PASSION JOYInspiration COMMUNITY 17 18 concert20 s e a s o n Experience Your Capital City Orchestra!

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1723 Mahan Center Blvd | Tallahassee, FL 32308 | 850.878.5310 | www.bigbendhospice.org 5 6 A MESSAGE FROM THE BOARD CHAIR

Welcome to the Tallahassee Symphony. Each of our concerts is a special event, with music and wine prior to the concert, the concert itself, and an opportunity to meet some of the musicians in the lobby afterwards. Our Music Director Darko Butorac and CEO Mandy Stringer started planning this season’s concerts about two years ago. For each performance our musicians, all of whom are paid professionals, have rehearsed with Darko in four sessions of 2.5 hours each. Often the final rehearsal is freely open to the public. Most of our musicians started learning their instruments as young children, and I never cease to wonder at their skill and artistry. This is my final year as Board Chair. You, Mandy, Darko, and our board members have made the past four years a most rewarding time. Every board member supports the Tallahassee Symphony Orchestra with their advocacy, volunteering, and personal financial contributions. Like all arts organizations, the board is heavily engaged in raising funds to operate and sustain the orchestra, and each of them make significant personal contributions. It has been an honor to serve with these dedicated volunteers. Looking back, I’m proud of our free Spooktacular concert at Cascades Park, education concerts, Family Concert, Holiday Concert, “Requiem of Resistance” held this past spring, and our Night at the Oscars concert which have provided varied musical experiences to the community. As Chair, I’ve heard from and spoken to many people about our Orchestra. When approached, I always ask if they ever learned to play an instrument. Almost always, the answer is yes. Those of us in the concert audience know what music has done for us, and we are grateful for what the Orchestra brings to our lives. So, I’m especially proud of Link Up, our partnership with Leon County Schools, which enabled nearly every 4th grade student to learn and play an instrument. For most of them, it was their first time in a concert hall, the first time hearing a symphony orchestra live, and of course, the first time making music with an orchestra. I was there and saw the impact of this program first hand; it was successful and extremely rewarding. Our Board is committed to continuing to bring these events and programs to our community thanks to the generous support of you, our patrons, sponsors, and funding partners. The Masterworks concerts you will hear this season will entertain, entice and challenge you. Some of the music you will hear has been in the classical performance cannon for over 300 hundred years. To hear a masterwork is a remarkable thing, and each presentation of the piece is a unique creation of the musicians, the place and era in which it’s played, and the audience’s response. The composition ties us to each other and to other audiences, past, present, and future. Please enjoy tonight’s concert, and I look forward to meeting and talking with you afterwards.

David Watson

7 ANNUAL FUND

CHAMPION ($7500+) SPONSOR ($500-$999) Sustainer, cont’d. Bob Parker Professor Florence Helen Ashby Mr. & Mrs. W. Theo & Martha Anne Proctor David & Jane Watson Don & Eileen Bourassa Jeannette & Jack Shreve Mr. & Mrs. Jim & Susan Cavanagh, Jr. Drs. Leroy & Diana Simmons CELEBRANT ($5500-$7499) Eleanor & Andre F. Connan Carey Smith Ms. Mikey Bestebreurtje & Mr. Wilson Baker Tom & Julie Enoch Margaret Stakenas Mr. & Mrs. Steve Gordon Ken & Marilynn Evert Mrs. & Mr. Margaret & Glenn Stalvey Mr. Glenn Hosken Linda Figg & Richard Drew Hollie & Jan Thomas Lance G. & Janice R. Peterson Louise & Marc Freeman Kenneth & Carole Towcimak Jon & Angela Turner Elenita Gomez & Jack Brennan Jane Turner Drs. Richard & Elaine Hull Linda & Kenny Walker GUARDIAN ($2500-$5499) Mr. & Mrs. Robert & Janis Inzer Ms. Juanita Whiddon Dr. & Mrs. Charles E. Benedict Dr. & Mrs. John & Rita Kelsay Don & Taska Zorn Mr. & Mrs. Ed & Moira Deslodge Terri Lanoux Mr. & Mrs. J. Robert & Lois D. Griffin Jayne Mittan & Sandy Skidell PATRON ($120-$299) Mr. John C. Lovett Calvin & Lou Ogburn John & Willa Almlof Mr. Charles Milsted Ms. Ermine M. Owenby Dr. & Mrs. Clarence W. Applegate Albert & Darlene Oosterhof Mr. Larry Peterson & Mrs. Linda McCarthy Mrs. Patricia Badland Colin & Anne Phipps Amy Recht Mr. & Mrs. Nick & Lorina Baldwin Mr. & Mrs. Jack Romberg Mr. & Mrs. Terence & Marilyn Reisman Mr. & Mrs. John T. Berry Marjorie R. Turnbull Allene P.H. Roberts Linda & Charles Bianco Mrs. & Mr. Karen & Ken van Assenderp Mrs. Lisa Rutledge Don & Judy Blancett Rod & Virginia Vaughn Maria & Michael Santoro Mr. & Mrs. Jerry & Sandra Bowman Fred & Pam Schmidt Bette-Lou & Peter Brown BENEFACTOR ($1000-$2499) Donnajo Smith Marie L. Cantwell Mr. Nigel Allen Gillian & David Stewart Ms. Margaret A. Chase Geralyn & David Ashburn Lee & Joyce Stillwell Mr. Tom Chase Mr. & Mrs. Jeffrey & Lisa Askins Mr. & Mrs. Geoffrey Styles Harriet R. Chase Bob & Mary Bedford Dr. Philip Twogood Dr. & Mrs. Richard J. Chichetti Mr. and Mrs. Joseph and Diane Bodiford Karen Wendland Dix Mr. & Mrs. Allan & Colette Clarke Pamella Butler Mr. & Mrs. Rick & Joan West Mr. Leslie & Dr. Jacqueline Clemens Sheila Costigan & Dennis Tribble Mr. & Mrs. Charles Collette Larry & Jo Deeb SUSTAINER ($300-$499) Carol Collins, Linda Husbands Tom Derzypolski Mr. Rene Arbogast Ms. Ellen Conlon DeLos F. DeTar Drs. Charles & Sharon Aronovitch Richard & Lynne Corbett Julian Dozier Mr. & Mrs. Efren & Emerlinda Baltazar Ms. Mary Lama Cordero Elizabeth Emmanuel Don Beeckler & Beth Novinger Ms. June T. Cox Ms. Inga Fahs-Gielisse Ms. Nancy Bivins Russell & Margaret Dancy Gery Florek Ms. Ramona T. Bowman Mr. John D. & Mrs. Ann S. Davis Barbara Foorman Mr. & Mrs. James & Cathy Bracher Sandy DeLopez Daniel & Linda Fuchs Ken & Mary Beth Brewer Ginny Densmore Mr. Robert S. Goldman & Mrs. LuAnn Snider Mr. & Mrs. Gregg & LaDonna Brown Mr. & Mrs. Frank & Jodee Dorsey Mr. F. Daryl Green John & Jenny Bryant Linda Enfinger J. Byron Greene Rip & Kathy Caleen Ms. Loreto Espinoza Mr. & Mrs. Tom & Kathy Guilday Mr. & Mrs. James & Kathleen Carr George & Sue Foster Mr. & Mrs. William Hall & Martha Olive Hall Ann Cleare Beverly Frick Justice & Mrs. Major B. Harding Dr. David E. Craig Mr. Daniel Gimmy Del & Diane Hughes Gail Croy Robert & Sarah Glass Betty Jensen Mr. & Mrs. Patrick Dallet Ms. Ruth Godfrey-Sigler Mr. & Mrs. Phil & Mary Lee Kiracofe Ms. Linda D. Davey Harvey & Judy Goldman Ms. Beverly Locke-Ewald Ms. Joann S. Dixon Chris & Patricia Gosen Cecilia L. Lopez, PhD John Dozier & Martha Paradeis Mary Anne Gray & Marcia Humphress Lourdes Madsen Mr. & Mrs. Houston & Jeannette Evans Vasken & Sharon Hagopian Altha Manning Bobbie C. & Segundo J. Fernandez Mr. & Mrs. Mark & Priscilla Heidorn Mr. & Mrs. Geof Mansfield & Jennifer Fitzwater Stephen J. Fox & Nikki J. Pritchett Mrs. Claire B. Kelly Lynda W. & Thomas S. McCaleb Lynn Griffin & Craig Shaw Paul & Andrea Lewis Valerie & Steve Mindlin Phyllis Hamilton, in loving memory of Mary Ann Lindley & Charlie Nuzzo Ms. June L. Noel Larry Singer Dr. & Mrs. Peter Loeb Doris E. Pollock George Hanna & Virginia Newman Angela Lupo-Anderson, PhD & Mary Anne Price Eileen & Chris Hawkins James W. Anderson Joanne & David Rasmussen Fred & Linda Hester William & Gayle Manley Gloria & Raleigh Rollins Rick & Linda Hyson Drs. Paul Marty & Michelle Kazmer Lamar & Anne Rowe Jeanette James Mr. & Mrs. William & Marilyn Maud Leo Sandon Mr. A. Lanier Jones Mr. Glenn Mayne Brence A. Sell, M.D. Ronald A. Kanen Joe & Gail McGlothlin Ron Shaeffer John & Marty Larson Mr. & Mrs. Michael Melder Michael H. & Judy Sheridan John & Ms. Sam Lester Frank & Francesca Melichar Patrick Slevin Dr. Jean V. Marani Edward & Dianne Mellon Dr. Amanda Stringer & Mr. Lester Abberger Alan & Marilyn Marshall Walter & Marian Moore Gary & Mary Ann Stringer Emoryette McDonald Drs. Robert & Janet Newburgh Mr. and Mrs. Mark and Marie Webb Dr. & Mrs. Meredith McKinney Dr. Thelma J. Nolan Roy & Mary York Stephen Mitchell Dr. & Mrs. Michael J. O’Farrell Ms. Carmen Nelson Mr. & Mrs. Ken & Pam Oertel Karalee Poschman Virginia & Earle Perkins Candace & James Pridgeon Christine Peterson 8 Patron, cont’d. Friend, cont’d. Friend, cont’d. Carol “Sunny” Phillips Ross & Susie Henderson Dr. Stephen Rubendall Drs. Bill & Alice Pomidor Jon & Dottie Hinkle Richard & Jan RuBino Gloria Priest Mr. & Mrs. Paul & Boots Howse Robert M. & Connie Ruggles Dr. Jim & Mrs. Betty Ann Rodgers Michelle Humowiecki Mrs. & Mr. Nancy & Frederick Sanguiliano Nancy Stone Ross Stephen Jacobsen Suzanne & Jack Schodlbauer Mr. & Mrs. William & Jeanne Ryder Terri Johnson Claudia & John Scholz Sanford Safron & Penny Gilmer Judith H. Jolly Brenda & David Selfe Ms. Eunice Saunders Mr. & Mrs. James & Barbara Jones Ann Shahawy Leonard Schulte & John-Mark Schacht Dr. Alec Kercheval & Prof. Lilian Garcia-Roig Joe Sigler Mr. & Mrs. William & Sally Scott Mr. Dwight Kingsbury Drs. Karrie & Bawa Singh Mr. & Mrs. Don Shields & Beth Stokes Margaret Knight Mr. & Ms. Sean Singleton & Kayla Hobbs Jerald & Beverly Smith Mr. Joseph Kraus Shawn Smith & Kathy Fearon Laverne Smith Mr. Larry Krieger Mrs. Jean T. Souter Mrs. Patricia L. Smith Mr. & Mrs. Charles & Dian LaTour Margaret Stephens Gary & Diana Steinberg JoAnn & Gordon LaMaster Amber Streid Dr. Bill & Ida Thompson Ms. Ellen Lauricella Susan Sullivan Dr. Ralph V. Turner Carol & Dennis Lee Ms. Joanne S. Taylor Ms. & Ms. Lori Vaughn & Vicki Dobiyanski DeVerle & Don Little Trudy Thompson Stephan von Molnar Jim Lyons Richard Thornburg Crystal Wakoa Mrs. Joan Macmillan Jennifer Tschetter Suzi & Bob Wattendorf Lynne Ann Maitland John Vargo Barbara Wood Mr. & Mrs. Ralph Mancuso Horst Wahl Irene Yerger Ms. Mary McCormick Virginia West Carol Miller Judith Westbrook FRIEND (Up to $119) Donald Murry Allison Wing Damon & Ann Agee Sharon Nesvig James R. & JoLen R. Wolf Joyce Andrews James Oliveros Matt Wooddall Cathryn Arbogast Mrs. Edna Owens Marilyn Young Charlotte Barber Jessica Parker Gary Zins Mai Beaumont Ann E. Parker Margaret Bivins Don Payne Kristen Bowers Katherine Peacock Mr. & Mrs. Matt & Wendy Brady Valerie Lander Pound Mary Braunagel Marie Primas-Bradshaw Ms. Carolyn Broadbent Ms. Louise Rill Mr. & Mrs. David Brown Mr. & Mrs. Andrew & Martha Roberts Ms. Tasha O. Buford Mr. & Mrs. Daniel Buie Ms. Claudia Burton Mrs. Frances Carr Kratt Steve Carter & Phyllis Thomson Susan Cason Nancy Clark Mr. Lowell Clary Mr. & Mrs. Bruce Conroy William T. Cooper Barney Cox Dr. Ludmila De Faria Christopher Dean Petra Doan Pamala Doffek Bryon & Barbara Ehlmann Barbara Fincher Ms. Lois K. Friedman Dr. Fanchon F. Funk Ms. Maxine H. Gaskins Artis & Pat Gay Ms. Debbie Gibson Mary Godwin Judy Gornicki Christopher Gorsuch David Graf Dr. Leona Graham & Mr. Daniel Webster, Jr. Connie Graunke Marlene Hanna Mr. & Mrs. Robert Hanson Mrs. & Mr. Elaine Harris & Irwin Kantrowitz Frank Harrison George Harrison Thomas & Samantha Harrison Mary Ellen Hawkins & Elizabeth Hawkins Betty Jane Hayes Kirk Headley-Perdue Mr. & Mrs. Victor & Linda Heller 9 10 KIDS TO CONCERTS

VIVACE ($500+) Adagio, cont’d. Poco, cont’d. Albert & Darlene Oosterhof Ginny Densmore Mr. & Mrs. Charles Collette David & Jane Watson Shawn Smith & Kathy Fearon Carol Collins, Linda Husbands Ms. Debbie Gibson Virginia K. Craig ALLEGRO ($150-$499) Vasken and Sharon Hagopian Judy Culbreath Phil and Betty Ashler Mrs. & Mr. Elaine Harris & Irwin Kantrowitz Ms. Janice Smith Dann Ms. Ramona T. Bowman Ms. Tonya Harris Dr. Ludmila De Faria Mr. and Mrs. James & Kathleen Carr Donna H. Heald Bobbie C. & Segundo J. Fernandez Gail Croy Fred and Linda Hester George & Sue Foster Russell & Margaret Dancy Mr. & Mrs. Paul & Boots Howse Stephen J. Fox & Nikki J. Pritchett Linda Figg & Richard Drew Del & Diane Hughes Beverly Frick Dr. Jean V. Marani Rick & Linda Hyson Ms. Ruth Godfrey-Sigler Alan & Marilyn Marshall Paul & Andrea Lewis Harvey & Judy Goldman Lynn & Miriam McLarty Drs. Robert & Janet Newburgh Bill Harper & Pat Bingham-Harper Edna Owens Doris E. Pollock Ross and Susie Henderson Bob Parker Mary Anne Price J. Laurence Lama, Esq. Leo Sandon Gloria Priest Ms. Ellen Lauricella Rod & Virginia Vaughn Vicki and Gene Rhodes Mary Ann Lindley & Charlie Nuzzo Maria & Michael Santoro Beverly Locke-Ewald ANDANTE ($70-149) Claudia & John Scholz Don Payne Mrs. Patricia Badland Margaret Stakenas Virginia and Earle Perkins Mr. & Mrs. Nick & Lorina Baldwin Judith Westbrook Drs. Bill & Alice Pomidor Ms. Mikey Bestebreurtje & Mr. Wilson Baker Irene Yerger Sanford Safron & Penny Gilmer Mr. & Mrs. Charles & Lynda Deal Don & Taska Zorn Mr. & Mrs. William & Sally Scott DeLos F. DeTar Ann Shahawy John Dozier and Martha Paradeis POCO (Up to $35) Diane Pulignano Toole Tom & Julie Enoch Mr. & Mrs. Michael Alfano, Jr. Dr. Ralph V. Turner Ken & Marilynn Evert Tim & Missy Atkinson Ms. Juanita Whiddon Dr. Fanchon F. Funk Don Beeckler/Beth Novinger Tom & Mary Willis Mr. Robert S. Goldman & Mrs. LuAnn Snider Mr. & Mrs. John T. Berry Christopher Gorsuch Mr. & Mrs. James & Cathy Bracher Chris and Patricia Gosen Ms. Tasha O. Buford Mr. & Mrs. J. Robert & Lois D. Griffin Ms. Claudia Burton Mr. A. Lanier Jones Mrs. Claire B. Kelly John & Marty Larson William and Gayle Manley Mr. & Mrs. Geof Mansfield & Jennifer Fitzwater Emoryette McDonald Dr. & Mrs. Michael J. O’Farrell We are proud to support the Ms. Ermine M. Owenby Lance G. & Janice R. Peterson Marie Primas-Bradshaw Tallahassee Symphony Orchestra Dr. Jim & Mrs. Betty Ann Rodgers Gloria & Raleigh Rollins J.R. & Ken Saginario and its efforts to engage, Charles & Gale Slavin Donnajo Smith enrich and inspire people through Mrs. Patricia L. Smith Jennifer Tschetter Dr. Philip Twogood great music. Roy & Mary York

ADAGIO ($36-$69) Joyce Andrews Dr. and Mrs. Clarence W. Applegate Stephen and Susan Turner Professor Florence Helen Ashby Mr. & Mrs. Efren & Emerlinda Baltazar Ms. Carolyn Broadbent Bruce and Wendy Wiener Bette-Lou & Peter Brown John & Jenny Bryant Charlie and Susan Stratton Jimmie and Donna Callaway Adele Cunningham Mr. & Mrs. Patrick Dallet Doug and Cricket Mannheimer Ms. Linda Davey Mr. & Mrs. James & Rochelle Davis Larry & Jo Deeb 11 Oysters grown in the key of Sea! www.panaceaoysters.com

12 PROUD SUPPORTER OF

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13 DARKO BUTORAC, MUSIC DIRECTOR & CONDUCTOR

Praised by the Westdeutsche Zeitung for his “exceptional combination of passion, elegance and well-timed pacing,” Maestro Darko Butorac has established himself as an exciting conductor, in-demand with orchestras in Europe and the Americas. He currently serves as the Music Director of the Tallahassee Symphony Orchestra and the Missoula Symphony Orchestra.

Following his remarkable debut with the Belgrade Philharmonic in January 2011, Mr. Butorac was immediately invited to conduct the next season’s opening concert. Recent notable performances include collaborations with the Deutsche Kammerphilharmonie Neuss and the Georgische Kammerorchester Ingolstadt (Germany), the Rubinstein Philharmonic of Lodz (Poland), the Tallin Sinfonietta (Estonia), and the Slovenian Radio Symphony Orchestra. Notable appearances this year include concerts with the Illinois Philharmonic and Asheville Symphony orchestras.

14 2017-18 ORCHESTRA PERSONNEL

VIOLIN CLARINET TUBA Corinne Stillwell, Concertmaster Deborah Bish, Principal Rachel Matz, Principal Frank Trem, Assoc. Concertmaster Samuel Peliska Caroline Holden, Asst. Concertmaster Jen Kabbas, Bass Clarinet TIMPANI Shannon Thomas, Principal 2nd Tyler Tolles, Principal Geralyn Ashburn BASSOON Marianna Brickle Jeff Keesecker, Principal PERCUSSION Petra Bubanja Kelsey Weber Benjamin Fraley Edward Charity Fabio Benites, Contra Bassoon Jacob Knight Minyoung Cho Christian Martin Elaina Cook FRENCH HORN Taylor Giorgio Michelle Stebleton, Principal KEYBOARDS Josefina Guzman Chris Phelps Deloise Lima, Principal Lambert Hsieh Jonathan Gannon Dana Judy Holly Dunaway HARP Nina Kim Mary Brigid Roman, Principal Katherine Lincoln TRUMPET Betsy Masterson Chris Moore, Principal LIBRARIAN Christopher Miller Bryan Goff Suzanne Werdesheim Pedro Oseias Eric Millard Brianna Rhodes OPERATIONS & PERSONNEL MANAGER Megan Sahely TROMBONE Melissa Brewer Jared Starr John Drew, Principal Marisa Votapek Dunwoody Mirvil Brian Jennings, Bass Trombone VIOLA Melissa Brewer, Acting Principal Miriam Barfield Alan Elkins Andrea Heinis Stanley Sally Hernandez Proudly Supporting the Mark Kleyn Colleen Manseau Wade

CELLO Greg Sauer, Principal Kim Jones, Assoc. Principal Evan Jones, Asst. Principal Boyan Bonev Adam Collins Aleksandra Pereverzeva Zlatina Staykova

BASS Melanie Punter, Principal Where in the world do you want to go? Toni DePass Nicole Mann We’ll take you there - call today: Christian Marshall Sophia Scarano 386-7327 FLUTE Eva Amsler, Principal www.FunSeas.com Sharon Oberlin Sarah Jane Young, Piccolo 2522 Capital Circle NE

OBOE Eric Ohlsson, Principal Margaret Cracchiolo M. Rachel Maczko, English Horn 15 Free DISCOVER REAL Open Rehearsals POSSIBILITIES IN Music lovers are invited to observe the dress rehearsal for a performance of the TALLAHASSEE. Tallahassee Symphony Orchestra in Ruby Diamond Concert Hall and watch conductor DARKO BUTORAC From supporting family caregivers to interact with the orchestra. helping people save for the future and hosting fun social events, we’re helping When available, conductors and artists may speak to attendees during the break or following the Floridians of all ages live their best lives. rehearsal. Get to know us at aarp.org/fl. We invite you to join us 30 minutes prior to the start of the rehearsal for refreshments in the lobby of /aarpfl Ruby Diamond Concert Hall. @aarptally

2017-18 Season Real Possibilities is a trademark of AARP. Open Rehearsals*

Friday, October 20, 2017 12:00-2:30pm

Friday, January 19, 2018 12:00-2:30pm

Saturday, March 24, 2018 10:00am-12:30pm

Friday, May 4, 2018 Proud Sponsor 12:00-2:30pm of the Stop by our Kids Table for crafts! Tallahassee Symphony

*please visit tallahasseesymphony.org for Orchestra parking information

16 When accidents happen, no one taps Tap Tap Tap a baton to get your attention.

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17 Be a part of the journey...

The Florida State University College of Music will present more than 500 world-class performances by faculty, guest artist, and student musicians during the 2017-2018 season. To find out more, please visit music.fsu.edu or follow us on social media.

YouTube: /musicFSU FLORIDA STATE UNIVERSITY Twitter.com/musicFSU Facebook.com/musicFSU College of Music Instagram.com/musicFSU

André J. Thomas, Artistic Director

Concert Season 2017-2018

FALL UNITY 13: Sing for Joy! SPRING ary ’L

November 19, 2017; o

January 27, 2018; April 29, 2018; ob

4:00 PM b

7:30 PM 4:00 PM by

hy Psalm 42, Jubilate Deo, White House Cantata, P Felix Mendelssohn Dan Forrest Leonard Bernstein

Five Mystical Songs, hotogra P Ralph Vaughan Williams

18 Leonardo Colafelice, piano October 15, 2017, 4 pm In cooperation with Thomasville Center for the Arts

Thursday, September 21, 2017 Chris Brubeck’s Triple Play Chris Brubeck, Joel Brown, Akropolis Reed Quintet and Peter “Madcat” Ruth January 21, 2018, 4 pm Tuesday, October 10, 2017 Chanticleer William Fred Scott, Music Director

Thursday, January 18, 2018 Nathan Gunn, baritone Julie Gunn, piano

Friday, February 16, 2018 850-445-1616 Gil Shaham, violin www.theartistseries.org Akira Eguchi, piano All concerts at Opperman Hall, FSU Friday, March 2, 2018 Camerata Ireland Barry Douglas, Director / piano

Thursday, March 22, 2018 Lysander Piano Trio Barrage 8 March 4, 2018, 4 pm

All concerts at 7:30 PM

Thomasville Center for the Arts

TEFconcerts.com 229.226.7404 Kouzov Duo, cello & piano April 22, 2018, 4 pm 19 BOARD OF DIRECTORS

Nigel Allen Jeff Askins Joe Bodiford Pam Butler Sheila Costigan Odessa Deng (Student Member via Leadership Tallahassee) Tom Derzypolski Julian Dozier Elizabeth Emmanuel Inga Fahs Gery Florek Bobbie Frye, TSS President F. Daryl Green Byron Greene Lois D. Griffin Kathy Guilday Major B. Harding Brian Jennings (TSO Musician) Beverly Locke-Ewald Lourdes Madsen Altha Manning Betsy Masterson (TSO Musician) Steve Mindlin Amanda Morrison Martha Olive-Hall Lance G. Peterson Anne Phipps Anne Rowe Patrick Slevin Amanda Stringer, CEO Michael Thrasher Marjorie Turnbull Ken van Assenderp David Watson, Chair Mark Webb STAFF Darko Butorac, Music Director & Conductor Leon Anderson, TSO Jazz Conductor Amanda Stringer, CEO Mary Kelsay, General Manager Julie Detweiler, Outreach & Engagement Coordinator Melissa Brewer, Operations Manager Suzanne Werdesheim, Librarian Jennifer Thrasher, Link Up Coordinator Keith Dean, CPA Jessica Epps, Graphic Designer Olivia Steinman, Administrative Intern

20 CORPORATE & INSTITUTIONAL SUPPORT

MAESTRO’S CIRCLE CONCERT CIRCLE In-Kind Sponsors, cont’d. ($50,000 or more) ($2,500-$4,999) Fellowship Presbyterian Church City of Tallahassee Bank of America/Merrill Lynch First Presbyterian Church Music Council on Culture & Arts (COCA) Capital Eurocars Florida State University College of Music Centennial Bank Fred Schmidt BRAVO CIRCLE Earl Bacon Agency Glenn Hosken ($25,000-$49,999) Florida Blue Gunilla Trull First Commerce Credit Union FMB Jennifer Thrasher Six Pillars Financial Advisors Greenberg Traurig, P.A. Laurie and Kelly Dozier Publix Supermarkets Charities LeMoyne Chain of Parks ENCORE CIRCLE Russell B. Rainey, DMD Old Willis Dairy ($10,000-$24,999) Panacea Oyster Co-Op Corporation Legacy Toyota FRIENDS ($500-$2,499) Production Support Group Foundation for Leon County Schools AARP Ruth Ruggles Akers National Endowment for the Arts Aegis Business Technologies Social Catering and Events St. John’s Episcopal Church Music PRESIDENT’S CIRCLE 2017-2018 IN-KIND SPONSORS St. Michael & All Angels Episcopal ($5,000-$9,999) Aegis Business Technologies Church Choir Ameris Bank Betsy Calhoun Tallahassee Magazine Capital City Bank Broad and Cassell Tallahassee Media Group/ Prime Meridian Bank Bow Stern Tallahassee Democrat Westminster Oaks Capital Eurocars Tally Connection Chiles High School Chorus Trinity United Methodist Church Comcast/xfinity WTXL Compass Marketing Doubletree by Hilton

The COCA Cultural Grant supports TSO Masterworks, family, and community concerts.

Sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture.

21 When you need answers about health care, we’re here for you. Sometimes life can take an unexpected turn. Count on Florida Blue center right here in Tallahassee to help you find your way with a health plan option that fits your needs and budget.

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HOS RN PIT HE A T L U IT O Y S

H EST 1827 E IS T U O EN RI V C EVENTS OLD WILLIS DAIRY HISTORIC EVENTS VENUE Proud supporter of the arts, including the Tallahassee Symphony Orchestra

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22 Proud Co-Sponsor of the October 6 Night at the Oscars!

TALLAHASSEE 1897 Capital Circle NE 1471 Timberlane Road 850-907-2300

CRAWFORDVILLE 2201 Crawfordville Hwy. 850-926-4320 MEMBER

23 Bank of America applauds the Tallahassee Symphony Orchestra for bringing the arts to all

When members of the community support the arts, they help inspire and enrich everyone. Artistic diversity can be a powerful force for unity, creating shared experiences and a desire for excellence.

Bank of America recognizes the Tallahassee Symphony Orchestra for its success in bringing the arts to performers and audiences throughout our community.

Visit us at bankofamerica.com/local

Life’s better when we’re connected®

©2017 Bank of America Corporation | SPN-126-AD | ARMWTPSR

MDWD Wealth Management Group

Merrill Lynch is proud to Mark A Webb, CFP®, CRPC® Vice President support Tallahassee Resident Director||Wealth Management Advisor Symphony Orchestra. 850.599.8926 Merrill Lynch 215 S. Monroe Street Giving back to your community Suite 300 is important to you — and to us. Tallahassee, Fl 32301 That’s why we’re committed to 850.599.8917 helping you make a difference. www.fa.ml.com/MDWD

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Merrill Lynch Wealth Management makes available products and services offered by Merrill Lynch, Pierce, Fenner & Smith Incorporated, a registered broker-dealer and Member SIPC, and other subsidiaries of Bank of America Corporation. Investment products: Are Not FDIC Insured Are Not Bank Guaranteed May Lose Value The Bull Symbol, Life’s better when we’re connected and Merrill Lynch are trademarks of Bank of America Corporation. Certified Financial Planner Board of Standards Inc. owns the certification marks CFP® and CERTIFIED FINANCIAL PLANNERTM in the U.S. CRPC® and Chartered Retirement Planning CounselorSM are registered service marks of the College for Financial Planning. © 2017 Bank of America Corporation. All rights reserved. ARK5Y6K9 | MLWM-124-AD | 470947PM-1016 | 10/2016

24 HERO BEETHOVEN October 20, 2017 ______

Sponsored by Bank of America and Merrill Lynch

Darko Butorac, Conductor Stewart Goodyear, Piano

Beethoven Leonore Overture No. 3, Op. 72a (1770-1827)

Beethoven Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor” Allegro Adagio un poco mosso Rondo: Allegro ma non troppo

I N T E R M I S S I O N

Beethoven Symphony No. 8 in F major, Op. 93 Allegro vivace e con brio Allegro scherzando Tempo di Menuetto Allegro vivace

25 PROGRAM NOTES

HERO BEETHOVEN essentially synopsizes the opera’s story who first suggested “Emperor” as the OCTOBER 20, 2017 of Florestan, a political prisoner who fifth concerto’s nickname, but it did is rescued by his wife, Leonore, who not originate with the composer, and Ludwig van Beethoven (1770-1827) disguises herself as a man, Fidelio, in it seems unlikely that he would have Leonore Overture No. 3, Op. 72a order to work in the prison. Beginning wanted to honor Napoleon. The Piano Concerto No. 5 in E-flat with ominous tremolos in the strings premiere of the “Emperor” Concerto, major, Op. 73, “Emperor” and a protracted descending scale, written in the same key as the Eroica, Allegro Beethoven’s score literally depicts was delayed because of the unrest Adagio un poco mosso the descent into the dungeon. With but ultimately took place in Leipzig Rondo: Allegro ma non troppo numerous tempo changes, taut in 1811 with Friedrich Schneider as Symphony No. 8 in F major, Op. 93 crescendos to fortissimo, pauses pianist. Beethoven’s own pupil, Carl Allegro vivace e con brio between big chords, and frequent Czerny, premiered the “Emperor” in Allegro scherzando timpani punctuation, there is plenty Vienna in February 1812. (Yes, this is Tempo di Menuetto of drama in the overture to mimic the same Czerny whose seemingly Allegro vivace the action of the opera. Beethoven’s infinite technical exercise books have signature is stamped throughout, tortured every piano student for the Ludwig van Beethoven (1770- with dialogues between different last two centuries.) 1827) was born in Bonn, Germany. He instrumental sections, pairs of had hoped to study with Mozart in woodwinds reiterating fragments Single, dramatic orchestral chords, Vienna, but his plans changed when sequentially, and regular interruptions interspersed with pianistic ramblings his mother’s death and his father’s from sforzando (suddenly loud) that span the keyboard, lead us into alcoholism necessitated the teenager’s chords. As the story unfolds, the man the first movement’s initial majestic becoming financially responsible. At who unjustly imprisoned Florestan theme. Beethoven’s gift for expanding twenty-two, however, he moved to hurries to assassinate him before an themes is evident in the inventive Vienna and studied with Haydn, and impending visit from a minister of ways that he plays with this primary remained there until his death. He was state, but Fidelio (Leonore) holds him theme. Its declamatory chords and a virtuoso pianist before increasing off. An offstage trumpet announces syncopations contrast with a whimsical deafness in his thirties made it difficult the visitor’s arrival. Subsequently, secondary idea that is also treated to for him to perform. In 1802 Beethoven trumpet calls and an extended Beethoven’s genius for development. wrote his famous Heiligenstadt crescendo on a dramatic ascending The interplay between soloist and Testament in which he revealed that he scale signify the release of all the orchestra is controlled, but it never considered suicide in his distress over political prisoners from the prison sounds contrived or unnecessarily his disability: “But what a humiliation depths. There is much rejoicing, ostentatious. Near the end of the for me when someone standing next represented musically by cheerful Allegro, a very brief cadenza for the to me heard a flute in the distance and trilling in the flutes and chortling pianist turns into a sweet duet with the I heard nothing, or someone heard a bassoons in the background. Swirling French horn, and the movement ends shepherd singing and again I heard strings accelerate energetically and with a sense of optimism. nothing. Such incidents drove me the entire orchestra engages in the almost to despair, a little more of that climactic conclusion. One almost The charming and peaceful Adagio and I would have ended my life—it was doesn’t even need the addition of the movement begins with a muted only my art that held me back. Ah, it arias to tell this story! orchestral theme, later imitated by seemed to me impossible to leave the the soloist. A sense of timelessness world until I had brought forth all that I In 1809 Beethoven began composing pervades sections of the music due felt was within me.” what turned out to be his final piano to the slow changes in the harmonic concerto during a time when Vienna progression. It is hard to imagine Three years after Beethoven’s was under siege, and then occupied, that such serenity was created in the testament to life and art, he presented by Napoleon’s forces. (You may recall midst of the upheaval that Vienna his only opera, Fidelio, originally the story of Beethoven, advocate of and Beethoven experienced during entitled Leonore. It was not well the Enlightenment and the idea of the summer of 1809, part of which received in 1805, and the composer the brotherhood of man, crossing he spent in an underground shelter— re-worked it several times, writing out the dedication to Napoleon on proof there can be inner calm despite a total of four overtures for it over a his Third Symphony, Eroica, when the outer chaos and war. nine-year span. Leonore Overture latter declared himself emperor in No. 3, still the audience favorite today, 1804.) Scholars have not determined After a sustained horn pitch, the 26 concerto segues directly into the endeavors unsuccessfully to get it back to the rest of the symphony. Then, Rondo with the soloist playing on the downbeat. After a rhythmic once again Beethoven sets his final hesitant chords, as if the pianist is “closing theme,” the exposition is movement in rondo form: the rousing improvising, trying out an idea before repeated. One can recognize the primary theme of the Allegro vivace deciding if it will work. Later the beginning of the development when is repeated several times, alternating orchestra plays those tentative chords the bassoons play a short fragment that with secondary episodes. Note the in the background as the soloist plays is imitated in turn by clarinets, oboes, conversations between instruments an extended trill. An ebullient mood and flutes. Sonata form, complete and the extremes in dynamics. After informs the finale of the “Emperor” with recapitulation of the themes, the composer’s signature lengthy coda, Concerto as once again Beethoven unfolds to a surprisingly subdued the Eighth Symphony ends cheerfully. finds joy and transcendence despite conclusion. Beethoven also surprises the social or political climate, or his by eliminating a slow movement. In its own personal circumstances. place he substitutes a scherzo, or “little DID YOU KNOW? joke,” that Haydn, the jokester, would Symphony No. 8, written in 1812, have appreciated, especially since its In 1814, the year that Beethoven’s the year after the “Emperor,” is more incessant staccato “ticking” may have Symphony No. 8 premiered, classically oriented than the extremely been a nod to the older composer’s Napoleon abdicated and was exiled popular Seventh Symphony, own second movement in Symphony to Elba, and Francis Scott Key composed around the same time. An No. 101 in D major, “The Clock.” wrote “The Star-Spangled Banner.” energetic, Haydnesque theme introduces the Allegro vivace. The A rocking figure leads to a legato second theme gives an impression of minuet theme that sandwiches © 2017 Ruth Ruggles Akers being somewhat off balance as a result the trio, with its solos for horns and Dr. Akers has a Master of Music degree in Piano Performance from Indiana of notes tied over the barline; a ritard clarinet. The sparsely orchestrated University and a Ph.D. in Historical Musicology from at the end of this secondary theme central section is a pleasing contrast Florida State University OPENING NIGHTS at FLORIDA STATE UNIVERSITY CELEBRATING 20 YEARS OF THE ARTS

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27 GUEST ARTIST

Leipzig, and in July of this year, the Clarosa Quartet will premiere his Pi- ano Quartet commissioned by the Kingston Chamber Music Festival. Mr. Goodyear performed all 32 Bee- thoven Piano Sonatas in one day at Koerner Hall, McCarter Theatre, Jeff ’s the Mondavi Center, and the AT&T Performing Arts Center in Dallas. Woodworks, Mr. Goodyear’s discography includes Beethoven’s Complete Piano Sonatas LLC (which received a Juno nomination for Best Classical Solo Recording in 2014) Proclaimed “a phenomenon” by the and Diabelli Variations for the Marquis Jeff Hill, Los Angeles Times and “one of the best Classics label, Tchaikovsky First Piano pianists of his generation” by the Phil- Concerto and Grieg’s Piano Concer- Owner adelphia Inquirer, Stewart Goodyear to, and Rachmaninov’s Piano Concer- is an accomplished young pianist as tos No. 2 and 3, both recorded with a concerto soloist, chamber musician, the Czech National Symphony under Kitchen & Bath recitalist and composer. Mr. Goodyear Stanislav Bogunia and Hans Matthias has performed with major orchestras Forster respectively, and released to Remodels of the world , including The Philadel- critical acclaim on the Steinway and phia Orchestra, New York Philharmon- Sons label. His Rachmaninov record- ic, Chicago Symphony, Pittsburgh ing received a Juno nomination for Cabinets Symphony, San Francisco Symphony, Best Classical Album for Soloist and Los Angeles Philharmonic, Cleveland Large Ensemble Accompaniment. Orchestra, Academy of St Martin in Also for Steinway and Sons is Mr. the Fields, Bournemouth Sympho- Goodyear’s recording of his own tran- Home Repair ny, Frankfurt Radio Symphony, MDR scription of Tchaikovsky’s “The Nut- Symphony Orchestra (Leipzig), Mon- cracker (Complete Ballet)”, which was treal Symphony, Toronto Symphony released October 2015 and was chosen Flooring Orchestra, Dallas Symphony , Atlan- by the New York Times as one of the ta Symphony, Baltimore Symphony, best classical music recordings of 2015. Detroit Symphony, Seattle Sympho- Plumbing ny, Mostly Mozart Festival Orches- Highlights of the 2016-2017 season are tra, Royal Liverpool Philharmonic, recitals dates at McCarter Theatre and and NHK Symphony Orchestra. the Phillips Collection, return engage- ments with the New Jersey Sympho- Licensed and Mr. Goodyear began his training at ny Orchestra and Toronto Symphony, Insured The Royal Conservatory in Toronto, and his debut at the Savannah Music received his bachelor’s degree from Festival performing the complete Curtis Institute of Music, and com- Beethoven piano sonatas in one day. pleted his master’s at The Juilliard School. Known as an improviser and 850.509.7447 composer, he has been commissioned by orchestras and chamber music or- ganizations, and performs his own solo works. This year, Mr. Goodyear premiered his suite for piano and or- chestra, “Callaloo”, with Kristjan Jarvi and MDR Symphony Orchestra in 28 PROGRAM NOTE WRITER

Ruth Ruggles Akers is loving “semi-retirement,” which involves teaching several music history/literature classes each semester at Florida State, enjoying all the various FSU sports seasons, writing the TSO program notes every year, and escaping to the beach whenever she can. In the past she has taught at Palm Beach State College, Florida Atlantic University, the Dreyfoos School of the Arts in Palm Beach, and for her fellow OLLI members here in Tallahassee.

Ruth and husband Les, president of Legacy Toyota, support many of the cultural offerings in our capital city. Ruth has served on the boards of not only TSO, but also The Artist Series and Opening Nights (Seven Days), and Les has been a member of the University Musical Associates Board. The couple recently celebrated their 41st wedding anniversary and have three multi-talented children, two terrific children-in-law, and four precocious “shared” grandchildren — and one crazy beagle! Thank You, Dr. Ruth Ruggles Akers, for your wonderful TSO program notes!

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29 The Tallahassee Symphony Society CELEBRATING

YEARS25 OF J OY The 25th Annual Holiday Tour of Homes Friday, December 15, 2017 s Saturday, December 16, 2017 10:00 AM – 4:00 PM

Tickets are $25 each available at TSS Members; Beethoven & Company; Esposito Garden Center; Native Nurseries; Tallahassee Nurseries

Live music in each home

30 The Tallahassee Symphony Society (“TSS”) Invite you to join us for

Dr. Leslie Heffner Lunch with Darko Artistic Director 2017-2018 Concert Season Enjoy a delightful lunch and get to know Maestro Darko Butorac, Music Director of the Tallahassee Symphony Orchestra

LOCATION: The Governor’s Club s 202 South Adams Street

TIME: 11:30 AM December 12, 2017 DATES: A John Rutter October 19, 2017 Christmas January 18, 2018 March 22, 2018 May 1, 2018 May 3, 2018 The Elements featuring Bob Chilcott’s Cost of meal: $20 “The Miracle of The Spring” Cost of meal with valet parking: $26

Seating is limited. June 22, 2018 PAID reservations are required, and must be received no later than the Sunday prior to the event. Please send reservations with check included made payable to Summer in the ‘70s “Tallahassee Symphony Society” or “TSS” to: Donna Heald, PO Box 1074, Tallahassee, FL 32302 or call Donna Heald at (850) 224-3940. To pay by credit card, call and leave a message and the call will be returned. Reservations can also be made by emailing [email protected] with name and phone number. Also, please include All performances begin at the name of each guest for whom a reservation is being made. Individual reservations 7:30pm are non-refundable after each payment deadline. in Turner Auditorium on the campus of TCC

For season tickets and indi- vidual concert tickets, visit: www.CivicChorale.org

31 St. John’s Episcopal Church Wherever You Are on Your Spiritual Journey, St. John’s Welcomes You

Sunday Worship Schedule 8:00 a.m. Holy Eucharist, Rite I 9:00 a.m. Holy Eucharist, Rite II with choirs 11:15 a.m. Holy Eucharist, Rite II with choirs 5:30 p.m. Holy Eucharist, Rite II (Carter Chapel) 8:00 p.m. Compline (September – April)

The Lively Café Join us under the umbrellas in our indoor/outdoor café! Monday – Friday, 11:00 a.m. – 1:30 p.m.

St. John’s Bookstore Monday – Friday, 10:00 a.m. – 4:00 p.m. Sunday, 9:00 a.m. – 12:30 p.m. Telephone 850.222.8814

211 North Monroe Street • Tallahassee, Florida 32301 850.222.2636 • www.saint-john.org The Rev. David C. Killeen, Rector

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AmazonSmile and the AmazonSmile logo are trademarks of Amazon.com, Inc. or its affiliates. 32 HOLIDAY MAGIC! December 9, 2017 2:30 p.m. & 8:00 p.m. ______

Sponsored Exclusively by First Commerce Credit Union and Six Pillars Financial Advisors Darko Butorac, Conductor Betsy Calhoun, Chorus Master, Director of Music, St. John’s Episcopal Church Featuring: Chiles High School Chamber Choir, Fellowship Presbyterian Church, First Presbyterian Church Music, St. John’s Episcopal Church Choir, St. Michael & All Angels Episcopal Church Choir, and Trinity United Methodist Church

Rimsky-Korsakov Dance of the Tumblers Strauss Sphärenklänge arr. Tyzik Mis zeh Hidlik (Behold the Lights) M. Rachel Maczko, English Horn solo Jessel Parade of the Wooden Soldiers Puccini La Bohème Fantasia Tchaikovsky Nutcracker Selections Tarantella Dance of the Reed Flutes Spanish Dance Chocolate Russian Dance

I N T E R M I S S I O N

Shaw Many Moods of Christmas Suite 1 Courtney Let There Be Peace On Earth Traditional Norwegian Jag er sa glad Rutter Icicles Hang Blow the Winter Wind Good Ale Wilberg Carol to the King arr. Willcocks See, Amid the Winter’s Snow arr. Stephenson A Holly and Jolly Sing-Along

33 HOLIDAY MAGIC! MATINEE Saturday, December 9, 2017 s 2:30 p.m. Ruby Diamond Concert Hall

Featuring the Choirs of St. John’s Episcopal, First Presbyterian, Trinity United Methodist, and Fellowship Presbyterian Churches, and the St. Michael’s All Angels Choir

This year’s Holiday Concert will bring together five of Tallahassee’s best choirs for a musical celebration. This beautiful matinee concert provides the perfect opportunity to gather together with family, friends, and loved ones during the most wonderful time of year! ATickets from $29 Thank You, Betsy Calhoun, for rehearsing the choirs for Holiday Magic!

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35 2017-2018 SEASON An Evening Of Music & Dance Sept. 8 & 11, 2017, Opperman Music Hall

The Nutcracker Dec. 16-17, 2017, Ruby Diamond Concert Hall Children’s Abbreviated Performance 10:30am Sat.* Swan Lake & Other Works May 12-13, 2018, Ruby Diamond Concert Hall

Performances Feature Live Music x x For priority seating to all performances purchase a subscription or membership!

Tickets and Membership: TallahasseeBallet.org or call 850-224-6917, Ext. 21 * Recorded Music 36 April 14th, 2018 5:30 p.m., Cascades Park

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38 RING WITHOUT WORDS

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Darko Butorac, Conductor

Wagner (1813-83) The Ring - An Orchestral Adventure arr. de Vlieger (b. 1953) Vorspiel (“Prelude”; from Das Rheingold) Das Rheingold (from Das Rheingold) Nibelheim (“Home of the Nibelung”; from Das Rheingold) Walhall (“Valhalla”; from Das Rheingold) Die Walküre (“The Valkyries”; from Die Walküre) Feuerzauber (“Fire Magic”; from Die Walküre) Waldweben (“Forest Webs”; from Siegfried) Siegfrieds Heldentat (“Siegfried’s Feats”; from Siegfried) Brünnhildes Erwachen (“Brunnhilde’s Awakening”; from Siegfried) Siegfried Und Brünnhilde (from Götterdämmerung) Siegfrieds Rheinfahrt (“Siegfried’s Rhine Trip”; from Götterdämmerung) Siegfrieds Tod (“Siegfried’s Death”; from Götterdämmerung) Trauermusik (“Funeral Music”; from Götterdämmerung) Brunnhildes Opfertat (“Brunnhilde’s Sacrifice”; from Götterdämmerung)

39 PROGRAM NOTES

RING WITHOUT WORDS to Franz Liszt begging him to premiere the 1939 film Gone with the Wind. More January 20, 2018 Lohengrin, which had been completed recently John Williams incorporated prior to his exile. Liszt accomplished Leitmotifs in the Star Wars films, with Richard Wagner (1813-83) this task for his friend in August 1850 in specific musical themes associated with Weimar. The Wagners were living in Princess Leia, Darth Vader, etc.) The Ring: An Orchestral Adventure Zurich then, and the composer continued arr. Henk de Vlieger (b. 1953) expanding his Siegfried ideas, ending Not having individual “numbers” in up with such a fantastically long and Wagner’s operas made it difficult for Vorspiel (“Prelude”; from Das Rheingold) complex story of dwarfs, giants, gods, musicians to perform excerpts from his Das Rheingold (from Das Rheingold) demi-gods, dragons, and humans that works. Over time, “arrangements” were Nibelheim (“Home of the Nibelung”; he realized he would need to divide the made of different sections of The Ring, from Das Rheingold) work into several parts. He completed and selections such as “Wotan’s Farewell” Walhall (“Valhalla”; from Das Rheingold) Das Rheingold in 1854 and Die Walküre and “The Ride of the Valkyries” became Die Walküre (“The Valkyries”; from two years later. Work on the third opera, popular concert works. In 1991, composer Die Walküre) Siegfried, was suspended while he wrote and percussionist Henk de Vlieger was Tristan und Isolde and Die Meistersinger commissioned by his “home” orchestra, Feuerzauber (“Fire Magic”; from Die Walküre) von Nürnberg. Finally Wagner returned the Netherlands Radio Philharmonic Waldweben (“Forest Webs”; from Siegfried) to his opera cycle and completed the Orchestra, to create an arrangement of Siegfrieds Heldentat (“Siegfried’s Feats”; tetralogy known as Der Ring des Nibelung, Wagner’s music for the orchestra’s 1992 from Siegfried) or The Ring for short. The individual concert tour in Germany. He dedicated Brünnhildes Erwachen (“Brunnhilde’s music dramas are titled Das Rheingold the work to principal conductor Edo de Awakening”; from Siegfried) (The Rhinegold), Die Walküre (The Waart. De Vlieger selected what he Siegfried Und Brünnhilde (from Valkyrie), Siegfried and Götterdämmerung considered the most important orchestral Götterdämmerung) (The Twilight of the Gods). Wagner had episodes in the four music dramas; only Siegfrieds Rheinfahrt (“Siegfried’s Rhine also been designing plans for a special occasionally did he include vocal lines Trip”; from Götterdämmerung) theater to present his music dramas that were necessary to preserve the Siegfrieds Tod (“Siegfried’s Death”; from and in 1872 laid the foundation for the integrity of the story, and these he set for Bayreuth Festspielhaus. For two years he woodwinds. The result is over an hour of Götterdämmerung) struggled to raise the necessary funds for musical challenge and adventure for both Trauermusik (“Funeral Music”; from construction before King Ludwig bailed the orchestra and the audience. The Ring, Götterdämmerung) him out. The Festspielhuas presented the An Orchestral Adventure is scored for Brunnhildes Opfertat (“Brunnhilde’s first complete performance of Der Ring piccolo, three flutes, three oboes, English Sacrifice”; from Götterdämmerung) on August 13-17, 1876. horn, three clarinets, bass clarinet, three bassoons, eight horns, three trumpets, bass Composer, conductor, essayist, and Two of Wagner’s innovations for his trumpet, three trombones, contrabass theorist Richard Wagner (1813-83) music dramas are “continuous music” and trombone, bass tuba, four Wagner was born in Leipzig, Germany. Most of “Leitmotifs.” The former indicates his tubas, two timpanists, three additional his oeuvre consists of operas, though he desire to avoid interrupting the drama with percussionists, four harps (or possibly considered his own works music dramas. applause following an individual aria or a two), and strings. (Parts of the preceding His extreme self-confidence is evident duet. His very term “music drama” reveals information regarding Ring Without in the fact that he himself wrote most of his belief in the marriage of the drama and Words were taken from the arranger’s own his own opera texts or “librettos.” His the music. So he created a non-stop flow website, http://www.henkdevlieger.nl/ early “romantic” operas were The Flying of music throughout the drama. Naturally Henk_de_Vlieger/the_ring.html.) Dutchman (1843), Tannhäuser (1845), and this placed greater importance on the Lohengrin (1850). For a period of time, orchestra, and Wagner made sure his It was quite a challenge for de Vlieger to Wagner and his first wife lived in London orchestras were large enough to absorb condense and organize the fifteen hours of and then Paris, having left Germany to the extra weight. Especially in the brass musical material of Der Ring. Condensing avoid creditors. They eventually returned and wind sections, he added breadth and the plots and sub-plots and making sense to settle in Dresden where he conducted depth, incorporating instruments such of the many, many characters in the cycle the Dresden Opera, and it was here, in as additional horns (as many as eight!), has also been extremely challenging 1848, that Wagner wrote a libretto for a a bass trumpet, contrabass trombones for this writer. Hopefully the following single opera that he planned as Siegfrieds and “Wagner tubas” (a combination of synopsis will be helpful as you listen to the To d (Siegfried’s Death), based on various horn and trombone). Leitmotifs (leading Readers Digest version of Der Ring. Germanic and Norse legends. While motives) were an ingenious way to keep living in Dresden, Wagner’s strong leftist track of the multitude of characters in A Nibelung dwarf, Alberich, steals gold views prompted his involvement with a his music dramas. The characters (and from the Rhine River and renounces political group that planned the 1849 May occasionally objects or simply ideas) love in order to garner the necessary Uprising. The unsuccessful revolution had their own musical motifs that would magic to forge a gold ring, one that will put some of his compatriots in prison identify them as part of the drama, even invest complete power and control in its for years, but the composer was able to when they were not on stage. (Max owner. Two giants (brothers) have built once again flee the country. He wrote Steiner borrowed this idea in his music for a fortress (Valhalla) for Wotan, lord of 40 the gods, who has promised in exchange daughter Brünnhilde is condemned to Siegfried gives the magic Nibelung ring to to give them Freia, keeper of the golden human mortality because she was secretly the awakened Brünnhilde and heads down apples of eternal youth. Instead, they in love with Siegmund and disobeyed the Rhine to engage in heroic endeavors negotiate a payment of the ring of gold, her father by trying to protect Siegmund at the start of Götterdämmerung. In which requires Wotan (accompanied by during a battle. At the end of this second a Rhine castle, Gunther, king of the Loge, the god of fire) to steal it from the drama Brünnhilde is sentenced to sleep Gibichungs, and his sister Gutrune, Nibelungs. They eventually accomplish on a mountaintop within a ring of fire that receive marriage advice from their half this feat, but not before Alberich curses only a hero will be able to penetrate. brother, Hagen. Because he wants the the ring so that anyone who possesses it ring, Hagen suggests that Gunther will die. Wotan reluctantly gives the ring The third drama, Siegfried, finds Alberich’s should consolidate his power by marrying to the giants who have abducted Freia. brother, Mime, (also a Nibelung dwarf) Brünnhilde. He also says Siegfried can They free her, but the curse’s effect is seen unable to repair Siegmund’s sword, which win her for Gunther by means of a magic almost immediately as one giant, Fafner, was broken by Wotan in the previous potion that will cause him to forget that she kills his brother over the gold ring. opera. Siegfried, son of the incestuous is really his own bride. Siegfried’s reward relationship between Siegmund and will be marriage to Gutrune. Meanwhile In Die Walküre, Siegmund and Sieglinde Sieglinde, has been raised in the forest Brünnhilde is warned that unless she gives discover they are brother and sister, and by Mime. Siegfried re-forges his father’s the ring to the Rhinemaidens (who had all Siegmund has the power to pull a sword sword himself and eventually manages that gold in the first place), the gods’ doom from the tree in which it was embedded to slay the dragon who is really the is sealed. She refuses to do this, and the on his sister Sieglinde’s (arranged) giant Fafner who has been magically Gunther/Siegfried plot goes as planned: wedding day. He is subsequently killed transformed. Siegfried is also given the Siegfried, disguised as Gunther, grabs by Sieglinde’s husband, who in turn is ability to understand the language of the the ring from the frightened Brünnhilde killed by Wotan, who, disguised as a birds, who warn him that Mime intends to and claims her as Gunther’s wife. The human had secretly fathered Siegmund drug and kill him, so Siegfried kills Mime. two return separately to the Gibichung and Sieglinde. Sieglinde discovers she is He learns of a maiden who is asleep on a castle, where eventually Brünnhilde carrying Siegmund’s child, and she hides mountain ringed in fire, and when he finds recognizes Siegfried and sees the ring in the forest near one of the giant’s caves her, he kisses her awake. The two fall in on his finger. She accuses him of deceit to be safe from Wotan. Wotan’s other love. and treachery, which he denies while still your COMMUNITY BANK

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41 PROGRAM NOTES under the influence of the potion. When drug and kill him, so Siegfried kills Mime. and claims her as Gunther’s wife. The he leaves with Gutrune, she tells Hagen He learns of a maiden who is asleep on a two return separately to the Gibichung that Siegfried is most vulnerable in his mountain ringed in fire, and when he finds castle, where eventually Brünnhilde back. Hagen gives an antidote to the first her, he kisses her awake. The two fall in recognizes Siegfried and sees the ring potion to Siegfried who then realizes that love. on his finger. She accuses him of deceit Brünnhilde is his love, and he cries out for and treachery, which he denies while still her even as he dies from Hagen’s fatal Siegfried gives the magic Nibelung ring to under the influence of the potion. When knifing. Siegfried’s body is returned to the the awakened Brünnhilde and heads down he leaves with Gutrune, she tells Hagen hall, and Hagen murders Gunther as they the Rhine to engage in heroic endeavors that Siegfried is most vulnerable in his fight over the ring. Brünnhilde puts the at the start of Götterdämmerung. In back. Hagen gives an antidote to the first ring on her own finger and throws herself a Rhine castle, Gunther, king of the potion to Siegfried who then realizes that on Siegfried’s funeral pyre after vowing to Gibichungs, and his sister Gutrune, Brünnhilde is his love, and he cries out for return the ring to the Rhinemaidens, who receive marriage advice from their half her even as he dies from Hagen’s fatal claim their gold as they drag Hagen to a brother, Hagen. Because he wants the knifing. Siegfried’s body is returned to the watery grave in the river. The third drama, ring, Hagen suggests that Gunther hall, and Hagen murders Gunther as they Siegfried, finds Alberich’s brother, Mime, should consolidate his power by marrying fight over the ring. Brünnhilde puts the (also a Nibelung dwarf) unable to repair Brünnhilde. He also says Siegfried can ring on her own finger and throws herself Siegmund’s sword, which was broken by win her for Gunther by means of a magic on Siegfried’s funeral pyre after vowing to Wotan in the previous opera. Siegfried, potion that will cause him to forget that she return the ring to the Rhinemaidens, who son of the incestuous relationship between is really his own bride. Siegfried’s reward claim their gold as they drag Hagen to a Siegmund and Sieglinde, has been raised will be marriage to Gutrune. Meanwhile watery grave in the river. in the forest by Mime. Siegfried re-forges Brünnhilde is warned that unless she gives his father’s sword himself and eventually the ring to the Rhinemaidens (who had all manages to slay the dragon who is really that gold in the first place), the gods’ doom © 2017 Ruth Ruggles Akers Dr. Akers has a Master of Music degree in the giant Fafner who has been magically is sealed. She refuses to do this, and the Piano Performance from Indiana transformed. Siegfried is also given the Gunther/Siegfried plot goes as planned: University and a Ph.D. in Historical Musicology from ability to understand the language of the Siegfried, disguised as Gunther, grabs Florida State University birds, who warn him that Mime intends to the ring from the frightened Brünnhilde

42 E N C H A N T E D M O M E N T S

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Sponsored Exclusively by Legacy Toyota Darko Butorac, Conductor Yevgeny Kutik, Violin

Adams Short Ride in a Fast Machine (b. 1947)

Prokofiev Violin Concerto No. 1 in D Major, Op. 19 (1891-1953) Andantino Scherzo: Vivacissimo Moderato - Allegro moderato

I N T E R M I S S I O N

Elgar Enigma Variations (1857-1934) Theme (Enigma: Andante) I. L’istesso tempo “C.A.E.” (Caroline “Alice” Elgar) II. Allegro “H.D.S-P.” (Hew David Steuart-Powell) III. Allegretto “R.B.T.” (Richard Baxter Townsend) IV. Allegro di molto “W.M.B.” (William Meath Baker) V. Moderato “R.P.A.” (Richard Penrose Arnold) VI. Andantino “Ysobel” (Isabel Fitton) VII. Presto “Troyte” (Arthur Troyte Griffith) VIII. Allegretto “W.N.” (Winifred Norbury) IX. Adagio “Nimrod” (Augustus Johannes Jaeger) X. Intermezzo: Allegretto “Dorabella” (Dora Penny) XI. Allegro di molto “G.R.S.” (George Robert Sinclair) XII. Andante “B.G.N.” (Basil G. Nevinson) XIII. Romanza: Moderato “***” (Lady Mary Lygon?) XIV. Finale: Allegro “E.D.U.” (Edward Elgar)

45 PROGRAM NOTES

SENSE AND SENSIBILITY Death of Klinghoffer (1991). The latter over time in such a way as to be almost March 24, 2018 is based on the Palestine Liberation imperceptible, hence the nicknames for Organisation’s highjacking of a cruise minimalism—“trance music” or “hypnotic John Adams (b. 1947) ship and the murder of the wheelchair- music.” Some scholars consider Adams’ Short Ride in a Fast Machine bound, Jewish-American Leon work to be more “post-minimalist” due Klinghoffer. Produced worldwide, these to its increased melodic character and a Sergei Prokofiev (1891-1953) works are among the most performed touch of emotional expressiveness. The Violin Concerto No. 1 in D Major, Op. 19 operas of the last several decades. Adams Pittsburgh Symphony premiered Short Andantino new opera with Sellars, Girls of the Golden Ride in 1986, conducted by Michael Vivacissimo (Scherzo) West, set during the 1850’s California Tilson Thomas. It is scored for a large Moderato Gold Rush, received its world premiere orchestra: two piccolos, two flutes, two at the San Francisco Opera in November oboes, English horn, four clarinets, three Edward Elgar (1857-1934) 2017. bassoons, contrabassoon, four horns, four Enigma Variations trumpets, three trombones, tuba, timpani, Theme (Enigma: Andante) John Adams is also an active three percussionists (playing wood blocks, I. L’istesso tempo “C.A.E.” (Caroline “Alice” Elgar) conductor, appearing with the world’s triangle, xylophone, crotales, Glockenspiel, II. Allegro “H.D.S-P.” (Hew David Steuart-Powell) major orchestras such as the Berliner snare drum, bass drums, suspended III. Allegretto “R.B.T.” (Richard Baxter Townsend) Philharmoniker, Royal Concertgebouw cymbal, sizzle cymbal, tam-tam, IV. Allegro di molto “W.M.B.” (William Meath Baker) Orchestra, London Symphony tambourine), two synthesizers (optional), V. Moderato “R.P.A.” (Richard Penrose Arnold) Orchestra, Wiener Symphoniker, and and strings. To the initial beating of quarter VI. Andantino “Ysobel” (Isabel Fitton the Los Angeles Philharmonic, where notes on the woodblock, Adams adds four VII. Presto “Troyte” (Arthur Troyte Griffith) he is currently Creative Chair. Some trumpets; then clarinets and synthesizers VIII. Allegretto “W.N.” (Winifred Norbury) IX. Adagio “Nimrod” (Augustus Johannes Jaeger) of his most frequently performed start beating eighth notes. There is the X. Intermezzo: Allegretto “Dorabella” (Dora Penny) works are Harmonielehre, Shaker perception that the music gradually XI. Allegro di molto “G.R.S.” (George Robert Sinclair) Loops, Chamber Symphony, Doctor accelerates but actually this sense of XII. Andante “B.G.N.” (Basil G. Nevinson) Atomic Symphony, Short Ride in a Fast gathering momentum is a function of the XIII. Romanza: Moderato “***” (Lady Mary Lygon?) Machine, and his Violin Concerto. In addition of more repeated motives. The XIV. Finale: Allegro “E.D.U.” (Edward Elgar) 2003 Adams received the Pulitzer composer said he wanted the music to Prize for On the Transmigration of give the effect of a powerful engine. “You John Adams was born in 1947 in Souls, commissioned by the New York know how it is when someone asks you to Worcester, Massachusetts. He studied Philharmonic for the first anniversary of ride in a terrific sports car, and then you clarinet with his father, played in marching the 9/11 attacks. The composer is also wish you hadn’t?” (Adams, 1986) bands and community orchestras, and an author who has contributed articles to began composing at age ten. Attendance the New York Times Book Review and has Sergei Prokofiev (1891-1953) received at Boston Symphony Orchestra concerts received acclaim for his autobiography his earliest piano instruction from his helped shape him as an artist and Hallelujah Junction. Because 2017 mother in a rural part of the Ukraine. As thinker. (This writer lived just outside marks Adams’ 70th birthday year, many a young child, he asked his mother to Worcester until she was ten and also credits worldwide musical celebrations have been play him bedtime lullabies of Beethoven BSO concerts with fostering her musical planned. [Portions of this biography were and Chopin. He wrote his first opera aspirations.) After earning two degrees reprinted by kind permission of Boosey & at age nine, and at age thirteen he and from Harvard, Adams moved to Northern Hawkes.] his mother moved to St. Petersburg so California in 1971. He taught at the San that he could attend the Conservatory, Francisco Conservatory of Music for ten Short Ride in a Fast Machine is one where one of his teachers was Nikolai years before becoming composer-in- of Tw o Fanfares for Orchestra. It is Rimsky-Korsakov. Prokofiev received residence of the San Francisco Symphony generally classified in the style known as three diplomas as well as the Anton (1982–85) and creator of the orchestra’s minimalism, which gained popularity in Rubenstein Prize for best pianist when highly successful and controversial “New the U.S. in the 1960s thanks to composers he graduated in 1914. The following year and Unusual Music” series. In 1985, Adams Terry Riley, Steve Reich, and Philip Glass. he did some initial work on what became began a collaboration with the poet Alice Adams embraced this concept of creating Violin Concerto No. 1. Unconcerned Goodman and stage director Peter Sellars a work from small, primarily rhythmic about the political chaos and revolution that resulted in two groundbreaking fragments or cells that are repeated following the deposing of Czar Nicholas operas: Nixon in China (1987) and The over and over. Minimal changes occur II in March 1917, the twenty-six year 46 old composer continued composition motor element continues throughout the class-conscious British society. Ten of the concerto that summer, but it most of the movement, although there is years later, however, Elgar’s Variations on was 1923 before it premiered in Paris, a slower section that struggles briefly to an Original Theme (“Enigma Variations”) with tepid results (several days later re-gather the momentum of the original finally brought him recognition. The first nineteen-year old Nathan Milstein gave tempo. Slashed chords, rapidly-fingered two Pomp and Circumstance Marches the better-received Russian premiere of solo violin passages, and harp glissandos were written in 1901, and three years the concerto, accompanied by twenty- add to the excitement before the Scherzo later Elgar was knighted by King Edward year old Vladimir Horowitz playing the ends abruptly. VII. (Lady Elgar, who is the dedicatee orchestral transcription on the piano.) An of the first Enigma variation, had the last audience member at the Paris premiere Such variety and creativity in the final laugh.) was Joseph Szigeti, who subsequently movement! An introductory bassoon achieved recognition for the concerto, figure with a descending fourth leads to which he performed throughout Europe an ostinato (repeated pattern) plucked by DID YOU KNOW? and the United States. Prokofiev, who violins and violas, setting the framework Elgar and his Enigma Variations was one of the many writers, artists, and for an exquisite solo violin melody. The became famous in 1899, the same musicians who had to conform to Socialist mood and tempo change to a carnival year that President McKinley Realism, the artistic philosophy of the atmosphere. Timpani punctuation and signed the Treaty of Paris, ending totalitarian Soviet government, once said, an unexpected tuba solo (repeating the the Spanish-American War. [A composer is] “obligated to be a citizen bassoon’s opening descending fourth As a result, the U.S. acquired in his art, to glorify man’s life, to lead man motive) add drama. All the while, the Puerto Rico, Guam, and the to a bright future.” News of Prokofiev’s soloist’s pyrotechnics continue. Orchestral Philippines. death in 1953 was withheld publicly for swirls and the soloist’s trills and harmonics two days so that it did not compete with (highest pitches produced by only that of Stalin, who died the same day. partially depressing the strings) conclude The Enigma Variations are musical the concerto with the same etherealism portraits of Elgar’s friends, as revealed Viola tremolos set a sparse that ended the first movement. by the composer’s dedication, “To my accompaniment for the opening violin friends pictured within.” After the initial solo, marked sognando (“dreaming”). The Edward Elgar (1857-1934) was born in presentation of the Andante theme, the interval of a fourth, heard ascending in the a small town near Worcester, England, music flows right into the first variation, soloist’s first two notes, figures prominently where his father tuned pianos and had “C.A.E.” (Caroline “Alice” Elgar). The throughout the concerto. Although a music shop. Young Elgar, who taught theme is presented simply with there are countermelodies played by himself to play numerous instruments, additional accompaniment figures and flute and clarinet, and later oboe and had to quit school at fifteen to help the counterpoint. Variation II can be identified piccolo, the soloist holds court in this family, and his lack of formal education by its “sneaky” imitative polyphony and poignant Andantino movement that (and perhaps also his Roman Catholic the move to an Allegro tempo. After highlights Prokofiev’s lyricism. An faith in a land of Protestantism), caused an abrupt ending and brief pause, the extended passage of double stops (two the musical establishment to dismiss next portrait emerges—a whimsical pitches played simultaneously) followed him. Nevertheless, Elgar composed, “R.B.T.” Strong, declamatory notes by pizzicato quadruple stops, imitating conducted local music groups, taught accent the no-nonsense “W.M.B.” that guitar strumming, is one illustration of the violin and piano, and played organ at is over almost as soon as it starts. Elgar formidable technical demands Prokofiev the Catholic Church. At age 22 he also and WMB were of opposing political places on the concerto’s soloist. A sweet became bandmaster for the “attendants’ persuasions, and Lady Elgar humorously flute solo accompanied by harp and orchestra” at the Worcester and County noted that Variation IV ends “exactly the shimmering high pitches in the solo violin Lunatic Asylum, where he composed way WMB goes out of the room.” produces one of Prokofiev’s signature polkas for the patients’ dances because ethereal passages and a magical ending the mental health administrators thought A rather somber variation in 12/8 to the movement. music might be therapeutic (an early alternates with a light-hearted woodwind example of music therapy). His 1889 figure to pay tribute to “R.P.A.” Elgar Prokofiev is also well known for employing marriage to one of his students was said his friend’s serious conversation was perpetuum mobile in his compositions. In discouraged by her family (he was 32, regularly interspersed with “whimsical the “vivacissimo” Scherzo, pizzicato she was 40, of different religions and and witty remarks.” Variation VI strings create a clock-like ticking. The economic status) and frowned upon by follows without a break and “Ysobel” 47 GUEST ARTIST

(a viola player) is revealed as a gentle “The enigma I will not explain—its ‘dark An advocate for the Jewish Federa- soul. The timpanist vaults us into saying’ must be left unguessed, and I tions of North America, the organiza- “Troyte.” Trombones contribute to this warn you that the apparent connection tion that assisted his family in coming brief, presto variation. The Allegretto between the variations and the theme to the US, he regularly speaks and “W.N.” (Variation VIII) features interplay is often of the slightest texture; further performs across the country to pro- between strings and winds; one of Elgar’s through and over the whole set another mote the assistance of refugees from friends said the oboe’s trills sounded like and larger theme ‘goes’ but is not played. around the world. Kutik’s discography W.N.’s laugh. Without pause, the music . . .So the principal Theme never appears, includes Words Fail (Marquis Classics moves into the most familiar of the even as in some late dramas . . .the chief 2016), Music from the Suitcase (Mar- variations, “Nimrod,” a slow and noble character is never on stage.” Through quis Classics 2014), and Sounds of representation of August Jaeger, a musical the years, various scholars have advanced Defiance (Marquis Classics 2012). editor and loyal friend during Elgar’s lean many theories about the enigma. years. In Genesis 10, Nimrod was “a mighty Yevgeny Kutik made his major orches- hunter,” an ironic play on the editor’s name, tral debut in 2003 with Keith Lockhart © 2017 Ruth Ruggles Akers and The Boston Pops as the First Prize which means “hunter” in German. In Dr. Akers has a Master of Music degree in recipient of the Boston Symphony Variation X, whimsical syncopation in Piano Performance from Indiana University and a Ph.D. in Historical Musicology from Orchestra Young Artists Competition. woodwinds and strings imitates Dora Florida State University In 2006, he was awarded the Salon Penny’s problem with stuttering. The de Virtuosi Grant as well as the Tan- score indicates that the strings are to glewood Music Center Jules Reiner be played with mutes in a “scherzando” Violin Prize. Committed to fostering (humorous) fashion. Scurrying strings creative relationships with living com- and chortling bassoons rush through the posers, Kutik has performed premieres eleventh variation, a musical depiction of of works by Timo Andres, Michael G.R.S.’s bulldog splashing in a stream to Gandolfi, Ron Ford, Sheila Silver, and retrieve a stick. This mood is immediately George Tsontakis, and has also been contrasted by the somber cello solo involved in the performances of new in Variation XII, dedicated to “B.G.N.” and rarely played works by Kati Agócs, (a cellist). Impassioned strings soar in Joseph Schwantner, Nico Muhly, and unison. A brief return of the cello solo is Donald Martino. interrupted by the clarinets that introduce XIII, “Romanza.” Three asterisks hide the Kutik holds a bachelor’s degree from identity of this friend, believed by some Boston University and a master’s de- to be Lady Mary Lygon. Her travels to gree from the New England Conser- Australia aboard a ship are suggested vatory and currently resides in Boston. by Elgar’s reference to Calm Sea and Kutik’s violin was crafted in Italy in 1915 Prosperous Voyage by Mendelssohn, by Stefano Scarampella. noted in the score by quotation marks With a “dark-hued tone and ra- above the subdued, “very expressive” zor-sharp technique” (The New York For more information, please visit clarinet solo. The substantial Finale Times), Russian-American violinist www.yevgenykutik.com. (expanded after the work’s premiere) Yevgeny Kutik has captivated audi- allows Elgar the opportunity to revisit ences worldwide with an old-world memorable moments from earlier sound that communicates a modern variations (particularly those of Alice and intellect. Praised for his technical pre- Jaeger, his steadfast supporters) as well cision and virtuosity, he is also lauded as to incorporate some of his colorful for his poetic and imaginative inter- signature band flourishes. This fourteenth pretations of both standard works and and final variation, “E.D.U.,” refers to the newly composed repertoire. composer himself, nicknamed “Edoo” by A native of Minsk, Belarus, Kutik be- his wife. gan violin studies with his mother, Alla Zernitskaya, and immigrated to the Elgar wrote the following in the program US with his family at the age of five. notes for the composition’s premiere. 48 49 B

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402.7500 | www.ccbg.com

50 AN EPIC EVENING May 5, 2018 ______

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Darko Butorac, Conductor Adam Golka, Piano

Berlioz Roman Carnival, Op. 9 (1803-69)

Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 (1873-1943) Moderato Adagio sostenuto Allegro scherzando

I N T E R M I S S I O N

Puccini Edgar - Prelude to Act III (1858-1924)

Respighi Pines of Rome (1879-1936) The Pines of the Villa Borghese Pines Near a Catacomb The Pines of the Janiculum The Pines of the Appian Way

51 PROGRAM NOTES

AN EPIC EVENING Smithson finally met the next day and he was a co-winner of the Gold Medal May 5, 2018 were married the following October; for Piano along with Josef Lhévinne unfortunately they were not happy and Alexander Scriabin. Recognition Hector Berlioz (1803-69) for long and formally separated in came early when Tchaikovsky Roman Carnival, Op. 9 1844, the same year that the composer commissioned the teenager to write Sergei Rachmaninoff (1873-1943) conducted the premiere of tonight’s a piano transcription of excerpts from Piano Concerto No. 2 in C minor, Op. 18 overture. Sleeping Beauty. When he was only Moderato nineteen, Rachmaninoff achieved Adagio sostenuto From an 1838 opera failure, Berlioz great success with the famous Prelude Allegro scherzando brought forth two overtures, the in C-sharp minor, Op. 3, No. 2, Giaccomo Puccini (1858-1924) original Overture to Benvenuto Cellini, which sold thousands of copies. He Prelude to Act III of Edgar and the overture that he conjured grew to hate the piece because it from other salvaged sections of the was requested so often during his Otto Respighi (1879-1936) opera in 1843. The Roman Carnival performance tours. When the family Pines of Rome demonstrates Berlioz’s love of timbres, lost their estate and aristocratic way The Pines of the Villa Borghese Pines Near a Catacomb with every instrumental group featured of life as a result of the 1917 Russian The Pines of the Janiculum at some point. The English horn plays Revolution, Rachmaninoff, his wife, The Pines of the Appian Way a primary theme in the first section, and two daughters traveled by open a transformation of a love song from sled to Finland that December, taking The small French village of La Côte the opera; the bassoons are tapped only a few of his compositions and Saint-André was the birthplace of to repeat the theme near the end of sketchbooks. In 1918 they moved to Hector Berlioz (1803-1869). His the piece. In the middle, swirls of the United States where Steinway & father sent him to Paris to study sounds in the woodwinds accelerate Sons gave Rachmaninoff a piano. He to become a medical doctor, but into a passage that is reminiscent played forty concerts in just four- it was not long before the young of the innovations in Symphonie months’ time. He was often homesick, man turned instead to counterpoint Fantastique. Not only does Berlioz and after buying a home in 1921, the and composition at the Paris exhibit his mastery of orchestration, Rachmaninoffs set up housekeeping Conservatory. In 1827 Hector attended but he also constructs some charming with Russian customs, Russian a production of Shakespeare’s passages of polyphony involving the servants, and Russian guests. Since his Hamlet in which the British actress love theme and what I would call primary means of supporting his family Harriet Smithson played the role of the party theme. This energetic and was concertizing, he was only able Ophelia. The young composer was memorable depiction of a carnival to complete six more compositions so smitten that he sent her letters of atmosphere has a well-deserved life of between 1918 and his death in 1943. introduction in hopes of meeting her, its own. but she left Paris in 1829 without the An undistinguished premiere of two ever meeting in person. Berlioz Rachmaninoff’s First Symphony wrote in his Memoirs, “The impression The same year that Berlioz in 1897 caused the composer to made on my heart and mind by her fought to salvage material experience depression and writer’s extraordinary talent, nay her dramatic from his failed opera, women block. He tended towards melancholy genius, was equaled only by the havoc in Kentucky were fighting their anyway and was often obsessed with wrought in me by the poet she so nobly own battle. A law was finally death. The tall, dark pianist/composer/ interpreted.” Berlioz’s unrequited conductor was once described by his admiration inspired him to write passed in 1838 that allowed colleague Igor Stravinsky as “a six- one of his most popular works, the women to attend school under and-a-half foot scowl.” A psychiatrist “semi-autobiographical” Symphonie certain conditions. used hypnosis to help Rachmaninoff Fantastique. Two years after the re-gather enough confidence to premiere, through an unusual set of return to composition in 1900, and circumstances, Smithson attended a At age fourteen, Sergei Rachmaninoff the following year he appeared as Berlioz concert and reportedly was one (1873-1943), moved alone from his soloist for the Moscow premiere of the few in the audience who did not home near Great Novrogod, Russia, of Piano Concerto No. 2. Rather realize that she was the subject of the to study at the Moscow Imperial than making the pianist wait through Symphonie Fantastique. Berlioz and Conservatory. At his 1892 graduation, an entire orchestral exposition, 52 Rachmaninoff jumps right into the how to showcase virtuosity, and how to to three (some of the discarded music C minor concerto with soft chords in temper the showmanship with artistic eventually became part of Tosca). In the piano that crescendo dramatically lyricism. The result is an extremely the matter of just a few minutes, the while strings and clarinets introduce satisfying work for the pianist, the composer takes us from a mysterious, the primary theme. Its grandness orchestra, and the audience! suspenseful introduction, through two eventually concedes to a gentle alternating themes, to a triumphant piano passage as the soloist presents Giaccomo Puccini (1858-1924) was and joyous conclusion. With appealing the romantic second theme. Before born into a musical family that had dialogue between the strings and the tempo accelerates again, there served as organists and composers the woodwinds, the Prelude could is some delightful interplay for the for the Cathedral of San Martino in easily pass as the introduction to a piano, oboe, and clarinet. Following a Lucca, Italy, for five generations. At Hollywood blockbuster film. Prepare brief development, the primary theme fourteen he took over as organist, but to be captivated by this enchanting returns fortissimo in unison strings; it a few years later he became enamored orchestral miniature. sounds so noble, accompanied by the of opera when he walked the twenty pianist’s strong, declamatory chords. It miles to Pisa to see a production of is a majestic moment. When the Verdi’s Aida. He was hooked and at In the same year that Puccini second theme is recapitulated, the age twenty-two enrolled in the Milan died (1924), Robert Frost French horn has a chance to shine. Conservatory. In 1884 Ricordi, a music received the Pulitzer Prize, publisher, was impressed by Puccini’s and the first winter Olympics Similar to the second movement of first attempt at opera,La Villi, and were held in Chamonix, Dvorak’s “New World” Symphony, a commissioned a second. Despite somber chord progression introduces Edgar’s unsuccessful premiere at France. The music world the second movement, abruptly La Scala in 1889, Ricordi continued noted the premieres of changing the mood. A simple series to encourage Puccini, who finally Gershwin’s Rhapsody in Blue of arpeggios (broken chords) played achieved public and critical acclaim and Respighi’s The Pines of by the pianist accompany a poignant with Manon Lescaut in 1893. Today Rome. clarinet melody used as the basis for Puccini’s operas are among the most- several “popular” songs in the last half often performed throughout the of the twentieth century, including “All world, with La Bohème, Tosca, and The father of Ottorino Respighi By Myself” sung by Harry Nilsson. Madame Butterfly being perennial (1879-1936) taught him violin, viola, favorites. In his sixties, the composer and piano, and in 1900 Ottorino Strings and winds scamper into the was treated for throat cancer; because traveled from his native Bologna, last movement but soon give way to a too much time elapsed following an Italy, to St. Petersburg to play viola virtuosic passage for the soloist, whose initial misdiagnosis, he did not do well bravura playing continues throughout with radiation treatments. He died in the Russian Imperial Theater the movement. After the exploration in Belgium in 1924, leaving his final Orchestra. While there, he studied of the initial scherzando theme, the opera, Turandot, incomplete. Puccini composition with Rimsky-Korsakov tempo becomes more moderate as was the most commercially successful for about five months, and two years oboe and violas introduce an exotic opera composer in history at that time, later he studied composition in Berlin romantic theme (yes, this one is with his estimated worth being the with Max Bruch. In 1913 Respighi familiar to your neighbor, also, so equivalent of about $200 million. moved to Rome to become Professor please resist humming along during of Composition at the Conservatorio the performance.) Rachmaninoff was Puccini’s first full-length Edgar di Santa Cecilia, and he remained definitely knew how to write timeless opera and his second work for melodies. But lest we wallow too stage. Problems with unsympathetic in Rome the rest of his life. He was long, he makes sure to playfully main characters and a weak plot also a musicologist who specialized change the mood several times contributed to its lack of success, but in early Italian music, producing between repetitions of the passionate in this Prelude to Act III, one sees the scholarly editions of works by Claudio melody. There are numerous extended gift of lyricism that has made Puccini Monteverdi (1567-1643) and Antonio solo piano passages. As a pianist so popular. The Prelude thankfully Vivaldi (1678-1741). This interest in himself, Rachmaninoff knew how to survived the cut when Puccini revised music of the past is evident in his write idiomatically for the instrument, the opera, reducing it from four acts popular three suites titled Ancient Airs 53 GUEST ARTIST and Dances. His other most familiar rhythm of the numberless steps. A compositions are sometimes referred vision of ancient glories appears to the to as The Roman Trilogy, although poet’s fantasy: trumpets blare and a the works were not conceived as a consular army erupts, in the brilliance group and are generally performed of the newly risen sun, toward the individually. Fountains of Rome (1915- Sacred Way, mounting to a triumph 16), tonight’s Pines of Rome (1923-24), on the Capitoline Hill.” and Roman Festivals (1928) reflect the colorful orchestration Respighi This tone poem could easily be absorbed from his studies of Russian mistaken as incidental music for music with Rimsky-Korsakov as well a Biblical epic filmed by Cecil B. as the occasional muted timbres and DeMille. From the beginning, “The exotic scales of the Impressionist Pines of the Villa Borghese” launches palette. Pines of Rome premiered us into a whirlwind of sound and colors in Rome in 1924, and Toscanini as the children twirl around, taunting Polish-American pianist conducted the New York Philharmonic each other with typical childhood Adam Golka was recently selected by Sir András in the American premiere two years rants. Brief flirtations with dissonance Schiff to perform recitals at the Kla- later. Respighi wrote program notes in the brass and slashing strings are vier-Festival Ruhr in Germany, Ton- for this concert [in the third person] that about as “modern” as Respighi gets, halle Zürich, as well as in Berlin and provide insight into his compositional despite the fact that this music was New York (organized by the 92nd thought processes: “In Pines of Rome written ten years after the premiere Street Y). Adam has been regularly he uses Nature as a point of departure, of The Rite of Spring and fifteen years on the concert stage since the age of in order to recall memories and vision. after Schoenberg’s initial experiments sixteen, when he won first prize at the The centuries-old trees which so with atonality. On the other hand, at 2nd China Shanghai International Pia- characteristically dominate the Roman the end of the third section of Pines no Competition. He has also received landscape become witnesses to the of Rome, Respighi incorporated the Gilmore Young Artist Award and principal events in Roman life.” an electronic recording of “a real the Max I. Allen Classical Fellowship nightingale really singing in real Rome” Award from the American Pianists Respighi also included the following (as Leonard Bernstein said in one of Association. notes in the orchestral score: “The his Young People’s Concerts). This (Allegretto was thirty years before Ussachevsky Pines of Villa Borghese With his extensive concerto repertoire, vivace). Children are at play in the (A Piece for Tape Recorder, 1956) Golka has appeared as a soloist with pine grove of the Villa Borghese, and Varèse (Poème électronique, dozens of orchestras, among those the dancing the Italian equivalent of 1958) really explored the idea of BBC Scottish, Atlanta, Houston, Dal- “Ring Around a Rosy”; they mimic combining live and recorded music in las, Indianapolis, New Jersey, Milwau- marching soldiers and battles; they performances. One final observation kee, Phoenix, San Diego, Fort Worth, chirp with excitement like swallows about this amazing work is that my Vancouver, Seattle, and Jacksonville at evening; and they swarm away. . familiarity with Respighi’s music symphonies, Grand Teton Festival . (Lento) … enriched my experience traveling Pines Near a Catacomb Orchestra, National Arts Centre Or- we see the shadows of the pines which on the Appian Way, with its majestic chestra of Ottawa, the Sinfonia Varso- crown the entrance of a catacomb. pines lining both sides of the ancient via, the Shanghai Philharmonic, the From the depths rises a dolorous road; it was the music in my head that Warsaw Philharmonic, and the Teresa chant which spreads solemnly, like brought the history to life. Perhaps it Carreño Youth Orchestra of Venezue- a hymn, and then mysteriously dies will do the same for you some day. la. Adam made his Carnegie Hall Isaac away. The Pines of the Janiculum Stern Auditorium Debut in 2010, per- (Lento). . .The full moon reveals the forming Rachmaninoff’s Third Con- profile of the pines of Gianicolo’s Hill. certo with the New York Youth Sym- A nightingale sings. The Pines of © 2017 Ruth Ruggles Akers Dr. Akers has a Master of Music degree in phony, and also performed a cycle of (Tempo di marcia). the Appian Way Piano Performance from Indiana University and a Ph.D. all five Beethoven concerti in 2011 with Misty dawn on the Appian Way. in Historical Musicology from Florida State University the Lubbock Symphony, under the ba- Solitary pines stand guard over the ton of his brother, Tomasz Golka. tragic campagna. The faint unceasing 54 As a recitalist, he has performed scores 2014 by First Hand Records. No. 25 with the Harrisburg Symphony, of solo concerts, among those at ex- Ravel G Major in Lubbock, and Rach- cellent venues such as Lincoln Cen- Adam Golka’s 2017/18 season begins maninoff Cto. No. 2 with the Tallahas- ter’s Alice Tully Hall in New York (pre- at the Minnesota Beethoven Festival see Symphony. sented by the Musicians Emergency with the Manhattan Chamber Play- Fund), Concertgebouw’s Kleine Zaal, ers, and followed by concerts at the As a child, Adam studied with his and Musashino Civic Cultural Hall in extraordinary Tippet Rise Arts Cen- mother, Anna Golka, as well as with Tokyo, and at festivals such as Mostly ter in Fishtail, Montana in a recital of Dariusz Pawlas. For most of his teen- Mozart, the Gilmore Keyboard Festi- Schubert, Liszt, and Brahms and in age years and as a young adult, Adam val, the Ravinia Festival, the New York the Schumann Quintet with the Ari- studied with the late José Feghali, City International Keyboard Festival at el String Quartet. He returns to the whom he considers his most significant Mannes, the Newport Music Festival, Krzyzowa Festival in Poland in Au- influence. Adam also spent four years and the Duszniki Chopin festival. As gust and caps off the summer with a at the Peabody Conservatory study- a chamber musician, his appearanc- return to the Fort Worth Symphony ing with Leon Fleisher. Since finishing es have included prestigious festivals for Mozart Cto. No. 27, K. 595, with his official studies, Adam has contin- such as Marlboro, Caramoor, Ravin- Music Director Miguel Harth-Bedoya. ued his work with great musicians such ia, and Music@Menlo. Adam Golka The season continues with recitals as András Schiff, Alfred Brendel, Rich- has premiered solo works written for and chamber music in Milwaukee, ard Goode, Murray Perahia, Ferenc him by Richard Danielpour, Michael Washington, D.C., at the Cliburn in Rados, and Rita Wagner. Brown, and Jarosław Gołembiowski. Fort Worth, Boston, Sedona, and at His début disc, featuring the first sona- the College of the Holy Cross, where Adam Golka acts as Artist-in-Res- ta of Brahms and the Hammerklavier Adam is Artist-in-Residence. With idence at the College of the Holy Sonata of Beethoven, was released in orchestra, Adam plays Mozart Cto. Cross in Worcester, Massachusetts.

55 MEET THE TSO OFFICE STAFF

Julie Detweiler, Outreach and for the Maggie Allesee National Center ers’ meeting in New York City. In 2014, she Engagement Coordinator for Choreography at the FSU School of was invited to speak at the LAO’s national Dance. Mary is thrilled to be working at conference in Seattle. Along with 8 peers Dr. Julie Detweiler is the new Outreach the TSO to help bring great music to the from orchestras throughout the country, and Engagement Coordinator for the Tallahassee community. she has recently completed the LAO’s Tallahassee Symphony and is also a clas- “Emerging Leaders Program,” a year-long sical clarinetist and educator. She has Amanda Stringer, CEO leadership training course for early-career performed with orchestras around the executives. Mandy has earned degrees country, including the Tallahassee Sym- Dr. Amanda (Mandy) Stringer has been from Vanderbilt University, Indiana Uni- phony, the Orlando Philharmonic, the CEO of the Tallahassee Symphony Or- versity, the University of Oklahoma, and Rochester Philharmonic Orchestra, the chestra since 2010. During her tenure, King’s College, London. Before moving Roanoke Symphony Orchestra, the Illi- the TSO budget has grown 93%, corpo- into orchestra management, she served nois Symphony Orchestra, and the New rate sponsorships have increased 266%, on the music faculties of Florida State England Symphonic Ensemble, among and annual fund donations have grown University and the University of Oklaho- others. In addition, Dr. Detweiler has par- 49%, enabling the orchestra to embark ma. She has been involved in the Talla- ticipated in the Aspen Music School and on several new initiatives and programs, hassee community through managing the Festival, the Rome Festival Orchestra and such as the Tallahassee Symphony Jazz “Word of South Festival of Literature and the Bard Conductor’s Institute, the latter Orchestra, a Family series, and Carn- Music” (since 2014), acting as a Knight as a member of the orchestra. As an edu- egie Hall’s Link Up program. Mandy is Foundation Creative Communities Insti- cator, Dr. Detweiler currently gives clinics actively engaged in the industry’s associ- tute Catalyst, participating in the Leader- and master classes throughout the Unit- ation of orchestras, the League of Amer- ship Tallahassee program, and serving on ed States as a Vandoren Regional Artist. ican Orchestras (LAO), and has recently the Leon High School Foundation Board She has also served as a New York Phil- completed a 3-year term as its Group 6 of Trustees. harmonic Teaching Artist and has taught President. In this capacity she has helped in the pre-college programs at both the design content for the LAO’s annual na- Manhattan School of Music and The Juil- tional meeting and its midwinter manag- liard School. She has been on the faculty for both the Affetti (Anchorage, Alaska) and Florida State University Summer Music Festivals and has maintained an ac- tive private-teaching studio for nineteen years. Dr. Detweiler holds degrees from the State University of New York at Pots- dam, Northwestern University and Florida State University. Dr. Detweiler currently resides in Tallahassee with her husband, David, and their two children.

Mary Kelsay, General Manager

Mary is a native of Tallahassee and has served as TSO’s General Manager since December, 2016. She is grateful for all of the wonderful relationships she has devel- oped and all she has learned during her first year at the symphony. Mary holds a Bachelor’s degree in Music Composition from FSU and a Master of Music in Com- position from the University of Florida. She later returned to FSU and earned a Master of Arts in Arts Administration in 2014. While studying, she served as Pres- ident of the Arts Administration Student Association and worked with the FSU Summer Music Camps. After graduation, she worked as the Residency Coordinator 56 57 LET US ORCHESTRATE YOUR MARKETING ENDEAVORS

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58 TALLAHASSEE SYMPHONY SOCIETY

2017- 2018 BOARD

President...... Dr. Bobbie Frye-MacDonald Immediate Past President...... Mary Lama Cordero First Vice President...... Marlene Hanna Second Vice President...... Dr. Tawainga Katsvairo Third Vice President...... Dorrece Lisenby Director of Long Range Planning...... Dr. Thelma Nolan Secretary...... Donna Heald Treasurer...... Abbie Sirmans Benedict Director of Publicity and Marketing...... Marilyn Marshall Dr. Bobbie Frye-MacDonald Historian...... Sue Mancuso Member at Large...... Pamela Ridley Photographer...... Dr. Penny J. Gilmer Photographer...... Dr. Amy Sang

MEMBERS (as of August 14, 2017) Len Adams & Connie Sauer-Adams Dot & Jim Hinson (F & L) Ermine M. Owenby Olivia Ahyoung Glenn Hosken (L) Edna Owens Loretta Alfano Oliver & Monique Kabitzke Bob Parker Beth Ann Shankle- Anderson Luz Kacer Joan Patterson Gloria Arias Dr. Tawainga Katsvairo Ken Paugh & Leslie Metzger-Paugh (L) Nick & Lorina Baldwin (L) Drs. Sandy Kerr & Don Payne Mary Bedford (L) Jessie Lovano-Kerr Dr. Christine Peterson Dr. Charles & Abbie Sirmans Benedict Dennis King, Esq. Lance & Jan Peterson Ramona Bowman (L) Christine Kite Anne & Colin Phipps George Ann & Greg Bracko Andrea Lawley Doris Pollock (PP & L) Fran & Daniel Buie Dorrece Lisenby Amy & John Recht Jane Esposito Cain Marie Livingston (H) Barry & Allison Tant Richard Donna & Jimmie Callaway (PP) Dr. Cecilia Lopez Dr. Terence & Marilyn Reisman Marie Cantwell Gail Mobley and David Loveless Dr. Dennis & Pamela Ridley Ann Cleare Ralph and Sue Mancuso Louise Rill Mary Lama Cordero (PP) Dr. Alan & Marilyn Marshall Dr. Qing-Xiang (Amy) Sang (L) Hon. Jim Crews Sally McCabe Drs. David & Winnie Schmeling Ginny Densmore Lynda & Thomas McCaleb Donnajo Smith Marilynn & Robert Evert Emoryette McDonald Nancy Stepina-Robison Beverly Locke-Ewald (PP) Rev. Phoebe McFarlin Dr. Mandy Stringer (H) Lois Friedman Judith McGinnis Joanne Taylor Dr. Bobbie Frye-MacDonald Dotty McPherson Hon. Marjorie Turnbull Dr. Fanchon F. Funk Ann & Michael Melder Sandy Wainwright Ruth Garrison Charles Milsted Jane & David Watson Drs. Penny J. Gilmer & Val and Steve Mindlin Susan Barineau & Patrick Weaver Sanford Safron Carol & Edgar Moore (L) Joanne Webb Steve & Blanche Gordon (L) Twila & Kyle Murdoch Rick & Joan West (L) Lois Griffin Janet and Robert Newburgh Sherri Wills (L) Phyllis Hamilton Virginia Newman Diane Winzler Marlene Hanna Dr. Cecil & Malena Nichols Mary Wolfgang Sue Hansen (L) June Noel (L) Mary York Tonya Harris Dr. Thelma J. Nolan Lady Dhyana Ziegler, DCJ, PHD Christine M. Hazelip Anneli Nystrand, Esq. (L) Donna Heald Charlotte Orth & Kenneth Reckford (L)

(PP) – Past President, (L) – Life Member, (H) – Honorary Member , (F) - Founder

TSS is the volunteer support arm for the Tallahassee Symphony Orchestra. We host enjoyable events, such as soirees with live music, cocktail parties in beautiful homes and our signature event, the Tour of Homes. We raise funds to support our Symphony. Join and show your support for the Symphony by contacting our second VP in charge of membership, Dr. Tawainga Katsvairo at [email protected] or call 850 508 2127. 59 2017-2018 Season

November 12, 2017 January 28, 2018 April 8, 2018 June 3, 2018 Sundays at 3 PM

$10 suggested donation Free childcare available Baroque Music on Period Instruments St. John's Episcopal Church

TallahasseeBachParley.org

Violin, viola, and cello instruction Faculty: Valerie Arsenault, Caroline Holden, Miriam Barfield, Zlatina Staykova, Megan Sahely, William Sahely

Private Lessons • Recitals • Masterclasses Outreach • Workshops • Ukulele class (850) 792-2981 [email protected] TallahasseeBachParley.org 60 TALLAHASSEE IS A PROUD SPONSOR OF THE ARTS

INSIDE: THE BIGGEST NORTHWEST FLORIDA WEDDINGS ISSUE EVER!

High-Tech Bicycles 2-wheelers pick up speed Facing Fears In the trees on a zipline adventure Notes to Live By A chaplain’s lost work resurfaces POET’S WORLD Masters of verse at FSU explore a universe of words City’s+ MUSIC SCENE comes alive

Stay connected to Tallahassee’s latest activities and attractions. Read Tallahassee Magazine in print and online, plus like and follow on social media for the latest events and happenings.

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61 ADVERTISER INDEX

AARP 16 Target 16 Amazon Smile 32 The Tallahassee Ballet 36 Ameris Bank 29 Theatre Tallahassee 36 Artist Series 19 Thomasville Entertainment Foundation 19 Bach Parley 60 TSO Jazz/Word of South 37 Bach Parley String Academy 60 Turner, Wiener, Stratton & Mannheimer 11 Bank of America 24 Westminster Oaks 17 Big Bend Hospice 5 WTXL 49 Capital City Bank 50 Capital Eurocars 38 Centennial Bank 12 Challenger Learning Center 55 Compass Marketing 58 Council on Culture & Arts 4 Doubletree by Hilton 43 Earl Bacon Agency 17 First Commerce Credit Union 2 Florida Blue 22 FMB 41 FSU College of Music 18 FSU School of Theatre 42 Fun 4 Tally Kids 34 Greenberg Traurig 38 Holiday Cruises & Adventures in Travel 15 Jeff’s Woodworks, LLC 28 Legacy Toyota 44 LeMoyne Chain of Parks 6 Thank You Lunch with Darko 31 Merrill Lynch 24 to all of the Music Directors Miriam Nicklaus, Realtor 58 who helped prepare their choirs for Monticello Opera House 20 Holiday Magic! Music Masters 34 Old Willis Dairy 22 Michael Corzine, Opening Nights Performing Arts 27 First Presbyterian Church Panacea Oyster Co-Op Corporation 12 Prime Meridian Bank 23 Matthew Jarvis, Russell B. Rainey, DMD 13 Fellowship Presbyterian Church Savor the Symphony 3 Six Pillars 64 DL LaSeur, St. John’s Episcopal Church 32 St. Michael & All Angels Episcopal Church Tallahassee Civic Chorale 31 Tallahassee Community Chorus 18 Mark Repasky, Tallahassee Democrat 10 Trinity United Methodist Church Tallahassee Magazine 61 Tallahassee Symphony Society Tour of Homes 30 Corey Sullivan, Tallahassee Youth Orchestras 9 Chiles High School Tally Connection 57 62 A MESSAGE FROM THE CEO

Dear Friends, The photo below was taken at the 2017 annual retreat of the Tallahassee Symphony Orchestra board of directors. Each September, our group gathers for a jam- packed afternoon where we explore important issues facing our organization and the field of orchestras in general. We lay the path for the season to come, and we talk about the TSO’s role in the community. We bring in outside experts to lead us in thought-provoking, generative discussion. As CEO, I always leave the retreat energized and excited about the upcoming season, but more importantly, I leave with a deep sense of gratitude for the amazing group of people who make up the board of our Tallahassee Symphony Orchestra. The commitment they consistently show to our organization through contributions of time and talent is truly humbling. Below you see a photo from this year’s retreat. You will notice diversity in age, race, ethnicity, and gender. But what is not diverse about this group of servants is their attitude towards our orchestra. They are alike in their infectious passion for our music, deep respect for our musicians, and level of commitment to the TSO’s mission “to engage, enrich, and inspire people at all stages of life through great music.” They are thoughtful, generous, and supportive of me and of one another. I am certain that you will find tonight’s performance meaningful, perhaps even profound. The experience of hearing our wonderful Tallahassee Symphony Orchestra live comes courtesy of the folks you see pictured below. It is their hard work fundraising and advocating that makes it possible for our orchestra to play. I hope you will join me in saying “THANK YOU” to each of them.

Amanda Stringer, CEO

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64