hexameter While working on a portrait of Brahms, Feuerbach alternating with lines of pentameter—gave Brahms died in January 1880. The composer decided to create some difficulty. He set the major portion of the text a musical memorial for his friend. After much search- in the first section of the composition, a D major ing, he found a suitable text by Friedrich Schiller: andante in 6/4 time. The central section (più sostenuto, Nänie (“Funeral Song”). In keeping with Feuerbach’s F-sharp major, 4/4 time) uses only four lines of text, preference for subjects from antiquity, Brahms chose and the final section—which musically (although a poem that was modeled on ritual funeral songs not textually) recalls the opening part—uses but of ancient Rome. The composer Hermann Goetz, two. After an orchestral introduction in which the another friend of Brahms who had died not long mood of the text is established, the theme of Schil- before, had also set Schiller’s poem to music. Certain ler’s lament is given in the very first line: “Even resemblances between Goetz’s work andNänie sug- the beautiful must die.” The text then goes on to gest that Brahms may have intended his composition elaborate on the transience of beauty and perfection, as a memorial to Goetz as well as to Feuerbach. He with a series of allusions to Greek mortals. In keep- dedicated Nänie to Feuerbach’s stepmother. ing with Schiller’s references to antiquity, Brahms used various contrapuntal textures reminiscent of

cincinnatisymphony.org | FANFARE CINCINNATI | 43 PROGRAM NOTES: OCT 30–31 music of the past. The work ends with an homage mourning in the mouth of those one has loved… to art. Annotator Peter Petersen interprets the end- means a subsuming of death in the ideal existence ing: “Death is irreversible, but to become a song of of art.” —Jonathan D. Kramer

TEXT AND TRANSLATION Auch das Schöne muss sterben! Even the beautiful must die! Das Menschen und Götter bezwinget, That which subdues men and gods Nicht die eherne Brust does not move rührt es des stygischen Zeus. the steely heart of Stygian Zeus. Einmal nur erweichte Only once did love touch die Liebe den Schattenbeherrscher, the ruler of the underworld, Und an der Schwelle noch, streng, and still upon the threshold, rief er zurück sein Geschenk. sternly he recalled his gift. Nicht stillt Aphrodite Aphrodite does not tend dem schöne Knaben die Wunde, the lovely youth’s wound, Die in den zierlichen Leib torn by the savage boar grausam der Erbe geritzt. in his graceful body. Nicht errettet den göttlichen Held The immortal mother does not save die unsterbliche Mutter, the godly hero Wann er, am skäischen Tor fallend, when, dying at the Scaean gate, sein Schicksal erfüllt. his destiny he fulfills. Aber sie steigt aus dem Meer But she rises from the sea mit all Töchtern des Nereus, with all Nereus’s daughters Und die Klage hebt an and the lament for the exalted son um den verherrlichten Sohn. goes up. Siehe, da weinen die Götter, Behold, the gods weep, es weinen die Göttinnen alle, all the goddesses weep Dass das Schöne vergeht, that the beautiful must fade, dass das Volkommene stirbt. that perfection must die. Auch ein Klaglied zu sein Even to be an elegy im Mund der Geliebten, ist Herrlich, on the lips of the beloved is glorious, Denn das Gemeine geht for the ordinary klanglos zum Orkus hinab. goes down unsung to Orcus.

—Translation by Friedel Becker ©1977 The Decca Record Company Limited, London

FRANZ LISZT to an extent never seen before—William Blake, Lord Dante Symphony Byron, Percy and Mary Shelley, John Keats, Eugène TIMING: approx. 52 min. Delacroix and Victor Hugo are just a few of Dante’s INSTRUMENTATION: solo soprano, women’s most famous admirers from the Romantic era. chorus, 3 flutes (incl. piccolo), 2 oboes, English horn, Franz Liszt, one of the most literate composers 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, who ever lived, had a lifelong love for Dante. There 3 trombones, tuba, 2 timpani, cymbals a2, bass drum, is evidence that he knew The Divine Comedy as tam-tam, harp, harmonium, strings CSO SUBSCRIPTION PERFORMANCES early as 1831. Between 1837 and 1849, he wrote his Premiere: March 1901, Frank Van der Stucken piano sonata Après une lecture du Dante (the title of conducting; CCM Chorus—Third Intermediate School which was borrowed from Hugo). Dante continued Most Recent: September 1989, Jesús López-Cobos to haunt him, and in the 1850s—the decade that conducting, May Festival Chorus Women also produced the Faust Symphony and the great Franz Liszt was born in Doborján, Hungary (now Raid- symphonic poems—he composed a grandiose ing, Austria) on October 22, 1811 and died in Bayreuth, symphony with women’s chorus based on the Germany, on July 31, 1886. He composed his Dante Divine Comedy. His original plan was to lay out the Symphony in 1855–56 (although the first sketches go work in a three-movement format corresponding to back as far as 1847); he conducted the first performance Dante’s three cantiche: Hell, Purgatory and Paradise. in Dresden on November 7, 1857. However, according to a well-known story, Richard Wagner talked Liszt out of composing a “Paradise” The 19th century saw a major revival of Dante movement, claiming that “no human composition Alighieri and his monumental Divine Comedy. Many could depict adequately the glories of Paradise.” As of the leading spirits of the Renaissance and, later the a result, Liszt’s symphony has only two movements, Enlightenment, had found the austere spirituality Hell and Purgatory; yet what is the choral Magnificat of the Commedia foreign to them; the Romantics, at the end if not a clear allusion to Paradise? After however, were mesmerized by the cosmic vision, the all, the Virgin Mary appears at the end of Paradiso, rich imagery and, not least, the supremely beauti- and the Magnificat is none other than the Virgin’s ful language of the 14th-century poet. Writers and canticle from the Gospel of Luke. So Liszt’s second visual artists were inspired by the great Florentine movement effectively combines both Purgatory and

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Paradise, although its title adventurous. He followed does not say so. the Paolo-Francesca scene Wagner’s doubts about with a passage represent- the expressive powers of ing, in his own words, “a music are somewhat puz- blasphemous mocking zling and could only be laughter,” with sharply explained in the context accentuated trills in the of his personal relation- clarinets and violas and a ship with Liszt, which is characteristic triplet figure far too complex to go into in the low register of the here. Paradise is certainly bassoons and cellos. In his not the only thing in The multi-volume biography Divine Comedy that would of the composer, leading be difficult to express in Liszt scholar Alan Walker music: the work is a true writes that in passages encyclopedia of medi- such as this one, “indi- eval philosophy, theology vidual players..., possibly and history; it abounds in for the first time, realized abstract concepts, biog- that they were actually raphies of notable people expected to listen critically and more. Liszt can hardly The artist Gustave Doré’s illustration of Virgil and Dante as they begin to the sounds that they be blamed for focusing their laborious climb up the Mount of Purgatory. produced.” At one point, on just a handful of the the composer contem- best-known and most directly emotional excerpts plated using a wind machine to evoke the storms from the poem. One such excerpt was the famous of Hell. In the end, this proved impracticable, as did inscription on the gate of Hell (Inferno, canto 3): the diorama he had envisioned in order to provide a visual representation of the poem. Through me the way to the city of woe, Through me the way to everlasting pain, Liszt’s rhythmic imagination is likewise far ahead Through me the way among the lost. of his time: the lyrical episode explores such meters … as 5/4 and 7/4, then almost unheard-of in Western Abandon all hope, you who enter here. music. Thanks to these devices, the composer was Another is the story of Paolo and Francesca able to heighten the impact of the two selected (Inferno, canto 5), the adulterous lovers who are episodes. punished for their transgression; it is a story that It cannot be denied that no episodes from Pur- captured the Romantic imagination like no other in gatorio or Paradiso had the same resonance with the whole poem. Its most famous line is 19th-century readers as did the Gates of Hell or the story of Paolo and Francesca from the Inferno. For There is no greater sorrow this reason, Liszt did not pick any particular pas- than to recall happiness in times of misery. sages from the poem in his second movement; he KEYNOTE. With unerring instinct, Liszt found in addressed, instead, an idea central to the last two these two episodes the perfect contrast a symphonic cantiche—the idea of ascent. Purgatory is a moun- movement needed: he fashioned the first theme tain that Dante and his guide Virgil have to climb; of the first movement out of the inscription on and Paradise similarly takes the reader through the the gate of Hell, and the second theme out of the ever-higher regions of Heaven. The ascent in the Paolo-Francesca episode. The first, a depiction of second movement of Liszt’s symphony begins with pain and turmoil on a universal scale, provides a the image of dawn from the first canto of Purgatorio, backdrop for the second, which represents the suf- represented by flowing woodwind melodies over a fering individual. Both of the above quotes inspired gentle harp and string accompaniment. This idyll is themes that fit those words (in the original Italian) interrupted by a fugue on a theme marked lamen- perfectly; the lines, though not sung, are written toso. Purgatory being a transitional stage between into the score over the corresponding instrumental Hell and Paradise, it is not free from conflicts. Yet parts. “Hellish” chromaticism with wild accents these conflicts are not eternal like those in Hell. They for the first theme, sensuous harp arpeggios and a can be overcome—which is exactly what happens mournful bass clarinet solo for the second—these as the struggle represented by the fugue is resolved, are the principal ingredients of the movement, or rather transcended, in the lyrical passage that which shows Liszt the orchestrator at his most leads to the entrance of the women’s chorus with the words of the Magnificat.

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PROGRAM NOTES: OCT 30–31

This quiet, introspective apotheosis is not unlike When the Dante Symphony was published, the the Chorus mysticus that ends Liszt’s Faust Sym- score said simply: “Dedicated to Richard Wagner.” phony in the alternative ending the composer added However, Liszt’s effusive dedication letter, in which to that work in 1857. Maybe his experience with the he called Wagner his “guide” as Virgil had been to Dante Symphony played a part in his decision to Dante, remained unpublished. Between Liszt and adopt a similar conclusion for his other great literary Wagner, the question of who influenced whom was symphony (which, incidentally, also ends with an a matter of some contention over the years, and the ascent to heaven). The Dante Symphony, too, has relationship between the two friends was not always an alternative ending: Liszt’s original manuscript entirely unclouded. Yet their “musical conversa- contains an optional coda, loud and triumphant. tion,” as it were, never stopped. Discussing Liszt’s On October 13, 1856 he played through both his oratorio Christus (1867), Alan Walker writes: “The symphonies on the piano for Wagner, who later spiritual and musical connections between Christus recalled the experience in his autobiography: and Parsifal [1882] have rarely been remarked, though they would make an absorbing study.” And ...The delicately introduced Magnificat...gives only a hint of a soft, shimmering Paradise. I was in 1883, the old Liszt wrote some deeply moving the more startled to hear this beautiful suggestion music in Wagner’s memory. The Dante Symphony suddenly interrupted in an alarming way by a is one of many monuments to the close intellectual pompous plagal cadence.... ”No!” I exclaimed and personal contact between the two leading lights loudly, “not that! Away with it! No majestic Deity! of what came to be known in music history as the Leave us the fine soft shimmer.” “new German school.” “You are right,” remarked Liszt. “I said so too; it —Peter Laki was the Princess who persuaded me differently. But it shall be as you wish.” TEXT AND TRANSLATION Magnificat anima mea Dominum, The loud second ending is rarely heard today. (It et exultavit spiritus meus was not the only time that the Princess—Carolyne in Deo salutari meo. von Sayn-Wittgenstein, Liszt’s companion—inter- My soul magnifies the Lord, fered with Liszt’s work; she insisted on running his and my spirit rejoices life in other respects as well.) in God my Saviour. (Luke 1:46-47)

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48 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS Oct 30–31

SIMONE YOUNG, monic Orchestra; from Janu- conductor ary 2001 to December 2003 Simone Young was Artistic she was Artistic Director and Director of the Hamburg Music Director of the Aus- State Opera and Music Di- tralian Opera in Sydney and rector of the Hamburg Phil- Melbourne. From the summer harmonic Orchestra from of 2007 until 2012 she was August 2005 to the end of also Principal Guest Conduc- the 2014–15 season, where tor of the Lisbon Gulben- she conducted a wide range kian Orchestra. This season of operas, including works Young will work with or- by Mozart, Verdi, Puccini, chestras including the Wiener Wagner, Strauss, Hindemith, Symphoniker, Orchestre de Britten and Henze in new Chambre de Lausanne, Cin- productions and repertoire cinnati Symphony Orchestra, performances, among them Rundfunk-Sinfonieorchester, world premieres and several Deutsches Symphonie-Or- German premieres. Young chester, Konzerthausorches- positioned herself on an in- ter Berlin, Staatsphilharmonie ternational level as a Wagner Nürnberg and various or- and Strauss specialist. She Simone Young, © Berthold Fabricius chestras in Australia. took over the musical direction of several cycles of Numerous CD recordings of Young’s work are the Ring des Nibelungen at the Wiener Staatsoper, available. Oehms Classics has released recordings the Staatsoper Unter den Linden in Berlin and from the Hamburg State Opera, including Mathis at the Hamburger Staatsoper. At the Bayerische der Mahler and Der Ring des Nibelungen, as well as Staatsoper she conducted Elektra, Salome, Die Frau several recordings with the Hamburg Philharmonic ohne Schatten, Ariadne auf Naxos, Die Meistersinger von Orchestra, including all of the Bruckner symphonies Nürnberg and a new production of Palestrina, among in the original version and Johannes Brahms’ first others. At the Wiener Staatsoper, where she made and second symphonies. Other recordings are La her remarkable debut in 1993, she conducted a wide Juive (Vienna) on DVD, Palestrina (Munich) and repertoire, including the main works by Richard Poulenc’s Le Dialogue des Carmelites (Hamburg). Wagner and Richard Strauss, the worldwide ap- Simone Young has received numerous awards preciated rediscovery of Halévy’s La Juive and and honors. She holds an honorary doctorate from numerous works of the Italian repertoire. After a the universities of Sydney and Melbourne. She is longer period of absence from the Wiener Staat- Professor at the Academy of Music and Theatre soper, she returned during the 2011–12 season with in Hamburg, winner of the Order “Member of the a celebrated revival of Strauss’ Daphne and will be a Order of Australia,” the Chevalier des Arts et des regular guest conductor in the years to come. Young, Lettres, and the Goethe Medal. In her first opera born in Sydney, has been conducting in all leading season in Hamburg, she was honored as Conductor opera houses throughout the world, including the of the Year. She also received the Brahms Prize of Opéra National de Paris, the Royal Opera House Schleswig-Holstein. Covent Garden in London and The Metropolitan Opera in New York. In her first season as a freelance MAY FESTIVAL CHORUS conductor, Young will give guest performances ROBERT PORCO, Director of Choruses at the state operas in Munich, Berlin, Vienna and Heather MacPhail, Assistant to the Dresden. Director of Choruses & Accompanist In addition to her extensive opera activities Young Matthew Swanson, is also very successful on the concert stage. She has May Festival Conducting Fellow worked with leading orchestras such as the Wiener Rosanne Wetzel, Chorus Manager Philharmoniker, Berliner Philharmoniker and The May Festival Chorus has earned acclaim locally, London Philharmonic Orchestra. From 1999 to 2002 nationally and internationally for its musicality, Young was Music Director of the Bergen Philhar- vast range of repertoire and sheer power of sound.

cincinnatisymphony.org | FANFARE CINCINNATI | 49 GUEST ARTISTS: OCT 30–31

The chorus of 150 professionally trained singers, Kristi C. Reed Jennifer Moak Bass Beth Roberts Rozelia Park Mark Aiken under the direction of Robert Porco since 1989, is Julia H. Schieve Amy M. Perry Richard Arnest the core artistic element of the Cincinnati May Fes- Yvon F. Shore Jeanne E. Phillips Tony Barkley Susan Thiel Laura Schapiro Kenny Bierschenk tival as well as the official chorus of the Cincinnati Christine A. Molly Scruta John E. Black Wolterman Rachel Seymour Andrew L. Bowers Symphony and Pops Orchestra. Throughout each Maria Luisa Yerdon Patricia Somers Scott Brody Megan Weaver Doug Bruestle season the chorus members collectively devote more Alto Linda Wiley Tim Butz than 40,000 hours in rehearsals and performances. Robin Bierschenk Monica Wilson Christopher Canarie Rachael Blum Lawrence E. Coleman Director Robert Porco has been recognized as one Cynthia Bourgeois Tenor Steven L. Dauterman Barb Brown Jim Baxter Jon Gibson of the leading choral musicians in the U.S., and for Megan Christman Daniel Blosser Bradley Kauffman nearly 40 years he has been an active preparer and Lindsey Dolan Keith Dale Jim Laskey Sarah K. Dorger Brian Donaldson Armando H. Linares conductor of choral and orchestral works, including Alicia Falcón Nathaniel B. Garris Jack W. McKee H. Jane Gavin Braden Mechley Aaron J. Meece most of the major choral repertoire, as well as of Margaret E. Hagar Jeffrey Nielsen Michael Merry Sarah Hamilton Jon Olson Justin Peter opera. In 2011 Mr. Porco received Chorus America’s Sally Vickery Harper Scott C. Osgood James V. Racster “Michael Korn Founders Award for Development Abigail Hoyt Jason Ramler Ron Schofield Spence B. Ingerson Evan T. Ratley James Shackson of the Professional Choral Art.” Lindsey Jeffers Larry Reiring Gerald Shannon Karolyn L. Johnsen Adam Shoaff Roger Sidebotham Alexandra Kesman David Skiff Soprano Laurel Boisclair Carolyn Hill Samuel M. Stover Andrea Kiehl Jeffrey Stivers Karen C. Allen Ellsworth Ruth Hill Marc Tuel Julie Laskey Matthew Swanson Tracy Bailey Magdalena Lisa Koressel Joshua Wallace Kay M. Luccasen Gary Wendt Kristin Berger Greenewald Judith C. LaChance Mark Weaver Kathy Mank Barry Zaslow Leonardia Bidwell Anita Marie Greer Hilary Landwehr Ronald M. Webber Melissa A. Martin Dawn Bruestle Sarah Grogan Marissa Miller Joe White Teri McKibben Beth A. Curtis Dana Harms Lauren Peter Kathy Dietrich Lauren Steiger Hess Mary Beth Poulimenos

Q&A WITH SIMONE YOUNG Fanfare Cincinnati: You will be conducting a pro- to draw on an extensive and varied musical life in gram of Brahms (Schicksalslied and Nänie) and Liszt opera, lieder and symphony and find inspiration (Dante Symphony). What connects these works to each for one in the other constantly. other? Simone Young: The great composers of the German FC: Tell us a little bit about your musical background. Romantic were heavily influenced by the writers of What led to your career as a conductor? their day: Goethe and Schiller in particular, but also SY: I was born into a non-musical family, so my the poems of Hölderlin held a fascination for Brahms preoccupation with music from an early age was and Liszt both. Dante’s Inferno, although a medi- rather a surprise to all…. My early love of the piano, eval work, also contains many classical references voice, language and drama led me to work first in which link into the spirit of the mid-19th century. opera, where I rapidly rose from rehearsal pianist The mythological references in Nänie, the spirits of to conductor, making my professional debut at the Schicksalslied and the stories of Dante contained, in age of 24 at the Sydney Opera House. From there, their allegorical nature, inspiration that went far further studies in Europe and a healthy dose of good deeper than merely the superficial meaning of the fortune led me to the podiums of the opera houses of words themselves. The stories offer musical and the world. It has been a very privileged life in music. dramatic inspiration that both composers were able FC: Where do you seek inspiration, in music or to realize in a depth of musical expression which has otherwise? a direct impact upon its listeners. SY: I find inspiration everywhere—in nature, its FC: How does your experience as a conductor of opera grandeur and breadth (I love the sensation of being inform how you conduct a highly dramatic program utterly alone in a wilderness, be it snorkeling on such as this? a reef in Australia, high in the mountains in New SY: Again, the composers of the German Romantic, Zealand, or on a glacier in Norway), in the chang- from Mendelssohn and Beethoven to Wagner and ing of light on water, in poetry, art and literature, Bruckner, were fascinated and heavily influenced by in the words of inspirational leaders, and in the the literature of the time. Whether in lieder, oratorio, achievements of great sportsmen and women. There opera or symphony, the drama, born of the “Sturm is inspiration all around! und Drang” movement, abounds in all these works. Visit cincinnatisymphony.org/stories to read the full One can draw cross-references from one musical interview. form to another…. I am very privileged to be able

50 | FANFARE CINCINNATI | cincinnatisymphony.org thank you

Bringing people together...

…that’s

in action theartswave.org in action” With the help of tens of thousands of donors just like you, ArtsWave supports more than 100 arts organizations, like the Cincinnati Symphony and Pops Orchestra, that make Greater Cincinnati an amazing place to live.   

 2015–2016 SEASON SAT OCT 31, 10:30 am  Music Hall 

KEITARO HARADO, conductor IMPERIAL MARCH from LA TREGENDA from LE VILLI THE EMPIRE STRIKES BACK Giacomo Puccini John Williams  SUITE from FROZEN SUITE from PIRATES OF THE CARIBBEAN: Kristen Anderson-Lopez, arr. Krogstad THE CURSE OF THE BLACK PEARL Klaus Badelt, arr. Ricketts IN THE HALL OF THE MOUNTAIN KING from PEER GYNT DANSE MACABRE Edvard Grieg Camille Saint-Saëns SUPERMAN MARCH from SUPERMAN FINALE from THE SORCERER’S APPRENTICE John Williams Paul Dukas

HARRY’S WONDROUS WORLD from HARRY POTTER AND THE SORCERER’S STONE John Williams

The CSO extends its sincere appreciation to the George L. & Anne P. Heldman Fund of The Greater Cincinnati Foundation for its tremendous support of the Family Lollipops Concerts for the 2015–16 Season.

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

cincinnatisymphony.org | FANFARE CINCINNATI | 53 BOARDS BOARD OF DIRECTORS (as of September 1, 2015) Susan S. Friedlander* Eric V. Oliver Officers Jane Garvey Robert S. Olson James E. Schwab, Chair Joseph W. Hagin Santa Jeremy Ono Francie S. Hiltz, Chair-Elect and Vice-Chair Carol C. Hake Marilyn J. Osborn of Leadership Development John L. Harrison Jack Osborn Leonard M. Randolph, Jr., M.D., Secretary Patti Heldman J. Marvin Quin II* Otto M. Budig, Jr., Treasurer and Vice-Chair of Finance Joseph W. Hirschhorn* James B. Reynolds* Thomas Charles Garber, Vice-Chair of Facilities Sandra F.W. Joffe Sandra Rivers Dianne M. Rosenberg, Vice-Chair of Volunteerism Lois Jolson Jack Rouse Rosemary Schlachter, Vice-Chair David Kirk Ryan Rybolt of Patron Development Kevin Kline Ann H. Santen Sheila J. Williams, Vice-Chair of Community Engagement Ronald A. Koetters Jeffrey S. Schloemer Marvin Kolodzik Pamela Scott Directors Peter Landgren Edgar L. Smith, Jr. Stuart Aitken Tad Lawrence Matthew Q. Stautberg Kathleen Barclay Wendy S. Lea Thomas Stegman * Paul M. Booth Patricia Gross Linnemann William D. Stenger Trish Bryan* Timothy J. Maloney Randolph L. Wadsworth Jr.* Harold Byers Jonathan McCann Nancy Wagner Myra Chabut Robert W. McDonald Patricia Wagner Christopher C. Cole Bernard L. McKay Nancy Walker* Peter G. Courlas Sue McPartlin Geraldine B. Warner Alvin H. Crawford, M.D. Linda Freiberg Miller Warren Weber Dennis W. Dern Elizabeth Reitz Mullenix Diane West Sally Dessner Stephen R. Mullin Stacey G. Woolley Dianne Dunkelman Christopher Muth Honorable Tyrone K. Yates Mrs. Charles Fleischmann III* Cora K. Ogle Shau Zavon *Director Emeritus BOARD OF OVERSEERS (as of August 13, 2015) Drs. Lesley Gilbertson and William Hurford Marilyn J. and Jack D. Osborn § Mr. and Mrs. Michael H. Giuliani Arlene Palmer Dr. Ira A. Abrahamson § Clifford J. Goosmann and Andrea M. Wilson John and Farah Palmer Adleta Group, Mr. Robert Adleta Priscilla Garrison Haffner § Dr. and Mrs. John Parlin Romola N. Allen § Mr. Joseph Hagin Paycor, Bob Coughlin Mr. Anatole Alper Dr. and Mrs. Edward Hake Joseph A. and Susan E. Pichler Martha G. Anness § David G. Hakes PNC Bank, Kay Geiger Mrs. Katy Barclay Tom and Jan Hardy § PricewaterhouseCoopers LLC, Evelyn L. Cole Bartlett & Co., Jane Vanderhorst Mrs. Anne P. Heldman § Terry and Marvin Quin Ellen A. Berghamer § Robert and Patricia Henley Irene and Dan Randolph § Mary Bergstein David C. Herriman Rendigs, Fry, Kiely & Dennis, Mrs. Pat Fry Mr. and Mrs. David Berick Mr. and Mrs. Joseph W. Hirschhorn § Mercer and Gabrielle Reynolds Louis D. Bilionis and Ann Hubbard Mrs. Harry M. Hoffheimer Vicky and Rick Reynolds Mrs. Herbert Bloch, Jr. HORAN, Terry Horan § Melody Sawyer Richardson § Rosemary H. and Frank Bloom § Dr. and Mrs. M. Howett § Ellen Rieveschl § BMES, John Moore Dr. Murray Jaffe Elizabeth and Karl Ronn § Robert L. Bogenschutz Dr. and Mrs. Stephen Joffe J. David and Dianne Rosenberg Martha P. Bolognini Johnson Investment Counsel, Mr. Dean Moulas Nancy and Ed Rosenthal Dr. and Mrs. John and Suzanne Bossert § Lois and Dick Jolson Moe and Jack Rouse § Chris and Karen Bowman Frank Jordan § Ann and Harry Santen Mr. and Mrs. Frederick E. Bryan, III § Mr. Mace C. Justice § Mark S. and Rosemary K. Schlachter § Mr. Otto M. Budig, Jr. Mr. and Mrs. Lorrence T. Kellar Jeffrey S. Schloemer and Marcia A. Banker Mary Alice Burke § Dr. and Mrs. Lionel King Harold C. Schott Foundation, Francie and Tom Hiltz Shannon and Lee Carter Mr. and Mrs. Kevin Kline Digi and Mike Schueler Edward and Susan Castleberry Mrs. Thomas Klinedinst, Sr. Vivian and Jim Schwab CES/Link, Ms. Deborah Spradley Edward A. Klint Ladislas & Vilma Segoe Family Foundation, Mr. David Ellis CFM, Ms. Jamie Jewell Linda Dianne Knose Irwin and Melinda Simon Ms. Geraldine V. Chavez Florence and Ron Koetters Mr. Murray Sinclaire Robert and Debra Chavez Marvin P. Kolodzik § Mr. and Mrs. Gerald Skidmore § Chemed Corp., Sandra E. Laney Michael and Marilyn Kremzar Michael and Donnalyn Smith Piotr Chomczynski Kroger, Ms. Katy Barclay Tom and Dee Stegman § Cincinnati Symphony Club Anne I. Lawrence William D. Stenger Lois and Philip S. Cohen Mr. and Mrs. Robert L. Lawrence Mary S. Stern Sheila and Christopher C. Cole Louis Levin Laurence G. Stillpass Coney Island, Victor W. Nolting Daniel R. Lewis Theodore W. and Carol B. Striker Mr. and Mrs. Michael D. Connelly Mr. and Mrs. Brad Lindner Mr. and Mrs. Roy Sweeney Corporex Companies, LLC, Mr. William Butler Edyth B. Lindner Taft Stettinius & Hollister, Mr. Jeffrey Schloemer Peter G. Courlas § Calvin and Patricia Linnemann § Delle E. Taylor Crosset Family Fund, Mr. James M. Crosset Thomas and Adele Lippert Ms. Anne D. Thomas Mrs. Thomas E. Davidson Whitney and Phillip Long Laura G. Thomson Katharine M. Davis Mark and Tia Luegering Towers Watson, George Morrison Dennis W. and Cathy Dern Macy’s, Mr. Matthew Q. Stautberg Toyota Motor Eng. & Mfg. Co. N.A., Inc., David Fleischer Mr. and Mrs. Steve Dessner Mr. and Mrs. Timothy Maloney UBS, Mr. Troy DeBord Amy and Trey Devey § Elizabeth and Brian Mannion, MD Dale and Joyce Uetrecht Nancy and Steve Donovan Alan Margulies and Gale Snoddy Larry Uhlenbrock Marjorie Drackett Rhoda Mayerson United Dairy Farmers, Mr. Brad Lindner Mrs. David Ellis, Jr. Mr. and Mrs. Jonathan McCann U.S. Bank, Bradley Scott Emory P. Zimmer Insurance Agency, Baker D. Bahlman Mr. Robert W. McDonald Sallie and Duck Wadsworth § Ernst & Young, Mr. Scott Trosset Laura Kimble McLellan § Mr. and Mrs. Paul H. Ward § Harry and Linda Fath § Mrs. Susan M. McPartlin Ginger and David W. Warner Catherine Lepley Feig Mercy Health, Mario Cicchinelli Gary and Diane West § Fifth Third Bank Foundation, Ms. Heidi Jark Messer Construction Co., Kathleen C. Daly Western Pacific Holdings, Chiun-Teng Cheng Mr. and Mrs. James T. Fitzgerald Mr. and Mrs. Douglas Miller Western & Southern Financial Services, Mr. Don Wuebbling Mr. and Mrs. David Fleischer Mr. James A. Miller Mrs. Harris K. Weston (Alice) Mrs. Charles Fleischmann Linda and James Miller World Pac Paper, LLC, Edgar Smith and Toni Robinson-Smith Susan Friedlander § Monarch Construction, Mr. Ron Koetters Ms. Karen Wright Frost Brown Todd, Ms. Jill Myer Mrs. James Monroe § Betsy and Alex C. Young § Dr. and Mrs. Harry F. Fry Mr. and Mrs. Thomas J. Mueller Mr. and Mrs. James M. Zimmerman Molly and Tom Garber, CCI Design, Inc. Stephen and Kristin Mullin § Anonymous (5) Ms. Jane Garvey Mr. and Mrs. Christopher Muth § Richard D. Gegner Mrs. Ruth Myers § Denotes members of The Thomas Schippers Society. Mrs. Philip O. Geier § Anne Nethercott § Individuals who have made a planned gift to the Cincinnati Sabine and Werner Geissler Ohio National Financial Services, Mr. Gary T. “Doc” Huffman Symphony Orchestra are eligible for membership in The L. Timothy Giglio Dr. Santa Ono and Mrs. Gwendolyn Yip Thomas Schippers Society. For more information, please contact Rachel Kirley at 513.744.3291.

54 | FANFARE CINCINNATI | cincinnatisymphony.org OCTOBER 2015 Who’s a Group? You’re a Group!

The Cincinnati Symphony and Pops Orchestra is pleased to welcome the following groups to these concerts: • Discover our specially priced tickets for groups of 10 or more! Kindermusik by Cathy Siebert Pops Sounds of Simon & • Find out how you can Garfunkel, 10/4 Pianimals Kids Club orchestrate a profitable Anderson Senior Center Miss Nancy’s Musikgarten fundraising event Friends and Family of: for your local organization. Lollipops: Symphony Mr. Jackson E. Binkley Spooktacular, 10/31 Ms. Michelle Rice Contact CSO Group Sales: CCM Preparatory Department Ms. Donna Schomaker 513.744.3590 or csogroupsales.org Fairview-Clifton German Ms. Beverly Seibert Language School Mr. Robert A. Stohlman

cincinnatisymphony.org | FANFARE CINCINNATI | 55 Celebrating 50 years of public funding for the arts and culture in Ohio

Ohio Arts Council Rhodes State Office Tower 30 E Broad St, 33rd Floor Columbus, OH 43215-3414 Phone: 614/466-2613 Fax:614/466-4494 oac.ohio.gov FINANCIAL SUPPORT 2015–2016 SPONSORS The Cincinnati Symphony and Pops Orchestra is Greater Cincinnati area. For information on spon- grateful for the generosity of our sponsors. Sponsor- sorships, please contact the Philanthropy Office at ship support is vital to the success of the Orchestra 513.744.3365. We are proud to be partnered with and helps enhance the quality of cultural life in the the following:

PLATINUM BATON CIRCLE ($50,000+)

The Louise Dieterle Nippert Musical Arts Fund

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

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

GOLD BATON CIRCLE ($25,000–$49,999)

Tom & Molly Garber The Cincinnati Symphony Club

Western & Southern Financial Group

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

CONDUCTOR’S CIRCLE ($10,000–$24,999)

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

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

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

Queen City (OH) Chapter

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

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

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

cincinnatisymphony.org | FANFARE CINCINNATI | 57 FINANCIAL SUPPORT 2015–2016 Sponsors, cont. ARTSWAVE Partners Ohio National Financial Services The Carol Ann & Ralph V. Haile The CSO and Pops acknowledges the thousands Convergys Corporation U.S. Bank Foundation of individuals who generously participate in the American Modern Insurance Group University of Cincinnati and UC Health ArtsWave Campaign at the following Partner AK Steel Enquirer Media Companies. Your support helps make our community vibrant and connects people across our region through the arts. P&G ArtsWave Partners | OCTOBER 2015 GE Aviation Fifth Third Bank Macy’s, Inc. Western & Southern Financial Group The Kroger Co. U.S. Bank Fifth Third Bank Cincinnati Bell Pops, Oct 4 CSO, Oct 16–17 Cincinnati Children’s Hospital Medical Center The Cincinnati Insurance Companies U.S. Bank American Financial Group Duke Energy Corporation Toyota Motor Engineering & Manufacturing Cincinnati Bell Cincinnati Children’s Hospital North America, Inc. Frisch’s Restaurants, Inc. CSO, Oct 30–31 Medical Center PNC Bank CSO, Oct 31

PERMANENT ENDOWMENTS Over the years, members of the Greater Cincinnati The CSO thanks and honors the donors of these community have made significant gifts to provide permanent funds. for the enjoyment of future generations.

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

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

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

Anna Reider, First Violin, with her husband, Andy Pilder, greet Vicky David and Sheila Fleisher with Dwight Parry, Principal Oboe, at the Reynolds and Rosemary Schlachter at a dinner to celebrate the Conductor’s Circle Dinner at Carol Ann’s Carousel in May of 2015. Endowment Campaign’s success in February of 2015.

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Kay Geiger of PNC Bank and Santa Guests enjoy the Spotlight celebrity chef event at Opening Gala Chair Christy Horan visits with Ono of the University of Cincinnati LUMENOCITY. Pops Conductor John Morris Russell and VP spend some time together at of Philanthropy Mary McFadden Lawson at the LUMENOCITY. 2015 Opening Night Gala kick-off party.

ENCORE CIRCLE Mr. and Mrs. Bradley G. Hughes JoAnn Wieghaus Jerome H. and Jean K. Eichert Gifts of $1,500–$2,999 Barbara M. Johnson Curt and Virginia Wilhelm Mrs. Joyce Elkus Mr. and Mrs. James R. Adams § Mr. and Mrs. Geoffrey Keenan Sheila Williams and Bruce Smith Mr. Erwin F. Erhardt III William and Janet Albertson Mr. and Mrs. Richard Kovarsky Ronna and James Willis Hardy and Barbara Eshbaugh Mr. Richard Antoine Leonard Kuertz Gene Wilson Barbara Esposito-Ilacqua Dr. Norita Aplin and Stanley Ragle § Kevin L. Langston Steve and Katie Wolnitzek Alice Fegelman and Leo Munick, M.D. Dr. Bruce Aronow Mrs. Robert G. Lanzit Vance and Peggy Wolverton Dr. and Mrs. Carl G. Fischer Robert and Janet Banks Rita and Pete LaPresto Don and Carol Wuebbling Vaden Fitton Jane and Ed Bavaria § Richard and Susan Lauf Mr. Tyrone K. Yates Ashley and Bobbie Ford Mrs. Robert M. Bergstein Philip and Judy Leege Anonymous (8) Gregrick A. Frey and Karen L. Frey Rexford and Sharon Bevis Andrea Lerner Levenson Mr. and Mrs. Richard Friedman Jane Birckhead Mr. Peter F. Levin § SYMPHONY CIRCLE H. Jane Gavin § Dabby Blatt Mrs. Robert Lippert Gifts of $750–$1,499 Dr. and Mrs. Freidoon Ghazi Mr. and Mrs. John P. Boorn Jennifer Loggie, M.D. Mr. and Mrs. Richard N. Adams Mrs. Nicholas Giannestras Glenn and Donna Boutilier Al and Mary Lopez Drs. Frank and Mary Albers Mrs. Jocelyn Glass Dr. and Mrs. William Bramlage Mr. and Mrs. Clement H. Luken, Jr. Arne and Sharon Almquist Dr. and Mrs. Charles J. Glueck Mr. Thomas A. Braun III § Jacqueline M. Mack and Dr. F. Javier Alvarez-Leefmans Shelley and Steven Goldstein Mr. and Mrs. Larry Brueshaber Dr. Edward B. Silberstein Helen T. Andrews Ms. Arlene Golembiewski Mrs. Ann J. Bunis Mr. and Mrs. Donald Marshall Dr. Victor and Dolores Angel H. Drewry Gores and Anna K. and G. Gibson Carey David Martin Nancy J. Apfel George H. Warrington Joan Carlin Ms. Amy McDiffett Carole J. Arend § Thomas W. Gougeon Paul and Judy Carlson Stephanie McNeill Ms. Laura E. Atkinson Sam and Wanda V. Grace Mr. and Mrs. Martin Chambers Joe Mendelsohn III Fund* Mr. John G. Avril Joseph N. Green Susan and Burton Closson Mrs. Patricia Misrach Mr. and Mrs. Thomas B. Avril Mr. and Mrs. Gary Greenberg Drs. David and Nina Clyne Mr. and Mrs. David E. Moccia § David Axt and Susan Wilkinson Dr. and Mrs. James M. Greenberg Mr. Rick Coffey and Mr. Jonathan Williams Mrs. Sally A. More Dr. Diane S. Babcock § Lesha and Samuel Greengus Mr. and Mrs. Stanley Cohen § Judith and David Morgan Bob and Beth Baer Donald E. Grigsby Dr. and Mrs. John M. Collins George and Sarah Morrison III Mr. and Mrs. Carroll R. Baker Kurt and Joanne Grossman Dr. Pearl J. Compaan Dr. and Mrs. William H. Newell Judy A. Bean Mr. Bob J. Grutza Mr. and Mrs. Richard J. Coomes Dr. Cora Ogle Mr. James Benoski William P. Hackman § Randy K. and Nancy R. Cooper Mr. and Mrs. John T. Osterman Barbara and Milton Berner Mr. and Mrs. John S. Heldman § Martha and David Crafts Patricia and Morris Passer Dava L. Biehl § Dr. and Mrs. James P. Herman Mr. and Mrs. John A. Crittenden Poul D. and Jo Anne Pederson Walter B. Blair § Mrs. F. W. Hersman § Jodelle S. Crosset John and Francie Pepper* Drs. Bennett and Helene Blitzer Karlee L. Hilliard § Mr. and Mrs. Patrick Cunningham Mr. and Mrs. George Perbix Lucille and Dutro Blocksom § Daniel J. Hoffheimer § Ms. Geralyn J. Daly Alice and Burton Perlman Marilynn K. Braude Ruth C. Holthaus Stephen J. Daush Mr. and Mrs. Robert D. Phelps Mr. and Mrs. Joseph Brinkmeyer § Mr. David Huberfield George Deepe and Kris Orsborn Alice and David Phillips Charlotte Brooks Mr. and Mrs. Michael C. Hughes Bedouin and Randall Dennison Mr. John W. Plattner Rachelle Bruno and Stephen Bondurant Mr. and Mrs. Marshall C. Hunt, Jr. Mrs. Jack E. Drake Dr. and Mrs. Leonard M. Randolph, Jr. Chris and Tom Buchert John and Mary Ellyn Hutton § Rev. Virginia A. Duffy James W. Rauth § Donald L. and Kathleen Field Burns Dr. Maralyn M. Itzkowitz Betty Duncan Mrs. Robert S. Read Stephen and Diedra Burns Heidi Jark and Steve Kenat Ms. Maureen Dunne David and Marilyn Reichert Linda Busken and Andrew M. Jergens § Mr. Thaddeus Jaroszewicz Dr. and Mrs. Stewart B. Dunsker Mr. Alexander Resly John Byczkowski Mrs. Morse Johnson § David and Kari Ellis Fund* Sandra Rivers Ms. Deborah Campbell § Lois M. Jones Dr. and Mrs. Alberto Espay James Rubenstein and Bernadette Unger Tom Carpenter and Lynne Lancaster Dr. Robert W. Keith and Gail f. Forberg Ann Ruchhoft Dr. Julia H. Carter Ms. Kathleen Thornton Ms. Jacqueline S. Francis The Saenger Family Foundation Becky and Sam Cassidy Dr. Magdalena Kerschner Richard Freshwater Dr. and Mrs. Michael Scheffler Mike and Shirly Chaney Don and Kathy King Yan Fridman Mr. and Mrs. Peter A. Schmid Matthew Chimsky § Dr. Patrick G. Kirk and Carol S. Friel Pamela F. Schmitt Michael and Minnie Clements Mrs. Mary M. Vondrak Mr. and Mrs. James R. Gardner Dr. and Mrs. David Schwartz Dr. Margaret Conradi Mr. and Mrs. Dennis Kirley Dr. and Mrs. Ralph Gianella Theodore Schwartz and Jean and Gene Conway Jeff and Mary Ann Knoop Mary and Jack Gimpel Minette Hoffheimer Dr. Youssef and Suzanne Costandi Steven Kohler John B. Goering Dr. and Mrs. Carl M. Sedacca Robin Cotton and Cindi Fitton Carol Louise Kruse Dr. and Mrs. Glenn S. Gollobin Mrs. Robert B. Shott § Mr. and Mrs. Charles E. Curran III § Mr. and Mrs. Lawrence H. Kyte, Jr. Bette and Alan Griffith Sue and Glenn Showers John and Lynne Curtiss Patricia Lambeck Dr. and Mrs. Jack Hahn William A. and Jane Smith Mr. and Mrs. Henry F. Dabek, Jr. Everett and Barbara Landen Dr. Donald and Laura Harrison Howard and Nancy Starnbach Mr. and Mrs. James Dealy Mrs. Jean E. Lemon § Mr. John L. Harrison Matt and Shannon Stautberg Robert B. Dick, Ph.D. Paula and Nick Link Dr. and Mrs. Morton Harshman § Bill and Lee Steenken Jeannie Donaldson Drs. Douglas Linz and Ann Middaugh Emma D. Hartkemeier Elizabeth A. Stone Emilie and David Dressler Mr. and Mrs. David B. Lopez Irmgard and Horst Hehmann Mr. and Mrs. Peter Strange Patricia Dudsic Ms. Merlanne Louney Dr. Bernard Hertzman Susan and John Tew Shirley and Roy Duff Mrs. Max L. Lurie Ms. Janet Hickman Dr. Barbara R. Voelkel Dianne Dunkelman Dr. Michael J. Maloney, MD Elizabeth and Lawrence Hoyt Dr. and Mrs. Galen R. Warren Mr. and Mrs. John G. Earls § Ms. Alessandra Massa In Memory of Benjamin C. Hubbard § Jim and George Ann Wesner Mr. Jimmy Edwards Lynn and Glen Mayfield Mary E. West

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Eleanor S. McCombe Mrs. Mildred J. Selonick § Mr. and Mrs. Robert L. Wilson, Jr. Intrust IT Drs. Brian and Janice McConville Mr. Thomas Shepherd Andrea Wiot Jungle Jim’s International Market Mary Sue McDuffie Jack Sherman, Jr. Mrs. Barbara A. Witte § Ms. Kathleen Kiely Powell McHenry Alfred and Carol Shikany Mr. John M. Yacher Nancy C. Wagner Charles and Joann Mead Mr. Eli E. Shupe, Jr. Dr. and Mrs. Marvyn H. Youkilis Patricia M. Wagner Ms. Kristin Medlin Rennie and David Siebenhar David and Sharon Youmans Dr. and Mrs. C. Nelson Melampy Kenneth and Janet Smith Zaring Family Foundation List as of August 20, 2015 Mr. Ryan L. Messer and Mr. Jimmy Musuraca Dr. and Mrs. Robert Sefton Smith Carlos Zavala Miami University College of Creative Arts Mr. Troy R. Snider Mr. and Mrs. Dan Zavon * Denotes a fund of The Greater Cincinnati Mrs. Katerina Minevich Ellen and Clark Sole Mr. John W. Zorio Foundation William A. and Elizabeth Mitchell Jeff and Juddy Solomon Fund* Anonymous (11) § Denotes members of The Thomas Schippers Cheryl and Roy Newman Harold and Faye Sosna Society. Individuals who have made a planned Mr. and Mrs. John Noelcke Phillip and Karen Sparkes GIFTS IN-KIND gift to the Cincinnati Symphony and Pops Mr. and Mrs. Eric Oliver Ethan and Barbara Stanley Mrs. Charles Fleischmann III Orchestra are eligible for membership in Dr. and Mrs. Thomas W. Osborn, III Jerry and Melinda Stenger Clark Schaefer Hackett The Thomas Schippers Society. For more Marilyn Z. Ott Ms. Judy H. Stewart Mr. Thomas D. Croft information, please contact Rachel Kirley Paul and Roberta Pappenheimer Mr. and Mrs. Richard Stradling, Jr. Funky’s Catering 513.744.3291. Dr. and Mrs. Richard Park § Patricia Strunk § Dr. Manisha Patel and Dr. Michael Curran Mrs. Sally Sundermann Phillip and Karen Pflaumer Ralph C. Taylor § Mr. and Mrs. Robert T. Pike Mr. Fred Tegarden Sandy Pike § Kathy Teipen The Cincinnati Symphony Orchestra is grateful for Mr. Paul E. Potter Cliff and Diane Thornsburg Michael and Katherine Rademacher Mr. and Mrs. Ronald Tinklenberg the support of the following: Marjorie and Louis Rauh Janet Todd Barbara S. Reckseit § Marcia and Bob Togneri Dr. and Mrs. Robert Reed Neil Tollas and Janet Moore The Louise Dieterle Nippert Dr. Robert Rhoad Gloria and Peter Toot Musical Arts Fund Becky and Ted Richards Mr. William Trach Marilyn Rismondo Mr. Dennis L. Turner Dr. and Mrs. Jack F. Rohde Stephen F. Voellmecke Family Dr. Raymond H. Rolwing Mr. and Mrs. Jason R. Waggoner John and Meredith Roos Mary and Jack Wagner § Mr. and Mrs. Marcus Rose Mr. and Mrs. James L. Wainscott Mrs. Elizabeth R. Rost Mrs. Ronald F. Walker Marianne and Snowden Rowe § Greg and Diane Wehrman Ryan and Kara Rybolt Ted and Mary Ann Weiss Catherine B. Saelinger Linda Wellbaum Dr. and Mrs. Joshua J. Sands Donna A. Welsch Mr. and Mrs. William C. Schmidter, III E. E. West Timothy W. Schraw Franklin H. White Pamela Scott Cathy S. Willis Martha S. Seaman § Mrs. James W. Wilson, Jr.

cincinnatisymphony.org | FANFARE CINCINNATI | 61 FINANCIAL SUPPORT THE THOMAS SCHIPPERS LEGACY SOCIETY Thomas Schippers—whose life phony Orchestra. The Thomas Schippers Legacy was tragically cut short—was Society was established in 1990 to recognize those Music Director from 1970 to 1977. who contribute to the tradition of planned giving He left us with many wonderful exemplified by its namesake. memories, but his legacy is more For more information on how you can create your than musical for he remembered own CSO or Pops legacy by becoming a member of his adopted city of Cincinnati The Thomas Schippers Legacy Society, or making a with a substantial personal be- gift to the endowment, please contact Ron Cropper quest to the Cincinnati Sym- at 513.744.3365 or [email protected].

Dr. Ira & Linda Abrahamson * Ms. Roberta Hermesch * Marianne Rowe * Nydia Tranter Mr. & Mrs. James R. Adams * Ferd & Jill Hersman * Solveiga Rush Dick & Jane Tuten * Jeff & Keiko Alexander * Karlee L. Hilliard Ms. Emalee Schavel ** Mr. & Mrs. Robert Varley * Mrs. Robert H. Allen * Mr. & Mrs. Joseph W. Hirschhorn Rosemary & Mark Schlachter ** Thomas M. Vaughn Mrs. Charles William Anness Daniel J. Hoffheimer * Mr. & Mrs. Arthur F. Schmitt * Mr. & Mrs. Randolph Wadsworth, Jr. * Dr. Norita Aplin & Stanley Ragle Mr. & Mrs. Edward A. Hogan * Mrs. William R. Seaman Jack K. & Mary V. Wagner Jean L. Appenfelder Kenneth L. Holford * Dr. & Mrs. William Blake Selnick * Nancy C. Wagner Carole J. Arend * Mr. & Mrs. Terence L. Horan * Mrs. Mildred J. Selonick Patricia M. Wagner Donald C. Auberger, Jr. Evelyn V. Hess Howett, M.D. Joyce Seymour Mr. & Mrs. Paul Ward * Dr. Diane Schwemlein Babcock Mrs. Benjamin C. Hubbard Mrs. Robert B. Shott * Debie Crosset Warkany * Mr. & Mrs. William T. Bahlman, Jr. * Isabelle F. Hugo Sarah Garrison Skidmore Jo Anne & Fred Warren Henrietta Barlag Mrs. William H. Hutcherson, Jr. Roberta L. Sontag * Anne M. Werner * Peggy Barrett Mary Ellen Hutton Mrs. Warren Spalding Gary & Diane West * Jane & Ed Bavaria * Julia M. F. B. Jackson * Marie Speziale Mary West Ellen A. Berghamer Michael & Kathleen Janson * Mr. & Mrs. Christopher L. Sprenkle Charles Wilkinson Dava L. Biehl * Andrew MacAoidh Jergens Michael M. Spresser Sarah E. Wilkinson Walter Blair * Jean C. Jett Susan Stanton * Harriet C. Wilson * Lucille & Dutro Blocksom * Mrs. Morse Johnson * Barry & Sharlyn Stare Mrs. Monte Witte * Rosemary & Frank Bloom ** Frank Jordan Mrs. Edward P. Staubitz * Mrs. Joan R. Wood Fay Boeh * Margaret H. Jung Dee & Tom Stegman Harris Wright ** Dr. John and Suzanne Bossert Rosalind Juran * Mary & Bob Stewart * Betsy & Alex C. Young ** Mollie H. Bowers-Hollon Mace C. Justice ** Brett Stover & Christopher Hassall Dr. & Mrs. Daryl Zeigler Ronald Bozicevich Karen Kapella Dr. Robert & Jill Strub * Anonymous (27) Thomas A. Braun, III Dr. & Mrs. Steven Katkin * Patricia M. Strunk Joseph Brinkmeyer Paul C. Keidel * Ralph & Brenda Taylor * * Schippers Society Member Mr. & Mrs. Frederick Bryan, III * Dr. Robert A. Kemper * Conrad F. Thiede for 10 or more years Mary Alice Heekin Burke * Mrs. Paul N. Kibler Minda F. Thompson ** Schippers Society Member Deborah Campbell & Eunice M. Wolf Alan and Jill Kinstler Carrie & Peter Throm for 20 or more years Dimitra A. Campbell ** Marvin Kolodzik * Dr. & Mrs. Thomas Todd * Myra Chabut ** Randolph & Patricia Krumm Jean & Matthew Chimsky Mrs. Theresa M. Kuhn Mrs. Jackson L. Clagett III Owen & CiCi Lee * Norma L. Clark Audrey Kuethe Leeser Stanley & Frances Cohen * Mrs. Jean E. Lemon Leland M. & Carol C. Cole Mr. & Mrs. Peter F. Levin * LET US MAKE YOU THE ENVY OF YOUR Grace A. Cook * George & Barbara Lott ** Mr. & Mrs. Charles Cordes ** Mr. & Mrs. Ronald Lyons * NEIGHBORHOOD Peter G. Courlas & Nick Tsimaras ** Margot Marples Custom Built & Painted Boxes Amy & Scott Darrah Allen & Judy Martin Meredith & Will Darrah, children Mrs. Thomas H. McCrary * Seasonal Plantings · Self-Watering Irrigation 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 * William A. Ogden * Kenneth A. Goode** Julie & Dick Okenfuss * Clifford J. Goosmann & Andrea M. Wilson Jack & Marilyn Osborn * Mrs. Madeleine H. Gordon The Palmer Family—Cletus and J. Frederick & Cynthia Gossman Mary Lou, David and Kathy, Kathy Grote Bill and Jamie * William Hackman Mrs. Gerald C. Petersen * Priscilla Garrison Haffner William H. Phelan * David G. Hakes Sandy Pike * Vincent C. Hand & Ann E. Hagerman Mrs. Harold F. Poe ** Tom and Jan Hardy Anne M. Pohl William L. Harmon Mr. & Mrs. Robert C. Porter, Jr. Bill Harnish & John Harnish Irene & Daniel Randolph * Mrs. Jay Harris * James W. Rauth Dr. & Mrs. Morton L. Harshman * Barbara S. Reckseit Mary J. Healy Edward J. Requardt * Frank G. Heitker Melody Sawyer Richardson 513.402.2137 • [email protected] Anne Heldman Ellen Rieveschl Betty & John Heldman * Elizabeth & Karl Ronn • www.wowwindowboxes.com John Hermanies * Moe & Jack Rouse

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

cincinnatisymphony.org | FANFARE CINCINNATI | 63 CODA s Music Hall haunted? the existence of ghosts here, but haunted or not, I’ve Last year the team from SyFy Channel’s always enjoyed how we as a community embrace popular Ghost Hunters sent the T.A.P.S. (The and celebrate the lore. Atlantic Paranormal Society) to investigate, Back in 1996, I had the honor and privilege to and that exploration was documented for the be my late grandmother’s date for the taping of Ishow’s 200th episode, titled “Phantoms of the Op- Cincinnati Pops Holiday: Erich Kunzel’s Halloween era,” and premiered last Halloween. Did they find Spooktacular, a television special that aired nationally anything conclusive? I have no doubt the program only days later on PBS. It was a fun, whimsical nod will be aired again, and excerpts are also available to Halloween of course, but also to “haunted” Music on the SyFy Channel website. You can watch it and Hall, and that fun tradition lives on with our Lol- judge for yourself. lipops Family Concert this month, Symphony Spook- According to Ghost Hunters, “musicians aren’t tacular conducted by Keitaro Harada on Oct. 31. I the only performers found in this building. The encourage you to bring your kids, grandkids, nieces, landmark is built on the site of an asylum locals nephews and neighbors—dressed up of course—for called The Pest House, an old orphanage, and a a musical Halloween celebration right here at Music potter’s field with thousands of unmarked graves. Hall. You can find out more about it on page 53. Excavation and additions on the building continu- What has all this talking of haunting gotten us? ally turn up the remains of those who have been Well, Ghost Hunters draws up to 2.8 million viewers buried and forgotten.” across the country, so a whole lot of people learned They certainly got the history right about where about Music Hall’s history and its extraordinary Music Hall was built and it’s true that excavations tenant organizations, and marveled at its beauty. have turned up remains. As we approach this critically important renovation I’ve worked in this historic building for 14 years project that will close Music Hall for a season starting and have attended numerous events at Music in June, I can only imagine interest in the haunting Hall for considerably longer than that. I have lore will be heightened. I wonder if the ghosts will never witnessed anything to definitively confirm wear hard hats. —Chris Pinelo

UP NEXT NOVEMBER 2015

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