SEPTEMBER 2016 CONTENTS
CONCERTS 41 Lang Lang inspires millions with his open-hearted, emotive playing, in both 21 CSO: Emanuel Ax Plays Beethoven’s intimate recitals and on the grandest Emperor, Sept 8 & 10 stages. He returns for a special one- 27 Guest artist: Emanuel Ax, pianist night performance with the CSO of Prokofiev’s Piano Concerto No. 3 on 29 Pops: Hollywood Action & Adventure, Sept 21. Sept 16–18 31 Guest artist: Edward James Olmos 48 In the more than two decades 33 CSO Special Concert: Lang Lang, Sept 21 since her professional debut, three- 41 Guest artist: Lang Lang, pianist time Grammy Award-winning violinist Hilary Hahn has brought her virtuosity, CSO: Violin Legends: Hilary Hahn Plays 43 expansive interpretations and creative Beethoven, Sept 23–24 repertoire to diverse global audiences. 48 Guest artist: Hilary Hahn, violinist She joins the CSO Sept 23–24 51 CSO: Pelléas Trilogy Part II: Water, for performances of Beethoven’s Sept 30–Oct 1 celebrated Violin Concerto.
27 Pianist Emanuel Ax joins the CSO for its opening concerts Sept 8 & 10 to perform Beethoven’s Emperor Piano DEPARTMENTS Concerto—music he performs “with youthful brio, incisive rhythm, bountiful 6 A Letter from the President imagination, delicacy…and thundering 7 Music Hall Renovation Update power,” noted one reviewer. 8 Your Concert Experience 31 Oscar-nominated actor Edward 10 Orchestra Roster James Olmos (Stand and Deliver, Artistic Leadership: Louis Langrée and Battlestar Galactica, Blade Runner) 14 John Morris Russell narrates a musical thrill ride—the Cincinnati Pops’ Hollywood Action & 17 If It Sounds Good, It Is Good! by JMR Adventure concerts—Sept 16–18. 18 Spotlight: CSO/CCM Diversity Fellows 59 Boards 61 Financial Support NEWS 71 Administration 72 Coda 12 Feature: Unmatched Legacy: Technical Director Joe Hopper Retires
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FANFARE CINCINNATI STAFF: Cincinnati Symphony Orchestra and Cincinnati Pops Vice President of Communications Chris Pinelo Director of Communications Meghan Berneking Digital Communications Manager Lee Snow Communications Assistant Melissa Knueven Editor/Layout McKibben Publications
All contents © 2016–17. The contents cannot be reproduced in any manner, whole or in part, without written permission from the Cincinnati Symphony Orchestra and Cincinnati Pops. ON THE COVER The CSO continues its groundbreaking Pelléas Trilogy Sept. 30-Oct. 1 with Act II: Water. The performance is the second CINCINNATI SYMPHONY & POPS ORCHESTRA installment in a three-year exploration of Maurice Temporary Administrative Offices Maeterlinck’s 1893 symbolist play, Pelléas et 441 Vine Street, Eighth Floor Mélisande, in collaboration with director, production Cincinnati, OH 45202 designer and visual artist James Darrah. (Photo: Quinn Administrative Offices: 513.621.1919 Wharton) [email protected] Temporary Box Office & Concert Venue Taft Theatre CINCINNATI MAGAZINE: 317 East 5th Street Advertising and Publishing Partners Cincinnati, OH 45202 for Fanfare Cincinnati 513.381.3300 Publisher [email protected] Ivy Bayer Director of Advertising Group Sales Tammy Vilaboy 513.744.3590 Art & Production Manager [email protected] Julie Whitaker TTY/TDD Marketing Director Chris Ohmer Use TTY/TDD Relay Service 7-1-1 Advertising & Marketing Designer cincinnatisymphony.org | cincinnatipops.org Emily Nevius facebook.com/CincySymphony or /CincinnatiPops Custom Publishing Account Manager Maggie Wint Goecke twitter.com/CincySymphony or /CincinnatiPops Senior Outside Account Representative Laura Bowling Operations Director Missy Beiting RECYCLE FANFARE CINCINNATI Business Coordinator Erica Birkle You are welcome to take this copy of Fanfare Cincinnati home with you as a Advertising and Business Offices souvenir of your concert experience. Carew Tower 441 Vine Street, Suite 200 Alternatively, please share Fanfare Cincinnati, OH 45202 Cincinnati with a friend or leave it with 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, front exterior entry doors to reduce sound coming from the street, new railings and augmented house Welcome to the Taft Theatre! This is our home away lighting for enhanced safety, a repositioned box of- from home while Music Hall undergoes an historic ęȱȱĴȱȱǰȱȱ ¢ęȱ renovation. signage, new benches throughout the lobby spaces, The Taft opened in 1928 and hosted performances and a new ramp connecting the Taft Theatre to the by the greatest performers of the 20th century, ȱȱ¡ȱȱȱĴȱȱȱ ȱ ȱ ĵǰȱĵȱ ǰȱȱ- with mobility issues. ěǰȱȱǰȱȱǰȱ ȱ These improvements come on top of over $3 mil- ǰȱȱ ǰȱȱǰȱ ȱ lion worth of improvements made in 2011, including ȱȱȱ ĵǰȱȱȱȱ ǯ new, larger seats, greatly increased restroom capac- ȱȱȱȱȱȱȱȱȱ ity, many cosmetic improvements, and central air with some of the greatest artists of the 21st century conditioning. ȱ ȱȱȱȱǰȱȱ Ȃȱ- ȱȱ ȱ ȱȱ¢ȱȱȱ lighted to have you along on this extraordinary ȱ¢ȱ¡ȱ ȱȱǰȱȱ ȱ journey with us. ȱȱ ȱȱȱȱ¢ȱ¡ȱ ȱǰȱȱ¢ȱ¡ȱȱ ȱȱ ¡ȱ ȱȱȱĴǯȱȱȱȱȱ ȱȱȱȱȱȱȱȱȱȱ¢ǯȱȱ ȱȱȱȱȱȱȱĴȱȱȱǯ we prepared for the season, we invested in further ȱ¢ȱȱȱȱȱ ȱȱ ȱȱ improvements for the auditorium and other spaces seeing you all season long! in the Taft, and many of these enhancements are the ȱȱȱȱ¢ǰȱȱǯȱ ¢ǰ Ȃȱȱȱȱ ȱ¢ȱȱȱȱ ȱ ȱȱȱȱěȱȱȱ¢ǰȱȱ second set of doors to the inner auditorium entrances to protect the auditorium from outside noise, new Trey Devey
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6 | FANFARE CINCINNATI | cincinnatisymphony.org MUSIC HALL RENOVATION UPDATE
or this month’s update on the Music Hall renovation, we reached out to 3CDC’s Vice President of Project ǰȱ ěȱȱǯȱȱȱ Fwell versed in every facet of this complex renovation.
CSO: Can you give us an overview of the construction that has taken place to date? ěȱȱDZȱA tremendous amount of work has already gone into the project, with teams from Messer Construction working in double shifts to ensure we meet our deadlines. In the spring a good deal of careful demolition took place—we removed the old auditorium seats, The chandelier from Springer Auditorium was carefully packed and shipped to safeguarded the historical elements of the hall, St. Louis for cleaning. (Photo: Matthew Zory) demolished the unused carriageway spaces, ran exhaustive asbestos abatement, and much more. that room will be touched in some way to be sure In early summer the teams began working on instal- the acoustics, the history and the patron/musician lation of mechanical, electrical and plumbing—all of experience of the room are protected and enhanced. the important groundwork to prepare the building ȱȱǰȱȱȱȱ¡ȱĜȱȱȱȱǰȱ for what lies ahead. many accessibility needs to meet, and some beautiful new seats to install (which Music Hall patrons chose!). CSO: What are the next steps in the renovation? It’s going to be a busy year, but when we’re through DZ While we have made a great deal of progress, Music Hall will be ready for the next generation of ȱȱ¢ȱȱǷȱĴȱȱ ȱ ȱȱ your patrons. a major historical restoration, and it’s going to be jaw- dropping—during early construction we found some CSO: What has been the most interesting part of hints about its original designs that we’ll be able to the project for you so far? bring back to life. Springer Auditorium is of course DZ It is fascinating to be working on a National the heart and soul of the project, and every piece of Landmark, and one with such deep and emotional connections for so many people. It’s an honor to work on a project that has so much pas- ȱȱǯȱȱȱȱȱ¢ȱȱ architectural gem, but it has also provided so many memories to thousands (if not millions) of people in our community over time, and learning about its rich history has been ex- tremely interesting and intriguing. It has been an engaging process to honor and preserve those memories, while simultaneously looking to the future to help facilitate new memories.
Dive deeper into the renovation and keep up to date with 3CDC’s construction photos, weekly emails and the CSO’s own Music Hall FAQ here: Crews working in Corbett Tower discovered elegant stencil designs, to be cincinnatisymphony.org/musichall. restored. (Photo: Matthew Zory) cincinnatisymphony.org | FANFARE CINCINNATI | 7 YOUR CONCERT EXPERIENCE
Welcome! Here are some tips for making the most of your concert experience.
The 2,500-seat, Art Deco-style Taft Theatre ȱȱȱȱȱȱȱ¡ȱĜDzȱ was built in 1928 and is the Orchestra’s for inquiries, call 513.381.3300 during temporary home during Music Hall’s business hours. historic renovation. For updates, visit cincinnatisymphony.org/musichall.
Assistive listening devices and seating for audience members with accessibility Stay up-to-date with the CSO and Pops via needs are available for all events. ǰȱ Ĵȱȱ ǯȱ
Restrooms are located on the lower level Visit the Bravo Shop in the Mayfair and second level. Accessible restrooms Hallway on the far east side of the lobby. ȱȱȱȱęȱȱȱȱ¢ǯȱȱ CD recordings, merchandise and gifts are available for purchase.
Please silence all noise-making electronics before entering the theatre. Flash Classical Conversations takes place photography, glowing screens and audio/ one hour before CSO subscription video recording are prohibited during concerts, and is free to ticketholders. concerts. Program notes are also available online at cincinnatisymphony.org.
Out of consideration for all patrons, children under 6 will not be admitted Please donate unused tickets to the box to CSO performances. Ushers will assist Ĝȱȱȱȱǰȱȱȱȱ patrons with young children to seats at ¢ȱĴǷȱȱȱȱ the back of the auditorium. For family free ticket exchanges and single ticket concerts, booster seats are available on a buyers may exchange for a $3 per ticket ęȬǰȱęȬȱȱȱȱ¢ǯ service charge (some restrictions apply).
Ushers will seat latecomers at appropriate Concessions are available for purchase ȱȱȱǯȱ ȱȱȱȱȱȱ prior to concerts and during intermission. leave the auditorium during the concert, re-seating will happen in the same fashion. These policies are based on patron survey feedback. Thank you for understanding.
8 | FANFARE CINCINNATI | cincinnatisymphony.org iVÌÌVw`iVi] V>Ài>`VvÀÌ°
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7iÃÌ" viÀiVivÌ i1Ìi` LOUIS LANGRÉE, CSO Music Director Louise Dieterle Nippert & Louis Nippert Chair Paavo Järvi, Music Director Laureate Jesús López-Cobos, Music Director Emeritus JOHN MORRIS RUSSELL, Pops Conductor Louise Dieterle Nippert & Louis Nippert Chair Erich Kunzel, Founder and Conductor Emeritus, Cincinnati Pops Orchestra Keitaro Harada, Associate Conductor David G. Hakes & Kevin D. Brady Chair Gene Chang, Assistant Conductor
FIRST VIOLINS Denisse Rodriguez-Rivera ENGLISH HORN BASS TROMBONE Timothy Lees Steven Rosen ȱĴ Peter Norton Concertmaster Melinda & Irwin Simon Chair Principal Anna Sinton Taft Chair Joanne Wojtowicz Alberta & Dr. Maurice TUBA Kathryn Woolley Marsh Chair++ Christopher Olka Acting Associate Concertmaster CELLOS Principal Tom & Dee Stegman Chair Ilya Finkelshteyn CLARINETS Rebecca Culnan Principal [Open] TIMPANI First Assistant Concertmaster Irene & John J. Emery Chair Principal Patrick Schleker James M. Ewell Chair++ Daniel Culnan* Emma Margaret & Principal Eric Bates Ona Hixson Dater Chair Irving D. Goldman Chair ȱ Ĵ ȱǭȱȱ Second Assistant Concertmaster Norman Johns** Ixi Chen Woodside Chair Nicholas Tsimaras– Karl & Roberta Schlachter Vicky & Rick Reynolds Chair Richard Jensen* Peter G. Courlas Chair++ Family Chair in Honor of Morleen & Jack Rouse Chair Anna Reider Ĵ ȱȗ William A. Friedlander Dianne & J. David Marvin Kolodzik Chair Jonathan Gunn*‡ PERCUSSION Rosenberg Chair Susan Marshall-Petersen Benjamin Freimuth† David Fishlock Minyoung Baik Laura Kimble McLellan Robert E. & Fay Boeh Chair++ Principal Mauricio Aguiar§ Chair++ Susan S. & William A. Serge Shababian Chair Hiro Matsuo† BASS CLARINET Friedlander Chair James Braid Theodore Nelson Ronald Aufmann Michael Culligan* Marc Bohlke Chair given Kenneth & Norita Aplin and Richard Jensen by Katrin & Manfred Bohlke Stanley Ragle Chair BASSOONS Morleen & Jack Rouse Chair Michelle Edgar Dugan ȱě¢ William Winstead ȱĚ¢Ƹ Rebecca Kruger Fryxell Ruth F. Rosevear Chair Principal ȱ ĵě Charles Snavely Emalee Schavel Chair++ KEYBOARDS Jean Ten Have Chair Peter G. Courlas– Hugh Michie Michael Chertock Lois Reid Johnson Nicholas Tsimaras Chair++ Martin Garcia* James P. Thornton Chair Anne G. & Robert W. Dorsey Julie Spangler+ Chair++ BASSES CONTRABASSOON James P. Thornton Chair Sylvia Mitchell Owen Lee Jennifer Monroe Jo Ann & Paul Ward Chair Principal GUITAR/BANJO Luo-Jia Wu Mary Alice Heekin Burke FRENCH HORNS Timothy Berens+ Chair++ Elizabeth Freimuth SECOND VIOLINS James Lambert* Principal CCM DIVERSITY FELLOWS~ Gabriel Pegis Ĵ ȱ ¢ǰȱ ǯȘȘƸ Mary M. & Charles F. Vijeta Sathyaraj, violin Principal Trish & Rick Bryan Chair Yeiser Chair Emilio Carlo, viola Al Levinson Chair Wayne Anderson§ Thomas Sherwood* Diana Flores, cello Yang Liu* ȱę Ellen A. & Richard C. Blake-Anthony Johnson, cello ȱ ȱǯȱǭȱĴ¢ȱ ȱ Ronald Bozicevich Berghamer Chair Chair Maurice Todd, bass Rick Vizachero Elizabeth Porter† Ĵȱ£ȘȘ Acting Assistant Principal Henry Meyer Chair ORCHESTRA PERSONNEL HARP Lisa Conway Kun Dong Walter Zeschin, Director Gillian Benet Sella Susanne & Andrew Williams, Assistant Cheryl Benedict Principal Philip O. Geier, Jr. Chair ȱĴȱȗ Cynthia & Frank Stewart Chair Duane Dugger LIBRARIANS Rachel Charbel Mary & Joseph S. Stern, Jr. Mary Judge Ida Ringling North Chair Chair FLUTES Principal Chiun-Teng Cheng Randolph Bowman Charles Bell Lois Klein Jolson Chair Stefani Collins Principal Christina Eaton* Chika Kinderman Charles Frederic Goss Chair TRUMPETS Ĵ ȱ ¢ Hye-Sun Park Amy Taylor† [Open] Assistant Librarian ȱĴ Jane & David Ellis Chair Principal Charles Gausmann Chair++ Henrik Heide* Rawson Chair STAGE MANAGERS Stacey Woolley Douglas Lindsay Ralph LaRocco, Jr. Brenda & Ralph Taylor Chair++ PICCOLO Acting Principal Technical Director Jackie & Roy Sweeney Joan Voorhees Robert Junk VIOLAS Patricia Gross Linnemann Family Chair Steven Pride Christian Colberg Chair § Begins the alphabetical listing of Principal ȱ Ĵȱǯȱȱ¢ȱ Foundation Chair++ players who participate in a system Louise D. & Louis OBOES of rotated seating within the string Nippert Chair Dwight Parry ȱ ě Acting Associate Principal section. Paul Frankenfeld* Principal * Associate Principal Grace M. Allen Chair Josephine I. & David J. ** Assistant Principal Julian Wilkison** Joseph, Jr. Chair TROMBONES Cristian Ganicenco † One-year appointment Marna Street Richard Johnson ‡ Leave of absence Donald & Margaret Principal Principal Emeritus + Cincinnati Pops rhythm section Rebecca Barnes§ Robinson Chair++ Dorothy & John Hermanies Chair ++ CSO endowment only Stephen Fryxell Lon Bussell* Joseph Rodriguez** ~ Funded by the Andrew W. Mellon Foundation
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Technical Director Joe Hopper during one of the Orchestra’s final rehearsals in Music Hall prior to its closing for renovation in May 2016. UNMATCHED LEGACY: Technical Director Joe Hopper Retires By Meghan Berneking or Cincinnati Symphony Orchestra and Cin- ȱ ȱ ȱ ¢ȱȱȱ ȱȱȱ- cinnati Pops Technical Director Joe Hopper, the ȱȱȯȱȱǯ FȱȱĞȱȱ ¢ȱȱȱ¢ȱěǯȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱȱ ȱȱȱȱȱȱ- ȱȱȱ¢ȱǻ Ǽȱȱśȱȱ Dzȱȱȱ ȱȱȱ ȱȱȱ ȱ ȱȱȱȱȱȱĴȱ ȱDzȱ¢ǰȱȱȱȱȱ ȱ ǰȱ ȱȱȱȱȬȱ- ȱȱȱ ǯȱȱ Ȃȱȱ ȱ ȱȱȱǯ ȱ¢ȱȱȱȱǰȱ ȱȱ¢ȱȱ Ğȱ ȱȱȬȱȱȱ- ȱȱȱȱȱǯȱ ȱȱȱȂȱŗşŞŖȱǰȱȱȱȱ ȱ ȱ ȱŘȱȱ ȂȱęȱĜȱ¢ȱȱ- ȱȱȱȱǯȱȱ¡ȱřŜȱ¢ȱ ȱǰȱ ǰȱȱȱȂȱ ȱȱ¡ȱȱ ȱȱǰȱȱȱȱȱ- ȱȱȱȱȱǯȱ ȱȱ ȱȱǯȱ ȱȱǰȱ ȱȱȱ ȱȱȱ ȱȱȱȱȱȱȱ ǯȱȱȱ ȱ ȱȱȱȱ- ȱȱ ȱȱȱ ȯȱȱ- ȱȱȱȱȱȱȱȱȱĞǰȱȱ ȯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱȱȱȱǯȱȃ ȱ ȱȱ¢ȱȱ ¢ǯȱȃȱȱȱȱȱȱȱȱȱ- ¢ȱ ȱ ¢ȱ ǰȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱȱȱȱȱȱȱ¢ǰȄȱ ǰȄȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȃȱȱȱȱȱǰȱȱ ȱ ȱȱ ȱŗřȱ¢ȱǰȱȱȱȱ ĴȱȱǯȄ ȱȱȱȱȱ ǯȱ¢ȱȱȱȱ ȱŗśǰȱȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǻȂȱĞȱ ȱ ȱȱǰȱȱȱȂȱĞǯȱȱ ȱȱȱȱ Ȃȱ ȱȱȱȱȱ ȱǰȱȱ ȱȱȱ¢ȱȱȱȱ ȱ ȱȱȱǼǰȱȱ¡ȱȃŗśȱȱȱ Ğȱȱȱȱ ȱȱȱȱ¢ǯȱ Ȅȱ ȱȱȱȱȱȱ- ȱȯ ȱȱǯȱȱȱ- ȱ ȱȱȱȱ¢ȱȱȱ¢ȱǰȱ ȱȱ £ȱȱȱȱȱȱȱȱ ȱȱȱȱ¡ȱȱ¡ǯȱȃ ȱȱȱ ȱȱȱȱȱȱȱȱȱęȱ ȱǯȱ¢Ȭȱȱȱȱ ȱȱ ȱȱȱǰȱȱ ȱ¢ȱǯȱ ǰȱȂȱȱǯȱȱȱǰȱȱȱęȱ ȱȱȱǰȱȱȱȱȱȱȱȱȱ ĜȱǯȄȱ ȱȱĞǰȱ ȱ ȱȱ ȱȱǯȱȃ ȱ ȱȱȱ¢ȱȱȱȱȱ DZȱȃȱ ȱȱȱȱ ȱȱȱ ȱȱǯȱ ȱȱĴȱȱȱȱȱȱȱ ȱ ȱȱȱ ȱȱȱȱȱǰȄȱȱ ȱ ¢ǯȱȱ ȱ ȱ ¢ǰȱ Ȃȱ ȱ ȱ ȱ ȱ ǯ ȱ ȱǯȄ ȱȱȱȱȱǻȱǼȱ ȱ ȱȱȱȱȱȱȱȱ- Ȃȱȃȱ ¢ȱȱȄȱȱȱĞȱ- ǯȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǻȱȱȱȱęȱ ȱȱȱ ȱ ȱǼȱȱȱȱȱȱ Ȭȱȱǰȱ ȱ- ȱ ȱ ȱ śȯȱ ¢ȱ ȯȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ·ȱ ȱ ȱ ȱȱǯ ȱȱȱȱǰȱ ȱȱ¢ȱȱ ȱ ȱ ¢ǯȱ ȱǰȱ ȱ ȱ ȱ ȱȱ ȱȱȱȱ ȱ¡ȱ ȱ ȱȱȱȱ ¢ǯȱ Ȃȱȱȱȱȱ ȱ¢ǯȱ
Joe surprised audiences with a special apperance during a Halloween- Joe and his father, Roy Hopper, during a 2002 golf outing. themed Pops concert filmed for PBS.
ȱǰȱ ȱȱȂȱȱȱ ǰȱȱȱȱȱȱ ȱȱȱ ȱȱĞȱ ȱȱȱ ȱȱȱ- ȱŗşȱ¢ȱǯȱȃȱǽ £Ǿȱȱ ȱȱȱ ȱȱȱ ȱ Ȃȱȱȱȱ - ȱǰȄȱȱǯȱȃȱȱ¢ȱ ȱ- ǰȱ ¢ȱ ¢ȱ ȱ ȱ ȱ ȱ ¢ȱ ǯȱ ȱ ȱ ȱ ȱȱȱȱȱ¢ǰȱ ȱȱȱ ȱǯȱ ȱ¢ȱȱȱȱȱ- ȱȱȱȱȱȱȱȱȱȱ- ĞȱǯȄ ȱȱȱȱȱȱ- ȱȱ ȱ ȱ ȱȱŗŞȱ¢ȱȱ¢ȱȱ ARTISTIC LEADERSHIP
LOUIS LANGRÉE, Music Director monic, Orchestre de Cincinnati Symphony Orchestra Paris, Deutsche Kam- The French conductor Louis Langrée has been Music merphilharmonie Bre- Director of Cincinnati Symphony Orchestra since 2013 men, Budapest Festival and of the Mostly Mozart Festival at Lincoln Center in and NHK symphony New York since 2002. With the Cincinnati Symphony orchestras. Festival ap- Orchestra, recent and future highlights include a pearances have included performance in New York as part of the anniversary the Wiener Festwochen, season of Lincoln Center’s Great Performers series, a Salzburg Mozartwoche tour to Asia, and several world premieres, including and Whitsun festivals, three Concertos for Orchestra by Sebastian Currier, and the BBC Proms. Thierry Escaich and Zhou Tian. He has held positions Guest conducting projects over the next two as Music Director of seasons include Louis Langrée’s debut with the the Orchestre de Picardie (1993–98) and Orchestre Philhadelphia and Konzerthaus Berlin orchestras and Philharmonique Royal de Liège (2001–06) and was return engagements with the Leipzig Gewandhaus, Chief Conductor of the Camerata Salzburg (2011–16). Wiener Symphoniker and Hallé. With the Orchestre Louis Langrée was Music Director of Opéra National de France he will conduct Debussy’s opera National de Lyon (1998–2000) and Glyndebourne and Schoenberg’s tone poem based on Maeterlinck’s Touring Opera (1998–2003). He has also conducted Pelléas et Mélisande. He will also return to The Metro- at La Scala, Bayerische Staatsoper in Munich, the politan Opera in New York, Wiener Staatsoper and Royal Opera House Covent Garden, Opéra-Bastille Opéra Comique in Paris. and Théâtre des Champs-Elysées in Paris, Dresden Louis Langrée has conducted the Berliner Phil- Staatsoper and the Netherlands Opera in Amsterdam. harmoniker, Wiener Philharmoniker (in concert in Louis Langrée’s recordings have received several both Vienna and Salzburg) and London Symphony awards from Gramophone and Midem Classical. He Orchestra. He has worked with many other orchestras ȱȱȱȱȱȱȱĴȱȱȱ around the world, including the London Philhar- 2006 and Chevalier de la Légion d’Honneur in 2014.
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For an appointment call (513) 475-8000 l See more at UCHealth.com/WeSee ARTISTIC LEADERSHIP
JOHN MORRIS RUSSELL, Conductor ment has yielded a new level of artistic excellence. Cincinnati Pops Orchestra Mr. Russell is also Principal Pops Conductor of the A remarkable artist Buffalo Philharmonic Orchestra and Conductor with boundless en- Laureate of the Windsor Symphony Orchestra in thusiasm for music- Ontario, Canada, where he served as Music Director making of all kinds, for eleven years. John Morris Russell With the Cincinnati Pops, Mr. Russell regularly is a modern conduc- leads electric performances at Music Hall, the Taft tor who engages and Theatre, Riverbend Music Center and throughout the enthralls audiences Greater Cincinnati region and on tour. Mr. Russell with the full breadth has collaborated with generations of great perform- of the orchestral ex- ers including Ray Charles, Rosemary Clooney, Idina perience. Now in his Menzel, Vince Gill, Branford Marsalis, Brian Stokes sixth season as Con- Mitchell, Megan Hilty, Michael McDonald, George ductor of the Cincin- Takei, Amy Grant, Rosanne Cash, Brian Wilson, nati Pops Orchestra, Katharine McPhee and Marvin Winans. Mr. Russell’s diverse ȱęȱȱȱȱȱ ȱȱȬ programming and nati Pops on the Orchestra’s Fanfare Cincinnati label, electric stage pres- Home for the Holidays, Superheroes!, Carnival of the ence have infused Animals and American Originals, have all appeared new creativity and on the Billboard charts. In December 2014, Mr. Russell energy into one of the world’s most iconic pops led the Cincinnati Pops on a Florida tour. orchestras. A sought-after guest conductor across the con- Consistently winning international praise for his tinent, Mr. Russell’s list of frequent engagements extraordinary music-making and visionary leader- include the Los Angeles Philharmonic at the Hol- ship, this Ohio native is also Music Director and lywood Bowl, the New York Philharmonic, Toronto Principal Conductor of the Hilton Head Symphony Symphony Orchestra, The Cleveland Orchestra and Orchestra in South Carolina, where his commit- Vancouver Symphony Orchestra, among others.
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16 | FANFARE CINCINNATI | cincinnatisymphony.org IF IT SOUNDS GOOD, IT IS GOOD!
Welcome to our new “home away from home,” the Branagh in Thor are Taft Theatre! I am beyond excited to be performing glorious examples of here this year; the warm sound and intimacy of this such collaborations. gem embraces every seat and brings you and our You probably musicians closer than ever before. For our opening know Edward James program this month you’ll be right in the middle of Olmos from his the action! popular television While preparing for our performance of E.T. in performances in ǰȱ ȱȱ ȱȱȱȱȱȱęȱȱȱ Battlestar Galactica dialogue, but no soundtrack; it was a complete and Agents of Shield, snooze, and thoroughly convinced me of the primacy ȱȱȬȱ ȱȱȱȱȱȱȱȱęȱȱȬ theme by Bear McCreary. We will also explore ing. Indiana Jones would be just another guy in a ȂȱȱęȱȱȱȱBlade Runner, with its ȱ ȱȱȱDzȱȱȬȱ steely, futuristic score, and the rhythmic and soaring action of Mission Impossible would only be a bunch of anthem of Stand and Deliverǯȱȱ¢ȱ Ȭ folks running around with gizmos. The music brings winning actor will narrate throughout the concert, the action to life. helping set the stage for many of the orchestral scores The incredible composers who create this magic we’ll perform. He will also take us beyond the sound often create their sound world before the films stages with a tale or two about life on the set of an themselves are even complete. In fact, there are action movie. plenty of examples where a director has made edits ȱȱ¢ȱ ȱȱȱȱȱȬȱȱȱ ȱȱęȱȱ¢ȱȱȱȱȱȱȱǯȱ ȱȱ ȱȱęȱȱȱȱȱȱǷ ȱ¢ȱȱȱ ȱ ȱȬ liams and Steven Spielberg is of course legendary, but Cheers, composer Bernard Herman and Alfred Hitchcock in North by Northwest and Patrick Doyle and Kenneth
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cincinnatisymphony.org | FANFARE CINCINNATI | 17 SPOTLIGHT ON... CSO/CCM Diversity Fellows
ȱȱ ȱȱęȱ ȱȱȱȱ ȱȱȱȱȱȱȱǯȱ- ȱȱȱȱȱȱǰȱ ȱ¢ȱȱȱȬ¢ȱ ȱȱǻǼȱȱȱȱȱȱęȱ ȱȱȱȱȱȱȱ
ȱȦȱ¢ȱ ǯȱȱȱȱȱȱ Five CSO/CCM Diversity Fellows with CSO Concertmaster Timothy ȱȱȱȱȱȱǰȱ Lees (far left) and UC Provost Peter Landgren (far right). ȱȱ ȱȱȱȱ- ȱ¢ȱȱȱǞşŖŖǰŖŖŖȱȱȱȱ ȱ Blake-Anthony Johnson, Artist Diploma—Cello ǯȱȱǯȱ Ȭ¢ȱ ȱȱ¢ȱȱȱȱŗŘȱ ȱȱȦȱ¢ȱ ȱDZȱ ȱ ȱȬȱȱȱȱȱŗŞǯȱȱȱȱȱ ȱǰȱŘŗȱǻǼDzȱȱǰȱŘŜȱǻǼDzȱ ȱȱǰȱȱȱ ȱ ȱȱ Ȭ¢ȱ ǰȱŘśȱǻǼDzȱȱ¢ǰȱ ȱȱȱǯȱǯȱ ȱȱȱȱ ŘŝȱǻǼDzȱȱȱǰȱřŝȱǻȱǼǯȱȱ ȱȱȱȱȱȱ§ȱǯȱ ȱ ȱ ȱȱȱȱȱȱȱȱ ȱȱȱȱȱȱȱ¡ȱ ȱǯȱŞȱǭȱŗŖǰȱȱȱȱȱȱȱ ȱȱ ¢ȱȱȱȱȱȱȱ ȱȱǰȱȱȂȱȱ ȱȱȱ¢ȱȱȱȱ ȱȱȱȱȱ¡ȱ ȱǯȱ ¢ȱȱȱȱ ȱȱȱȱ ȱȱȱȱ ȱȱǰȱȱ ȱ ȱȱȱȱȱȱǯȱ ȱȱȱȱ¢ȱȱǰȱ Vijeta Sathyaraj, Artist Diploma—Violin ȱȱȱ¢ȱȂȱȱ ȱȱǰȱǰȱȱ¢ȱȱȱ ¢ȱ ȱ ȱ ȱȱȂȱȱȱ ȱȱȱȱȱȱȱȱřǯȱ¢ȱȱŜǰȱȱ ȱȱȱǯ ȱȱȱȱȱȱȱ Emilio Carlo, Artist Diploma—Viola ȱ ȱ¢ȱ ȱȱǯȱȱȱ ȱȱȱȱȱȱȱ¡ǰȱ ȱǰȱ ȱȱȱȱȱ ȱ ȱ¢ȱȱ- ȱȱ¢ȱȱȱȱǯǯȱ ȱ ȱǰȱȱȱȱȱȱȱ ǯȱȱ ȱȱęȬ¢ȱȱȱȱȱȱȱ ȱȱ ¢ ȱȱ¢ǰȱ ȱȱ ¢ȱȱȱȱ¢ȱ ȱȱ ȱ ȱȱ ǯȱȱȱȱ- ȱȱȱȱȱȱǯȱ ȱ ȱȱȱȱȱȱ¢ȱȱ ¢ȱȱ ȱȱȬȱȱ ȱȱȱȱȱȱ¢ȱ¢ǯ ȱ ȱȱȱ¢ȱȱȱȱ Maurice Todd, Artist Diploma—Double Bass ȱ ȱ ûȱȱȱȱǯȱǯȱȱȱȱŘŖŗŘȱ ¢ȱȱǰȱ ¢ǰȱȱȱ ȱȱȱ ȱ ȱȱ¢ȱȱȱ ȱȱȱȱȱȱȱȱȱ ȱ ȱǯȱ ¢ȱȱȱȱȱǯ ȱȱǯȱ ȱȱ¢ȱȱȱ Diana Flores, Artist Diploma—Cello ȱȱȱ¡ȱǯȱȱ¢ǰȱ ȱȱȱȱȱ¡¢ȱ ȱȱȱȱ¡ȱȱȱ ȱȱȱǰȱǰȱ£ǰȱȱ ȱȱȱȱ ȱǯȱȱ¢ȱ ȱȱȱ¢ȱȱȱǯȱȱȱǰȱ ȱ ȱȱȂȱȱȱȱȱ ȱȱ¢ȱȱȱȱ ȱȱȱ ȱȱǰȱ ȱȱȱȱȱ ȱȱȱ ·ǯȱȱȱȱ- ȱȱȱȱȱȱȱȱ ȱȱȱȱ¢ȱȱȱǰȱ ȱȱ ȱȱȱȱȱ£ǯȱ ȱȱ ȱȱȱ ǯȱȱȱȱȱ ȱȱ ȱǰȱȱ¢ǰȱȱ - ȱŘŖŗřǰȱȱȱȱȱȱȱȱǯȱ ǰȱȱ¢ǰȱȱǰȱȱȱ ǯȱȱ¢ȱęȱȱȂȱȱȱȱ ȱ ȱǯ ȱȱȱȱǰȱ¢ȱȱ ȱ ǯȱ For more information about the Fellowship or complete biographies of the Fellows, visit cincinnatisymphony.org/ orchestra/fellowship.
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Equal Housing Lender. Member FDIC. ©2016 U.S. Bank 5/16 FIRST SUBSCRIPTION PROGRAM Masterworks Series
2016–2017 SEASON THURS SEPT 8, 7:30 pm SAT SEPT 10, 8 pm Taft Theatre
LOUIS LANGRÉE conductor EMANUEL AX pianist
BEETHOVEN Concerto No. 5 in E-flat Major for Piano and Orchestra, (1770–1827) Op. 73, Emperor Allegro Adagio un poco mosso— Rondo: Allegro
INTERMISSION
SHOSTAKOVICH Symphony No. 5 in D Minor, Op. 47 (1906–1975) Moderato. Allegro non troppo. Largamente. Moderato ȱ Ĵ Largo Allegro non troppo. Allegro
The CSO is grateful to U.S. Bank, the CSO’s Masterworks Series Sponsor. The appearance of Emanuel Ax is made possible by a generous gift from Genevieve Smith. This concert is endowed by Martha Anness, Priscilla Haffner & Sally Skidmore in loving memory of their mother, LaVaughn Scholl Garrison, a longtime patron of the CSO.
Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. These concerts will end at approximately 9:15 pm Thursday, 9:45 pm Saturday. 90.9 WGUC will broadcast this concert January 8, 2017, 8 pm.
cincinnatisymphony.org | FANFARE CINCINNATI | 21 PROGRAM NOTES: Sept 8 & 10 © 2016–17 Cincinnati Symphony Orchestra
The CSO’s opening program of the 2016–17 season pairs two seminal works of the repertoire: Shostakovich’s epic Fifth Symphony and Beethoven’s spirited Fifth Piano Concerto. In addition to sharing a similar sequential designation, both works were written during challenging points in history: Beethoven’s Emperor Concerto (a nickname not ascribed by Beethoven) was composed in 1809, just as Austria was entering into yet another war with France, and Napoleon was closing in on Beethoven’s hometown of Vienna; while Shostakovich’s Fifth Symphony was written at the height of Stalin’s oppressive stronghold on Russia. In the Shostakovich, we hear the composer’s struggle and defiance, while in the Beethoven, we experience the composer’s luminous optimism. Ultimately, both works offer statements of perseverance through struggle, and remind us of music’s ineffable ability to help frame our understanding of the past and the present. —Louis Langrée
LUDWIG VAN BEETHOVEN Most recent: March 2013, Mei-Ann Chen conducting, ȱǯȱśȱȱȬĚȱȱȱȱȱȱ ·ȱĴȱǰȱ Duration: ǰȱǯȱŝřǰȱEmperor approx. 38 min.
Born: December 16, 1770, Bonn, Germany No one knows how Beethoven’s Fifth Piano Concerto Died: March 26, 1827, Vienna came to be known as the Emperor. The composer did Work composed: February–October 1809 not give it that title; he would surely not have cho- Premiere: November 28, 1811 in Leipzig—Johann sen to honor Emperor Napoléon Bonaparte, whose Philipp Christian Schulz conducting the Gewandhaus army occupied Vienna while he was composing the Orchestra, Friedrich Schneider, pianist concerto. Of Napoléon the composer said, “It is a pity Instrumentation: ȱǰȱŘȱĚȱǰȱŘȱǰȱ that I do not understand the art of war as well as I do 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings the art of music. Then would I conquer him!” CSO subscription performances: 36 previous Napoléon’s armies invaded Vienna on May 12, subscription weekends | Premiere: March 1897, Frank 1809. A week later they seized the island of Loban, Van der Stucken conducting, Teresa Carreño, pianist | ȱȱ¢ǯȱȱĴȱȱȱȱȱȱȱ
The Cincinnati Symphony Orchestra and Cincinnati Pops gratefully acknowledges the support of Anne Drackett Thomas The CSO extends its sincere for the 2016 Opening Gala appreciation to the Harold C. Schott Foundation, Francie & Tom Hiltz trustees, for helping make this year’s gala a success.
22 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: SEPT 8 & 10
July 6, and from then until Vienna surrendered on ȱȱȱȱȱȱ¢ȱȱ ȱȱ ȵŗŚȱȱȱȱȱȱȱ as free from care as possible can devote himself city. Beethoven’s lodgings were in the midst of the to a single department of activity and create ęǰȱȱȱȱȱȱȱȱȱ ȱȱȱ ȱȱ¡ȱȱ ȱ ennoble art, the undersigned have decided to ȱ ȱȱȱǯȱȱȱȱȱȱȱ place Herr Ludwig van Beethoven in a position ȱ¢ȱȱȱȂȱǯȱȱȱ where the necessities of life shall not cause him ȱȱĜDZ embarrassment or clog his powerful genius.
We have passed through a great deal of misery. I ȱ ȱǯȱ ȱȱȱęȱ ȱ ȱ¢ȱȱȱ¢ȱŚȱ ȱȱȱȱȱ ȱǰȱȱȱ ȱȱȱȱȱ ȱȱȱ ȱĴȱȱȱȯ¢ȱȱȱȱ ǰȱȱȱȱȱ¡ȱȱȱ ȱĴǯȱ ȱǯȱȱ ȱȱȱȱȱěȱ me, body and soul. Nor can I have the enjoyment ȱȱ ȱȱěȱȱǯȱȱȱ of country life, so indispensable to me.… What ¢ȱȱ ȱȱȱȱǯȱȱ ȱȱȱ a disturbing, wild life around me! Nothing but ȱȱȱȱ¢ǰȱȱȱȱ¢ȱ drums, cannons, men, misery of all sorts! became worth far less than his patrons had intended. Furthermore, in the aftermath of the war Prince Beethoven had been ambivalent about Napoléon ĵȱ ȱǯȱǰȱȱ ¢ȱǯ ȱ¢ǯȱ ȱȱ ȱ ȱȱȱ¢ȱȱ KEYNOTE. Some commentators have heard in the the Eroica Symphony to the French general and then Emperorȱȱȱȱ ǯȱȱȱ ¢ȱȱěȱȱȱȱ ȱȱ noted the “apotheosis of the military concept” in what ȱȱǯȱȱęȱ ȱ ¢ȱȱȱȱȱȃ ȱ¢ǰȱ this powerful, self-made man, but he was repulsed by ¢ȱǰȱȱȱȱĜȱ Napoléon’s willingness to use his strength for destruc- ǯȄȱȱĴȱȱȱ- ȱȱȱǯȱȱȱ ȱȱȱ ¢ȱȱȱ ȱȱȱęȱȱȱȱȱ a nationalist to hate Napoléon for invading Vienna, ȱȱ¢ȱǯȱȱȃ¡ȱȱęȱ yet at the same time he conducted a performance of ȱȱŚȦŚȱȱȱȱȁ¢Ȃȱǰȱȱ the Eroicaȱȱȱȱȱȱȱ ȱȱȱ ¢ȱȱ ȱ¡ȱȱ ȱȱ as an homage. He considered accepting a well-paying ȱ¢ȱęȱȱȱȱ¡ǯȄ post at the court of Bonaparte’s brother Jérôme, who ȱȱȱ¢ȱ ȱȱȱ ȱ¢ȱȱȱȱǯ playing a series of broad, simple chords, each of Despite the fact that most of Vienna’s aristocracy ȱȱȱ¡ȱ ȱ ȱǯȱȱ ȱĚȱȱ¢ǰȱȱȱȱȱ three chords the orchestra re-enters with the main ȱȱěȱȱȱȱȱ theme, and the piano falls silent. Instead of waiting ȱȱȱȱȱȱǯȱȱ for a dramatic entrance by the solo instrument, as ǰȱȱ ĵȱȱȱ ¢ȱȱȱ we do in most classical concertos, we await instead a would be a national disgrace for Beethoven to accept Ȭǯȱȱȱȱ ȱȱȱȱȱ ¢ȱȱȱ¢Ȃȱǯȱȱȱ return injects a psychological tension into the listen- ȱȱȱDZ ȱǯȱȱȱę¢ȱȱǰȱȱȱ a restatement of the opening chords.
WHAT TO LISTEN FOR: The intricate interplay between the piano and orchestra in Beethoven’s Fifth Piano Concerto. In Shostakovich’s Fifth Symphony, listen to the battle between the lower and upper strings in the opening of the first movement—perhaps emblematic of Shostakovich’s own struggle as an artist to straddle the fine line between what the Soviet state expected him to write, and what he himself needed to express in his music. In the Shostakovich, the chilling and haunting quality of the third movement Largo, which then makes way for the triumphant fanfare that opens the Finale.
QUESTIONS TO DISCUSS ON THE WAY HOME: Hans Christian Andersen once famously noted: “Where words fail, music speaks.” Music and art have played a central role in how we understand and contextualize historical events and movements. What role do you think art and music plays in helping us make sense of the world around us? While their musical vocabulary is quite different, both Beethoven’s Fifth Piano Concerto and Shostakovich’s Fifth Symphony are monolithic works equally important in their respective genres. Did you hear any similarities between the two pieces? Did listening to the Beethoven change your perception (or preconceived notion) of the Shostakovich?
cincinnatisymphony.org | FANFARE CINCINNATI | 23 PROGRAM NOTES: SEPT 8 & 10
The second movement alternates lyric melody in DMITRI SHOSTAKOVICH ȱȱ ȱȱȱęȱǯȱ Symphony No. 5 in D Minor, Op. 47 ¢ȱȱ ȱ¢ȱȱȱȱǯȱȱ Born: September 25, 1906, Saint Petersburg ȱȱȱǰȱȱȱȱ Died: August 9, 1975, Moscow ȱȱȱȱ¢ȱ ȱȱǯȱȱȱ Work composed: 1937 ȱȱȱȱȱȱęȱǯ Premiere: November 21, 1937—Yevgeny Mravinsky ȱȱȱȱȱȱ ȱȱȱ conducting the Leningrad Philharmonic Orchestra ǰȱ ȱȱ¢ȱ¢ȱǯȱ Instrumentation: ŘȱĚȱǰȱǰȱŘȱǰȱŘȱǰȱ ȱ¢ȱȱȱȱȱǯȱȱ ȬĚȱȱǰȱŘȱǰȱǰȱŚȱǰȱ ȱȱȱȱȱȱȱȱȱ 3 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals a2, glockenspiel, snare drum, tam-tam, triangle, ȱȱȱǯ xylophone, 2 harps, piano, celeste, strings ȱȱȱȱǰȱ ȱ ȱřşȱ ȱȱ CSO subscription performances: 13 previous wrote the Emperorǰȱȱȱȱǰȱ ȱ ȱȩȱDZȱȱŗşŚŘǰȱȱ ȱŗŞȱ¢ȱȱȱȱȱǯȱ ȱ¢ȱ Goossens conducting | Most recent: April 2010, Ludovic ȱĴȱȱ ȱȱęȱȱȱȱȱȱ Morlot conducting ǻȱȱȱȱ ȱȱȱȱȱȱ Duration: ¡ǯȱŚŚȱǯ ȱȱȱȱȱȱȱǼǰȱȱ ȱȱęȱȱȱȱȱȱȬ ȱȱŜŖȱȱ ȱȱȱŗŞŗśǯȱȱȱ ȱȱȱŗşřřǯȱ ¢ȱȱ¢ȱǰȱȱȱ Emperor ȱȱȱȱȂȱ ȱȱȱ ȱȱȱȱǯȱȱȱȂȱ ȱȱȱ ȱȯȱȱȯȱ ȱȱȱȱȱĴȱȱȱ¢ȱȱ ȱǯȱȱȱȱȱȱ ȱȱDZȱ ȱȱȱ ȱȱȱȱ ȱȱȱȱȱȱȱȱǯȱ ȱȱĴȱȱȱȱȱȱȱ ȱȱȱȱȱȱȱȱ ȱȱ ȱȱȱȱ ȱȱ¢ǰȱ ȱȱȱȱǰȱ introspective style. ȱȱǯȱȱȱȱȱ —Jonathan D. Kramer ȱȱȱȱȱȱȱȱȱ
WELCOME TO THE TAFT
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24 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: SEPT 8 & 10
musical images full of beauty and strength. Socialist Stalin’s power was more than that of a music Realism demands an implacable struggle against critic: the threat to Shostakovich was quite real. Soon folk-negating modernistic directions that are came another blow: a Pravda article opposed to his typical of the decay of contemporary bourgeois art, ballet music. The composer, expecting to be arrested, against subservience and servility towards modern actually kept a small suitcase packed to take into bourgeois culture. imprisonment. He feared for his own safety and that It was not long before the Union of Composers’ of his newborn daughter. naïve interpretation ran up against the government’s Stalin stopped short of having the composer ar- version of Socialist Realism. Shostakovich’s opera rested, but Shostakovich knew full well that Stalin Lady Macbeth of Mtsensk (the title character is not allowed the right to work only to those artists who related to Shakespeare’s) had been such a success Ĵȱȱȱ ǯȱ ȱȱ¢ȱȱȱǰȱ at its 1934 premiere that it subsequently played Shostakovich was a disgraced composer. He kept over a hundred times to packed houses. But when ¢ȱȱǰȱȱĴȱȱȱȱ Stalin came to a performance early in 1936, he left ȱȱȱȱȱ¢¢ȱǻȱȱȱ the theater in a rage. Soon an editorial condemning had ten rehearsals) for fear that its harsh dissonances ȱȱȱȱȱȱȱȱĜȱ and complexities would anger Stalin even more. newspaper Pravda. The article, apparently dictated Shostakovich hid behind the excuse that it was an by Stalin himself, was harsh: ȱ ǰȱǰȱ ȱȱę¢ȱ ȱȱȱ ȱȱȱȱȱȱęȱȱȱ be played in 1962, he did not change a single note. the opera by an intentionally dissonant, muddled The composer wrote next to nothing for well over Ěȱȱǯȱȱȱ¢ǰȱ¢ȱ ȱ¢ǯȱ ȱę¢ȱȱȱȱȱȱ of musical phrases, appear—only to disappear ȱȱ¢¢ǯȱ ȱȱȱDZȱȃȱȱ again in the crashing, grinding and screeching. Ȃȱ¢ȱȱ ȱǯȄȱȱ ȱȱȱ ȱȱȃȄȱȱĜǰȱȱȱ out in a new direction, away from the complexities is impossible. It is built on the premise of rejecting of the condemned and suppressed works, but it does ǯdzȱ ȱ ȱȱȃȄȱȱȱ not totally embrace the forced optimism of Socialist of natural, human music.… The danger of this trend to Soviet music is clear.… ǯȱȱȱȱȱȱ ǰȱ¢ȱȱȱ
cincinnatisymphony.org | FANFARE CINCINNATI | 25 PROGRAM NOTES: SEPT 8 & 10 had demanded optimism in art. They denounced The theme of my symphony is the development formalism, yet the Fifth is as rigorously formal as any ȱȱǯȱ ȱ ȱȱ ȱȱȱěȱ Shostakovich symphony. They wanted folk music, as the central idea of the work, which is lyrical in ȱȱȱȱęǯȱȱęȱȱȱ but there is none in the symphony. The composer tragedy and tension of the earlier movements on used the subtitle to conceal the fact that he had not ca- a joyous, optimistic note. pitulated, had not churned out mindless political art. An audience that included the most distinguished We are sometimes faced with the question of members of Soviet society gathered to hear the dis- whether tragedy is even a legitimate genre in Soviet art. Here, however, genuine tragedy is graced composer’s “Reply to Just Criticism.” Many often confused with resignation and pessimism. I expected a scandal that would seal his fate forever. think that Soviet tragedy has every right to exist. But the symphony was greeted with an enormously ȱȱȱȱȱěȱ ȱȱȱ favorable response, both from the audience and from ȱǰȱȱǰȱȱȬĜȱ critics. Many in the audience wept openly. They wept pathos of Shakespeare’s tragedies. not only for joy but also in response to the essential KEYNOTE. The long first movement opens Soviet tragedy expressed in the music. And they wept powerfully with imitative music in the strings. They because they realized that, whatever Pravda said, dominate for quite some time, thereby establishing Shostakovich was their composer. the large proportions of the movement. Gradually The Fifth Symphony is not a “reply to just criti- a simple repeated-note rhythm is introduced—a cism.” It is indeed a reply to criticism, but as the criti- quarter followed by two eighths—which becomes the cism was unjust the reply is all the more impassioned. underlying pulse in the faster section. The develop- Curiously, Shostakovich came close to revealing ment builds in density, intensity and tempo. This the truth. An article published shortly before the grim march continues to intensify as the snare drum premiere contains the expected proclamation of plays the basic pulse rhythm incessantly. A unison optimism, yet the underlying tragic nature of the restatement of the opening theme by the full orchestra symphony is alluded to as well. The article is titled forms the huge climax. “My Artist’s Reply”: The scherzo is in part a parody of a theme from the Fourth Symphony, which Shostakovich may have believed would never be performed. This gro- tesque music, with its clarinet trills, violin solos and ĵȬȱǰȱȱȱȱȱȱǯȱ ȱȱȱȱȱȱȱęȱ- ment’s intensity, but neither succeeds in relieving the underlying pathos. ȱ ȱǰȱȱȱęǰȱ¢ȱȱ in intensity. There is a beautifully delicate middle ǰȱȱ ȱǰȱȱȱĚȱȱȱ¢ȱ a lovely melody to the simple accompaniment of a violin tremolo. This tune returns at the end with a beautiful new sonority: harp harmonics plus celeste accompanied by a high violin tremolo. ȱęȱ ȱȱȱȱȱ¢ȱȱȱ earlier movements, but, as the composer eventually Ĵǰȱȱ¢ȱȱȱȱȱȱȱȱ brooding. The movement is full of nervous energy, as one idea follows another quickly. The timpani, which open the movement, bring it to a triumphant close. Perhaps it is not going too far to suggest that this ending might signify Shostakovich’s personal triumph over artistic repression. —Jonathan D. Kramer
26 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTIST: Sept 8 & 10
EMANUEL AX, pianist ȱĴȱ¡ȱȱ- Previous CSO Performances: ¢ȱȱ ȱ ȱ Ĵȱ Emanuel Ax’s appearances this weekend for him already in his repertoire, this mark the 40th anniversary of his 1976 season he will perform newly com- CSO debut under Thomas Schippers; he missioned works by HK Gruber and has performed with the CSO nine more Samuel Adams. Other season high- times since, including once at Riverbend. lights include visits with the Boston Noteworthy: He regularly collaborates Symphony to Carnegie Hall, Montreal with cellist Yo-Yo Ma, who performs and Toronto and returns to Chicago, ȱȱȱȱȱŘŞǰȱȱ ĵȱ Perlman, who performs with the CSO on Los Angeles, San Francisco, Toronto, April 18. Ax has recorded the Concerto Ĵǰȱ ȱȱǯ No. 5 several times, most recently with the A Sony Classical exclusive record- San Francisco Symphony (SFS Media). ing artist since 1987, recent releases in- Read more: EmanuelAx.com clude Mendelssohn Trios with Yo-Yo
Emmanuel Ax, © Marie Mazzucco ȱȱ ĵȱǰȱȂȱEnoch Born in Lvov, Poland, Emanuel Ax Arden narrated by Patrick Stewart, moved to Winnipeg, Canada, with his family when ȱȱȱ Ȭȱȱ¢ȱȱȱ- he was a young boy. His studies at the Juilliard School ěȱ ȱęȱǯȱ¡ȱȱȱ were supported by the Epstein Scholarship Program Grammy Awards for the second and third volumes of the Boys Clubs of America, and he subsequently ȱȱ¢ȱȱ ¢Ȃȱȱǯȱ ȱȱȱ won the Young Concert Artists Award. He also at- made a series of Grammy-winning recordings with tended Columbia University, where he majored in cellist Yo-Yo Ma. French. Ax made his New York debut in the Young Ax resides in New York City with his wife, pianist ȱȱǰȱȱȱȱĴȱ Yoko Nozaki. They have two children together, Joseph ȱŗşŝŚȱ ȱȱ ȱȱęȱȱȱ and Sarah. He is a Fellow of the American Academy International Piano Competition in Tel Aviv. of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia universities.
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The arts serve as a source of inspiration for us all. That’s why PNC is proud to be the Presenting Sponsor of the Pops Series and support the Cincinnati Symphony Orchestra and Cincinnati Pops.
©2016 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC FIRST POPS PROGRAM
2016–2017 SEASON FRI SEPT 16, 8 pm SAT SEPT 17, 8 pm SUN SEPT 18, 2 pm Taft Theatre
HOLLYWOOD ACTION & ADVENTURE John Morris Russell, conductor Edward James Olmos, special guest
STAR-SPANGLED BANNER ȱěȱǰȱǯȱ¢ MAIN THEME from THE AVENGERS ȱǰȱǯȱĴ MAIN THEME from THE MAGNIFICENT SEVEN ȱǰȱǯȱ MAIN THEME from THE MASK OF ZORRO ȱ ǰȱǯȱ THEME from AGENTS OF S.H.I.E.L.D. ȱ ȱǭȱȱ¢ǰȱǯȱĴ SPACED OUT! (A Classic Sci-Fi TV Theme Medley) ǰȱǯȱĴ Lost in Space Buck Rogers in the 25th Century Battlestar Galactica Space: 1999 Doctor Who END CREDITS from STAR TREK (2009) ȱ MAIN THEME from THE UNTOUCHABLES ȱ BLADE RUNNER SUITE ǰȱǯȱĴ SUITE FROM THOR ȱ¢ǰȱǯȱĴ
INTERMISSION
OVERTURE from NORTH BY NORTHWEST ȱ THEME from STAND AND DELIVER ȱǰȱǯȱ MAIN THEME from MISSION IMPOSSIBLE ȱǰȱǯȱ 50 YEARS OF BOND ǰȱǯȱ SOUL BOSSA NOVA ¢ȱ ǰȱǯȱ PRINCE OF THIEVES OVERTURE from ROBIN HOOD: PRINCE OF THIEVES ȱ ǰȱǯȱ ¢ THEMES from CROUCHING TIGER, HIDDEN DRAGON ȱǰȱǯȱ JOHN WILLIAMS TRIBUTE ȱǰȱǯȱ £ Jaws Harry Potter and the Sorcerer’s Stone Raiders of the Lost Ark Superman E.T.: The Extra-Terrestrial Star Wars
Program subject to change
The Cincinnati Pops Orchestra is grateful to PNC, Presenting Sponsor of the Pops Series. Major underwriting provided by Mrs. Edyth B. Lindner. The Otto M. Budig Family Foundation is this evening’s Concert Sponsor and the Pops Artist Series 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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30 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTIST: Sept 16–18
EDWARD JAMES OLMOS out for Zoot Suit, a musical drama Previous Pops Performances: about the famous 1942 “Sleepy Debut Lagoon” case in which a group Noteworthy: A talented baseball of Hispanic youths were wrongly player in his youth, he was named ȱȱĴȱȱ convicted of murder. He dazzled Read more: ǯ them at the audition, speaking the part of the narrator in , an East Edward James Olmos was born L.A. street jive dialect. He earned in 1947 in East Los Angeles. His the role of narrator El Pachuco. Zoot ethnically diverse neighborhood— Suit opened in 1978 at the Mark which he refers to as a “salad bowl” Taper Theatre, where it ran for a because each culture kept its own year before going to Broadway; unique qualities, blending into a for the role Olmos garnered an whole without losing its individual LA Drama Critics Circle award, a flavor—contributed to his open- Theatre World award and a Tony Edward James Olmos mindedness and ability to welcome nomination. diversity among people. In 1981 he made Wolfen with Albert Finney, and Early in his teen years, he taught himself to sing and ȱŗşŞŘȱ¢ȱ ěȱȱȱBlade Runner with Harrison play piano, and by 1961 he was good enough to join Ford. In 1984 Olmos joined the cast of ȱ ȱǰȱȱęȱȱǰȱ ȱȱȱǰȱ as Lieutenant Martin Castillo. In 1987 he starred as ¢ǯȱ ȱȱȬŗşŜŖȱȱĴȱȱȱ ȱ ȱȱȱȱŗşŞŝȱȱęȱȱStand Los Angeles College and California State University and Deliver, a role for which he earned a Best Actor by day and played in local clubs most of the night. Oscar nomination. Other roles included the series He began taking acting classes to improve the show. ȱ¢ and Ĵȱȱ . He also was Auditions and small acting roles followed. seen as Michael Axford in the movie The Green Hornet In 1978 during an audition for another play, he tried and as a murderous zealot on HBO’s Dexter.
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cincinnatisymphony.org | FANFARE CINCINNATI | 31
SPECIAL CONCERT
2016–2017 SEASON WED SEPT 21, 7:30 pm Taft Theatre
LOUIS LANGRÉE conductor LANG LANG pianist
PROKOFIEV Concerto No. 3 in C Major for Piano and Orchestra, Op. 26 (1891–1953) Andante. Allegro Andantino. Allegro. Allegro moderato. Andante meditativo. Allegro giusto Allegro non troppo. Meno mosso. Allegro
INTERMISSION
SAINT-SAËNS Symphony No. 3 in C Minor, Op. 78, Organ (1835–1921) Part I: Adagio. Allegro moderato Poco adagio Part II: Allegro moderato. Presto Maestoso. Allegro
Lang Lang’s appearance made possible by the Harold C. Schott Foundation, Francie & Tom Hiltz, Trustees. This concert is endowed by Martha Anness, Priscilla Haffner & Sally Skidmore in loving memory of their mother, LaVaughn Scholl Garrison, a longtime patron of the CSO.
Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. This concert will end at approximately 9 pm. 90.9 WGUC will broadcast this concert January 15, 2017, 8 pm.
cincinnatisymphony.org | FANFARE CINCINNATI | 33 PROGRAM NOTES: Sept 21 © 2016–17 Cincinnati Symphony Orchestra
We are thrilled to welcome back to the Cincinnati Symphony Orchestra our good friend Lang Lang! Of course, Lang Lang is no stranger to Cincinnati audiences, having served as Creative Director of the CSO’s Ascent Series during the 2012–13 season. A pianist of remarkable energy, creativity and flair, Lang Lang has risen to the top of the classical music world, inspiring audiences globally. For this program, Lang Lang performs Prokofiev’s fiendishly difficult Third Piano Concerto, a work that requires much of the pianist, both technically and musically. On the second half, the CSO performs Saint-Saëns Organ Symphony, a favorite work which seamlessly combines the sacred and the secular. —Louis Langrée
SERGEI PROKOFIEV DZȱ¢ȱŘŖŗŘǰȱȱȱǰȱȱǰȱ Duration: Concerto No. 3 in C Major for Piano and ¡ǯȱŘŞȱǯ Orchestra, Op. 26 ęȱ ȱȱȱȱȱȱȱ Born: April 23, 1891, Sontsovka, Ekaterinoslav, Russia ȱ¡ȱǯȱȱȱȱȱȱȱ Died: March 5, 1953, Moscow ŗşŗŗǰȱȱȱ ȱ¢ȱȱŗşŗŜȱȱȱȱȱ Work composed: ŗşŘŗȱǻȱĴ¢Ǽȱ ȱȱȱȱȱǯȱȱȱȱȱȱ Premiere: December 16, 1921—Frederick Stock ȱȱȱ¢¢ȱǰȱȱ ȱ ȱȱȱȱęȱȱȱȱȱ ęǰȱ ȱ ȱȱȱȱȱǯȱ ȱȱ Instrumentation: ȱǰȱŘȱĚȱǻǯȱǼǰȱ ȱ ȱȱȱȱȱȱȱŗşŗŞǯȱ ȱȱ- 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 ȱȱȱȱȱȱȱȱ ǰȱǰȱȱǰȱǰȱ¢ȱŘǰȱ ȱǯȱȱęȱ ȱȱȱȱȂȱ ȱǰȱȱ¢ǰȱ CSO subscription performances: 16 previous ęȱȱȱȱǯ ȱ ȱȩȱDZȱ¢ȱŗşřŜǰȱȱ ȱ ȱȱȱǰȱęȱ- ȱǰȱǯȱȱĵǰȱȱȩȱȱ ȱȱȱǯȱ ȱȱȱȱȱȱȱ
34 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: SEPT 21
America. The Soviet Commissar for Education was ǯȄȱȃȱȱĚȱȱȱ¢ȱ ȱ perplexed that the composer should want to leave tempestuously over the old Orchestra Hall yesterday his homeland so soon after the Russian Revolution, ȱȱȱĚȱȱȱ ȱȱȱȱ at a time that was being hailed as the beginning of of sound in breathtaking cacophony.” ȱ ȱǯȱȱęȱ ȱǰȱȱ- Because of his popular (as opposed to critical) ferent to the Soviets as he had been to the Czarist ȱȱȂȱǰȱęȱ ȱ- aristocracy. The Commissar told the composer, sioned to write an opera for Chicago. Returning to “You are a revolutionary in music, we are revolution- ȱȱȱ ǰȱȱęȱLove for Three Oranges aries in life. We ought to work together. But I shan’t ȱȱŗşŗşǯȱȱȱȱȱ ȱȱĴȱ stand in your way if you want to go to America.” success in the United States. The Commissar was convinced that Prokofiev ęȱȱȱȱȱȱǯ would be disillusioned by life in a capitalist country. ȱȱȱȱȱȱȱȱǯȱ ȱ ȱȱ ǯȱȱȱĜȱ¢ǰȱ- He was full of high hopes for the premiere of Love for ing 18 consecutive days on an overcrowded Siberian Three Oranges, in particular because huge amounts ȱ ȱĴȱȱȱȱǰȱȱ of money had been invested in the production. But ȱȱȱȱȱȱȱȱęǯȱ the performance was repeatedly delayed, in part He continued to work on the piano concerto through- ȱęȱȱǻȱȱȱȱ ȱȱ¢ǯȱȱȱȱȱȱǰȱ ȱǼȱȱęȱǯȱ¢ȱȱ he was detained and interrogated for three days. ȱȱȱ ȱĴǰȱȱ ȱȱȱȱȱ The authorities were suspicious of any Bolshevik. ȱǯȱęȱ ȱȱȱȱȱ ǯȱ ęȱ ȱę¢ȱ ȱȱȱ¢ǯȱ ȱ He heard that Mary Garden, who had sung in the went to New York, since he had been told that any premiere of Debussy’s Pelléas et Mélisande, had been artist hoping to make an impact in America had to named director of the Chicago Opera. A champion start in that city. of new music, she insisted that the Opera’s contract His reputation as a musical revolutionary had ȱęȱȱǯȱLove for Three Oranges was preceded him. Thus the New York press was disap- going to be produced the next season. Pleased with ȱȱȱęȱǰȱȱȱȱȱȱ ȱ ǰȱęȱȱȱȱȱȱ works: “The lion of the musical revolutionaries roared summer. At the suggestion of Russian poet Constan- as gently as the gentlest dove. We waited in vain for ȱǰȱȱȱȱȱȱĴ¢ǯȱȱ those manifestations of musical extremes for which ȱę¢ȱȱȱȱȱȱȱ he is so famous.” Prokofiev decided to include about which he had been thinking throughout the ȱ ȱȱȱǯȱȱ- many months spent in America. He had already tally conservative New York reviewers were still not composed almost all the thematic material. He had pleased: “Bolshevism in art.” “The epitome of Godless ¢ȱȱ¢ȱȱȱȱȱȱęȱȱȱ Russia.” “Like a charge of mammoths across some ȱȱȱȱęȱǯȱ ȱȱ vast, immemorial Asiatic plateau.” “Mendelssohn assembled the concerto from the materials he had with false notes.” “If that is music, I really believe been collecting. When he returned to Chicago the I prefer agriculture!” “The recipe for this kind of ȱǰȱȱȱ ȱȱȱęȱ composition is as simple as that for boiling an egg. score. Stock agreed to conduct it with the Chicago ȱ¢ȱȱȱȱ¢ȱǰȱȱĴȱ ¢¢ǯȱęȱ ȱǯ how commonplace. Then change all the accidentals, The performance was a smashing success. The ĴȱĚȱȱȱȱȱȱȱȱȱȱ reason may have had more to do with the notoriety the thing’s done.” surrounding the upcoming opera premiere than ȱȱ¢ȱȱȱȱȱ with the merits of the concerto. The Chicago public orchestral music received from the conductor of the was eager to see the man whose opera was due to New York Symphony, the composer decided to test open in two weeks. Chicagoans were fascinated with ȱȱȱǯȱȱȱȱĴȱǯȱ ęȱȱȱȱǰȱ ¢ȱȱȱ ȱȱȱȱȱ¢¢ȱ the press two years earlier, to accept the generous in his Scythian Suite, which received an ovation from support of American capitalism. According to the the public. But the critics were as harsh as in New Musical Courier: DZȱȃȱȱ¢ȱȱȱȱ-
cincinnatisymphony.org | FANFARE CINCINNATI | 35 PROGRAM NOTES: SEPT 21
Florida and California [orange growers] are KEYNOTE. On purely musical grounds, it is hard engaged in a struggle for the exclusive program to understand how the Third Piano Concerto could rights to advertise their respective, favorite brands. have provoked unfavorable reactions. A delightful The manufacturers of the California Sunkist and approachable piece, it has justly become one ȱěȱȱ¢ȱȱȱȱ ȱȱ ȱęȂȱȱȱǯȱ ȱ¢ȱȱ succulent fruit, and the inventor of the Florida blood orange is willing to present one of them to ǰȱȱȱȱĴǰȱȱȱȱ every auditor every evening at the Chicago Opera, is delightful. if the management will permit him to put up a Perhaps the most striking characteristic of the lobby stand of the Florida bloods and placard it concerto is its variety, underlined by sudden jumps with a sign: “This succulent and healthful brand from one mood to another. The lyrical introductory ȱęȱȱȱȱ¡¢ȱ¢ȱȱ andante, for example, has scarcely begun to develop in this opera and at home.” when it is cut short by an allegro, dominated by an Since the composer had refused to allow his music impish theme in the piano. The heavily rhythmic to advertise oranges, he had become known as the transition to the second theme is typical of Proko- man who had vetoed a lucrative way to promote his ęȂȱȱǰȱȱȱȱȱȱ¢ȱ costly opera. Thus, when he stepped onto the stage lyrical. The brief introduction is expanded when it is ȱ¢ȱȱȱȱǰȱęȱȱȱ recapitulated, as is the transition to the main theme. audience who had come to see and hear the contro- The second movement is a set of variations, each versial man who dared to spend the Opera’s money ȱ ȱȱȱěȱȱȱ ȱȱǯȱ but was unwilling to help it earn any. Most variations are separated by a distinctive chord ǰȱęȱȱȱȱ ȱȱȱȱ A delightful and approachable ȱǯȱȱęȱȱȱȱȱȱȱ piece, it has justly become one ǰȱ ȱĚȱȱȱȱȱȱȱ the end. The second variation is scherzo-like and the of Prokofiev’s most popular third is an allegro moderatoǯȱęȱȱȱ scores. Its rhythms are engaging, fourth variation meditativoǯȱȱęȱȱȱallegro. its tunes are attractive, and its The movement closes with a varied restatement of the theme, in winds accompanied by piano. orchestration is delightful. Just as the middle movement is slow with fast inter- ǰȱȱȱęȱȱȱ ȱ ȱǯȱȱ ȱ¢ȱȱȂȱǰȱęȱ- slow passage in the winds introduces a new theme of ȱȱȱ ȱȱęȱ ȱǯȱȱȱ considerable beauty. The material given at the outset public was not particularly interested in the Chicago is particularly engaging, because it seems unable to Opera, or in the huge amount of money that had gone decide where its downbeats occur. The conclusion is into its production, or in the advertising schemes of brilliantly orchestrated. orange growers. What they perceived was a young —Jonathan D. Kramer composer who had dared to introduce his concerto (and his opera) in a rival city. The performance was CAMILLE SAINT-SAËNS destined to be a failure. The composer recorded: Symphony No. 3 in C Minor, Op. 78, Organ ȃ ȱȱȱ ȱȱȱȱ- Born: October 9, 1835, Paris port; in New York there was neither.” Died: December 16, 1921, Algiers The opera imitated the concerto. ȱȱȱ Work composed: 1886 Premiere: Oranges was a triumph in Chicago but a disaster six May 19, 1886—Camille Saint-Saëns con- ducting the London Philharmonic Orchestra weeks later when the production moved to New York. Instrumentation: řȱĚȱǻǯȱǼǰȱŘȱǰȱ ęȱȱȱȱȱȱȱȱ English horn, 2 clarinets, bass clarinet, 2 bassoons, years in the United States. Disheartened, he returned ǰȱŚȱǰȱřȱǰȱřȱǰȱǰȱ ȱȱȱȱŗşŘŘǯȱ ȱǰȱȃ ȱ ȱȱ ȱȱ ǰȱȱǰȱ¢ȱŘǰȱǰȱȱ thousand dollars in my pocket, a bad headache, and ¢ǰȱǰȱȱȬǰȱ CSO subscription performances: ŗŗȱȱ an overpowering wish to get away to some quiet place ȱ ȱȩȱDZȱ ¢ȱŗşřşǰȱȱ ȱ ȱȱ ȱȱǯȄ ȱǰȱȱǰȱȱȩȱȱ
36 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: SEPT 21 recent: May 2016, Louis Langrée conducting, Thierry Wagnerian, was enraged. The ensuing rift between Escaich, organist him and Saint-Saëns was never healed. Duration: approx. 36 min. Their disagreements escalated over the succeeding Saint-Saëns voiced a complaint in 1871 that sounds years, and each enlisted allies. The proponents of very much like the grumbling of composers a Ȃ ¢Ȃȱȱ ȱȱȱȱĚ- century later: enced by Wagner. They took as their leader César Franck. Franck had been a friend of Saint-Saëns and Not so very long ago a French composer who had dedicated his Quintet of 1880 to his colleague. was daring enough to venture onto the terrain of ȱȱȱȱȱȱȱĴȱ But that piece also symbolized the rivalry between his work performed than to give a concert himself these two leading French composers: Franck’s work and invite his friends and the critics. As for the had been inspired by his passion for a particular general public, it was hopeless even to think about ǰȱȱ ȱȬºȱ ȱȱĴǯȱ them. The name of a composer who is French Saint-Saëns heard rumors that Franck’s pursuit had and still alive had only to appear on a poster to been more successful than his own. His personal re- frighten everybody away. The chamber music sentment of Franck fueled his professional jealousy: ǰȱĚȱȱȱȱȱǰȱ Franck had a circle of devoted disciples and students, restricted their programs to the resplendent names of Beethoven, Mozart, Haydn, Mendelssohn—and while Saint-Saëns did not. And, a few years later, sometimes Schumann—as proof of their audacity. Franck’s Symphony in D Minor, which owed quite a lot to Saint-Saëns’ Third Symphony, eclipsed its If the complaint seems like those of today, so did model in popularity. the solution. In order to combat prejudice against Saint-Saëns understood that he was in the minor- contemporary French chamber music, Saint-Saëns ity in the Society, and that those under the spell of and Fauré founded the Société Nationale de Musique, Wagnerian aesthetics were both more numerous which was similar in purpose and activities to many and more powerful than his own allies. Saint-Saëns composers’ organizations functioning today. Other resigned in 1886. He felt the Society had done its work. leading members of the organization were César His departure, after 15 years as president, marked Franck and Édouard Lalo. The Society met with the end of an era. unexpected success. Not only was it responsible for The year 1886 ended an artistic era for Saint-Saëns ȱȱȱ¢ȱęȱ ȱȱ- as well. He conducted the premiere of the composition tions, but also it showed the public that such music ȱ ȱȱȱȱȱȱěȱȱȱ¢ȱ was worthwhile. As a result, modern French music genre: his Third Symphony. In his remaining 35 began to appear on other concert series. Before too years, he composed only a few incidental orchestral many years had passed, the Society had 200 members, works (in addition to several works for soloist with many of whom met regularly at Saint-Saëns’ house Ǽǯȱ ȱȱȱĴȱȱȱȱ to discuss and play new music. theater, writing seven operas, a ballet and incidental As the Society grew, so did its bureaucracy. In 1876 music to seven plays. composers Vincent d’Indy and Henri Duparc were The Third Symphony (actually it was the com- elected secretaries. D’Indy undertook the herculean Ȃȱęǰȱȱ ȱ¢ȱ ȱ ȱȱ ȱȱĴȱȱȱȱǯȱȱȱȱ numbered) is in many ways conservative. It looks an important member of the Society’s administration. backward to the heroic symphonies of Beethoven, Once in this position of responsibility, he made a bold and it all but ignores the new Wagnerian sounds suggestion: that music by foreign composers be in- that excited Franck and d’Indy. It was with no small cluded in the Society’s concerts. Saint-Saëns was will- sarcasm that composer Charles Gounod said, as Saint- ing to allow music by Grieg, Tchaikovsky and Glinka, Saëns mounted the podium to conduct the symphony, but he balked at the suggestion of the composer “There’s the Beethoven of France!” who really interested d’Indy: Wagner. Saint-Saëns The Organȱ¢¢ȱ ȱęȱȱȱǯȱ ȱ understood that to start playing the music of this ȱȱ Ĵȱȱȱȱǰȱ ȱ ȱȱ ȱȱȱȱȱȱȱȱěȱȱ managed to get it without paying a commissioning Society had been founded to remedy. He feared that fee. Saint-Saëns had been invited to appear as guest the magnetic musical personality of Wagner would conductor and piano soloist. He asked for a stipend of eclipse the works of the members. D’Indy, a devoted
cincinnatisymphony.org | FANFARE CINCINNATI | 37 PROGRAM NOTES: SEPT 21 He dedicated the symphony to poem Hunnenschlachtȱȱȱȱȱȱȱ in the orchestra. Franz Liszt, who died shortly The symphony received splendid receptions at after the premiere. Liszt’s style ȱȱȱȱȱǰȱǰȱȱȱ of orchestration is echoed in ȱĚȱȱǰȱȱȱĴȱȱȱ ȱȱǯȱȬºȱȱȱȱ the symphony. In particular, ȱ¢¢ȱȱȱȱǯȱȃ ȱȱ Saint-Saëns took from the… ȱȱȱ ȱȱȱǰȄȱȱ ǯȱȃȱ ȱȱ tone poem Hunnenschlacht the done I shall never do again.” KEYNOTE.ȱȱȱȱȱȱȱ idea of including an organ in the the third person in the extensive program note he orchestra. ȱȱȱȱDZ ȱ¢¢ȱȱȱȱǰȱȱȱ 40 pounds. The Philharmonic responded that it was ȱȱȬºȂȱȱȱȱȱ ȱȬęȱ£ȱ ȱȱǯȱȬ ȱȱȱȱȱȱȱǯȱ ºȱ ȱěȱȱȱȱřŖȱȱȱ Nevertheless, it includes practically the traditional ȱȱȱ ȱȱ¢¢ȱȱȱǯȱ ȱDZȱȱęǰȱȱȱǰȱ Knowing that the orchestra was prestigious and that serves as the introduction to the adagio, and the it was large, he agreed. scherzoȱȱǰȱȱȱȱǰȱ ȱ ȱęǯȱȱȱȱȱȱȱȱ ȱȱȱ¢¢ȱȱ£ȱ£ǰȱ ȱ in a certain measure the interminable repetitions ȱ¢ȱȱȱǯȱ£Ȃȱ¢ȱȱ- ȱȱȱȱȱȱȱ chestration is echoed in the symphony. In particular, ȱǯȱȱȱȱȱȱ Ȭºȱȱȱȱ ȱȂȱȱ ȱȱȱȱȱ¢¢ȱȱęȱ¢ȱȱ ȱȱȱǯȱ
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38 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: SEPT 21
Saint-Saëns went on to list every instrument in the since the main themes of the earlier sections recur in work’s large orchestra and then to give a detailed later sections. An additional source of unity is the analysis of the symphony. symphony’s rhythmic style. In many places a tune can The first of the symphony’s two movements be felt either with or against the beat. Only by listening comprises an adagio (which Saint-Saëns called “plain- carefully to the accompaniment can we sense the beat, tive”) which leads to an allegro moderato and, after but the accompaniment is sometimes ambiguous or ȱǰȱȱȱȬĚȱȱadagio (the composer even nonexistent. This situation occurs, among other described this section as “extremely peaceful and con- ǰȱȱȱȱȱȱęȱȱallegro moderato, at the templative”). The second movement begins with the beginning of the scherzo and at the transformation of usual scherzo, complete with trio section. The second ȱęȱȱȂȱęȱȱȱȱȱȱȱ time the trio occurs, it becomes a transition (labeled thereafter. The allegro moderato theme returns in the “a struggle for mastery, ending in the defeat of the ȱȱȱęȱȱȱȱ ȱȱȱȱ ǰȱȱȄǼȱȱȱęȱȱDZȱ the symphony, each time with its relation to the beat a maestoso introduction (“triumph of calm and lofty ǯȱȱ ȱěȱȱȱȱȱȱȱȱǯ thought”) to a fugal allegro. The organ helps delineate The symphony contains many kinds of music, the implied four-part symphonic structure. It is silent ȱ¢ȱěȱȱǯȱ ȱȱȱ ȱȱęȱȱǰȱȱȱȱȱȱȱȱ ȱ dance-like, sometimes intimate, and sometimes gran- section. It is absent from the scherzo but marks the diose. It is a large, romantic work of a sort that was ȱȱȱęȱȱ ȱȱȱȱȱǯ falling into disfavor in France. Yet it is a spectacular Like Franck’s Symphony in D Minor, Saint-Saëns’ orchestral showpiece, and its return to popularity Third is cyclic. This means that certain important ȱȱȱȱȱ¢ȱȱȱ¢ȱȱ ȱěȱȱȱ ȱȱȱěȱȱǯȱ ȱ ȱȬ virtuosic orchestra at its best. priate for Saint-Saëns to omit formal recapitulations, —Jonathan D. Kramer
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cincinnatisymphony.org | FANFARE CINCINNATI | 39
GUEST ARTIST: Sept 21
LANG LANG, pianist he builds cultural bridges between Previous CSO Performances: East and West, frequently intro- This is Lang Lang’s sixth ducing Chinese music to Western performance with the CSO since audiences, and vice versa. his 2003 debut, including three He is devoted to bringing music subscription weekends and three one- into the lives of children around the night-only events. He was a CSO Creative Director in 2011–12. ǰȱȱȱȱ ȱȱȱ Noteworthy: Other performance United Nations as a Messenger of highlights: 2014 Soccer World Peace focusing on global education Cup, Grammy Awards (twice, with and through his own Lang Lang Metallica and Pharrell Williams), International Music Foundation. 2008 Beijing Olympics, Queen Honors include being named one Elizabeth II Diamond Jubilee, 70th of the World Economic Forum’s 250 anniversary of the United Nations. Young Global Leaders; honorary ȱȱȱęȱȱȱ doctorates from the Royal College No. 3 with the Berlin Philharmonic Lang Lang, © outumuro (Sony, 2013). of Music, Manhattan School of Read more: LangLang.com ȱȱ ȱȱ¢ǰȱȱ¢ȱ ¢ȱȱȱȱ¢ȱǻęȱȱȱ Lang Lang inspires millions with his open-hearted, the school’s history); the highest prize awarded by emotive playing, in both intimate recitals and on the China’s Ministry of Culture; Germany’s Order of grandest stages. He forms enduring musical partner- Merit and France’s Medal of the Order of Arts and ships with the world’s greatest artists to artists from ĴȱDzȱȱȱęȱȬȱȱȱȱ¦ȱ outside of classical music—among them dubstep de Versailles in Paris. ȱȱȃȄȱĴȱǰȱȱȱȱȬ Lang Lang is managed by Columbia Artists Music LLC, 1790 ȱ ȱ ȱȱ££ȱȱ ȱ ǯȱ ȱ Broadway, New York, NY 10019. camimusic.com. Jean-Jacques Cesbron, Ronald A. Wilford. Lang Lang is an Exclusive Recording even builds relationships with corporations that have Artist of Sony Music. helped him get classical music to more people, and
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CINCINNATI • 2015
Greater Cincinnati
Call us at 800.381.0053 · Visit us at paycor.com SECOND SUBSCRIPTION PROGRAM Ascent Series
2016–2017 SEASON FRI SEPT 23, 8 pm SAT SEPT 24, 8 pm Taft Theatre
LOUIS LANGRÉE conductor HILARY HAHN violinist
SCHUMANN Symphony No. 4 in D Minor, Op. 120 (1810–1856) Ziemlich langsam. Lebhaft Romanze. Ziemlich langsam Scherzo: Lebhaft Langsam. Lebhaft
INTERMISSION
BEETHOVEN Concerto in D Major for Violin and Orchestra, Op. 61 (1770–1827) Allegro ma non troppo ȱ Ĵȱȱ Rondo: Allegro
The CSO is grateful to Paycor, the CSO’s Ascent Series Sponsor. The CSO is grateful to Horan, this weekend’s Concert Sponsor.
Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. These concerts will end at approximately 9:30 pm. 90.9 WGUC will broadcast this concert January 22, 2017, 8 pm.
cincinnatisymphony.org | FANFARE CINCINNATI | 43 PROGRAM NOTES: Sept 23–24 © 2016–17 Cincinnati Symphony Orchestra
Beethoven cast a long shadow over the 19th century—how could any composer conceive of writing symphonies after Beethoven essentially redefined the genre? In this program, we explore Robert Schumann’s Fourth Symphony, written not too long after Beethoven’s death, along with Beethoven’s sunny and optimistic Violin Concerto. While Schumann is primarily remembered for his impressive body of work for solo piano, his symphonies represent his fully developed compositional craft. As Clara Schumann noted in her diary several years prior to Robert’s first symphonic output: “it would be best if Robert composed for orchestra; his imagination cannot find sufficient scope on the piano. His compositions are all orchestral in feeling.” In the Fourth Symphony, Schumann draws upon the influences of Beethoven’s nine symphonies in its form and structure. The brooding D minor of Schumann’s Fourth Symphony makes way for Beethoven’s D Major Violin Concerto on the second half of the program. Here we experience Beethoven at his most elegant: a revolutionary composer who reminds us in the Violin Concerto of his remarkable ability to explore the most intimate and inward of human emotions. —Louis Langrée
ROBERT SCHUMANN versary of her wedding. Her husband had presented Symphony No. 4 in D Minor, Op. 120 ȱ ȱȱȱ¢Ȧ¢ȱǰȸȱ score of a new symphony, conceived as a portrait of Born: June 8, 1810 at Zwickau in Saxony his wife. The symphony, which eventually became Died: July 29, 1856 at Endenich, near Bonn ȱȱǯȱŚȱȱȱǰȱȱȱ¢ȱȱ¢ȱ Work composed: May–September 1841, revised December 13–19, 1851 which is a version of what Schumann called his Clara Premiere: December 6, 1841 in Leipzig (original, as theme. He had previously used it in a number of other Symphony No. 2)—Ferdinand David conducting; December DZȱȱęȱȱȱȱDavidsbündlertänze, a 30, 1852 in Düsseldorf (revised)—Schumann conducting ȱ ȱ Ĵȱ ȱȱȱȱȱ Instrumentation: ŘȱĚǰȱŘȱǰȱŘȱǰȱ seriously of marrying Clara. 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, The early years of Schumann’s marriage were a strings period of intense compositional activity. He com- CSO subscription performances: 26 previous subscription weekends | Premiere: January 1895 posed over 150 songs in 1840, which became known (inaugural concert of the CSO, Pike Opera House), Frank as his year of the song. 1841 was the year of the sym- Van der Stucken conducting | Most recent: April 2007, phony; Schumann composed the First Symphony, the Paavo Järvi conducting (Mahler arrangement: February ȱȱ¢¢ǰȱȱȱ ȱȱȱ¢ȱ 2012, Xian Zhang conducting) a symphony without slow movement, the Overture, Duration: approx. 30 min. Scherzo and Finale. The following year he concen- September 13, 1841 was a special day for Clara trated on chamber music, completing three string Schumann. Not only did she celebrate her 22nd birth- quartets, the Piano Quartet and the Piano Quintet. ¢ǰȱȱȱȱęȱǰȱǰȱ ȱǯȱ During 1841 Schumann began the Overture, ǰȱȱȱ¢ȱȱȱȱęȱ- Scherzo and Finale within days of completing the First
WHAT TO LISTEN FOR: The opening of the first movement of Schumann’s Fourth Symphony—the mysterious, almost brooding quality of the music. The transition between the third and fourth movements—listen to how Schumann (like Beethoven in his Fifth Symphony) through suspense and anticipation seamlessly leads us into the triumphant Finale. The timpani in the opening of the Beethoven Violin Concerto—these five quiet beats are referenced throughout the first movement.
QUESTIONS TO DISCUSS ON THE WAY HOME: Most programs feature a concerto on the first half of a concert, and a symphony on the second. Did you listen to the Beethoven Violin Concerto differently, having listened to Schumann’s Fourth Symphony on the first half? When we think of Beethoven, we most likely gravitate to the iconic Fifth or the Ninth Symphony. Did listening to Beethoven’s more introspective Violin Concerto change your perception of his music at all?
44 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: SEPT 23–24
¢¢ǯȱ ȱ ȱȱ¢ȱȱęȱȱ stage personality, and his performances of his own ȱ ȱȱ ȱȱȱęȱȱȱȱ ȱ¢ȱ ȱ ȱȂȱ ȱȱǯȱȱȱ ȱȱȱ symphonies. The public seemed scarcely to notice the completed than Clara recorded in her diary: ȱȱ ǯȱȂȱȱ ȱȱȱȱĴȱȱ¢ȱȱȱȱǰȱ¢ȱ ¢ȱȱȱȱ¢¢ǯȱ ȱȱȱ heard anything of it so far, but at times I catch the ȱȱǰȱȱ¢ȱȱ Ĵȱȱȱ ȱȱȱęȱ¢ȱȱȱȱȱǰȱȱ ȱȱ ȱȱĴȱȱȱ£ǯ see from the way he acts that it will be another ȱ ȱȱȱȂȱȱȱ ȱ ȱȱȱ¢ȱȱȱȱǯȱ as a performer, Schumann placed the blame for the ȱȱ¢ȱȱ ȱǰȱȱȱ Ȃȱěȱȱȱȱ£ȱȱȱȱ ȱ Robert cannot be more blissfully happy at his work orchestral works. He withdrew the symphony and ȱ ȱȱ ȱȱęȱ¢ȱ ȱȱ ȱȱȱ ȱȱȱȱȱȱȱǯȱ ȱ¢ȱȬ composed. chestrated it and made a few small structural changes. Before the year of the symphony had run its course, ȱȱȱ ȱ£ǯȱ ȱ¢ȱ Schumann had not only completed three symphonies ȱȱ¢ȱȱȱȱȱȱȱȱ ȱȱȱȱȱȱȱǻ ȱȱȱ ǰȱȱȱȱȱȱȱ ȱ ǰȱȱ Ǽȱȱ¢ȱęȱȱȱ ȱȱȱ ȱȱǰȱ ȱȱȱęȱȱ and orchestra. ǯȱȱȱȱȱȱěȱȱȱȱȱ ȱȱȱ¢¢ȱǻ¢ȱȱȱǯȱŘǼȱ did not allow them to respond to changes he made ȱȱǰȱ£ȱȱȱ ȱȱ in the wind parts. to the public at the same concert. The remainder of ȱȱȱȱȱ ȱȱ ȱ ȱȱȱȱ ȱȱ ȱ¢ȱ£ȱ ȱȱûȂȱȱȱȂȱ¢ȱ £ǰȱȱ ȱ£ȱȱ¢ȱȱȱȱ ǯȱ ȱ¢ȱŗŞśřȱȱřŗȱȱ ȱȱȬ which Clara joined him in a duet. Schumann had been ȱȱȱȱȱȱŗŜŖȱȱȱȱ looking forward to this concert, hoping it would help ȱŚşŖȱȱȱ¡ȱȱ ȂȱMessiah, solidify his already growing reputation. But no one ȂȱElijahȱȱ ȂȱAlcesteǯȱȱȬ ȱȱ ȱ£ǯȱ£ȱ ȱȱȱ ȱȱ ȱ ȱ¢ȱȂȱ
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cincinnatisymphony.org | FANFARE CINCINNATI | 45 PROGRAM NOTES: SEPT 23–24
accelerates in its transition to the faster main portion ȱȱęȱǰȱȱȬȱȱǻȱȱ arpeggio followed by a descending stepwise motive) that is repeated again and again contains (notes 5–8) a ȱȱȱȱęǯȱȱȱȱȱ the main theme of the allegro, a bond is established between the two sections of the movement. Since the secondary theme is virtually the same as the main theme but in another key, all the principal materials of the movement are generated by the opening melodic idea. Even a new lyrical theme which appears during the development section has embedded within it the Clara motive. Another means Schumann employs to increase unity is having the movements played without pause. The somewhat inconclusive ending of the ęȱȱȱȱȱȱǰȱȱ Robert Schumann with Clara Schumann, who inspired the Fourth Symphony’s “Clara Theme.” Romanze. After a plaintive melody in the oboe and cellos, the upper strings present the Clara theme Violin Concerto under Schumann’s direction, and ȱȱȱ ȱęȱ¢ȱȱȱęȱǯȱ Ferdinand Hiller conducted Beethoven’s Ninth The contrasting middle section features a solo violin Symphony. The festival opened with Schumann’s decorating a new theme. Symphony in D Minor, now listed as No. 4 (Schumann The vigorous scherzo theme also contains the Clara ȱȱ ȱȱ¢ȱȱĴȱ motive, this time played in inversion (upside-down). the D Minor aside in 1841). The festival closed with The trio section brings back the solo violin music from a work Schumann had composed especially for the the second movement. At its end the scherzo slows occasion, the Festival Overture on the Rhine Wine Song, down but does not really conclude. It fades into the for orchestra with chorus. ȱȱȱȱęǯ Although Schumann had acquired many years of ȱęȱȱ ȱȱ ȱȱȱȱȱȱ experience as a conductor by the time he revised the ȱęȱȂȱǰȱ ȱȱȱ symphony, in some ways the scoring is less success- ȱǯȱȱȱȱęȱǰȱȱȱ ful than in the original version. It is thicker and less also forms part of the main theme of the allegro. The soloistic. One Schumann scholar, Brian Schlotel, feels development section begins with a fugato based on that the thicker orchestration was a direct result of the second theme. In the coda the music gets progres- Schumann’s experiences on the podium: since he was sively faster as it drives toward a triumphant ending. ȱȱ¢ȱěȱǰȱȱ¢ȱȱ —Jonathan D. Kramer decided (perhaps subconsciously) to write music that ȱ¢ȱȱȱȱȱ ȱȱěȱȱ LUDWIG VAN BEETHOVEN drastically if various members of the orchestra did not Concerto in D Major for Violin and Orchestra, Ĵȱǯȱȱȱȱǰȱȱȱȱ Op. 61 ȸȱȱȱȸȱ Born: December 16, 1770, Bonn, Germany ȱ ȱǯȱȱ ȱȱęȱȱȱ- Died: March 26, 1827, Vienna cians to prefer the original version, and he arranged, Work composed: 1806 despite Clara’s disapproval, for its publication 30 years Premiere: December 23, 1806 in Vienna—Franz after Schumann’s death. Today most conductors use Clement, violinist and conductor. ȱęȱǰȱ¢ȱȱȱȱȱ Instrumentation: ȱǰȱĚǰȱŘȱǰȱŘȱǰȱ lighter scoring details of the original. 2 bassoons, 2 horns, 2 trumpets, timpani, strings CSO subscription performances: KEYNOTE. The Clara theme, which opens the 37 previous subscription weekends | Premiere: April 1895 (Pike symphony, returns in many guises throughout the Opera House), Henry Schradieck, conductor and piece. To unify a multi-movement composition in this violinist | Most recent: March 2012, Pinchas Steinberg manner was particularly popular among romantic conducting, Midori, violinist composers, who took their cue from Beethoven Duration: approx. 43 min. ǻȱȬȱ¢ȱęȱȱȱȱȱ Violinist Franz Clement was one of the most gifted Symphony, for example, recurs in all movements in musicians in Beethoven’s Vienna. He had made his various guises). As Schumann’s slow introduction mark as a child by performing at the Vienna Imperial
46 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: SEPT 23–24
Opera House from the age of nine, and by playing ȱȱȱȱ¡ȱȱ¢ȱȱ concertos under the baton of Haydn in London two ȱǯȱȱȱȱ£ǰȱȱ¡ǰȱ years later. He made frequent international concert ȱȱȱǯȱȱȂȱ ȱȱ ǯȱȱȱęȱȱȱŗŚȬ¢Ȭȱ¢ȱ ¡ȱȱ¢ǯȱȱǰȱ ȱȱ ȱȱŗŝşŚǰȱȱȱ ȱȱȱ¢DZ Ȃȱǰȱ ȱȱȱǰȱȃȱ musical argument is often quite loose, and the unendȬ Continue along the road on which you have already ȱȱȱęȱȱęȱ¢ǯȱȱ ing repetition of certain rather ordinary passages and art have combined to make a great artist of might easily become wearisome.” you. Follow them both and, never fear, you will There was a second, somewhat more successful reach greatness, the highest goal that an artist ȱȱ¢ȱǰȱȱȱȱ ȱřŖȱ¢ȱ can desire in the world. All my good wishes for there were no more than a half dozen performances. It your happiness, dear child, and come back soon was not until another boy, Joseph Joachim, played the ȱȱ ȱȱȱ¢ȱǰȱęȱ¢ȱ ȱȱŗŞŚŚȱǻȱȱȱȱŗřǼȱȱȱȱ once again. ȱ¡ȱȱȱȱ ȱ ȱ¢ȱȬ ȱęȱȂȱǯȱ ȱ ȱȱ ated. Henceforth it entered the standard repertoire of to become concertmaster and conductor of the Vienna every concert violinist. Opera. Beethoven entrusted to him conducting the KEYNOTE.ȱȱȂȱȃȱȱȱ ęȱȱȱȱEroica Symphony. certain rather ordinary passages” no doubt refers to Clement had a phenomenal musical memory. The ȱȱȱȱȱęȱǯȱ ȱ composer Ludwig Spohr recalled how Clement perȬ ¢ȱȱȱȱȱȱǰȱȱęȱȱ fectly reproduced long stretches of an oratorio having ȱȱȱȱȯęȱ¢ȱ heard only two rehearsals and one performance. played repetitions of the same note. The simplicity ȱȱȱȱȱȱ ¢Ȃȱȱ of the motive allows it to be used in a variety of oratorio The Creation—from memory! And, when ¡ǰȱȱȱȱȱȱȱȱ ȱęȱȱȱȂȱȱFidelio was a ȱȱǯȱȱęȱȱ failure and a group of musicians met to decide how ȱ¢ȱȱȱȱȱȱęǯȱȱ to salvage the work, Clement sat at the keyboard and is scarcely a page of the score that does not contain played the entire score from memory. this motive—whether blatantly orchestrated as at the Clement decided to give a benefit concert in ȱŗŞŖŜǯȱ ȱȱȱȱȱȱ violin concerto, and the composer readily agreed, for Clement was one of the few musicians in Vienna he respected—and from whom he would accept critiȬ cism. The numerous changes in the manuscript bear witness to their frequent editorial sessions. Since the composer was not himself a violinist, he had to rely ȱȂȱ¡ȱȱȱĴǯ As was often the case with Beethoven, the work was completed only at the last minute. Clement had often gone over the solo part with the composer, but there was not enough time for even a single full rehearsal with orchestra. Miraculously, the performance was ȱȱęȯȂȱȱ¢ȱȱȱȱ compensated for the lack of practicing time. But it could not have been a completely convincing perȬ formance either, as the unfavorable reviews would seem to indicate. The situation was furthermore not ȱ¢ȱȂȱ¢ȱȱ ȱěǯȱ ȱȬ ¢ȱ¢ȱȱȱȱȱ ȱ ȱȱęȱȱ second movements of the concerto, and, in order to ȱȱȂȱǰȱȱ¢ȱȱȱ¢ȱȱ string of a violin held upside down! The audience reaction was lukewarm. Even if the performance had been well rehearsed and not interȬ ȱ¢ȱȂȱ¢ȱ¢ȱȱǰȱȱȱ still might have puzzled its original listeners. It was
cincinnatisymphony.org | FANFARE CINCINNATI | 47 PROGRAM NOTES: SEPT 23–24 recapitulation, tucked away within a melodic line as the orchestra, whose music is generally unadorned. At in the second theme, speeded up as in repeated 16th- the end, the music turns suddenly almost operatic in note passages, or hidden in an accompanimental line. ȱȱȱȱȱȱȱȱȱȱęǯ ȱęȱȱȱȱȱȱȱ ȱęȱȱ ȱȱ ȱȱȱ manner. It makes us wait as long as possible before for the solo instrument. Beethoven instructs the soloist the violin enters. We must wait even longer before to play this melody solely on the G string, the lowest hearing the entire lyrical second theme played by the ȱȱȱǰȱȱȱȂȱȱȱ ȱDZȱȱȱ¢ȱȱȱ£ǰȱ into the registers of the D and A strings. The result, with a wonderfully peaceful feeling. ȱȱĜȱȱȱ ǰȱȱȱȱ These undercurrents of tension subtly disturb nasal timbre which lends this folk-like tune its special the beautifully melodic, wonderfully lyrical, almost character. The movement presents contrasting ideas pastoral melodies of this movement. Despite these but returns inevitably to this main theme. tensions, though, the movement moves at a leisurely The ending is particularly clever. The music seems pace. Notice, for example, how long the music re- ȱȱȱȱȱ¢ǯȱ ȱęȱȱȱ mains on one harmony (the dominant) when the about to die away, when the solo instrument returns ȱęȱǯȱ ȱȱȱȱȱȱȱ ȱȱęȱȱȱȱȱȱǯȱǰȱ time for a moment, to let the violin slowly assert itself. at the last possible moment, the full orchestra plays The slow movement is a dialogue between the solo two loud, short concluding chords. ǰȱ ȱ¢ȱ¢ȱĚȱęǰȱȱ —Jonathan D. Kramer
GUEST ARTIST: Sept 23–24
HILARY HAHN, violinist Hahn has released 16 albums Previous CSO Performances: on the Deutsche Grammophon This is Hilary Hahn’s sixth ȱ¢ȱǰȱȱȱȱ performance with the CSO; she three DVDs, an Oscar-nominated made her debut at a Riverbend movie soundtrack, an award- classical concert in 1997. winning recording for children, Noteworthy: Commissioned and various compilations. Her 27 short pieces for solo violin and recordings have received every piano for her “In 27 Pieces: the ȱ£ȱȱȱȱ Hilary Hahn Encores” project; her ȱȱȱȱ ȱȱ recording of these works earned popular success, and all have Hahn her third Grammy in 2015. debuted in the top ten of the Bill- Hahn has recorded the Beethoven board classical chart, including her Violin Concerto with the Baltimore ȱȱȱȱ Symphony Orchestra (Sony pairing, which spent 23 weeks Classical, 1999). on the chart and earned Hahn her Read more: HilaryHahn.com second Grammy in 2009 for Best In the more than two decades ȱȱȱ since her professional debut, Hilary Hahn, © Michael Patrick O’Leary ȱǯȱ ȱęȱ ¢ȱ three-time Grammy-winning violinist Hilary Hahn ȱȱȱŘŖŖřȱȱȱȱȱ¢ȱ- has brought her virtuosity, expansive interpretations, certo album. In 2010, she released Jennifer Higdon’s and creative repertoire to diverse global audiences. Violin Concerto along with the Tchaikovsky concerto. ȱȱȱęȱȱȱȱ£ȱȱ Ȃȱǰȱ Ĵȱȱ ǰȱ ȱȱȱ ȱ ȱǯȱȱȱȱ¢ȱȱ ȱĵȱ£ǯȱ ȱŘŖŗřȱȱȱIn 27 Pieces: at Curtis at age 16—having already made her solo the Hilary Hahn Encores, the culmination of a multi- ȱ ȱȱȱȱĴȱ¢¢ȱ year project to renew the encore genre, which won orchestras, the Philadelphia and Cleveland orches- ȱ ¢ȱȱȱȱȦȱȱ tras, and the New York Philharmonic—but stayed Performance. Hahn commissioned short-form works to continue her violin studies and take additional from 26 composers around the world and held an courses in languages, literature and writing. When open contest for the 27th encore, drawing more than she graduated at age 19, Hahn was a full-time tour- 400 entries. ȱǯȱȱȱȱ¢ȱȱ Hilary Hahn appears by arrangement with IMG Artists, 7 W 54th ȱȱȱ¢ȱȱ¢ȱǯ St., New York, NY 10019. Ms. Hahn’s recordings are available on Deutsche Grammophon and on Sony Classical/Sony BMG Masterworks. 48 | FANFARE CINCINNATI | cincinnatisymphony.org 2016-17 SEASON
SWING/JAZZ Sunday, September 11, 2016 • 3:00pm Four Freshmen
Saturday, October 8, 2016 • 7:00pm Chick Corea Trio Special Event Pricing
Friday, December 9, 2016 • 8:00pm The Bad Plus
Sunday, January 15, 2017 • 3:00pm Anat Cohen Quartet
Sunday, March 26, 2017 • 3:00pm Bill Charlap
Friday, April 28, 2017 • 8:00pm Christian McBride Trio
PIANO Sunday, September 25, 2016 • 2:30pm Mariam Batsashvili
Sunday, October 30, 2016 • 2:30pm Artem Yasynskyy March 2017 • Date/Artist TBA Chick Corea Trio Collaboration with Bearcat Festival at CCM “An Art of Piano” Sunday, April 2, 2017 • 2:30pm Kemal Gekic Fr. John Heim Concert
GUITAR Sunday, September 18, 2016 • 2:30pm Thibaut Garcia Bill Charlap Christian McBride Trio Anat Cohen Quartet Tuesday, November 22, 2016 • 7:00pm Martha Masters Sunday, January 29, 2017 • 2:30pm Marc Teicholz Sunday, February 5, 2017 • 2:30pm Aniello Desiderio Sunday, February 26, 2017 • 2:30pm Grisha Goryachev The Bad Plus Four Freshmen
Xavier University • 3800 Victory Parkway • Cincinnati, OH 45207 513-745-3162 • xavier.edu/musicseries It feels good to give back.
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It adds up to nearly $71 million a year. It’s a good feeling we can all share, and to us, that’s the magic of giving. THIRD SUBSCRIPTION PROGRAM Boundless Series
2016–2017 SEASON FRI SEPT 30, 8 pm SAT OCT 1, 8 pm Taft Theatre
LOUIS LANGRÉE conductor JAMES DARRAH director/curator ADAM LARSEN projection designer STEPHEN WADSWORTH text adaptation PABLO SANTIAGO lighting designer MacMoc DESIGN costume designer/installations QUINN WHARTON photography
DEBUSSY Prélude à l’après-midi d’un faune (1862–1918)
DEBUSSY Nocturnes Nuages (“Clouds”) Fêtes (“Festivals”) Sirènes (“Sirens”)
INTERMISSION
FAURÉ Incidental Music from Pelléas et Mélisande, Op. 80 (1845–1924) orch. Koechlin, 1898
The CSO is grateful to Macy’s, the CSO’s Boundless Series Sponsor. The CSO is grateful to tonight’s Encore Sponsor, PricewaterhouseCoopers, LLC. Part ll of The Pelléas Trilogy is made possible by a generous gift from Ginger and David W. Warner.
Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. These concerts will end at approximately 9:30 pm. 90.9 WGUC will broadcast this concert January 29, 2017, 8 pm.
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One of the most important movements in art was the development of French Symbolism in the late 19th century, pioneered first by the poet Charles Baudelaire, and further developed by Stéphane Mallarmé and Paul Verlaine. A reaction against realism, symbolist artists sought to represent truth through metaphor and symbolic meaning. A defining moment in the symbolist movement was the premiere of Maurice Maeterlinck’s play, Pelléas et Mélisande, in Paris in 1893. The play was immensely popular, and was translated into English for a production in London in 1898, for which composer Gabriel Fauré was commissioned to write incidental music. This performance marks Year Two of the Pelléas Trilogy, the CSO’s innovative project with designer/curator James Darrah. In Year Two, we explore the literary source material with a reconstruction of Fauré’s incidental music paired with dramatic scenes from Maeterlinck’s play. The first half features two works by Claude Debussy, a composer who embraced and was deeply influenced by the symbolist movement in art; and serves to foreshadow Year Three of the Pelléas Trilogy, which will feature Debussy’s own operatic adaptation of Pelléas et Mélisande. The program opens with Debussy’s elusive Prélude à l’après-midi d’un faune, a work which opened the doors to modern music and expression that would ultimately permeate the 20th century. —Louis Langrée
CLAUDE DEBUSSY ęȱǯȱ ȱ ȱ ǰȱȱȱȱȱ Prélude à l’après-midi d’un faune ȃȱȱȱǰȄȱȱ¢ȱȱǰȱ in its own way, musical. In his typically elliptical Born: August 22, 1862 St. Germain-en-Laye, near Paris ǰȱȱȱȱȱȃǰȄȱȃȱȱȱȱ Died: March 29, 1918 in Paris Work composed: 1892–1894 suggested by music proper, which we must raid Premiere: September 22, 1894 in Paris—Gustave ȱȱȱȱ ȱǰȱȱǰȱȱ Doret conducting ĜǯȄȱǰȱȃ ȱȱȱȱȱȱ Instrumentation: řȱĚǰȱŘȱǰȱȱǰȱ ȱȱȱȱȱĴȱ ȱ¢ȱ ŘȱǰȱŘȱǰȱŚȱǰȱǰȱŘȱǰȱ ȱǯȱȱȱȱȱȱȱ CSO subscription performances: 27 previous these impressions are required to be woven together subscription weekends | Premiere: January 1904, Frank ȱȱȱ¢¢ǯȄ Van der Stucken conducting | Most recent: February 2004, Paavo Järvi conducting (recorded by the CSO for ȱŗŞŜśȱ·ȱ ȱȱęȱȱȱȱ ŘŖŖśȱǼ poem that was destined to be widely studied and Duration: approx. 10 min. interpreted throughout the subsequent century. The ȱĴǰȱ ȱȱǰȱȱȱȱȱ It was all but inevitable that late 19th-century French ȱȱȱȃȱȱȱǯȄȱ ȱŗŞŝśǰȱ composers would become interested in the Symbolist ȱȱȱȃ ȱȱȱȄȱ ȱ poets. The Symbolists, led by Stéphane Mallarmé, ȱȱǯȱȱęȱȱȱ ȱȱȱȱȱȱěȱȱȱ ȱŗŞŝŜǰȱȱȱȱȱȱȱȱȱȱȱ ¢ȱȱȱǰȱȱ¢¡ȱȱĚȱ to spread. In 1884 the young Debussy wrote a song ǯȱ·ȱȱȱȱȱ¢¢ȱȱȱ ȱȱ¡ȱȱ·ǰȱ ȱ¢ȱȱ ȱ ¢ȱ ȱǻȱȱȱȱȱ Ĵȱ Ǽȱ regarded as the leading experimental poet in France. ȱȱȱ ȱȱȱ¢ȱȱ¢ȱȬ
WHAT TO LISTEN FOR: The opening flute solo in Debussy’s Prélude à l’après-midi d’un faune, one of the most important solos in the orchestral flute repertory. The wordless voices of a chorus in the final movement, Sirènes, of Debussy’s Nocturnes, which creates the most magical color and texture. Listen to how Fauré evokes dramatic elements of Maeterlink’s play in his incidental music.
QUESTIONS TO DISCUSS ON THE WAY HOME: Debussy’s Nocturnes evoke various night scenes. Of the piece, Debussy wrote: “it is not meant to designate the usual form of the Nocturne, but rather all the various impressions and the special effects of light that the word suggests.” What images came to mind for you as you listened to the Nocturnes? How did Fauré’s incidental music have an impact on your experience of the dramatic scenes presented?
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Mallarmé began to conduct informal seminars at his ȱȱĚȱǰȱȱ¡ǰȱȱȱȱ¢ȱ home. At these regular Tuesday evening gatherings, in the traditional sense. It is a wistful wandering down he would expound and develop his unique concept of and then back up a scale: evocative, suggestive, but poetry. Debussy was a frequent participant in these not really lyrical. As this line returns again and again seminars, and by the time of the poet’s death in 1898 it is placed in new contexts by its colorful accompani- the two men were close friends. In 1892 Debussy ǯȱ¢ȱȱȱ¢ȱȱȱǻęȱȱ ȱȱȱȱĴȱȱĚȱȱȱ the oboe), but still it is more the mood of this tune ȱĚȱȱȱȃȄȯ ǰȱȱǰȱȱ than its actual melodic shape to which we respond. been derived from music. Just as the poem is not a Even a contrasting melody (in the full orchestra ęȱȱȱȱȱ ǰȱȱ¢Ȃȱ playing softly) furthers rather than supplants the idea was to write not a programmatic piece but rather atmosphere of mystery. Atmosphere is indeed what a musical equivalent of the mysterious world of the ȱȱȱȯȱȱęȱȱȱȱ poem. The composer originally planned a more ȱ¢ȱȱȱęȱ¢ǯȱ¢ȱȱ ȱ extensive work, which was listed (but never played) his listeners the very special world suggested to him on an all-Debussy concert in Brussels in March 1894. by the Mallarmé poem. Its title was to have been Prelude, Interludes and Final —Jonathan D. Kramer Paraphrase for the Afternoon of a Faun. KEYNOTE.ȱȱǰȱȱȱęȱȱȱ ȱ CLAUDE DEBUSSY no subsequent movements, was performed the fol- Nocturnes ȱǯȱ ȱ¡ȱȱęȱȱ¢ȱȱ Work composed: 1897–99, with earlier versions going daring: this evocative paraphrase of Symbolist poetry back to 1892 was as unprecedented as the poem itself had been Premiere: First two movements December 9, 1900 in 15 years earlier. Debussy provided an interesting ȯȱȱDzȱęȱȱ- ȱDZȱȃȱȱȱȱȱȱȱ¢ȱ formance October 27, 1901 in Paris—Camille Chevillard free illustration of the beautiful poem of Mallarmé. conducting Instrumentation: By no means does it claim to be a synthesis of the ȂȱǰȱřȱĚȱǻǯȱ Ĵǯȱȱȱȱȱȱȱȱ piccolo), 2 oboes, English horn, 2 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, cymbals which pass the desires and dreams of the faun in the a2, tambour militaire, 2 harps, strings heat of this afternoon. Then, tired of pursuing the CSO subscription performances: Nine previous ȱĚȱȱȱ¢ȱȱȱǰȱȱ- ȱ ȱȩȱȱǻȱ ǼDZȱ ȱȱ¡ȱǰȱȱ ȱȱȱę¢ȱ ¢ȱŗşŘŚǰȱĵȱȱȱȩȱȱDZȱ £ȱȱȱȱȱȱȱǯȄȱ ¢ȱŘŖŖŚǰȱȱ §ȱȱǻȱ¢ȱȱ ȱȱȱȱ·ȱȱ¢ǰȱȃ ȱ CSO for 2005 release) Duration: was not expecting anything of this kind! This music approx. 25 min. prolongs the emotion of my poem and sets its scene Nocturnes has a complicated history. Debussy started ȱ¢ȱȱǯȄȱȱȱȱ ȱȱȱ it in preparation for a projected tour of the United ǰȱȃȱȱȱȁȱȱȱȱ States in 1892. The work was then known as Trois Ȃȱ ȱȱȱȱ ȱ¢ȱ¡ǰȱ scènes au crépusculeȱǻȃȱ ȱȄǼǯȱ ȱȱ unless to go further, indeed, into the nostalgia and ȱȱ ȱȱȱȱǯȱ ȱȱȱ ȱǰȱ ȱęǰȱ ȱǰȱ ȱǯȄ it two years later to transform it, surprisingly, into ȱȱ ȱȱ·Ȃȱȱȱȱȱ a violin concerto for the Belgian virtuoso Eugène new kind of music: apparently vague, more sugges- ĉȱǻ ȱȱȱȱȱȱȱ ȱȱǰȱĚǰȱȬǯȱ¢ȱ Cincinnati Symphony). The composer wrote to the rose to the challenge of creating this unprecedented violinist in 1894: world of sounds and colors. As composer-conductor Pierre Boulez explains: ȱȱȱȱęȱǽǾȱȱȱ DzȱȱȱǰȱĚǰȱȱǰȱȱ ȱĚȱȱȱȱȱ ȱȱȱȱȱ trumpets, and two harps; of the third, both these of music; what was overthrown was not so much groups. It is an experiment with the different the art of development as the very concept of form combinations that can be obtained from one itself, here freed from the impersonal constraints ȯȱȱ¢ȱȱ¢ȱȱǯ of [classical forms], giving wings to a supple, mobile expressiveness, demanding a technique of ȱŗŞşŜȱ¢ȱȱĉȱȱȱ ȱ ȱ perfect instantaneous adequacy. Its use of timbres ęǰȱȱȱ¢ȱȱȱȱȱȱ seemed essentially new, of exceptional delicacy ǯȱĉȱȱȱȱȱȱǰȱȱ and assurance in touch. the score has been lost. Debussy started once again to recast the three movements, and by 1899 they were
cincinnatisymphony.org | FANFARE CINCINNATI | 53 PROGRAM NOTES: SEPT 30–OCT 1
ȱȱęȱǯȱȱ ȱȱȱȱȱ Dzȱȱȱǯdzȱȱ¢ȱȱ ǰȱȱȱȱȱȱ ȱȱ ȱęȱȱȱȱ ȱȱǰȱ ęȱ ȱȱȱȱǯȱȱȱ ȱȱĚǰȱȱ¢ȂȱFêtes, and ȱȱȱȱ ȱ Ȃȱǯ ȱ ȱȱȱǰȱȱȱSirènesǯȱ ȱȱȱȱ KEYNOTE.ȱȱȱ ȱȱ ȱ ȱĚȱȱ·ȂȱǰȱȁȱĚȱ ȱ ȱȱȱȱęȱDZ ȱ¢ǰȂȱȱȱȱȱȱȱȱ Fêtesǯȱȱȱ ȱȱĚȱȱȱȱ ȱȱNocturnes is to be interpreted here in a general and, more particularly, decorative sense. ȱȁ ȱȂȱǻchoeur qui s’étoileǼȱ ȱ¢ȱ ȱȱ ȱȱȱȱȱȱȱȱȱ ȱȱ¢Ȃȱȱȱȱȱȱȱȱ ȱȱȱǰȱȱȱȱȱȱ in Sirènesǯȱ ȱȱȱȱǽȱ¢Ǿdz ȱȱȱȱěȱȱȱȱȱ ·ȱȱȱȁȱȱȱĚȂȱȱȁȱ ȱǯ ȱȱ¢ȱȱȱȱȱ NuagesȱǽȃȄǾȱȱȱȱȱȱ ǯȂdzȱ¢ȱ¢ȱ ȱǽȱǾȱȱȱ ȱ¢ȱȱȱ ǰȱȱȱȱȱǰȱ ȱȱȱȱȱŗŞşŖǯȄ ȱ ¢ȱȱ¢ȱȱȱ ȱ ǯ řǯǼȱȱȱȱȱ ȱȱȱȱȃȬ Ȅȱȱ ȱǰȱ ȱȱȱ Fêtes [“Festivals”] portrays the restless dancing ¢ȱȱȱǰȱȱ ȱ ȱ ȱȱǯȱ¢Ȃȱȱȱ ȱȱȱDzȱȱȱȱȱ a study in gray indicates that he might have intended ȱǻȱ££ǰȱȱǼȱȱ ȱȱȱȱȱȱȃȱȄȱȱȱ ȱȱȱȱȱȱȱȱǯȱ ȱȱǯȱȱ¢Ȃȱȱ·ȱ ȱȱȱȱ¢ȱȱDZȱ ȱ¡ǰȱȱȱ ȱȱȱȱȱ ȱǰȱȱȱȱȱȱȱ Debussy “the lines seem to resolve themselves into dust participating in cosmic rhythms. an atmosphere, luminous and sonorous, colored or Sirènes [“Sirens”] depicts the sea and its innumerable harmonic, that seems more essential to the composiȬ ¢Dzȱ¢ǰȱȱȱ ȱȱ¢ȱ tion than either the subject or the landscape.” DeȬ ȱǰȱȱ¢ȱȱȱȱȱȱ ¢ȂȱNocturnesǰȱȱȂȱǰȱȱȱ Dzȱȱȱȱȱǯȱ ¢ȱǯȱǰȱȱȱȱ Nocturnes ¢ȱȱ¢ȱȱȱ titles and program notes, Nocturnes is not really proȬ ¢DZȱŗǯǼȱȱǰȱŘǯǼȱȱ¢ȱȱ¢ǰȱ gram music. Nuagesǰȱȱ¡ǰȱȱȱȱ ȱ ȱřǯǼȱȱȱǯ ȱȱȱȱ ȱȱȱǯȱ ȱȱȱ ŗǯǼȱȱȬ ȱȱȱȱȱȱȱ ȱȱȱǰȱȱȱȱȱĴȱȱ ŗŞŞŖȱ ȱȱȱ¢ǰȱ¢ȱȱȱ ȱȱȱȱȱȱȱȱǯȱ ¢¢ǯȱ¢ȱȱȱȱȱ ȱǰȱ ȱȱ¢ǰȱȱǰȱ ȱŗŞŞřȱȱŗŞşŘǯȱȱȱǰȱ¢ȱȱ ethereal sonorities—these qualities are the essence ȱ¢ȱȱȱ¢ȱ¢Ȃȱȱ ȱ¢Ȃȱǰȱȱ ȱȱ¢ȱ £ȱȱǰȱ ȱ ȱȱ¢ȱȬ ȱ¢ȱȱȱȱNocturnes. ȱ¢ȱȱȱ¢¢ȱȱȱǯȱȱ —Jonathan D. Kramer ȱȱFêtesȱȱȱȱȱȱ ȱȱ¢¢ǯȱȱǰȱ ǰȱ ȱ GABRIEL FAURÉ, orch. Koechlin ȱȱȱȱȱ ȱȱȱ¡ȱ Pelléas et Mélisande Incidental Music ȱȱȱȱŗŞşŜǯȱ¢ȱĴȱȱ Born: May 12, 1845, Pamiers, France ȱȱȱȱȱǯ Died: November 4, 1924, Paris ŘǯǼȱȱęȱȱȱNocturnes ȱȱȱȱ Work composed: ŗŞşŞDzȱȃȄȱȱęȱ ȱȱȱȱ¢ȱ ȱȱ·DZȱScènes au crépus- years earlier, added to the suite in 1909 culeǯȱ¢ȱ ȱ¢ȱ ȱȱǰȱ ȱ ȱ Premiere: (incidental music, orch. Charles Koechlin) ȱȱȱǯȱȱȱ ǰȱ June 21, 1898, London—Gabriel Fauré conducting; ȃȱȱȱȱȱȱȱȱȱ (three-movement suite, orch. Fauré) February 3, 1901, Paris—Camille Chevillard conducting ȱȱȱ ȱȱȱȱǰȱ ȱ Instrumentation: ŘȱĚǰȱŘȱǰȱŘȱǰȱŘȱ ȱȱȱȱȱȱȱȱ ȱ bassoons, 4 horns, 2 trumpets, timpani, harp, strings ȱȱ£ȱȱȱȱ ¢ǯȄȱ¢Ȃȱ CSO subscription performances: CSO premiere ȱ ȱȱ¡ȱȱȬ Duration: approx. 32 min ȱ ȱNocturnes ȱ·Ȃȱ¢DZȱȱ ȱȃȱȱȱȱȱ¢ȱȱȱ ȱ¢ȱȱȱȱǻŗŞŜŘȮŗşŚşǼȱȱ ȱȱȱ ȱȱȱęȱȱȱȬ rarely produced these days but a hundred years ago, ǯȱ ȱȱȱȱ¢ȱȱ¢ȱ ȱȱ¢ ȱ ȱȱȱȱȬ
54 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: SEPT 30–OCT 1 est luminaries on the European literary scene. Maeter- three movements and was premiered in that form at linck, who was of Flemish origin but wrote in French, the Concerts Lamoureux in Paris in 1901; eight years received the Nobel Prize for Literature in 1911. He later, Fauré added another movement from the inci- was one of the most important exponents of symbolist dental music, the “Sicilienne” (which had originally drama, which represented a radical departure from ȱȱȬȱȱ ĴȱȱŗŞşřǼǰȱȱȱȱ the realism of much 19th-century theater. Symbolism, four-movement suite. The rest of the incidental music in the words of literary historian Marvin Carlson, remained virtually unknown until Roger Nichols and sought “to contact a reality beneath or beyond that Otfried Nies brought out their critical edition of the accessible to reason and everyday observation,” pro- ȱȱŘŖŗŜǯ ducing “an art of indirection, suggestion, ambiguity In a 1975 article, musicologist Robert Orledge point- and elusiveness.” One of Maeterlinck’s most famous ed out that the London production of Maeterlinck’s plays, Pelléas et Mélisandeǰȱ¡ęȱȱȃ¢ȱȱ ¢ǰȱȱ ȱ·Ȃȱȱȱ ȱ Ĵǰȱ the beyond” as it takes what would otherwise be a was “a good deal more down-to-earth” than the conventional love triangle and transports it into an original Paris version. Contemporary critics did not imaginary country in imaginary times. Instead of a like Fauré’s music, which at least one of them felt to bourgeois family drama, the play assumes a certain be “wanting...in dramatic power.” But Fauré’s intent mystical, mythical quality. In the stage action, more was not to dramatize the story but rather to present is hinted at than actually spelled out; instead of long a series of lyrical interludes that aimed at capturing monologues, the characters speak in short sentences, a general mood. These movements, most of them ȱȱȱęǯȱȱȱȱȱ rather brief, often repeat the same musical material ȱȱ¢ȱȱȱęDzȱȱǰȱ ȱȱ in new contexts. In Orledge’s words, the score is… ęȱȱȱȱ ȱȱȱȱ ȱȱ …imbued with [Fauré’s] ideals of classic beauty, ȱ¢ȱĴȱ¢ǯ dignity and disciplined emotional restraint. The The outline of the story is easily summarized. Go- antique element of the drama he naturally captured laud, grandson of the old King Arkel of Allemonde, in his frequent use of modality, and the music is at discovers a young girl of unknown origin—Mé- all times sensitive and poetic, without ever verging lisande—while hunting in the forest. He brings her on the sentimental. —Peter Laki back to his ancestral castle and marries her. In the castle lives Golaud’s younger half-brother Pelléas. Pelléas and Mélisande fall in love; the jealous husband kills his brother; and Mélisande dies in childbirth. Maeterlinck’s Pelléas et Mélisande ȱęȱ- formed in Paris in 1893. Over the years, the French CONNECT theatrical legend Sarah Bernhardt starred in this TO THE play in turn as Mélisande and also (since she was CLASSICS DOWNTOWN CINCINNATI • TAFT THEATRE famous for playing male roles) as Pelléas. In 1898, Pelléas was produced in London with the celebrated actress Mrs. Patrick Campbell as Mélisande. It was for this production that Gabriel Fauré composed the incidental music. Actually, the Prince of Wales ȱęȱȱȱřŜȬ¢Ȭȱ¢ǰȱ Welcome, who had already completed his (as yet unperformed) opera after Maeterlinck’s play, to see whether his music might be adapted for the spoken stage. When ¢ȱȱ ȱȱǰȱǯȱȱ turned to Fauré, 53, who composed 18 movements ȱȱ ȱȱȱȱȱǯȱȱȱȱ teaching and other commitments (and also because he did not particularly enjoy orchestrating), Fauré delegated the preparation of the orchestral score to his former student, the 31-year-old Charles Koechlin. The incidental music remained unpublished during Fauré’s lifetime and many years afterward, but the Want to meet other young professionals interested in suite the composer extracted from it became one of classical music? Follow us facebook.com/CSOEncore his most popular works. Initially the suite had only cincinnatisymphony.org/encore
cincinnatisymphony.org | FANFARE CINCINNATI | 55 MATINÉE MUSICALE CINCINNATI OurOur 104th104th SeasonSeason Inspires!Inspires!
Amit Peled Ben Bliss Joyce Yang Paul Huang Winston Choi
AMIT PELED, CELLO BEN BLISS, TENOR PAUL HUANG, VIOLIN Performing two different Thursday, November 10, 2016 Tuesday, March 14, 2017 recitals on the historic Pablo at 11 a.m. at 11 a.m. Casals cello: Westwood First Anderson Center Tribute to Casals Rectial Presbyterian Church 7850 Five Mile Road Sunday, September 18, 2016 3011 Harrison Avenue Cincinnati, Ohio 45230 at 3 p.m. Cincinnati, Ohio 45211 Anderson Center 7850 Five Mile Road JOYCE YANG, PIANO WINSTON CHOI, PIANO Cincinnati, Ohio 45230 Tuesday, January 31, 2017 Wednesday, April 12, 2017 Journey with My at 11 a.m. at 11 a.m. Jewishness Lecture Anderson Center Forest Chapel United and Recital 7850 Five Mile Road Methodist Church with the Issac M. Wise Center Cincinnati, Ohio 45230 680 West Sharon Road Monday, September 19, 2016 Cincinnati, Ohio 45240 at 7:30 p.m. Issac M. Wise Center 8329 Ridge Road Cincinnati, Ohio 45236
TICKET INFORMATION Season Ticket Packet Individual Tickets 6 Tickets - Just $60 At the Door: $15 (Any of the six tickets may be used Students (with ID): $3 MATINÉE MUSICALE CINCINNATI for any 2016-2017 Season Recital) For more information, please call (859) 781-0801 or visit www.matinee-musicale-cincinnati.org GUEST ARTISTS: Sept 30–Oct 1
James Darrah Adam Larsen, © Dathan Brannon Stephen Wadsworth
JAMES DARRAH, director/curator, and en Tauride; and an installment of the San Francisco CHROMATIC Symphony’s trailblazing SOUNDBOX series. This Previous CSO Performances: One previous spring he continued his ongoing collaboration with engagement, during the 2015–16 season for Part I of conductor Michael Tilson Thomas, both as director of The Pelléas Trilogy. Bernstein’s On the Town in a new staged production Noteworthy: Collaborators include Michael Tilson for San Francisco Symphony and as director/designer Thomas, CSO 2016–17 guest Edo de Waart and Opera for a world premiere of Tilson Thomas’ Playthings Philadelphia. Opera News calls Darrah’s projects “once- on the Wind with New World Symphony in Miami. in-a-lifetime experience[s].” Other upcoming projects include a debut at Bard Read more: JamesDarrah.com; Chromatic.la Summerscape with Mascagni’s Iris, a production Los Angeles-based director and designer James Dar- of La Tragédie de Carmen for San Diego Opera, and the rah’s collaborative focus through varied mediums world premiere of Missy Mazzoli’s operatic adapta- has quickly led him to be recognized as “the newest tion of Lars von Trier’s Breaking the Waves for Opera discovery... a gifted young American director” (Chi- Philadelphia. Darrah also recently collaborated with cago Tribune). He has crafted an unconventional and Ȭȱȱȱ ȱȱȱęȱȱ varied body of work that “injects real drama” (New of the CSO’s Pelléas project and directed the second in York Times) into new theater and opera productions, his series of productions of the Mozart/Da Ponte tril- installations, and events. ogy for ÈȱȱĴ with the Milwaukee Symphony His uniquely collaborative and team-based ap- Orchestra and conductor Edo de Waart. proach to innovative stage projects has also led to In 2018 Darrah will assume the role of artistic the creation of LA-based production and design director for a new annual spring festival and artist company Chromatic, which he co-founded with residency as part of Chromatic’s ongoing collabora- longtime collaborator Peabody Southwell and pro- tion with Opera Omaha, and will also direct the world duction manager Michelle Magaldi. Established as a premiere of the newly commissioned opera Proving collective of interdisciplinary artists who collaborate Up by Missy Mazzoli in a co-commission with to create aesthetic, theatrical and operatic events Washington National Opera and the Miller Theater. across blurring mediums, Chromatic’s wide range of Darrah holds an MFA degree from the UCLA projects includes everything from new productions School of Theater, Film and Television, where he ȱȱȱȱȬęȱȱ was the recipient of the James Pendleton Foundation events to the three-year multimedia video installation Grant and the George Burns/Gracie Allen Directing and theatrical piece based on Pelléas and Mélisande Scholarship. He continued his studies with director with the Cincinnati Symphony Orchestra. Stephen Wadsworth at The Juilliard School. He Darrah’s recent projects include Chromatic’s annu- has received the national Princess Grace Award in al residency with Opera Omaha, where he launched Theater, was a directing nominee in the 2015 Inter- a production of Handel’s Semele in a co-production national Opera Awards, and was named Musical with Opera Philadelphia; his European directorial America’s New Artist of the Month for December 2015. debut with Teatro Nacional de São Carlos in Lisbon, He has taught theater and performance for the Adler Portugal for new production of Gluck’s Iphigénie Fellowship Program of San Francisco Opera, Cornish
cincinnatisymphony.org | FANFARE CINCINNATI | 57 GUEST ARTISTS: SEPT 30–OCT 1
College of the Arts, California State University, Long STEPHEN WADSWORTH, text adaptation Beach and the University of California, Los Angeles. Read more: juilliard.edu/journal/stephen-wadsworth James Darrah is a member of United Scenic Artists, Local 829, and ȱ Ȃȱȱȱ¢Ȃȱ AGMA and is represented by Opus 3 Artists (General Management) and IMG Artists (Europe). ǰȱȂȱRing cycle, a series of Marivaux comedies, the Beaumarchais trilogy, and plays and ADAM LARSEN, projection designer/ ȱ¢ȱǰȱ¸ǰȱ ǰȱ ǰȱ photographer £ǰȱ ǰȱȱȱ ǰȱȱȱ Previous CSO Performances: One previous him as a master of the classical repertoire and one engagement, during the 2015–16 season for Part I of ȱȱȱĚȱȱȱȱȱ The Pelléas Trilogy. theater. He has also directed plays by John Guare Read more: hum-bar.com ǻȱȱǼǰȱȱ ¢ȱǻǼǰȱ ȱȱȱǻȱǼȱȱȱ Adam Larsen is a documentarian and projection de- ¢ȱǻMaster Classȱȱ ¢ȱȱȱȂȱ signer. He has designed video projections both on and ȱǰȱȱ¢ȱ¢ǼȱȱȱȱŗşşŖȱ ěȬ ¢ȱȱȱǯǯȱȱǯȱȱ ȱ ȱȱ ȱȱ¡ȱȱȱǯǯȱȱȱ include Hal Prince’s LoveMusik ǻ ¢ǼDzȱThe series of translations and productions of three plays Gospel at Colonus (Athens, Edinburgh and Spoleto (published by Smith and Kraus as Marivaux: Three ǼDzȱThe Wind Up Bird Chronicle (Singapore and ¢Ǽǯȱ ȱȱȱȱȱ¸Ȃȱ ȱǼDzȱBrief Encounters and My Fair Don Juan ǻȱǰȱȱ ǰȱĴȱ Lady ǻ ȱǼDzȱThe Women of Brewster Place (Al- ǰȱǼȱȱȱȱ¡ȱȱ¡ȱ ȦȱǼDzȱGhost Brothers of Darkland ȱȱȱȱȱ¢ǰȱȱ ȱȱȱ County and Native Guard ǻȱǼDzȱbig (At- American stages. He has also translated and adapted ȱǼDzȱLove Lies Bleeding, Fumbling Towards ȱ ȱ¢ȱǰȱ ȱȱ ǰȱ Ecstasy and Balletlujah ǻȱǼDzȱFrom the ȱ ȱȱ ȱȱȱȱ¢ȱ ȱ House of the Dead ǻȱǼDzȱPelléas Tril- operas and plays. He has three productions in the ogyȱǻȱ¢¢ǼDzȱLily Plants a Garden ǻȱ repertoire of The Metropolitan Opera (Rodelinda, Boris ǼDzȱMaaȱǻȱ¢¢Ȧ ǼDzȱSemele, A Godunov and Iphigénie en Tauride, all telecast in HD to Flowering Tree and Agrippina ǻȱǼDzȱGreen ȱȱ ǼǰȱȱȂȱȱȱ Umbrella: Theatre of the Outrageous ǻȱǼDzȱSemele (Pa- in Milan, Vienna, London, Edinburgh, Amsterdam, ęȱ ǼDzȱQuartet ǻȱȱȱǼDzȱ ȱǰȱȱǰȱȱȱȱ¢ȱ Seed ǻȱȱ¢ȱǼDzȱFour Preludes ȱĴǰȱ ȱȱȱȱȱ- on Playthings of the Wind, Second Hand and Pho- ner’s Ring cycle last played in the summer of 2013. He rionȱǻ ȱȱ¢¢ǼDzȱMidsummer Night’s ȱȱȱA Quiet Place ȱȱȱ Dream and Siren Songȱǻ ȱȱǼDzȱBlack ǻ ¢ȱǼǯȱȱȱ ȱȱMarivaux and Whole ǻȱȱȱȱǭȱȱ Molièreȱȱ ȱȱȱȱȱȱȱȱ ȦȱǼDzȱȱOn The Town, Le Martyre de ȱȱĴȱ¢ȱȱȱǯȱ ȱ ȱ St Sebastien, Peer Gynt, Peter Grimes and SoundBox (San ȱ Ȧȱȱȱȱȱȱȱ ȱ¢¢Ǽǯ ȱȱȱŘŖŗřȱ ȱȱȱȱ ȱ Ȃȱęȱ¢ǰȱNeurotypicalǰȱȱęȱ ¢ ȱȱȱǯȱ ȱȱȱ ȱǯȱ about autism from the perspective of autistics, aired ȱ¢ȱ ȱȱȱ ȱǰȱ ȱ on the PBS series P.O.V.ȱȱŘŖŗřǯȱ ȱȱȱȱȱ ȱȱȱ Ȃȱęȱȱ¢ȱȱȱ ¢ȱȱȱȱȱȱȱ program for singers, and he has taught in The Met’s the Arts. Lindemann Young Artist Development Program for over 30 years.
58 | FANFARE CINCINNATI | cincinnatisymphony.org BOARDS
BOARD OF DIRECTORS (as of September 1, 2016) 2ႈFHUV Paul M. Booth Marvin Kolodzik Sandra Rivers Francie S. Hiltz, Chair Trish Bryan* Peter E. Landgren Jack Rouse Otto M. Budig, Jr., Harold Byers Tad Lawrence Ann H. Santen Treasurer and Vice-Chair of Finance Myra Chabut Wendy S. Lea Pamela Schmitt Robert W. McDonald, Secretary Christopher C. Cole Spencer Liles* Dennis L. Schoff Dianne Dunkelman, Peter G. Courlas Patricia Gross Linnemann Pamela Scott Vice-Chair of Volunteerism Alvin H. Crawford, M.D. Mark Luegering Edgar L. Smith, Jr. Thomas Charles Garber, Dennis W. Dern Timothy J. Maloney Thomas Stegman * Vice-Chair of Facilities Shaun Ethier bruce d. mcclung William D. Stenger Dianne M. Rosenberg, Mrs. Charles Fleischmann III* Bernard L. McKay Ken L. Stone Vice-Chair of Leadership Development Susan S. Friedlander* Sue McPartlin Theodore W. Striker, M.D. Rosemary Schlachter, William A. Friedlander Anne Mulder Randolph L. Wadsworth, Jr.* Vice-Chair of Patron Development Jane Garvey Elizabeth Reitz Mullenix Patricia Wagner James E. Schwab, Immediate Past Chair L. Timothy Giglio Stephen R. Mullin Nancy Walker* Sheila J. Williams, Joseph W. Hagin Christopher Muth Geraldine B. Warner Vice-Chair of Community Engagement Carol C. Hake Eric V. Oliver Warren Weber Patti Heldman Marilyn J. Osborn Diane West 'LUHFWRUV Joseph W. Hirschhorn* Thanh T. Pham Stacey G. Woolley Jessica C. Adelman Sandra F.W. Joffe J. Marvin Quin II* Honorable Tyrone K. Yates Kathleen Barclay Lois Jolson Thomas H. Quinn, Jr. Shau Zavon Randi S. Bellner Peter E. Koenig James B. Reynolds* *Director Emeritus
BOARD OF OVERSEERS (as of September 1, 2016) The Board of Overseers are devotees of classical music and all things Orchestra related. With annual gifts of $5,000 or more for an individual and $7,500 or more for an organization, donors gain unique access to the people who make the music happen and a behind-the-scenes view into the workings of the Orchestra. To learn more about becoming a member, contact Rachel Kirley in the Philanthropy Department, 513.744.3291.
Adleta Group, Mr. Robert Adleta Mrs. Charles Fleischmann Alan Margulies and Gale Snoddy Elizabeth C. B. and Paul G. Sittenfeld Romola N. Allen § Susan Friedlander § Rhoda Mayerson Mr. and Mrs. Gerald Skidmore § Mr. Anatole Alper Frost Brown Todd, Ms. Jill Myer Mr. and Mrs. Jonathan McCann Ms. Genevieve Smith Martha G. Anness § Dr. and Mrs. Harry F. Fry Mr. Robert W. McDonald Michael and Donnalyn Smith Dr. Norita Aplin and Stanley Ragle § Molly and Tom Garber, CCI Design, Inc. Mr. Bernard McKay Tom and Dee Stegman § Thomas P. Atkins Ms. Jane Garvey Laura Kimble McLellan § William D. Stenger Mr. and Mrs. William T. Bahlman, Jr. § Richard D. Gegner Mrs. Susan M. McPartlin Mary S. Stern Mrs. Katy Barclay Mrs. Philip O. Geier § Mercy Health, Mario Cicchinelli Laurence G. Stillpass Bartlett & Co., Jane Vanderhorst Dr. Lesley Gilbertson and Messer Construction Co., Kathleen C. Daly Theodore W. and Carol B. Striker Mary Bergstein Dr. William Hurford Mr. James A. Miller Mrs. Roy Sweeney Mr. and Mrs. Allan Berliant Mr. and Mrs. Michael H. Giuliani Linda and James Miller Taft Stettinius & Hollister, Louis D. Bilionis and Ann Hubbard Clifford J. Goosmann and Monarch Construction, Mr. Ron Koetters Mr. Jeffrey Schloemer Rosemary H. and Frank Bloom § Andrea M. Wilson Mrs. James Monroe § Delle E. Taylor BMES, John Moore Priscilla Garrison Haffner § Stephen and Kristin Mullin § Ms. Anne D. Thomas Robert L. Bogenschutz Mr. Joseph Hagin Mr. and Mrs. Christopher Muth § Laura G. Thomson Dr. and Mrs. John and Suzanne Bossert § Dr. and Mrs. Edward Hake Anne Nethercott § Towers Watson, George Morrison Chris and Karen Bowman David G. Hakes Ohio National Financial Services, Toyota Motor Eng. & Mfg. Co. N.A., Inc., Mr. and Mrs. Frederick E. Bryan, III § Tom and Jan Hardy § Mr. Gary T. “Doc” Huffman David Fleischer Mr. Otto M. Budig, Jr. Mr. and Mrs. Brian E. Heekin Marilyn J. and Jack D. Osborn § UBS, Mr. Troy DeBord Mary Alice Burke § Mrs. Anne P. Heldman § Arlene Palmer Dale and Joyce Uetrecht Edward and Susan Castleberry Mr. and Mrs. Fred Heldman John and Farah Palmer Larry Uhlenbrock CES/Link, Ms. Deborah Spradley Patricia Henley § Dr. and Mrs. John Parlin United Dairy Farmers, Mr. Brad Lindner CFM, Ms. Jamie Jewell David C. Herriman Paycor, Bob Coughlin Mr. and Mrs. Gregory Waddell Ms. Geraldine V. Chavez Mr. and Mrs. Joseph W. Hirschhorn § Daniel and Susan Pfau Sallie and Duck Wadsworth § Robert and Debra Chavez Mrs. Harry M. Hoffheimer Joseph A. and Susan E. Pichler Nancy C. Wagner § Chemed Corp., Sandra E. Laney HORAN, Terry Horan § PNC Bank, Kay Geiger Patricia M. Wagner § Cincinnati Symphony Club Dr. and Mrs. Stephen Joffe PricewaterhouseCoopers LLC, Mr. and Mrs. Paul H. Ward § Sheila and Christopher C. Cole Johnson Investment Counsel, Evelyn L. Cole Ginger and David W. Warner Coney Island, Victor W. Nolting Mr. Dean Moulas Terry and Marvin Quin Gary and Diane West § Corporex Companies, LLC, Lois and Dick Jolson Rendigs, Fry, Kiely & Dennis, Mrs. Pat Fry :HVWHUQ3DFL¿F+ROGLQJV Mr. William Butler Frank Jordan § Mercer and Gabrielle Reynolds Chiun-Teng Cheng Peter G. Courlas § Mr. Mace C. Justice § Vicky and Rick Reynolds Western & Southern Financial Services, Dr. and Mrs. Alvin Crawford Mr. and Mrs. Lorrence T. Kellar Ellen Rieveschl § Mr. Don Wuebbling Jodelle S. Crosset Dr. and Mrs. Lionel King Elizabeth and Karl Ronn § Mrs. Harris K. Weston (Alice) Mrs. Thomas E. Davidson § Mr. and Mrs. Kevin Kline J. David and Dianne Rosenberg Mrs. James W. Wilson, Jr. The Dehan Family Mrs. Thomas Klinedinst, Sr. Nancy and Ed Rosenthal Vance and Peggy Wolverton Dennis W. and Cathy Dern Florence and Ron Koetters Moe and Jack Rouse § World Pac Paper, LLC, Edgar Smith and Mr. and Mrs. Steve Dessner Michael and Marilyn Kremzar Ann and Harry Santen Toni Robinson-Smith Amy and Trey Devey § Kroger, Ms. Katy Barclay Mr. Thomas Schiff Betsy and Alex C. Young § Mr. and Mrs. Albert C. Dierckes, Jr. Anne I. Lawrence Martha and Lee Schimberg Mr. and Mrs. James M. Zimmerman Nancy and Steve Donovan Mr. Jeffrey W. Lazarow Mark S. and Rosemary K. Schlachter § Anonymous (4) Marjorie Drackett Ms. Wendy Lea Jeffrey S. Schloemer and Marcia A. Banker Dianne Dunkelman Daniel R. Lewis Harold C. Schott Foundation, § Denotes members of The Thomas Mrs. David Ellis, Jr. Mr. and Mrs. Brad Lindner Francie and Tom Hiltz Schippers Society. Individuals who have Ann A. Ellison Edyth B. Lindner Digi and Mike Schueler made a planned gift to the Cincinnati Emory P. Zimmer Insurance Agency, Calvin and Patricia Linnemann § Vivian and Jim Schwab Symphony Orchestra are eligible for Baker D. Bahlman Whitney and Phillip Long David and Abby Schwartz membership in The Thomas Schippers Ernst & Young, Mr. Scott Trosset Mark and Tia Luegering Ladislas & Vilma Segoe Family Society. For more information, please Fifth Third Bank Foundation, Ms. Heidi Jark Macy’s, Mr. Matthew Q. Stautberg Foundation, Mr. David Ellis contact Ron Cropper at 513.744.3365. Dr. and Mrs. Carl G. Fischer Mr. and Mrs. Timothy Maloney Irwin and Melinda Simon Mr. and Mrs. James T. Fitzgerald Elizabeth and Brian Mannion, MD Mr. Murray Sinclaire
cincinnatisymphony.org | FANFARE CINCINNATI | 59 SEPTEMBER 2016 Who’s a Group? You’re a Group!
The Cincinnati Symphony Orchestra and Cincinnati Pops are pleased to welcome the following groups to concerts this month: • Discover our specially priced tickets for groups of 10 or Pops, Sept 16–18 more! • Find out how you can Seasons Retirement Community orchestrate a profitable Anderson Senior Center fundraising event Berkeley Square for your local organization.
CSO, Sept 23–24 Contact CSO Group Sales: Horan 513.744.3590 or csogroupsales.org
THE MUSIC OF THE CSO & POPS TAKE IT HOME! Visit the TAFT THEATRE BRAVO SHOP* for CDs, gifts and merchandise.
*Located on the far east side of the Taft Theatre lobby. All purchases benefit your CSO & Pops.
60 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT 2016–2017 SPONSORS The Cincinnati Symphony Orchestra and the Cincinnati Pops sponsors are an integral part of the Orchestra’s vibrant performances whether supporting a series, a concert or an artist. For information on becoming a sponsor, contact Joe Hammer at 513.744.3363. We are proud to be partners with the following organizations:
PLATINUM BATON CIRCLE ($50,000+)
Tom & Molly Garber
Anonymous Thomas J. Emery Louise H. and David S. Memorial Ingalls Foundation, Inc.
The Carl Jacobs Dr. and Mrs. Lois and Dick Florence and Ron The H.B., E.W. and F.R. Luther The Margaret McWilliams Dr. John & Louise Mulford Foundation 6WHSKHQ-RႇH Jolson Koetters Charitable Foundation, Fifth Rentschler Fund of Fund for the CSO Third Bank and Narley L. Haley, the Greater Cincinnati Co-Trustees Foundation Jacob G. Schmidlapp The John A. Schroth Harold C. Schott Ginger & David W. Trusts, Fifth Third Family Charitable Trust, Ms. Genevieve Tom and Dee Jackie and Roy Foundation Warner Bank, Trustee PNC Bank, Trustee Smith Stegman Sweeney
GOLD BATON CIRCLE ($25,000–$49,999)
The Cincinnati Symphony Club
Sue Friedlander Ann & Gordon Mr. Mace C. Justice The Patricia Kisker Getty Foundation Foundation
-HႇUH\ -RG\/D]DURZ and Janie & Peter Schwartz Ohio Valley The Ladislas & Mr. Daniel R. Lewis MusicNOW Vilma Segoe Family Louise Taft Semple Family Fund of the Greater Foundation, Fifth Foundation Cincinnati Foundation Third Bank, Agent Foundation CONDUCTOR’S CIRCLE ($10,000–$24,999)
Rosemary and Dr. & Mrs. Alvin H. Crosset Family Mrs. Thomas R. Frank Bloom Crawford Fund Davidson
Mr. & Mrs. Robert L. The John C. Anne Heldman Mrs. & Mrs. Brian E. Instagram/Facebook The Andrew Jergens The Kaplan Marvin P. Lawrence Griswold Foundation Heekin Foundation Foundation Kolodzik
Dr. & Mrs. John A. The Daniel & Susan The August A. Rendigs, Jr. and Rosemary and Mark The Sutphin Family The Wohlgemuth The Eric B. Yeiser Family Parlin Pfau Foundation Helen J. Rendigs Foundation, Schlachter Foundation Herschede Foundation :5RJHU)U\7UXVWHHDQGWKH¿UP Foundation of Rendigs, Fry, Kiely & Dennis
CONCERTMASTER’S CIRCLE ($5,000–$9,999)
Queen City (OH) Chapter M MINNILLO & JENKINSCO. LPA,ATTORNEYS AT LAW
The Willard & Louis D. Bilionis & Dr. and Mrs. The Dehan James M. Ewell Jean Mulford Charles Scott Riley III William D. Woodward YOT Full Circle Ann Hubbard John E. Bossert Family Foundation Foundation Stenger Trust Surgery Charitable Fund Foundation
ARTIST’S CIRCLE ENCORE CIRCLE Hightowers Petroleum Co. $3,000–$4,999 $2,500–$2,999 The J.M. Smucker Company The ASCAP Foundation The Amphion Foundation KMK Law Clark Schaefer Hackett CE Power Solutions Ohio CAT Rhinegeist Cincinnati USA Convention and Visitors Bureau RiskSource Clark-Theders EY Roper’s Southern Cooking Restaurant
cincinnatisymphony.org | FANFARE CINCINNATI | 61 FINANCIAL SUPPORT 2016–2017 Sponsors, cont. ARTSWAVE Partners ȱȱęȱȱȱȱǯȱȱȱȱȱȱȱ ȱ¢ȱȱ ȱȱȱǰȱȱ¢ȱȱȱ ȱȱǯ PP&G Fifth Third Bank and the Fifth Third Bank Foundation ArtsWave Partners | SEPTEMBER 2016 GE The Kroger Co. P&G: ǰȱȱŞȱǭȱŗŖ The Kroger Co.: ǰȱȱŘřȮŘŚ Macy’s, Inc. Western & Southern Financial Cincinnati Bell GE: ǰȱȱŗŜȮŗŞ Western & Southern Financial: U.S. Bank ǰȱȱřŖȮȱŗ Cincinnati Children’s Hospital Medical Center Fifth Third Bank and the Fifth Third The Cincinnati Insurance Companies Bank Foundation: ǰȱȱŘŗ Toyota Motor Engineering & Manufacturing North America, Inc. Great American Insurance Group Ohio National Financial Services Duke Energy PNC Frisch’s Restaurants Convergys Corporation Enquirer Media
PERMANENT ENDOWMENTS ȱȱ¢ȱȱȱǰȱȱȱĴȱȱȱ Ȭȱǰȱȱ ȱ ȱȱȱȱęȱȱȱȱȱȱȱȱǯȱȱ¡ȱȱȱȱ ȱȱȱ ȱȱȱȱ ȱȱȱȱ¢ȱȱȱ¢ǯȱȱȱ ȱȱ ȱǰȱȱȱȱȱśŗřǯŝŚŚǯřřŜśǯ
ENDOWED CHAIRS Tom & Dee Stegman Chair+ Educational Concerts Grace M. Allen Chair Mary and Joseph S. Stern, Jr. Chair+ Rosemary & Frank Bloom * The Kenneth & Norita Aplin and Stanley Cynthia & Frank Stewart Chair Cincinnati Financial Corporation & Ragle Chair for Cello The Jackie and Roy Sweeney Family Chair The Cincinnati Insurance Companies Ellen A. & Richard C. Berghamer Chair Anna Sinton Taft Chair The Margaret Embshoff Educational Fund Robert E. & Fay Boeh Chair Brenda & Ralph Taylor Chair Kate Foreman Young Peoples Fund The Marc Bohlke Chair James P. Thornton Chair George & Anne Heldman+ Given by Katrin and Manfred Bohlke Nicholas Tsimaras-Peter G. Courlas Chair Macy’s Foundation Otto M. Budig Family Foundation Chair Jo Ann & Paul Ward Chair Vicky & Rick Reynolds*+ Mary Alice Heekin Burke Chair Matthew & Peg Woodside Chair William R. Schott Family** Peter G. Courlas-Nicholas Tsimaras Chair Mary M. & Charles F. Yeiser Chair Western-Southern Foundation, Inc. Ona Hixson Dater Chair Anonymous Chair The Anne G. and Robert W. Dorsey OTHER NAMED FUNDS Chair for Violin+ ENDOWED PERFORMANCES Ruth Meacham Bell Memorial Fund Jane & David Ellis Chair & PROJECTS Frank & Mary Bergstein Fund for Musical Irene & John J. Emery Chair Eleanora C. U. Alms Trust, Fifth Third Bank, Trustee Excellence+ James M. Ewell Chair Rosemary and Frank Bloom Endowment Fund*+ Jean K. Bloch Music Library Fund Susan S. & William A. Friedlander Chair+ Cincinnati Bell Foundation Inc. Cora Dow Endowment Fund Charles Gausmann Chair Mr. & Mrs. Val Cook Corbett Educational Endowment** Susanne and Philip O. Geier, Jr. Chair+ Nancy & Steve Donovan* Belmon U. Duvall Fund Emma Margaret & Irving D. Goldman Chair Sue and Bill Friedlander Endowment Fund*+ Ewell Fund for Riverbend Maintenance Charles Frederic Goss Chair Mrs. Charles Wm Anness*, Linda & Harry Fath Endowment Fund David G. Hakes & Kevin D. Brady Chair Mrs. Frederick D. Haffner, Ford Foundation Fund Dorothy & John Hermanies Chair Mrs. Gerald Skidmore and the Natalie Wurlitzer & William Ernest Griess Josephine I. & David J. Joseph, Jr. Chair La Vaughn Scholl Garrison Fund Cello Fund Lois Klein Jolson Chair Fred L. & Katherine H. Groll Fund for Fred L. & Katherine H. Groll Trust Harold B. & Betty Justice Chair Musical Excellence Music Director Fund for Excellence Marvin Kolodzik Chair+ Fred L. & Katherine H. Groll Fund for Great Artists Josephine I. & David J. Joseph, Jr. Al Levinson Chair Fred L. & Katherine H. Groll Trust Pianist Fund Scholarship Fund Patricia Gross Linnemann Chair+ The Carol Ann and Ralph V. Haile, Jr./ Richard & Jean Jubelirer & Family Fund* Alberta & Dr. Maurice Marsh Chair U.S. Bank Foundation Endowment Fund Elma Margaret Lapp Trust Laura Kimble McLellan Chair Anne Heldman Endowment Fund** Jésus López-Cobos Fund for Excellence The Henry Meyer Chair Lawrence A. & Anne J. Leser* Mellon Foundation Fund Louise Dieterle Nippert & Louis Nippert Chairs Mr. & Mrs. Carl H. Lindner** Nina Browne Parker Trust Ida Ringling North Chair PNC Financial Services Group Dorothy Robb Perin & Harold F. Poe Trust Rawson Chair The Procter & Gamble Fund Rieveschl Fund The Vicky and Rick Reynolds Chair Vicky & Rick Reynolds Fund for Diverse Artists+ Thomas Schippers Fund in Honor of William A. Friedlander+ Melody Sawyer Richardson* Martha, Max & Alfred M. Stern Ticket Fund Donald & Margaret Robinson Chair Rosemary and Mark Schlachter Endowment Fund*+ Mr. & Mrs. John R. Strauss Student Ticket Fund Dianne & J. David Rosenberg Chair+ The Harold C. Schott Foundation, Anna Sinton & Charles P. Taft Fund Ruth F. Rosevear Chair Francie and Tom Hiltz Endowment Fund+ Lucien Wulsin Fund The Morleen & Jack Rouse Peggy Selonick Fund for Great Artists Wurlitzer Season Ticket Fund Associate Principal Timpani Chair+ Dee and Tom Stegman Endowment Fund*+ CSO Pooled Income Fund Emalee Schavel Chair Mr. & Mrs. Joseph S. Stern, Jr. Fund CSO Musicians Emergency Fund Karl & Roberta Schlachter Family Chair for Great Artists Serge Shababian Chair U. S. Bank Foundation* *Denotes support for Annual Music Program Fund Melinda & Irwin Simon Chair+ Sallie and Randolph Wadsworth Endowment Fund+ **Denotes support for the 2nd Century Campaign +Denotes support for the Fund for Musical Excellence
62 | FANFARE CINCINNATI | cincinnatisymphony.org
It’s time for a new identity.
One that tells the story of creativity in Ohio and illustrates it.
Expression is an essential need.
By better illustrating our story, we can better help you express yours.
Complete the story at oac.ohio.gov/identity.
30 EAST BROAD STREET, 33RD FLOOR, COLUMBUS, OHIO 43215-3414 | 614-466-2613
OAC.OHIO.GOV | @OHIOARTSCOUNCIL| #ARTSOHIO FINANCIAL SUPPORT HONOR ROLL OF CONTRIBUTORS The Cincinnati Symphony Orchestra and Cincinnati Pops extends our heartfelt thanks to the donors who support our work, providing nearly one third of the funding needed to bring great music to Cincinnati and the world. You can join our circle of supporters online at cincinnatisymphony.org/give or by contacting Pamela Taylor at 513.744.3239.
PLATINUM BATON Joseph A. and Susan E. Pichler Fund* Amy and Trey Devey § Mr. and Mrs. Larry Brueshaber Terry and Marvin Quin Mr. and Mrs. Albert C. Dierckes, Jr. Janet and Bruce Byrnes CIRCLE Irwin and Melinda Simon Dianne Dunkelman Dr. and Mrs. Charles O. Carothers Gifts of $50,000 and above Dale and Joyce Uetrecht Ann A. Ellison Miss Norma L. Clark § The Louise Dieterle Nippert Mr. and Mrs. Gregory Waddell Dr. and Mrs. Carl G. Fischer Mary Ellen and Thomas G. Cody Musical Arts Fund Mr. and Mrs. Paul H. Ward § Dr. and Mrs. Harry F. Fry Jim and Elizabeth Dodd Mr. and Mrs. Frederick E. Bryan, III § Gary and Diane West § Ms. Jane Garvey Betty M. Duncan The Otto M. Budig Family Foundation § Richard D. Gegner Mrs. Diana T. Dwight Susan Friedlander § CONDUCTOR’S CIRCLE Dr. Lesley Gilbertson and Jane F. and David W. Ellis Fund* § Molly and Tom Garber, CCI Design, Inc. Dr. William Hurford Marlana and Walter Frank George L. and Anne P. Heldman Fund* § Gifts of $10,000–$14,999 Martha G. Anness § Clifford J. Goosmann and Carol S. Friel Francie and Tom Hiltz, Harold C. Schott Andrea M. Wilson Mr. and Mrs. Otto P. Geier Foundation Mary Bergstein Mr. and Mrs. Allan Berliant Dr. and Mrs. Edward Hake Dr. and Mrs. James M. Greenberg Dr. and Mrs. Stephen Joffe Mr. and Mrs. Fred Heldman Mr. and Mrs. Robert R. Heidenreich Lois and Dick Jolson Louis D. Bilionis and Ann Hubbard Robert and Debra Chavez Patricia Henley § Dr. and Mrs. Robert S. Heidt, Jr. Florence and Ron Koetters David C. Herriman Drs. Marcia Kaplan and Michael Privitera Mrs. Anne I. Lawrence Sheila and Christopher C. Cole Jodelle S. Crosset Mrs. Harry M. Hoffheimer Takashi and Chiseko Kato Daniel R. Lewis Mr. and Mrs. Lorrence T. Kellar* Mr. and Mrs. Richard Kovarsky Edyth B. Lindner Mrs. Thomas E. Davidson § Emory P. Zimmer Insurance Agency Dr. and Mrs. Lionel King Peter E. Landgren and Marilyn J. and Jack D. Osborn § Michael and Marilyn Kremzar Judith Schonbach Landgren Margaret McWilliams Rentschler Fund* Mr. and Mrs. James T. Fitzgerald Mr. and Mrs. Michael H. Giuliani Mark and Tia Luegering Elizabeth and Terry Lilly Mr. Thomas Schiff Dr. and Mrs. Brian A. Mannion Mrs. Robert Lippert Ms. Genevieve Smith Mr. Joseph Hagin Tom and Jan Hardy § Alan Margulies and Gale Snoddy George and Sarah Morrison III Tom and Dee Stegman § Mr. and Mrs. Jonathan McCann Mr. and Mrs. David W. Motch Mrs. Roy Sweeney Mr. and Mrs. Brian E. Heekin Mr. and Mrs. Joseph W. Hirschhorn § Mr. Robert W. McDonald Mr. Scott Nelson and Dr. Susan Kindel Mr. and Mrs. Randolph L. Wadsworth, Jr. § Mr. Bernard McKay Mr. and Mrs. Robert S. Olson Ginger and David W. Warner Frank Jordan § Mrs. Thomas Klinedinst, Sr. Mr. James A. Miller John and Francie Pepper* Ms. Wendy Lea and Centrifuse Mrs. James Monroe § Mr. John W. Plattner GOLD BATON CIRCLE Whitney and Phillip Long Stephen and Kristin Mullin § Sandra Rivers Gifts of $25,000–$49,999 Mr. and Mrs. Timothy Maloney Mr. and Mrs. Christopher Muth § Ann Ruchhoft Mrs. Charles Fleischmann Rhoda Mayerson Arlene Palmer Mr. and Mrs. Thomas R. Ruthman Mr. Mace C. Justice § Mrs. Susan M. McPartlin John and Farah Palmer Elizabeth Schulenberg Mr. Jeffrey W. Lazarow Dr. and Mrs. John Parlin August A. Rendigs, Jr. Foundation Mr. and Mrs. William A. Starr Calvin and Patricia Linnemann § The Daniel & Susan Pfau Foundation Ellen Rieveschl § Bunny and Frank Szecskay Vicky and Rick Reynolds Mercer and Gabrielle Reynolds Elizabeth and Karl Ronn § Sarah Thorburn J. David and Dianne Rosenberg § Mary S. Stern Nancy and Ed Rosenthal Robert and Audrey Varley § Moe and Jack Rouse § Laurence G. Stillpass Martha and Lee Schimberg Christopher and Nancy Virgulak Ann and Harry Santen Theodore W. and Carol B. Striker Jeffrey S. Schloemer and Marcia A. Banker Dr. Barbara R. Voelkel Mark S. and Rosemary K. Schlachter § Ms. Anne D. Thomas Mike and Digi Schueler Mr. and Mrs. James L. Wainscott Vivian and Jim Schwab Tomcinoh Fund* David and Abby Schwartz Jim and George Ann Wesner William D. Stenger Mr. and Mrs. James M. Zimmerman Mr. Murray Sinclaire JoAnn Wieghaus Larry Uhlenbrock Anonymous (2) Elizabeth C. B. and Paul G. Sittenfeld Anonymous (2) Mrs. Harris K. Weston (Alice) Mr. and Mrs. Gerald Skidmore § Michael and Donnalyn Smith CONCERTMASTER’S ENCORE CIRCLE SILVER CIRCLE Delle E. Taylor Gifts of $1,500–$2,999 Gifts of $15,000–$24,999 CIRCLE Nancy C. Wagner § Mr. and Mrs. Richard N. Adams Mr. Anatole Alper Gifts of $5,000–$9,999 Patricia M. Wagner § William and Janet Albertson Rosemary H. and Frank Bloom Dr. Norita Aplin and Stanley Ragle § Mrs. James W. Wilson, Jr. Mr. and Mrs. Richard H. Allen Special Fund *§ Thomas P. Atkins Vance and Peggy Wolverton Romola N. Allen § Dr. and Mrs. John and Mr. and Mrs. William T. Bahlman, Jr. § Betsy and Alex C. Young § Arne and Sharon Almquist Suzanne Bossert § Mrs. Katy Barclay Anonymous (2) Dr. Victor and Dolores Angel Dr. and Mrs. Alvin Crawford Robert L. Bogenschutz Dr. Bruce Aronow Dennis W. and Cathy Dern Chris and Karen Bowman ARTIST’S CIRCLE Ms. Laura E. Atkinson Nancy and Steve Donovan Edward and Susan Castleberry Gifts of $3,000–$4,999 Mr. and Mrs. Thomas B. Avril Marjorie Drackett Ms. Geraldine V. Chavez Stuart and Sarah Aitken Robert and Janet Banks Priscilla Garrison Haffner § Peter G. Courlas § Yousef Aouad Mr. and Mrs. Robert T. Betz Mrs. Philip O. Geier § The Lewis and Marjorie Daniel Foundation Mrs. Thomas S. Benjamin Rexford and Sharon Bevis Doris M. and Charles B. Levinson Fund * The Dehan Family David and Elaine Billmire Jane Birckhead Linda and James Miller Mr. and Mrs. Steve Dessner Mr. and Mrs. Joseph Brinkmeyer § Drs. Bennett and Helene Blitzer
Members of the Schippers Society enjoy breakfast prior to the Guests visit with JMR and his wife, Thea Tjepkema (far right), in the final rehearsal for E.T. Live in Concert at the Taft Theatre. hospitality suite during LUMENOCITY 2016.
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Pops Conductor John Morris JMR and guests of Toyota prior to the Patriotic Pops Aretha Franklin greets guests of Frost Brown Todd Russell greets guests of PNC Bank, performance at Riverbend on July 2. following her performance at Riverbend. Pops Series Presenting Sponsor, prior to E.T. Live in Concert at the Taft Theatre.
Rebecca Bolce and Keith Wood Mr. Timothy Juenke Susan and John Tew Ms. Louise J. Gissendaner Mr. and Mrs. John P. Boorn Don and Kathy King Mr. and Mrs. Ronald Tinklenberg Dr. and Mrs. Charles J. Glueck Cynthia Booth Marvin P. Kolodzik § Mr. William Trach Donn Goebel and Cathy McLeod Glenn and Donna Boutilier Carol Louise Kruse Nydia C. Tranter § Shelley and Steven Goldstein Dr. and Mrs. William Bramlage Rita and Pete LaPresto Dick and Jane Tuten § Ms. Arlene Golembiewski Thomas A. Braun III § Richard and Susan Lauf Mrs. Ronald F. Walker Thomas W. Gougeon Linda Busken and Andrew M. Jergens § Mary Mc and Kevin Lawson Robert and Antoinette Warden Mr. Don Gray Anna K. and G. Gibson Carey Philip and Judy Leege Dr. and Mrs. Galen R. Warren Lesha and Samuel Greengus Joan Carlin Mrs. Jean E. Lemon § Mr. and Mrs. Warren Weber Kathy Grote § in loving memory of Paul and Judy Carlson Mr. Peter F. Levin § Donna A. Welsch Robert Howes Tom Carpenter and Lynne Lancaster Drs. Douglas Linz and Ann Middaugh Mary E. West Mr. Louis Guttman Dr. Julia H. Carter Mr. and Mrs. Clement H. Luken, Jr. Virginia Wilhelm William P. Hackman § Becky and Sam Cassidy Jacqueline M. Mack and Sheila Williams and Bruce Smith Deborah Hauger, MD Mr. and Mrs. Martin Chambers Dr. Edward B. Silberstein Cathy S. Willis Mr. and Mrs. John S. Heldman § Michael and Minnie Clements Mandare Foundation Ronna and James Willis Mr. and Mrs. Donald L. Henson Susan and Burton Closson Mr. and Mrs. Donald Marshall Gene Wilson Dr. James and Ms. Susan Herman Drs. David and Nina Clyne Andrew and Jean Martin Andrea Wiot Mr. and Mrs. Stephen Hicks Dr. and Mrs. John M. Collins David Martin Mrs. Barbara A. Witte § Karlee L. Hilliard § Dr. Pearl J. Compaan /\QQDQG*OHQ0D\¿HOG Steve and Katie Wolnitzek Ruth C. Holthaus Mr. and Mrs. Richard J. Coomes Eleanor S. McCombe Wright Brothers, Inc. Mr. and Mrs. Terence Horan Randy K. and Nancy R. Cooper Ms. Amy McDiffett Don and Carol Wuebbling 0U'DYLG+XEHU¿HOG Dr. Youssef and Suzanne Costandi Stephanie McNeill Mr. Tyrone K. Yates Mr. and Mrs. Bradley G. Hughes Robin Cotton and Cindi Fitton Charles and JoAnn Mead Dr. and Mrs. Marvyn H. Youkilis Mr. and Mrs. Michael C. Hughes Martha and David Crafts Mary Ann Meanwell Mr. and Mrs. Dan Zavon Mrs. Thomas Huheey Mr. and Mrs. John A. Crittenden Miami University College of Creative Arts Anonymous (5) Mr. and Mrs. Marshall C. Hunt, Jr. Drs. Fuheid and Ingrid Daoud Mrs. Patricia Misrach Yuzo and Shinobu Imoto Mr. and Mrs. James Dealy Mr. and Mrs. David Moccia § SYMPHONY CIRCLE Dr. Maralyn M. Itzkowitz George Deepe and Kris Orsborn Judith and David Morgan Gifts of $750–$1,499 Heidi Jark and Steve Kenat Red and Jo Deluse Dr. and Mrs. William H. Newell Mr. and Mrs. James R. 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Bean Marie and Sam Kocoshis Mrs. Joyce Elkus Dr. and Mrs. Leonard M. Randolph, Jr. Dava L. Biehl § Steven Kohler David and Kari Ellis Fund* Marjorie and Louis Rauh Randal and Peter Bloch Diane and Matt Kolleck Mr. Erwin F. Erhardt III James W. Rauth § Lucille and Dutro Blocksom § Kathleen B. and Michael C. Krug Fund* Dr. and Mrs. Alberto Espay Mrs. Robert S. Read Martha Bolognini Patricia Lambeck Gail F. Forberg § David and Marilyn Reichert § Mr. and Mrs. Kenneth Borisch Charles and Jean Lauterbach Ms. Jacqueline S. Francis Diane and Alex Resly Rachelle Bruno and Stephen Bondurant Dr. and Mrs. Brad Lemberg Richard Freshwater Dr. and Mrs. Jack F. Rohde Chris and Tom Buchert Dr. and Mrs. Lynn Y. Lin Yan Fridman Dr. Raymond H. Rolwing Donald L. and Kathleen Field Burns Mr. and Mrs. James A. Link Frank and Tara Gardner Marianne Rowe § Stephen and Diedra Burns Paula and Nick Link Mr. and Mrs. James R. 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Wickliffe Ach John and Susan Frank Alfred and Carol Shikany Marjorie Fryxell Mr. and Mrs. David Acker Paul Franz and Shari Loo Mr. Eli E. Shupe, Jr. Drusilla Garms Mr. Robert B. Adams Guy and Marilyn Frederick § Rennie and David Siebenhar Mr. and Mrs. Edwin Gauggel, Jr. Maurice and Alice Adams Patricia Frese and Robert Goebel Kenneth and Janet Smith Mark S. Gay Donald and Susan Adick Mr. and Mrs. Joseph Fricke Dr. and Mrs. Robert Sefton Smith Dr. and Mrs. Freidoon Ghazi James and Leesa Alford Mary and Ken Friel Dr. and Mrs. Roger D. Smith Kathleen Gibboney Bruce and Lee Ann Anderson Dudley and Kathryn Fulton David and Sonja Snyder Rebecca Gibbs and Anne Mulder Paul and Dolores Anderson Ms. SueAnn Fynewever Phillip and Karen Sparkes Mrs. Madeleine H. Gordon § Mr. and Mrs. Dan E. Antenen S. Gallagher Matt and Shannon Stautberg Robert and Cynthia Gray Apke/Premium Cleaning Madeleine Garvin Mr. and Mrs. Timothy Stautberg Mary Grooms Dr. Paule S. Asch Mr. Hanspeter Gilgen John Steele, Sr. Ms. Monica Hampton David and Kathleen Ayres S. Bradley Gillaugh Dr. Jean and Mrs. Anne Steichen Mr. and Mrs. Irving Harris Mr. Jack L. Bachman Ms. Mary Godar Mark and Anne Stepaniak Rev. Raymond S. Hartman Bob and Beth Baer Sharon L. Goodcase Ms. Judy H. Stewart Joanne Harvey Mr. Gerard Baillely Christa M. Gorman Stephanie and Joseph Stitt Mr. and Mrs. Albert E. Heekin Mr. and Mrs. William Banks Margot and Harry Gotoff Mr. and Mrs. Richard Stradling, Jr. Dr. Philip Howles and Allison Banerji, RN Ron Bates and Randy Lasley Mr. Tom W. Graler Amy Summerville and Michael Wolfram Amy and Larry Hughes Mrs. Haskell Bazell Anita J. and Thomas G. Grau Mrs. Robert D. Swanson Kathleen and Michael Janson § Ms. Bianca Becker 'U%U\DQ*ULI¿Q Carol Thaman Hon. Nathaniel R. Jones Fred and Gail Berger Lewis and Helen Grimes Mr. and Mrs. Alexander Thomson Lois and Kenneth Jostworth Allen W. 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Osterman Dr. Andrew and Dr. Mary Burger Mr. and Mrs. David Hoguet David and Sharon Youmans Mr. Mark Palkovic Mr. and Mrs. Fred Burnett Richard and Marcia Holmes Carlos Zavala Dr. and Mrs. Richard Park § Harold and Dorothy Byers Bob and Dolly Holzwarth Mr. and Mrs. Robert L. Zierolf Margaret Parks Dr. Daniel Cajacob Mr. and Mrs. William B. Horning II John and Mary Ann Zorio Mr. Larry R. Plum Mr. Patricia E. Campbell Katherine M. Howell Mrs. Beth Zwergel Mr. Kenneth P. Pray and Ms. Ann Cappel Carolyn Hoyt Anonymous (17) Mrs. Mary Ohlinger-Pray Bob and Lucy Carroll Melissa Huber Ms. Gale Z. Roberts Ms. Natasha Cavanaugh Ms. Amy Hueneman CONCERTO CLUB Mrs. Nancy Robson Edmund Choi Ms. Nada Huron Gifts of $500–$749 Ms. Jeanne C. Rolfes Ms. Fran Christensen Roderick and Autumn Huron Lisa Allgood John and Meredith Roos Dee and Frank Cianciolo Fund* Samuel Huttenbauer Mr. and Mrs. Rod Baker Dr. and Mrs. Gary Roselle Mrs. Jackson L. Clagett III § Mrs. Kyle E. Ice Ms. Shirley Bear John and Amy Rosenberg Mrs. William Clippard In Memory of Michael J. Janovic Mr. and Mrs. Herbert J. Beigel Mr. and Mrs. G. Roger Ross Alfred Cohen and Ann Pappenheimer Mark and Caitlin Jeanmougin Dr. and Mrs. Thomas E. Bell Dr. Deborah K. Rufner Mr. and Mrs. Robert A. Cody Marcia Jelus Mr. and Mrs. Rod Bixler David and Judy Savage Mr. Anthony Cole Mrs. Diane Jeynes Cathy, Sam, and Anne Black Cindy Scheets Mr. and Mrs. F. W. Colucci Mr. James Johnson Walter B. Blair § 'UDQG0UV0LFKDHO6FKHIÀHU Mr. Marion and Dr. Diana Combs Mr. John Johnston Mr. Daniel D. Blasing Glenda C. Schorr Fund* Mr. Scott Cook Dr. Everett Linn Jones Ava Jo Bohl Mary D. Schweitzer Thomas Cook Mr. and Mrs. Robert C. Juenke Mr. and Mrs. Todd Braff Judith Sharp Robert and Nancy Cottrell Tom and Kathy Kahle Marilynn K. Braude Lisa Shusterman, Marty, Siena and Robert Croswell Mrs. Erika J. Kalnai Marilyn and John Braun Avocet Greenwell Mrs. Linda D. 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Thomas J. Keller and Paul and Ruth Ann Ravenna Mrs. Ann Wolford Dr. and Mrs. Phillip D. Crabtree Mary Pierce Brosmer Dr. and Mrs. Ali Razavi Don and Karen Wolnik Tim and Katie Crowley Robert J. Kempton, Ph.D. Mrs. Angela M. Reed Linda Wulff John and Lindsay Danahy Ms. Sharon A. Kerns and Mr. Mike Birck Maureen and Terry Regan Mr. and Mrs. Robert Wylly III Dennis C. and Cheryl A. Davis Dr. Magdalena Kerschner Mr. and Mrs. Kenneth Revelson Janet and James Ziegler John A. Deaver Dr. and Mrs. Richard Kerstine Sam Reynolds Marcy and Bob Ziek Mr. and Mrs. Jeffrey deRossette Bill and Penny Kincaid Helen and Don Rhoad Mary and Steve Ziller, Jr. Ms. Carrie Dichiaro Mr. and Mrs. Dennis Kirley Mr. and Mrs. Bill Roberson Anonymous (26) Jahnett M. Dickman Rachel Kirley and Joseph Jaquette § Sam Rodner and Joe Kane Mrs. Rosemarie R. Dietrich Paul and Joyce Kling Dr. Anna Roetker FORTE CLUB Steve Dinkelaker and Ruah Donnelly Laura and Joe Klunk Joan and Michael Rolf Gifts of $125–$249.99 Robert W. 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Elwood Vera Lambert Carol Schweitzer Tom and Mary Anne Asbury Phyllis C. Epstein Gloria Landry Ann Segal Karen Averbeck Dr. and Mrs. John M. Evans Mr. Alvin R. Lee Peter Seidel Mr. Frederick Bahr Paul and Dr. Tsila Evers John and Patricia Leikhim Sandra and David Seiwart Jerry and Martha Bain Harry and Dee Fagedes Ms. Patricia E. Leo Terry and Karen Serena Jack and Diane Baldwin Mrs. Barbara Fallis Donna Levi Marvin D. Settle Ruth Bamberger John C. Faulkner Marion F. Levy Sarah K. Shell Ms. Henrietta Barlag § Maria K. Fedyk Ellen A. Litton Marlene S. Sheward Mr. Doug Barnaclo Mr. Robert Fee Ms. Jo Ann Loftus Alfred and Carol Shikany Peggy Barrett § Ms. Barbara A. Feldmann Mrs. Mary Long Mrs. Aurelia Simmons Mr. and Mrs. Gene Bartholomew William S. Filbrun and Jon and Mayduane Longtin James and Courtney Simonse Mr. Robert Bartz Robert W. Peterson Mrs. Gisele Loriot-Raymer Jennifer S. Smith Mr. and Mrs. W. D. Baskett, III Mr. Frederick A. 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Shea Mr. Ed Wertheimer Joan and Richard Jackson Sharon and Graham Mitchell Mr. and Mrs. David A. Shearer Robert and Joyce Westerkamp Mr. and Mrs. John Jaeger Ed and Ruth Molloy Dr. Rees and Jeanne Sheppard Dr. and Mrs. John Westlund Mr. Brian Jaffee Charles and Sally Moomaw Jack Sherman, Jr. Carolyn L. White Mr. David Jester Ms. Nancy W. Moormann Mr. and Mrs. Richard Shively Mr. and Mrs. Doug Whitten Mr. and Mrs. H. Eric Johnson Mr. and Mrs. John A. Morrison Ms. Carol Singer Charles A. Wilkinson § Mr. and Mrs. James G. Johnson John and Irene Morrison Charles G. Skidmore Ms. Hazel Williams Karolyn Johnsen Mrs. Ivan Morse Ms. Suki Skidmore Mr. Oscar Willingham Dr. Kay Johnson and Dr. Gregory Rouan Mr. and Mrs. Robert Morse Ms. Martha Slager Steve and Nancy Wills Lorraine Johnson Ms. Linda Moss Mrs. Joanne Slovisky Mr. and Mrs. Rolland Wilson Mr. and Mrs. Michael Johnson Marjorie Motch § Adrienne Angst Smith § Dr. and Mrs. Henry R. Winkler Mrs. Marilyn P. Johnston Kate and Jim Mountjoy Gary and Karen Smith Eric and Kim Wittkugel Ms. Edna B. Jones Mrs. Edward L. Mueller Mr. John Smith Craig and Barbara Wolf Mary S. Jones Mr. and Mrs. L. D. Mullaney Mr. and Mrs. Schuyler J. Smith Mark and Judy Workman Mr. and Mrs. Donald Junker Ms. Mindy Munowitz Mr. Timothy L. Smith William and Susan Wortman Phyllis F. Kadle Dr. Richard Munson Mrs. Wanda Smith Dr. and Mrs. Robert E. Wubbolding Dr. Jessica Kahn Ms. Terry Mussio Jean Snyder Edward W. Wuest Marian Kaiser David and Marilyn Myers Mr. Gary Sogar J. Richard and Suzanne Wuest Ms. Marie L. Kalb Ms. Henryka Nagy Mr. and Mrs. C. Gregory Spangler Ms. Susan M. Wulsin Mr. and Mrs. Robert Kanter Ms. Virginia C. Neff Dr. and Mrs. Harold B. Spitz Emel Yakali Mr. and Mrs. Lee Kapor Barbara and John Neumann Ms. Theresa Srinivasan Mr. and Mrs. Martin Young Dr. and Mrs. James Katz Mr. Michael Neverman Mr. and Mrs. Lee G. Stanley Ms. Cynthia Yunger Mrs. Gloria H. Kelley Lorna and Gerald Newman Ms. Andrea Starkey Mr. Richard K. Zinicola Mr. and Mrs. Dan Kemble Dr. and Mrs. Theodore Nicholas § Mr. and Mrs. Thomas A. Steele Anonymous (45) Ms. Emily Kennedy Mr. and Mrs. Jim Nichols Mr. and Mrs. Robert Steiner Ms. Susan S. Kies Mr. and Mrs. David J. Nickel Julie Stenken GIFTS IN-KIND Mr. Christopher Kinard Eric C. and Suzanne K. Nielsen* Mr. and Mrs. Frank E. Stephenson Mrs. Charles Fleischmann III Ms. Patricia King Mr. and Mrs. Paul Niklas Mr. and Mrs. R. D. Strickland Comics 2 Games The Kinstler Family Trust Ms. Kathleen O’Connell and Joann Strong Dr. and Mrs. Edward H. Hake Mrs. Carolyn W. Koehl Dr. H. Kenneth Peterson 0UV*DU¿HOG/6XGHU Lightborne Harold and Laurie Kolenbrander Kate and Ben Ohlander Karen Lytle Sumpter Scottish Rite Valley of Cincinnati Geri and Andy Kolesar Nancy Ohnmeis Dr. and Mrs. Peter Suranyi The Phoenix Carita and Paul Kollman Fred and Leila Oliver Mr. and Mrs. Edward Swain Nancy C. Wagner Walter and Patricia Koral Lee Oliver Mr. and Mrs. Charles Tackett Patricia M. Wagner Ms. Kim Korson Robert and Carol Olson Cynthia and Craig Tate Ms. Molly Wellmann Mr. and Mrs. Scott Kosarko Mr. Thomas Olson Dr. and Mrs. Curtis Taylor Mr. and Mrs. Gary West John Krafft and Sonya Montana Roberta Olt Mr. Jonathan Taylor Mr. Jerome Kramer Mr. Fred Orth and Marlene Miner Ms. Pamela Taylor List as of August 5, 2016 Ken and Sue Kramer Ms. Tonette Otchere George and Pamela Thomas Mr. and Mrs. James Krismer Ms. Beth A. Palm David and Christine Thornbury * Denotes a fund of The Greater Girts Kruze Molly Parrott Arlene A. Thorwarth Cincinnati Foundation Ms. Margaret Kuck Dr. and Mrs. Jerome L. Paul Mr. and Mrs. Carl J. Tillery § Denotes members of The Thomas Mrs. Phyllis M. Kugler Mr. and Mrs. Graham Paxton Dr. and Mrs. Haig G. Tozbikian Schippers Society. Individuals who have Mrs. Beverly A. Lamb Ms. Mary Pearce Fred and Christine Tritschler made a planned gift to the Cincinnati Mary Lou and Jim Lang Ms. Marilyn W. Peters Bob and Loris Ungar Symphony Orchestra and Cincinnati Mr. Patrick Larkin Ms. Kit Petricone Marjorie Valvano Pops are eligible for membership in Karen Larsen Mrs. Alessandra Pica Mrs. Nona Van Den Berg The Thomas Schippers Society. For E. Randall and Marian Laubach Dr. Steven Pieper Mr. Thomas Vanden Eynden more information, please contact Ron Dan Ledford Dr. and Mrs. Edward M. V. Plater Lois and Ron Volkmann Cropper 513.744.3365. Mr. Robert Lee Mrs. Mary Lou Pleasants E. Vondenbrink Mr. and Mrs. Romelio Leigh Dr. and Mrs. Martin Popp Janet Leonhardt Carol Ray and Paul Medin Herschell E. Levine Mr. and Mrs. John W. Ray Ms. Quiera Levy-Smith Ms. Mary Redington Mr. and Mrs. Lance A. Lewis Mr. Timothy Reinerman Mr. and Mrs. Robert J. Limardi Mr. and Mrs. William A. Renz The Cincinnati Symphony Orchestra is grateful for the Susie and Henry Limouze The Rev. Robert and support of the following: Mr. and Mrs. Cheyeh Lin Elizabeth Reynolds Mr. Arthur Lindsay Dusty and Jo Ann Rhodes Dr. William Lippert Mr. and Mrs. Edgar M. Richardson Mitchel and Carol Livingston Ms. Christina Riegel Mr. and Mrs. Barry L. Loeb Mr. and Mrs. Stephen E. Robinson Mr. John Loring and Ms. Faye Sutherlan Ms. Elizabeth Rogers Joanna Lounsbury Robert and Mary Ann Roncker Dr. and Mrs. Robert R. Lukin Mr. and Mrs. Kevin C. Ross Mr. and Mrs. Louis R. Lunne Ms. Rachel Rothstein Linda Lyons Mr. and Mrs. John H. Rumpke Mr. and Mrs. John E. Mahn Mr. John E. Ryan Mr. and Mrs. Anthony Malone Vincent Saccente Mr. Ernest C. Manders Catherine B. Saelinger Dr. George T. Manitsas Mr. Carl Satterwhite Carl G. Marquette, Jr. Richard J. and Patricia S. Sayre Mrs. Judith Martin § Mr. Charles J. Schaefer David and Nancy Masters Mr. Ken Scheffel Charles and Nancy Mauch James and Elizabeth Schiff Ms. Mary Jane Mayer Ronald F. Schloemer Dr. and Mrs. John E. McCall Mr. and Mrs. David A. Schlothauer Robert and Gretchen McCormick Richard and Judy Schlub Tim and Trish McDonald Herb and Shirley Schnizer
cincinnatisymphony.org | FANFARE CINCINNATI | 69 FINANCIAL SUPPORT THE THOMAS SCHIPPERS LEGACY SOCIETY
Thomas Schippers was Music Director from 1970 to 1977. He left not only wonderful musical ǰȱȱȱȱęȱȱ¢ȱ ȱȱȱȱȱȱǯȱȱȱ ȱ¢ȱ¢ȱ£ȱȱ ȱȱȱȱȱ ȱȱȱ gift. We thank these members for their foresight and generosity. For more information on leaving your own legacy, contact Ron Cropper at 513.744.3365.
Dr. & Mrs. Morton L. Harshman ** Melody Sawyer Richardson Dr. & Mrs. Thomas Todd * Mary J. Healy* Ellen Rieveschl Nydia Tranter* Frank G. Heitker* Elizabeth & Karl Ronn Dick & Jane Tuten * Anne Heldman * Moe & Jack Rouse* Mr. & Mrs. Robert Varley * Betty & John Heldman * Marianne Rowe * Thomas M. Vaughn* Dr. Ira & Linda Abrahamson * John Hermanies * Solveiga Rush Mr. & Mrs. Randolph Wadsworth, Jr. * Mr. & Mrs. James R. Adams * Ms. Roberta Hermesch * Ms. Emalee Schavel ** Jack K. & Mary V. Wagner Jeff & Keiko Alexander * Karlee L. Hilliard* Rosemary & Mark Schlachter ** Nancy C. Wagner * Mrs. Robert H. Allen * Mr. & Mrs. Joseph W. Hirschhorn Mr. & Mrs. Arthur F. Schmitt * Patricia M. Wagner * Mrs. Charles William Anness Daniel J. Hoffheimer ** Mrs. William R. Seaman Mr. & Mrs. Paul Ward * Dr. Norita Aplin & Stanley Ragle Mr. & Mrs. Edward A. Hogan * Dr. & Mrs. William Blake Selnick * Debie Crosset Warkany * Jean L. Appenfelder Kenneth L. Holford * Mrs. Mildred J. Selonick* Jo Anne & Fred Warren* Carole J. Arend * Mr. & Mrs. Terence L. Horan ** Joyce Seymour Anne M. Werner * Donald C. Auberger, Jr. * Evelyn V. Hess Howett, M.D. Mrs. Robert B. Shott * Gary & Diane West * Dr. Diane Schwemlein Babcock Mrs. Benjamin C. Hubbard Sarah Garrison Skidmore Mary West Mr. & Mrs. William T. Bahlman, Jr. ** Isabelle F. Hugo* Adrienne A. Smith Charles Wilkinson Henrietta Barlag Carolyn R. Hunt Roberta L. Sontag * Sarah E. Wilkinson Peggy Barrett Mrs. William H. Hutcherson, Jr. Marie Speziale Harriet C. Wilson * Jane & Ed Bavaria * Mary Ellen Hutton Mr. & Mrs. Christopher L. Sprenkle* Mrs. Monte Witte * Dava L. Biehl * Julia M. F. B. Jackson * Michael M. Spresser Mrs. Joan R. Wood Walter Blair * Michael & Kathleen Janson * Susan Stanton * Harris Wright ** Lucille & Dutro Blocksom * Andrew MacAoidh Jergens Barry & Sharlyn Stare Betsy & Alex C. Young ** Rosemary & Frank Bloom ** Jean C. Jett Mrs. Edward P. Staubitz * Dr. & Mrs. Daryl Zeigler Fay Boeh * Mrs. Morse Johnson * Dee & Tom Stegman* Anonymous (28) Dr. John and Suzanne Bossert Frank Jordan Mary & Bob Stewart * Mollie H. Bowers-Hollon Margaret H. Jung Brett Stover & Christopher Hassall * Schippers Society Member Ronald Bozicevich Rosalind Juran * Dr. Robert & Jill Strub * for 10 or more years Thomas A. Braun, III Mace C. Justice ** Patricia M. Strunk ** Schippers Society Member Joseph Brinkmeyer Karen Kapella* Ralph & Brenda Taylor * for 20 or more years Mr. & Mrs. Frederick Bryan, III * Dr. & Mrs. Steven Katkin * Conrad F. Thiede New Schippers members are in bold Mary Alice Heekin Burke * Paul C. Keidel * Minda F. Thompson Deborah Campbell & Eunice M. Wolf Dr. Robert A. Kemper * Carrie & Peter Throm* Dimitra A. Campbell ** Mrs. Paul N. Kibler* Myra Chabut ** Alan and Jill Kinstler Catharine W. Chapman Rachel Kirley and Joseph Jaquette Jean & Matthew Chimsky Marvin Kolodzik * Mrs. Jackson L. Clagett III* Randolph & Patricia Krumm Norma L. Clark Mrs. Theresa M. Kuhn Stanley & Frances Cohen * Owen & CiCi Lee * Leland M. & Carol C. Cole Audrey Kuethe Leeser* Grace A. Cook * Mrs. Jean E. Lemon Jack and Janice Cook Mr. & Mrs. Peter F. Levin * Mr. & Mrs. Charles Cordes ** George & Barbara Lott ** Peter G. Courlas & Nick Tsimaras ** Mr. & Mrs. Ronald Lyons * Mr. & Mrs. Charles E. Curran III** Marilyn J. Maag Amy & Scott Darrah Margot Marples Meredith & Will Darrah, children Allen & Judy Martin Caroline H. Davidson Mrs. Thomas H. McCrary * Harrison R.T. Davis* Laura Kimble McLellan Miriam Deshon* Dr. Stanley R. Milstein Amy & Trey Devey Mrs. William K. Minor Robert W. Dorsey Mr. & Mrs. D.E. Moccia Jon & Susan Doucleff Mr. & Mrs. James Monroe * Mr. & Mrs. John Earls * Mrs. Arthur E. Motch, Jr. * Dale & Lillian Eickman * Kristin and Stephen Mullin Linda and Harry Fath Ms. Maryjane N. Musser * Alan Flaherty Christopher & Susan Muth Mrs. Richard A. Forberg Patti Myers Guy & Marilyn Frederick ** Anne Nethercott* Susan Friedlander ** Susan & Kenneth Newmark* Mr. & Mrs. Nicholas Fry* Dr. & Mrs. Theodore Nicholas Mrs. Charles W. Fryer* Patricia Grignet Nott H. Jane Gavin Jane & Erv Oberschmidt * Mrs. Philip O. Geier * Julie & Dick Okenfuss * Kenneth A. Goode** Jack & Marilyn Osborn * Clifford J. Goosmann & Andrea M. Wilson . The Palmer Family—Cletus and it Mrs. Madeleine H. Gordon Mary Lou, David and Kathy, ir J. Frederick & Cynthia Gossman* Bill and Jamie * p Kathy Grote Mrs. Gerald C. Petersen * S Esther B. Grubbs, Marci Bein, Mindi Hamby Sandy Pike * nd William Hackman* Mrs. Harold F. Poe ** a Priscilla Garrison Haffner nd Anne M. Pohl* , Mi David G. Hakes* Mr. & Mrs. Robert C. Porter, Jr. Heart Vincent C. Hand & Ann E. Hagerman Irene & Daniel Randolph * for your Tom and Jan Hardy James W. Rauth William L. Harmon Barbara S. Reckseit Bill Harnish & John Harnish Edward J. Requardt * Mrs. Jay Harris *
70 | FANFARE CINCINNATI | cincinnatisymphony.org ADMINISTRATION
OFFICE OF THE PRESIDENT Carol Dary Dunevant Sarah Maguire Ellen Graham Trey Devey Ensembles & Musician Training Volunteer Manager Group Sales Manager President Coordinator Ron Cropper Ricardo Mesina Lauren Roberson COMMUNICATIONS Director of Special Campaigns Graphic Designer Executive Assistant to the President Christopher Pinelo Teresa N. Ahrenholz Michelle Lewandowski Vice President of Communications ARTISTIC ADMINISTRATION & Philanthropy Assistant Subscription Coordinator PRODUCTION Meghan Berneking Penny Hamilton PATRON SERVICES Robert McGrath Director of Communications Philanthropy Assistant Vice President & General Manager Supervisors Lee Snow Dan Erbland Zan Burkhardt Digital Communications Manager FINANCE Jordan Rush Production Assistant Richard Freshwater Mathew White Melissa Knueven Vice President & Heather L. Stengle Communications Assistant &KLHI)LQDQFLDO2I¿FHU Representatives Director of Operations Elizabeth Fricke PHILANTHROPY Scott Eckner John Geiger Alex Magg Mary McFadden Lawson IT Manager Meredith Green Operations Project Coordinator Vice President of Philanthropy Will McCoy Danielle Mahone Sam Strater Systems Support Specialist Nathaniel Minor Rachel B. Kirley Elizabeth Schmidt Director of Artistic Administration, Director of Individual Giving Cincinnati Pops Orchestra Kyle Wynk Jennifer Slaght and Donor Services Human Resources Manager Jessica Smithorn Isaac Thompson Emily Selzer Matthew Swanson Director of Artistic Administration, Megan Inderbitzin-Tsai Leadership Giving Manager Payroll Administrator Andrea Vos Rochefort CSO Ann Wolff Pamela Taylor Judy Prinz Marissa Goodman Individual Giving Manager Assistant Artistic Administrator Receptionist RIVERBEND MUSIC CENTER/ PNC PAVILION/TAFT Joe Hammer Melissa Scott Ahmad Mayes Director of Institutional Giving THEATRE/MUSIC & EVENT Director of Education & Community Director of Data Systems MANAGEMENT INC. Engagement Kristi Reed Kathleen Curry The Hulbert Taft, Jr. Grants Manager Charmaine Moore Data Entry Clerk Center for the Performing Arts, J. Ralph Corbett Community Engagement and Sarah Anne Slaby Sharon D. Grayton Pavilion Diversity Manager Corporate Relations Manager Data Services Manager PNC Pavilion at Logan Kelly Hannah Johnson Tara Williams Riverbend Music Center Manager of Education Programs Director of Events Data Entry Analyst Michael Smith Eric Smith Vice President of Project Controller Development & Riverbend Marsha Munafo Music Center Accounting Manager Matthew Dunne Monica Putnick General Manager Accounting Manager Amy Dahlhoff The new face of Rosie Rothhaar Concessions Manager & Buddyuddyddydd Roger’s o rr’ss MMusic Accounting Clerk Special Events Coordinator A CommitmentCommittmem nt ofof ExEExcellenceellen Kelly Saylor Ryan Jaspers for the begibeginnerinnnnern anaandnd ththe profprofessionalon Accounting Clerk Event/Operations Manager James Kirby MARKETING & SALES Assistant Operations Manager We are YOUR specialists Sherri Prentiss in woodwind, brass Vice President of Marketing Lane Kolkmeyer and percussion Assistant Marketing Manager M. Todd Bezold Director of Marketing, Subscriptions Michele Ferrara Corporate Sales Manager Amy E. Catanzaro Director of Sales Rosemarie Moehring Marketing Manager Erica Keller Director of Audience Engagement Ed Morrell General Manager Erica Minton Director of Marketing, Jennifer Schoonover Special Projects Premium Seat Program Manager Jared Webster Kelly Benhase Director of Marketing, %R[2I¿FH0DQDJHU Single Tickets Holly Dickman Heather Brown $VVLVWDQW%R[2I¿FH0DQDJHU 19393939 W Galbraith Rd %R[2I¿FH0DQDJHU Monty Wolf Cincinnati,innnnnnan Ohio 45239 Melissa Foster Plant Operations Manager 513-931-678080 Patron Experience Manager www.buddyrogers.comgers.comersere s comom Rick McCarty Katie Murry Marketing Director Marketing Manager, Subscriptions Joan Wright Andrew Duncan Receptionist Marketing Manager
cincinnatisymphony.org | FANFARE CINCINNATI | 71 CODA by Chris Pinelo
treasure trove of music awaits you on includes masterpieces by Beethoven, Tchaikovsky, your phone, tablet or computer. Ravel, Copland, Borodin, John Adams, Elgar and It’s been a year since we completely Richard Strauss that you’ve heard at LUMENOCITY, overhauled the Orchestra’s website and with additional bonus tracks by the likes of Debussy some new features have come more and Mendelssohn. These beautiful recordings feature Asquarely into focus in recent months. Of course it’s a Louis Langrée conducting the CSO and were captured ȱȱȱęȱȱȱȱȱǰȱ at live performances inside Music Hall. They are read articles, explore our community engagement and available exclusively on our website and more tracks learning initiatives, renew subscriptions, buy tickets are being released this summer! and make donations, but did you know it’s also where But there’s more! From another signature CSO ¢ȱȱęȱȱȱȱ ȱȱǵ ǰȱ¢Ȃȱęȱȱȱȱȱȱ ǰȱ That’s right! Next time you’re wanting to hear some ONE SYMPHONY, also featuring Louis and the CSO, great orchestral music, visit us at cincinnatisymphony. and also available for instant audio streaming and org and click on the “Watch & Listen” menu. Our downloading exclusively on our website. This collec- new “American Soundscapes” series, produced in tion of full works recorded live includes Beethoven’s partnership with CET and made possible by the Symphony No. 9 with the May Festival Chorus and George L and Anne P. Heldman Fund of The Greater Tchaikovsky’s Symphony No. 4. Cincinnati Foundation, features Cincinnati Pops per- Ȃȱȱęȱȱȱȱȱǰȱ formance videos with conductor John Morris Russell short web documentaries and Spotify portals to the captured live last season at Music Hall. These videos Orchestra’s recent commercial releases on the Fan- are garnering tens of thousands of views so far from fare Cincinnati label, including the Pops’ American people around the world and there are more to come! Originals, the CSO’s Hallowed Ground and the May Ȃȱȱęȱȱ ȱȱȱȱȃȱȱ Festival’s The Ordering of Moses. LUMENOCITY” available to audio stream instantly Enjoy this wonderful music and share it with your ȱ ȱȱ¢ȱȱ¢ǯȱȱěȱȱ friends and family around the world!
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72 | FANFARE CINCINNATI | cincinnatisymphony.org THE MARKET HAD A BAD DAY. QUICK, DON’T DO SOMETHING.
OR
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