Oxford Proudly Supports the Cincinnati Symphony Orchestra

SEPTEMBER 2015 FANFARE CINCINNTI

FANFARECINCINNTI

KICKING OFF THE SEASON IN FANTASTIQUE STYLE PGE 31

Hooray for Hollywood: JMR and the Pops go to the movies PGE 21 Rediscovering Pelleas und Melisande PGE 41 CINCINNTISYMPHONY.ORG SEPTEMBER 2015 Oxford proudly supports the Cincinnati Symphony Orchestra.

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CHICAGO ✦ CINCINNATI ✦ GRAND RAPIDS ✦ INDIANAPOLIS ✦ TWIN CITIES 513.246.0800 ✦ WWW.OFGLTD.COM/CSO Thirst-quenching conversation An Exceptional Everyday Experience

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Life Enriching Communities is affiliated with the West Ohio Conference of the United Methodist Church and welcomes people of all faiths. SEPTEMBER 2015 CONTENTS

37 Yefim Bronfman is CONCERTS widely regarded as one of the most talented virtuoso 21 Pops: Pops at the Movies, Sept. 18&20 pianists performing today. His 24 Pops: Back to the Future— commanding technique and Film with Orchestra, Sept. 19 exceptional lyrical gifts have won him consistent critical acclaim and 28 Guest Artist: Emil de Cou, conductor enthusiastic audiences worldwide. 31 CSO Season Opener: Fantastique!, Hear this master perform Bartók’s Sept. 25–27 virtuosic Second Piano Concerto (Stories in Concert on Sunday) Sept. 25–26. 37 Guest Artist: Yefim Bronfman, pianist 45 Recipient of the prestigious 41 CSO: Louis Conducts Pelleas und Melisande, Avery Fisher Career Grant in Oct. 2–3 2008, violinist Karen Gomyo 45 Guest Artist: Karen Gomyo, violinist has established herself in recent years as a much in demand soloist internationally. She’ll perform 26 Alan Silvestri has scored some Sibelius’ soaring and technically of the most iconically revered dazzling Violin Concerto Oct. 2–3. and profitable films in Hollywood history, amassing over 100 credits to the tune of two Oscar and Golden Globe nominations, two Emmy awards, as well as three DEPARTMENTS Grammy awards. Hear his rousing score to Back to the Future played by the Cincinnati Pops—live, while the high 6 A Letter from the President definition film plays over the Music Hall stage 8 Your Concert Experience Sept. 19. 10 Spotlight On: Jonathan Gunn, Principal Clarinet 11 Orchestra Roster 14 Artistic Leadership: Louis Langrée and NEWS John Morris Russell 17 If It Sounds Good, It Is Good! by JMR 12 Feature: “Think Crescendo, Not Dimenuendo” 48 Boards by Meghan Berneking 50 Financial Support © 18 LUMENOCITY 2015 Recap 59 Administration 38 Q&A with Yefim Bronfman 60 Coda 48 The Board of Overseers: Access and Advocacy

2 | FANFARE CINCINNATI | cincinnatisymphony.org

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

All contents © 2015–16. The contents cannot be reproduced ON THE COVER Louis Langrée leads the CSO’s in any manner, whole or in part, without written permission season opener featuring Berlioz’s rousing masterpiece from the Cincinnati Symphony and Pops Orchestra. Symphonie fantastique. Inspired by the dreamlike frenzy of this unprecedented symphonic work, the Opening Night Gala on Sept. 26 delivers bright CINCINNATI SYMPHONY & POPS ORCHESTRA imagery, culinary creativity and a party atmosphere to Music Hall kick off the new season. 1241 Elm Street Cincinnati, OH 45202 Administrative Offices: 513.621.1919 CINCINNATI MAGAZINE: [email protected] Advertising and Publishing Partners Box Office for Fanfare Cincinnati Music Hall Publisher 1241 Elm Street Ivy Bayer Cincinnati, OH 45202 Art & Production Manager Julie Whitaker 513.381.3300 Senior Account Representatives [email protected] Maggie Wint Goecke, Matt Reis Group Sales Marketing Director 513.744.3590 Chris Ohmer [email protected] Advertising & Marketing Designer Emily Nevius TTY/TDD Account Representatives Use TTY/TDD Relay Service 7-1-1 Christie Goetz, Lisa Lawrence, Jenny Swain, Tammy Vilaboy cincinnatisymphony.org | cincinnatipops.org Senior Outside Account Representative facebook.com/CincySymphony or /CincinnatiPops Laura Bowling Operations Director twitter.com/CincySymphony or /CincinnatiPops Missy Beiting Business Coordinator Erica Birkle Advertising and Business Offices RECYCLE FANFARE CINCINNATI Carew Tower You are welcome to take this copy of 441 Vine Street, Suite 200 Cincinnati, OH 45202 Fanfare Cincinnati home with you as a 513.421.4300 souvenir of your concert experience. Subscriptions: 1.800.846.4333 Alternatively, please share Fanfare cincinnatimagazine.com Cincinnati with a friend or leave it with an usher for recycling. Thank you!

4 | FANFARE CINCINNATI | cincinnatisymphony.org

A LETTER FROM THE PRESIDENT

Dear Friends, a $20 million goal, reaffirms our place as a city that supports a world-class orchestra year round, which On the heels of another elec- is so essential to attracting and retaining the very trifying LUMENOCITY, we best musicians. are delighted to welcome With that, we also announced in May that our you to our 2015–16 season musicians and Board ratified a five-year contract at Music Hall! agreement that takes us through the 2019–20 season, You might have read which is the 125th anniversary of our great orchestra. the May article in The New This contract was ratified four months before the York Times declaring, “The expiration of our existing contract. orchestra world is all too All of this reflects a culture of openness where familiar with vicious cycles we come together—musicians, management, Board of mounting deficits, dwindling audiences, diffi- members and supporters—to work on solving culty raising money and cuts. But at the Cincinnati problems and looking to the future. And every step Symphony Orchestra, things are moving happily along the way, we never lose sight of our mission to in the opposite direction: think crescendo, not seek and share inspiration with this extraordinary diminuendo.” community we are honored to serve. Toward the end of this past season I announced None of what we achieve would be possible with- that we had just concluded a quiet endowment cam- out our great audiences. Thank you for being here, paign to restore 14 full-time, tenure-track musicians and we look forward to sharing many experiences to the Orchestra, eliminate our structural deficit and with you throughout this fantastic season. endow two additional weeks of Orchestra services for the Cincinnati Ballet and the Cincinnati World Sincerely, Piano Competition. As other major orchestras across the country struggle to maintain a 52-week year round season and some have in fact lost their 52-week standing, this campaign, which exceeded Trey Devey

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Community Funds make it easy to support areas that matter most to you. Visit gcfdn.org yourcommunity today.

6 | FANFARE CINCINNATI | cincinnatisymphony.org with Barbara Kellar

Join Barbara Kellar as she SUNDAYS showcases performing artists 8:30PM and cultural leaders from the Greater Cincinnati CET Arts is available community. over-the-air on channel 48.3, Time Warner Cable (Ohio) channel 987, Cincinnati Bell Fioptics channel 248, Time Warner Cable www.CETconnect.org/cet-arts (Northern Kentucky) channel 192. YOUR CONCERT EXPERIENCE

Welcome! Here are some tips for getting the patron safety, walkers and strollers are not permitted most out of your concert experience. on the escalators. NEW TO THE CSO OR POPS? Unsure of when to REFRESHMENTS Bar service (including local micro- clap or where to eat? Looking for help deciding your brews) and snacks are available at the North and South next concert? Visit cincinnatisymphony.org/guide for lobby bars prior to concerts and during intermission. a complete Concertgoer’s Guide. Specialty wines and sandwiches are available in the lobby bar. Keurig coffee, tea and hot chocolate are of- LEARN MORE ABOUT THE MUSIC Classical fered at the North lobby bar. Pre-order your cocktail Conversations take place one hour before Friday for intermission at any of the bars. Food and beverages and Saturday CSO concerts and are free to all are not permitted in the auditorium during most per- ticketholders. Program notes are also available at formances (drinks are permitted during Pops concerts). cincinnatisymphony.org. RESTROOMS Restrooms are located in the north and TECHNOLOGY Please turn off all cell phones, wrist- south corridors on the first and second floors and in watch alarms or other devices that make noise. While the north corridor on the third floor. we love it when people text their friends, post to Facebook and Tweet about the Orchestra, please hold EMERGENCY EXITS Please identify and observe all electronic communications until intermission or emergency exits nearest to you. In the event of an after the performance. Also out of consideration for emergency, remain calm and await instruction from the musicians and your fellow audience members, ushers or building staff. flash photography, glowing screens and audio/video EMERGENCIES AND SECURITY Cincinnati Police recording are all prohibited. officers are on duty around Music Hall beginning 1½ MEET THE ARTISTS! You are welcome to meet the hours before the performance until the last patron conductor and guest artists in the backstage Green leaves Music Hall. An emergency medical technician Room after most performances. Ushers can assist you. is on duty from one hour before the concert until all patrons have left the building. DINING Visit one of the excellent nearby restaurants or enjoy dinner at Music Hall before CSO Thursday LOST AND FOUND Our Lost and Found is located at evening concerts. For more information, please visit the coat room in the foyer, or call 513.744.3344. cincinnatisymphony.org/feast. ABOUT MUSIC HALL Music Hall was built in 1878 and PARKING Parking is available in several lots sur- has remained a cultural icon for Cincinnati. Pre-concert rounding Music Hall, including the surface lot tours are available for groups of eight or more by call- between Music Hall and Memorial Hall on Elm St., at ing 513.744.3344 at least one week before your concert. the Town Center (CET) Garage on Central Parkway TICKET DISCOUNTS Discounted tickets are available and at the underground Washington Park Garage for full-time students, people ages 18–30 (via CSO across Elm St. from Music Hall. Pay-on-entry parking Ignite), children ages 6–17, seniors, active military is $5–$10 for special events. For a map and the lat- and groups of 10 or more. For details, please contact est updates, visit cincinnatisymphony.org/parking. the CSO Box Office at 513.381.3300 or visit cincinnati- Subscribers may order guaranteed parking in the symphony.org. Washington Park Garage for $10 per concert, subject to availability. Call 513.381.3300 for details. TICKET EXCHANGES Can’t use your tickets to an upcoming concert? Please return them to the Box Of- ACCESSIBILITY Handicapped parking is available in fice in advance so someone else may enjoy them. We’ll the Central Parking lot next to Music Hall, in the Town provide you with a tax-deductible receipt upon request. Center Garage on Central Parkway behind Music Hall Subscribers also have unlimited free ticket exchanges. and in the Washington Park Garage. Assistive listen- We must receive your request 24 hours before the ing devices are available at the south foyer coatroom. concert. Single ticket buyers may exchange their seats Seating for persons with disabilities is available for all for another concert for a $3 per ticket service charge events. Accessible restrooms are located throughout (some restrictions apply). Music Hall. LATE SEATING POLICY So as not to disturb other OUR YOUNGEST LISTENERS In consideration of all patrons, latecomers will be asked to remain in the lobby our patrons, we discourage bringing children under and view the concert via video monitors. Ushers will age six to CSO and Pops concerts; ushers will assist assist latecomers to their seats during an appropriate patrons with young children to seats at the back of musical break. If you need to leave the auditorium the auditorium. The CSO performs many educational during the concert for any reason, you will be re-seated concerts each season specifically designed for children at an appropriate musical break, at the discretion of of all ages. Booster seats are available on a first-come, the ushers/house manager. These policies are based on first-served basis in the lobby at family-oriented extensive patron survey feedback and we appreciate performances. your understanding. ELEVATOR/ESCALATORS An elevator is located in COUGHING? The acoustical properties of Music Hall the north corridor with service to all three floors. Escala- carry audience noise as well as the music. Please unwrap tors to all floors are located in the south corridor. For candies or lozenges before the music starts. n

8 | FANFARE CINCINNATI | cincinnatisymphony.org presented by

The Cincinnati Art & Antiques October 23-25 Festival celebrates its 50th anniversary Cincinnati Music Hall Ballroom with 30 dealers from across the U.S. 1241 Elm Street • Cincinnati, OH 45202 Evolo Design presents the Friday: 12:00 p.m. – 7:00 p.m. 2015 Lecture and Luncheon Saturday: 11:00 a.m. – 6:00 p.m. Friday, Oct. 23rd • 11:00 a.m. • $60 /person Sunday: 11:00 a.m. – 5:00 p.m. Kreis Beall of Blackberry Farm: The Passion of Design 3-Day Admission: $10 & Suzanne Kasler: Design at Blackberry Farm

Venue Fifty & Fabulous Celebration Sponsor Friday, Oct. 23 • 6:00 p.m. – 9:00 p.m. $150 /person A special evening to shop and mingle with friends For complete details and/or to make while honoring the Chairpersons, Board, and your reservation, call 513-561-0950 Committee Volunteers whose efforts over the past fifty years have made the Art & Antiques Festival a or visit us on the web at: premier event. Join us as we applaud and celebrate CincinnatiAntiquesFestival.org their tireless dedication to Convalescent Hospital.

A benefit for Convalescent Hospital, CCHMC SPOTLIGHT ON… “One of the things I like the most about playing with this Orchestra is the variety of things we get to Jonathan Gunn, play,” he said. “From chamber music to the Pops, huge orchestras to small orchestras, this Orchestra Principal Clarinet is great at switching gears.” Mr. Gunn seeks (and finds) inspiration from For this Spotlight we feature Principal his colleagues in the Orchestra, particularly when Clarinet Jonathan Gunn (Emma something “gels” in a special way while playing Margaret & Irving D. Goldman Chair). together. “It’s great when those moments happen, and they continue to inspire me,” he said. In coming months we’ll continue to High points particularly come when playing spotlight other musicians, patrons chamber music with his colleagues. “Playing or leaders within the CSO and Pops chamber music when the group is right is really community. unbeatable,” he said. “We should always feel like we’re playing chamber music though, even when Growing up in playing with a big orchestra.” The diversity of rep- England, Jona- ertoire this Orchestra performs is what makes this than Gunn’s job particularly special. “I wouldn’t want any of the excellent school various elements of what we do to be missing [full music programs symphonies, chamber music, Pops, etc.],” he said. allowed him to A recent concert highlight for Mr. Gunn was dabble in differ- in October of 2014 when Bartók’s The Miraculous ent instrumen- Mandarin and Kodály’s Dances of Galánta appeared tal choirs and on the same program. Both pieces heavily feature orchestras. He the clarinet, and he had not played either in a concert began his musi- setting. “To have them together on the same concert cal training on violin and piano. At age 11, he and program was both amazing and daunting,” he said. his family moved to the United States. Though he When not rehearsing and performing with the wanted to play trumpet in his new school band, his Orchestra, Mr. Gunn keeps a busy teaching schedule parents and band director decided clarinet would at the University of Cincinnati College-Conservatory be a better fit. of Music and tries to fit in a round of golf when Jonathan continued performing with his school possible. Otherwise he’s traveling to and from Chi- band through high school and started to think about cago, where his wife plays piccolo for the Chicago continuing his clarinet studies in college. He began Symphony Orchestra. college with a double major in electrical engineering “It’s truly amazing that I get to make a career out and music. “Halfway through the degrees doing of what I’ve always wanted to do. After 21 years both, I literally woke up one day and thought that of playing professionally, there are still genuine if I’m going to continue playing clarinet and try to moments where make it a career, I needed to commit to that and drop I think, ‘I can’t the engineering degree,” he said. “It was really an believe I get to ‘aha’ moment.” do this.’” He started playing with the Cincinnati Symphony and Pops Orchestra in 2004 as Associate Principal and E-flat Clarinet and, after serving as Acting Prin- cipal Clarinet for three-and-a-half seasons, he was officially named Principal Clarinet in December of 2014 after a national audition. “Being Principal Clarinet of the CSO is a highly sought-after position and, after filling the position temporarily for several years, I’m thrilled for it to become permanent. I look forward to many more years of making music with Maestro Langrée and my CSO colleagues.”

Jonathan with his wife, Jennifer, and their dogs Dolley and Spencer.

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

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

cincinnatisymphony.org | FANFARE CINCINNATI | 11 Think Crescendo, Not Diminuendo by Meghan Berneking he Cincinnati Symphony and Pops Program aims to develop young, graduate-level Orchestra’s 2015-16 season opens musicians from underrepresented populations on one of its highest notes in recent and prepare them for the professional orchestra memory. The spring and summer world. months came with two game- The Cincinnati Enquirer reported, “The idea Tchanging organizational announcements that are began simmering a few years ago, when [CCM Dean Peter] Landgren and [CSO President Trey] community in monumental ways throughout the Devey discussed the increased opportunities for season and beyond. younger musicians in underserved communities, In May came the dual announcement of the such as MYCincinnati in Price Hill, a free orches- conclusion of a successful $26 million endow- tra program for youngsters based on Venezuela’s ment campaign, along with an exceptional new revolutionary El Sistema program. But they real- CSYO ized there was a gap in training and mentorship Association, Local 1, American Federation of Mu- when it came to preparing to enter the profession- Carousel at Smale park during the CSO’s annual Conductor’s Circle Dinner sicians. The New York Times reported, “The orches- al world of orchestral music. tra world is all too familiar with vicious cycles of “One only has to look around at those who institutions have to inclusiveness while elevating - week focused on community engagement and ed- the cultural scene in the Queen City and beyond. ty raising money and cuts. But at the Cincinnati members of orchestras that we are not represen- ucational activities. The Andrew W. Mellon Foundation’s performing Symphony Orchestra, things are moving happily tative of our communities. This is such an import- “I go back to my own student experience be- arts program provides multi-year grants on an in- in the opposite direction: think crescendo, not di- ant issue and one that neither of us felt we could cause I’m not only the dean of CCM but I’m an vitation-only basis. This Diversity Fellowship Pro- minuendo.” (For more details on this announce- address on our own, but working collaboratively alum of the college. I was a French horn major ment, see page 6.) we could make an impact. We see there being a there. It was a year and a half into my studies that involves a major American orchestra and a real gap between the pre-professional and the major conservatory. contract announcement, the Orchestra received professional space, and one that we felt we were Cincinnati Symphony Orchestra, and literally my These high notes serve as catalysts as the Or- news that the CSO and University of Cincinnati well-positioned to address,” said Mr. Devey in an chestra enters another season full of pristine College-Conservatory of Music (CCM) were the interview with WWFM. that I got to be down on the stage of Music Hall artistry, world-renowned guest artists and bold recipients of a $900,000 grant from The Andrew Fellows will consist of graduate level string with 100 professional musicians. That type of ac- experimentation. As the momentum grows and W. Mellon Foundation. Responding to a need musicians who are simultaneously enrolled in celeration of one’s educational learning is what inspiring moments both large and small crop up, among American orchestras and professional mu- CCM’s master’s or artist diploma degree pro- we’re really hoping to capture in this experience the Orchestra’s determination for greatness will sic conservatories, which face issues of underrep- for these Fellows,” said Mr. Landgren for WWFM. continue to make waves in Cincinnati and around resentation, the CSO/CCM Diversity Fellowship with the CSO in a progressive sequence of con- Fellows will be provided with a unique support the world. system built on intensive professional mentorship. In addition to the community formed with other Fellows, they will receive focused mentorship by CSO musicians, which includes coaching In May, longtime CSO and Pops supporter sessions prior to a rehearsal cycle, ongoing stand Edyth B. Lindner and her children pledged partner coaching throughout rehearsal weeks Pops Conductor John Morris and post-performance feedback. There will also $10 million to the revitalization of histor- Russell coaches students from the be structured time for non-performance related MYCincinnati Orchestra mentorship such as career counseling and audi- launched a public campaign to secure the tion preparation. “This community is really going to help them grow,” said Mr. Landgren. Addi- construction. The Lindner Family’s gener- tionally, Fellows will receive a CCM Fellowship osity toward the project stems from years Stipend and one-time Graduate Dean’s Excellence of joyful memories experiencing CSO and Award, with opportunities for additional per- Pops performances in the hall, and a de- forming and non-performing community engage- sire that future generations have the same ment activities through CCM, eight career development seminars, including mock auditions, and full tuition scholarships. in one of Cincinnati’s grandest architectural The CSO’s previous successful collaborations and cultural treasures. with CCM exhibit the deep commitment both

12 | FANFARE CINCINNATI | cincinnatisymphony.org Think Crescendo, Not Diminuendo by Meghan Berneking he Cincinnati Symphony and Pops Program aims to develop young, graduate-level Orchestra’s 2015-16 season opens musicians from underrepresented populations on one of its highest notes in recent and prepare them for the professional orchestra memory. The spring and summer world. months came with two game- The Cincinnati Enquirer reported, “The idea Tchanging organizational announcements that are began simmering a few years ago, when [CCM Dean Peter] Landgren and [CSO President Trey] community in monumental ways throughout the Devey discussed the increased opportunities for season and beyond. younger musicians in underserved communities, In May came the dual announcement of the such as MYCincinnati in Price Hill, a free orches- conclusion of a successful $26 million endow- tra program for youngsters based on Venezuela’s ment campaign, along with an exceptional new revolutionary El Sistema program. But they real- CSYO ized there was a gap in training and mentorship Association, Local 1, American Federation of Mu- when it came to preparing to enter the profession- Carousel at Smale park during the CSO’s annual Conductor’s Circle Dinner sicians. The New York Times reported, “The orches- al world of orchestral music. tra world is all too familiar with vicious cycles of “One only has to look around at those who institutions have to inclusiveness while elevating - week focused on community engagement and ed- the cultural scene in the Queen City and beyond. ty raising money and cuts. But at the Cincinnati members of orchestras that we are not represen- ucational activities. The Andrew W. Mellon Foundation’s performing Symphony Orchestra, things are moving happily tative of our communities. This is such an import- “I go back to my own student experience be- arts program provides multi-year grants on an in- in the opposite direction: think crescendo, not di- ant issue and one that neither of us felt we could cause I’m not only the dean of CCM but I’m an vitation-only basis. This Diversity Fellowship Pro- minuendo.” (For more details on this announce- address on our own, but working collaboratively alum of the college. I was a French horn major ment, see page 6.) we could make an impact. We see there being a there. It was a year and a half into my studies that involves a major American orchestra and a real gap between the pre-professional and the major conservatory. contract announcement, the Orchestra received professional space, and one that we felt we were Cincinnati Symphony Orchestra, and literally my These high notes serve as catalysts as the Or- news that the CSO and University of Cincinnati well-positioned to address,” said Mr. Devey in an chestra enters another season full of pristine College-Conservatory of Music (CCM) were the interview with WWFM. that I got to be down on the stage of Music Hall artistry, world-renowned guest artists and bold recipients of a $900,000 grant from The Andrew Fellows will consist of graduate level string with 100 professional musicians. That type of ac- experimentation. As the momentum grows and W. Mellon Foundation. Responding to a need musicians who are simultaneously enrolled in celeration of one’s educational learning is what inspiring moments both large and small crop up, among American orchestras and professional mu- CCM’s master’s or artist diploma degree pro- we’re really hoping to capture in this experience the Orchestra’s determination for greatness will sic conservatories, which face issues of underrep- for these Fellows,” said Mr. Landgren for WWFM. continue to make waves in Cincinnati and around resentation, the CSO/CCM Diversity Fellowship with the CSO in a progressive sequence of con- Fellows will be provided with a unique support the world. system built on intensive professional mentorship. In addition to the community formed with other Fellows, they will receive focused mentorship by CSO musicians, which includes coaching In May, longtime CSO and Pops supporter sessions prior to a rehearsal cycle, ongoing stand Edyth B. Lindner and her children pledged partner coaching throughout rehearsal weeks Pops Conductor John Morris and post-performance feedback. There will also $10 million to the revitalization of histor- Russell coaches students from the be structured time for non-performance related MYCincinnati Orchestra mentorship such as career counseling and audi- launched a public campaign to secure the tion preparation. “This community is really going to help them grow,” said Mr. Landgren. Addi- construction. The Lindner Family’s gener- tionally, Fellows will receive a CCM Fellowship osity toward the project stems from years Stipend and one-time Graduate Dean’s Excellence of joyful memories experiencing CSO and Award, with opportunities for additional per- Pops performances in the hall, and a de- forming and non-performing community engage- sire that future generations have the same ment activities through CCM, eight career development seminars, including mock auditions, and full tuition scholarships. in one of Cincinnati’s grandest architectural The CSO’s previous successful collaborations and cultural treasures. with CCM exhibit the deep commitment both

cincinnatisymphony.org | FANFARE CINCINNATI | 13 ARTISTIC LEADERSHIP

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

MATINÉE MUSICALE CINCINNATI Our 103RD Season SOARS

REMAINING 103RD SEASON CONCERT SCHEDULE: CLAIRE HUANGCI ROMAN RABINOVICH, PIANO TUESDAY, NOVEMBER 3, 2015 AT 11 A.M. PIANO THE ANDERSON CENTER 7850 FIVE MILE RD, CINCINNATI, OH 45230 THURSDAY, OCTOBER 1 AT 11 A.M. THE ANDERSON CENTER THE TEMPEST TRIO: ILYA KALER, VIOLIN; AMIT PELED, CELLO; ALON GOLDSTEIN, PIANO 7850 FIVE MILE ROAD, THURSDAY, DECEMBER 3, 2015 AT 11 A.M. CINCINNATI, OH 45230 THE MAYERSON JEWISH COMMUNITY CENTER 8485 RIDGE RD, CINCINNATI, OH 45236

ASHU, CLASSICAL SAXOPHONE TUESDAY, APRIL 5, 2016 AT 11 A.M. CHURCH OF THE REDEEMER 2944 ERIE AVE, CINCINNATI, OH 45208 “For more than a century, the daytime series Matinée Musicale has introduced a Who’s Who of talent to Cincinnati.” NADINE SIERRA, SOPRANO SUNDAY, MAY 1, 2016 AT 3 P.M. - Janelle Gelfand WESTWOOD FIRST PRESBYTERIAN CHURCH music/arts writer for cincinnati.com 3011 HARRISON AVE, CINCINNATI, OH 45211

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14 | FANFARE CINCINNATI | cincinnatisymphony.org MUSIC HALL 2015–16 SEASON

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

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

films for which they were cre- ated, yet stand on their own as amazing, purely musical experiences. The first generation of great film composers came to the USA from Europe in the wake of the Second World War. Composers like Erich Korngold, Max Steiner and Miklós Rózsa found work taking their musical craft inherited from composers like Béla Bartók, Richard Strauss and Gustav Mahler and weav- ing scores for Hollywood’s Golden Age. They are as beloved today for their film Welcome back to the Pops’ 2015–16 season at Music scores as they are for their strictly orchestral works Hall. It’s hard to believe, but this is my fifth season (including symphonies and a couple of stunning as conductor of your Cincinnati Pops, and it’s been violin concerti). In the mid-century, Maurice Jarre, 20 years since I first came to Cincinnati as Assistant Henry Mancini, Nino Rota, John Barry and Ennio Conductor of the Cincinnati Symphony and Pops Morricone brought a diverse and exotic sound world Orchestra back in 1995. Time sure flies when you’re to their films. The legendary John Williams was having fun! influenced by many of the great romantic orchestral Perhaps the greatest musical legacy of the Pops composers of the 19th and early 20th century, but is our commitment to the performance and record- also by the works of Korngold; Williams, in turn, ing of iconic film scores. Nearly half of the Pops’ has been very influential to the current generation of 94 recordings have been devoted to film music; composers, including Howard Shore, Danny Elfman our recording legacy represents the cornerstone of and Alan Silvestri. our international reputation, with over 10 million On Saturday evening we perform the 30th An- recordings sold worldwide. niversary Edition of Back to the Future accompanied We open our season with a celebration of the by the Pops performing Silvestri’s complete score cinematic score in two concert productions. On along with the film. Silvestri has scored well over Friday and Sunday we present selections from The 100 films, including classics like The Abyss, The American Film Institute’s “25 Greatest Film Scores of Bodyguard, Forrest Gump, The Polar Express, Captain All Time.” Although we have recorded just about all America and The Avengers (both of which we recently of these classics, it was surprising to discover a few recorded on Superheroes!), as well as music for all 13 gems we haven’t performed before that we will be episodes of Neil deGrasse Tyson’s Cosmos (this one presenting in these concerts. We will also showcase is drop-dead gorgeous). Performing a live score to Cincinnati’s favorite film themes, as voted on by film is a tricky endeavor, but a challenge the Pops YOU over the summer via “brackets” on the Pops has taken on more and more frequently. With digital Facebook page. video cueing and an audio click-track (think of it like One cannot underestimate the art of film scoring. an electronic metronome for the entire orchestra), we Music creates a dramatic arc that gives a film its soul can synchronize over two hours of music and film and deep emotional connection. The truly GREAT to the millisecond. Phew! ones transport you to the dramatic epicenter of the Lights, camera, ACTION! Let the new Pops season begin!

cincinnatisymphony.org | FANFARE CINCINNATI | 17 18 | FANFARE CINCINNATI | cincinnatisymphony.org © • 30,000 people across five nights gathered in Wash- LUMENOCITY 2015 ington Park for the third annual LUMENOCITY, August 5–9. The 3-D image mapping on the façade of IN PICTURES Music Hall narrated the rise of industrialization and From left: the beauty and peace found in music. Works by Orff, • The Pops opened the program with guests from the Berlioz, Saint-Saëns, Mosolov and Brahms found a Cincinnati Ballet and Cincinnati Opera. The first half connection in the Queen City and its people. of the concert featured works ranging from Aaron • Willis Music was just one local vendor with a tent in Copland’s Fanfare for the Common Man to Walk the LUMENOCITY Village. Fans of all ages tried guitar, Moon’s “Shut Up and Dance.” cello and violin for the first time. With face painting, • The Saturday, Aug. 9 television broadcast on WCPO arts & crafts, LUMENOCITY-branded merchandise, and WCET reached 96,000 viewers throughout the local food and beverage options, and even a LUMENO- Greater Cincinnati region. The Friday, Aug. 8 radio CITY Glow Pale Ale brewed by Rhinegeist, the Village broadcast on WGUC reached thousands, while the offered a unique experience for the entire community. webcast was viewed by fans in 10 different countries 37 local vendors, 17 local bands and 8 local arts orga- on both Friday and Saturday. nizations were represented in LUMENOCITY Village.

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

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

2015–2016 SEASON FRI SEPT 18, 8 pm SUN SEPT 20, 2 pm Music Hall

POPS AT THE MOVIES A Tribute to AFI’s Top 25 Film Scores JOHN MORRIS RUSSELL, conductor

HOORAY FOR HOLLYWOOD THEME FROM OUT OF AFRICA Johnny Mercer & Richard A. Whiting, arr. Holcombe John Barry MAIN THEME from THE MAGNIFICENT SEVEN ADVENTURES ON EARTH Elmer Bernstein, arr. Palmer from E.T. THE EXTRA-TERRESTRIAL John Williams SELECTIONS from ON THE WATERFRONT Leonard Bernstein INTERMISSION

PARADE OF THE CHARIOTEERS from BEN HUR MAIN THEME from BACK TO THE FUTURE Miklós Rózsa, arr. Robbins Alan Silvestri TARA from GONE WITH THE WIND OVERTURE from LAWRENCE OF ARABIA Max Steiner, arr. Campbell-Watson Maurice Jarre ROBIN HOOD AND HIS MERRY MEN GABRIEL’S OBOE from THE MISSION from THE ADVENTURES OF ROBIN HOOD Ennio Morricone, arr. Longfield Erich Korngold

Program subject to change

Soundtrack music is like seeing the movie again, but this time with our ears.

The Otto M. Budig Family Foundation is the proud presenter of tonight’s concert and sponsor of the Pops Artist Series.

cincinnatisymphony.org | FANFARE CINCINNATI | 21 ON EARTH AS IT IS IN HEAVEN THE PINK PANTHER from THE MISSION Henry Mancini Ennio Morricone, arr. Woolley THEMES FROM LOVE THEME from THE GODFATHER THE FELLOWSHIP OF THE RING Nino Rota, arr. McGurty Howard Shore, arr. Price MAIN TITLES from SPIDER-MAN Danny Elfman

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

22 | FANFARE CINCINNATI | cincinnatisymphony.org

SPECIAL POPS PROGRAM

2015–2016 SEASON SAT SEPT 19, 8 pm Music Hall

BACK TO THE FUTURE

STEVEN SPIELBERG Presents BACK TO THE FUTURE

A ROBERT ZEMECKIS Film

MICHAEL J. FOX CHRISTOPHER LLOYD LEA THOMPSON CRISPIN GLOVER

Written by ROBERT ZEMECKIS & BOB GALE

Music by ALAN SILVESTRI

Produced by BOB GALE and NEIL CANTON

Executive Producers STEVEN SPIELBERG KATHLEEN KENNEDY and FRANK MARSHALL

Directed by ROBERT ZEMECKIS

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

24 | FANFARE CINCINNATI | cincinnatisymphony.org NOTES ON THE PROGRAM

Great Scott! After 30 years we find ourselves being circuits back to 1985 and have the chance to relive sent Back to the Future. This time the re-entry is in the excitement of the arrival of Back to the Future. the concert hall, bringing a new sense of excitement “Where we’re going, we don’t need roads….” through gifted musicians all around the world. With a timeless film, and a timeless machine known Unlike Doc Brown, I could never have dreamed as an orchestra, we can go anywhere. that I would have the opportunity to set the time —Alan Silvestri

Back to the Future—Film with Orchestra produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc.

Producers: Steven A. Linder and Jamie Richardson Production Coordinator: Rob Stogsdill Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice Marketing Coordinator: Dan Barry

Music Composed by Alan Silvestri

Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Kristopher Carter and Mako Sujishi Technical Consultant: Laura Gibson Synthesizer Programming: Alex Levy Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Back to the Future has been adapted for live concert performance. With special thanks to: Universal Studios, Robert Zemeckis, Bob Gale, Alan Silvestri, David Newman, Chris Herzberger, Tamara Woolfork, Adrienne Crew, Darice Murphy and Mark Graham.

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cincinnatisymphony.org | FANFARE CINCINNATI | 25 ALAN SILVESTRI, composer for TV’s highway patrol hit CHiPs. In his ongoing, decades-long career This action-driven score caught the as a composer, Alan Silvestri has ear of budding filmmaker Robert scored some of the most iconically Zemeckis, whose hit film, 1984’sRo - revered and profitable films in Hol- mancing the Stone, was the perfect first lywood history, amassing over 100 date for the composer and director credits to the tune of two Oscar and its success became the basis of a and Golden Globe nominations, decades-long collaboration between two Emmy awards, as well as three the filmmaker and composer that Grammy awards. While stylisti- continues to the current day. Their cally diverse, the unifying voice of numerous collaborations have taken Silvestri’s work is an unmistakable them through many fascinating rhythmic melody whose themes landscapes and stylistic variations: continue to embody movie excite- from the Back to the Future trilogy and ment and drama for generations of the jazzy world of Toontown in Who moviegoers. Framed Roger Rabbit? to the tension- Born in New York City and raised filled rooms ofWhat Lies Beneath and in Teaneck, NJ, Silvestri first thought Death Becomes Her, from the cosmic of becoming a bebop jazz guitar player. After wonder of Contact to the emotional isolation of Cast- spending two years at the Berklee College of Music away, and from the Wagnerian brawl of Beowulf to the in Boston, Silvestri hit the road as a performer and magic of The Christmas Carol and Polar Express, whose arranger. Landing in Hollywood at the age of 22 and song “Believe” garnered an Oscar nomination. But armed with film scoring books and a sense of adven- perhaps no film partnership defines their creative ture, Silvestri found himself successfully composing relationship better than Zemeckis’ 1994 Best Picture the music for 1972’s The Doberman Gang. A sequel, winner, Forrest Gump, for which Silvestri’s gift for The Amazing Dobermans, was followed by several beautiful themes earned him an Oscar nomination low budget but successful films, further cementing and the affection of film music lovers everywhere. Silvestri’s place in the world of film composing. Although the Zemeckis/Silvestri collaboration is The 1970s witnessed the rise of energetic synth-pop legendary, Silvestri has scored well over 100 films scores, establishing Silvestri as the action rhythmatist

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26 | FANFARE CINCINNATI | cincinnatisymphony.org of every imaginable style and genre. His energy and the latest discoveries about the universe we live in experimentation have brought excitement and emo- and combines those facts with spectacular visual tion to the hard-hitting orchestral/percussion scores effects and animation. Ann Druyan, widow of Carl of Predator, Judge Dredd and James Cameron’s The Sagan and a co-writer on the original Cosmos series, Abyss and lent thrills to the effects-driven scores for serves as an executive producer, writer and director The Mummy Returns and G.I. Joe: The Rise of Cobra. His alongside executive producer Seth MacFarlane. ethnic rhythms for Soapdish and The Mexican segue Most recently, Silvestri composed the music for to the raucus fun of family entertainments like the Robert Zemeckis’ The Walk—the story of French Stuart Littlefilms and Disney’sLilo and Stitch as well high-wire artist Philippe Petit’s attempt to cross the as the Night at the Museum trilogy. The gripping ten- Twin Towers of the World Trade Center in 1974. The sion of Blown Away and Identity yield to the romantic film will be in theaters in October of 2015. film noir ofThe Bodyguard, while edgy comedies like Alan Silvestri and his wife, Sandra, are long-time Mousehunt and romantic comedies like the Father of residents of California’s central coast. They are the Bride movies, Parent Trap and What Women Want founders of the Juvenile Diabetes Research Founda- bring heartfelt warmth. But Silvestri has also proven tion’s Monterey branch and have served in many adept at riding the western range of Young Guns 2 capacities through their long relationship with the and The Quick and the Dead while also providing thrill- organization, since their son was diagnosed as a ing macho muscle for Van Helsing and The A-Team. young child in 1992. They are also the founders of Silvestri’s talent for a dynamically heroic sound has Silvestri Vineyards. Their wines show that lovingly helped propel such Marvel superheroes as Captain cultivated fruit has a music all its own. “There’s America: The First Avenger and The Avengers to spec- something about the elemental side of winemaking tacular world-wide success, even as he provided the that appeals to me,” he says. “Both music making restrained, anguished sound for the alcoholic pilot and wine making involve the blending of art and of Robert Zemeckis’ Flight. Silvestri’s rambunctious science. Just as each note brings its own voice to the orchestral cheer has also helped to create the hit melody, each vine brings its own unique personality caveman family film The Croods. to the wine.” In 2014 Silvestri won two Emmy awards for his Whether in his studio or the vineyard, Silvestri work on Cosmos: A Spacetime Odyssey. The new continues to find inspiration and passion for music, Cosmos updates Carl Sagan’s original series with film, family and wine. n

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cincinnatisymphony.org | FANFARE CINCINNATI | 27 EMIL DE COU, conductor As part of his work as musi- The American conductor Emil de cal consultant for NASA he has Cou is currently the music director conducted several successful col- of the Pacific Northwest Ballet and laborations with the nation’s space appears regularly with orchestras agency, including Human Space- across the country. After his de- flight: The Kennedy Legacy, at but with the National Symphony the Kennedy Center in honor of Orchestra at Wolf Trap in 2000 he the 50th anniversary of John F. joined the orchestra as associate Kennedy’s declaration to land a conductor and led the NSO on na- man on the moon. Prior to last tional tours and at the U.S. Capitol. summer’s performance of 2001: A He has remained a regular figure at Space Odyssey, Wolf Trap hosted the Kennedy Center since his first a pre-performance discussion to performances there in 1988. This mark the 45th anniversary of the summer marks his 11th year as the moon landing, which featured principal conductor for the NSO’s Buzz Aldrin, Arvind Manchoa and Wolf Trap performances. de Cou in a talk about arts and space exploration. His innovative concerts at Wolf Trap have in- He was acting music director for the San Francisco cluded the first screenings ofThe Wizard of Oz with Ballet and was hired by Mikhail Baryshnikov to be the score performed with live orchestra, the first-ever the conductor of the American Ballet Theatre for live-tweeted program notes (Beethoven’s Pastoral eight seasons, conducting performances at Lincoln Symphony), and live in-time podcast for a concert Center and the Kennedy Center, and on national called Fantastic Planet. In 2006 he led the NSO in the and international tours. Wolf Trap premiere of NASA’s The Planets narrated His performance of the ballet Othello was aired by Leonard Nimoy, and in 2008 he conducted the on Great Performances (PBS). The soundtrack by first performance of Rodgers & Hammerstein at Academy Award-winning composer Elliot Golden- the Movies. thal was recorded by de Cou for Varese Sarabande.

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28 | FANFARE CINCINNATI | cincinnatisymphony.org Among his other recordings is Debussy Rediscovered for Arabesque, which includes previously unre- corded works by Debussy. Emil de Cou has appeared with some of the country’s leading orchestras, including those of Chicago, Cleveland, Pittsburgh, San Francisco, Detroit, Houston, Milwaukee and St. Louis, and the Minnesota Orchestra and Boston Pops. He made his Carnegie Hall debut in 2006 with the New York Pops Orchestra. De Cou was born in Los Angeles and studied with Daniel Lewis at the University of Southern California. He was the subject of a documentary on National Public Radio and was chosen from 200 candidates to study in Leonard Bernstein’s master class at the Hollywood Bowl. For his ongoing work with NASA de Cou was book by Joseph lyrics by music by awarded the agency’s Exceptional Public Achieve- Mcdonough David Kisor Fitz Patton ment Medal by Administrator Charles Bolden at the NSO @ Wolf Trap performance of The Planets in 2012. He makes his home in San Francisco and Seattle.n ensemble theatre cincinnati supported by:

ensemblecincinnati.org 513.421.3555

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Performers and audience on stage together at historic Music Hall.

URBAN LEGENDS SUN OCT 18, 2015 • 4 pm BEETHOVEN’S PIANO TRIO SUN DEC 6, 2015 • 4 pm

LOVE AND MIRTH SUN FEB 21, 2016 • 4 pm

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

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cincinnatisymphony.org | FANFARE CINCINNATI | 29 branch usbank.com/dreambig 800.209.BANK (2265)

TRENDS come and go. Fortunately, SO CAN WALLS.

A U.S. Bank Home Equity Line of Credit could help with your next big project. Get competitive rates, flexible payment options and the pleasure of working with people who care.

Some restrictions may apply. Loan approval is subject to credit approval and program guidelines. Not all loan programs are available in all states for all loan amounts. Rate and program EQUAL HOUSING terms are subject to change without notice. Mortgage and home equity products are offered by U.S. Bank National Association. Deposit products are offered by U.S. Bank National Association, Member FDIC. ©2015 U.S. Bank. All rights reserved. 150647 6/15 FIRST SUBSCRIPTION PROGRAM Masterworks Series

2015–2016 SEASON FRI SEPT 25, 11 am SAT SEPT 26, 8 pm SUN SEPT 27, 2 pm Music Hall branch usbank.com/dreambig 800.209.BANK (2265) LOUIS LANGRÉE conductor YEFIM BRONFMAN pianist *

BEETHOVEN Overture to Fidelio, Op. 72 (1770–1827)

BARTÓK Concerto No. 2 for Piano and Orchestra (1881–1945) Allegro Adagio. Presto. Adagio Allegro Molto

INTERMISSION

BERLIOZ Symphonie fantastique, Op. 14a * (1803–1869) Reveries, Passions A Ball Scene in the Country March to the Scaffold Dream of the Witches’ Sabbath

* The program for Sunday’s Stories in Concert will focus on Berlioz’ Symphonie fantastique. The works by Beethoven and Bartók will not be performed. Mr. Bronfman will not perform on Sunday.

TRENDS The CSO is grateful to U.S. Bank, the CSO’s Masterworks Series Sponsor and tonight’s Concert Sponsor. come and go. Fortunately, These concerts are endowed by Martha Anness, Priscilla Haffner & Sally Skidmore in loving memory of their mother, LaVaughn Scholl Garrison, a long-time patron of the Symphony. SO CAN WALLS. Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony and Pops Orchestra. These concerts will end at approximately 12:50 pm Friday, 9:50 pm Saturday, 3:45 pm Sunday. 90.9 WGUC will broadcast this concert Sunday, January 10, 8 pm.

Get competitive rates, flexible payment options and the pleasure of working LUDWIG van BEETHOVEN in 1814 as part of the work’s final version, which began with people who care. Overture to Fidelio, Op. 72 its run at Vienna’s Kärntnertor Theater on May 23; the Overture was not finished for the first performance, TIMING: approx. 6 min. however, and was premiered two days later, under the INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, timpani, composer’s direction. strings CSO SUBSCRIPTION PERFORMANCES The decade (1804–1814) that Beethoven devoted Premiere: December 1920, Eugene Ysaÿe conducting to his only opera, Fidelio, was an unprecedented Most Recent: September 2007, Paavo Järvi conducting amount of time to spend perfecting such a work during the early 19th century. Given the same Beethoven was born on December 16, 1770 in Bonn and time span, Rossini dispensed 31 (!) operas between died on March 26, 1827 in Vienna. The Fidelio Overture, 1810 and 1820, and Donizetti cranked out 35 (!!)

Some restrictions may apply. Loan approval is subject to credit approval and program guidelines. Not all loan programs are available in all states for all loan amounts. Rate and program the last of the four he composed for the opera, was written specimens of the genre from 1827 to 1837. Even EQUAL HOUSING terms are subject to change without notice. Mortgage and home equity products are offered by U.S. Bank National Association. Deposit products are offered by U.S. Bank National Association, Member FDIC. ©2015 U.S. Bank. All rights reserved. 150647 6/15 cincinnatisymphony.org | FANFARE CINCINNATI | 31 PROGRAM NOTES: SEPT 25–27

Mozart launched seven operas during his decade in early biographer Anton Schindler recorded that Vienna. For Beethoven, however, Fidelio was more Beethoven rejected this first attempt after hearing it than just a mere theatrical diversion—it was his privately performed at Prince Lichnowsky’s palace philosophy set to music. This story of the triumph of before the premiere. (Another theory, supported by justice over tyranny and love over inhumanity was recent detailed examination of the paper on which a document of his faith. To present such grandiose the sketches for the piece were made, holds that beliefs in a work that would not fully serve them this work was written in 1806–07 for a projected was unthinkable, and so Beethoven hammered and performance of the opera in Prague that never took rewrote and changed until he was satisfied. In his place, thus making Leonore No. 1 the third of the book The Interior Beethoven, Irving Kolodin noted: Fidelio overtures.) He composed a second C major overture, Leonore No. 2, and this piece was used at As tended to be the life-long case with Beethoven, the overriding consideration remained: the first performance, on November 20, 1805. (The achievement of the objective. How long it might management of Vienna’s Theatre an der Wien, site take or how much effort might be required was of the premiere, insisted on changing the opera’s not merely incidental—such consideration was name from Leonore to Fidelio to avoid confusion with all but nonexistent. Ferdinand Paër’s Leonore.) The opera foundered. The most visible remnants of Beethoven’s Not only was the audience unsympathetic—it was extensive revisions are the quartet of overtures largely populated by French officers of Napoleon’s he composed for Fidelio, the only instance in the army, which had invaded Vienna exactly one week history of music in which a composer generated earlier—but there were also problems in Fidelio’s so many curtain-raisers for a single opera. The first dramatic structure. Beethoven was encouraged by version of the opera, written between January 1804 his aristocratic supporters to rework the opera and and early autumn 1805, was initially titled Leonore present it again. This second version, for which the after the heroine, who courageously rescues her magnificent Leonore Overture No. 3 was written, husband from his wrongful incarceration. For was presented in Vienna on March 29, 1806, but met this production, Beethoven wrote the Overture in with only slightly more acclaim than its forerunner. C Major now known as the Leonore No. 1, using In 1814, some members of the Court Theater ap- themes from the opera. The composer’s friend and proached Beethoven, by then Europe’s most famous

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32 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: SEPT 25–27 composer, about reviving Fidelio. The idealistic sub- BÉLA BARTÓK ject of the opera had never been far from his thoughts, Concerto No. 2 for Piano and Orchestra and he agreed to the project. The libretto was revised yet again, and Beethoven rewrote all the numbers TIMING: approx. 28 min. INSTRUMENTATION: solo piano, 3 flutes (incl. piccolo), in the opera and changed their order to enhance the 2 oboes (incl. English horn), 2 clarinets (incl. bass clarinet), work’s dramatic impact. The new Fidelio Overture, the 3 bassoons (incl. contrabassoon), 4 horns, 3 trumpets, fourth he composed for his opera, was among the re- 3 trombones, tuba, timpani, snare drum, cymbals a2, visions. Beethoven realized that the earlier Overtures, triangle, bass drum, suspended cymbals, tam-tam, strings CSO SUBSCRIPTION PERFORMANCES especially the Leonore No. 3, simply overwhelmed Premiere: February 1968, Max Rudolf conducting; Geza what followed (“As a curtain raiser, it almost made Anda, pianist the raising of the curtain superfluous,” judged Irving Most Recent: October 2010, Carlos Kalmar conducting; Kolodin), and, from a technical viewpoint, were in Yuja Wang, pianist the wrong tonality to match the revised beginning of the opera. The compact Fidelio Overture, in E major, Béla Bartók was born in Nagyszentmiklós, Hungary is now always heard to open the opera. The Leonore (now Sînnicolaul Mare, Romania), on March 25, 1881 No. 3 often appears between the two scenes of Act and died in New York City on September 26, 1945. He II, a practice instituted in 1841 by the composer and composed the Second Piano Concerto between October conductor Otto Nicolai when he first producedFidelio 1930 and October 1931. Bartók played the first perfor- in the Habsburg imperial city. Both overtures are mance with conductor Hans Rosbaud in Frankfurt on regular entries on concert programs. January 23, 1933. Beethoven just missed completing the Fidelio Over- As the Second Piano Concerto demonstrates, ture for the first performance of the 1814 revision. Bartók’s folk art goes deeper than quoting tunes or Accounts do not agree on which of his overtures was inventing folklike melodies. He wrote: substituted for the premiere on May 23. According to Schindler, it was one of the earlier Leonore overtures; The appropriate use of folksong material is not, Treitschke recorded that the Prometheus Overture of course, limited to the sporadic introduction or imitation of these old melodies, or to the was played and Seyfried wrote that The Ruins of arbitrary thematic use of them in works of foreign Athens was performed. The Fidelio Overture was or international tendencies. It is rather a matter first heard at the second performance of the run, on of absorbing the means of musical expression May 25. The Overture, whose themes do not derive hidden in this treasury of folktunes, just as the from those of the opera, opens with an introduction most subtle possibilities of any language may be comprising two contrasting strains of music: a rous- assimilated. It is necessary for the composer to ing fanfare for the full orchestra and a darkly colored command his musical language so completely harmonic passage in slow tempo without a definable that it becomes the natural expression of his own musical ideas. theme. The work’s compact sonata form begins with the fast tempo and the announcement by the solo The Second Piano Concerto is a good example of horn of the main theme, based on the fanfare motive what Bartók meant by a musical language indebted from the introduction. The fleet second theme is pre- to a folk language. The concerto has an affinity for sented quietly by the strings following an energetic Hungarian music. The exact nature of this folk affin- climax. The tiny central section, based on the fanfare ity is elusive, however. Although there is no overt motive, is less a true development than a transition quotation in the concerto, it is just as related to the to the recapitulation of the themes. A rousing coda, folk tradition as are those Bartók pieces that use separated from the body of the Overture by a return real folk tunes or that employ actual folk rhythms. of the slow harmonies of the introduction, brings this Bartók steadfastly refused to be a composition noble Overture to a stirring close. teacher, because he felt unable to divorce himself —Richard E. Rodda from the works of students. He feared stifling their originality with his own stylistic predilections. He had to earn his living instead as a concert pianist and piano teacher. He composed the Second Concerto for his own use on European concert tours. After its premiere in Frankfurt, he was able to secure engagements performing it at the International Society for Contemporary Music annual festival in Amsterdam, and in London, Stockholm, Strassburg, Vienna, Winterthur and Zürich.

cincinnatisymphony.org | FANFARE CINCINNATI | 33 PROGRAM NOTES: SEPT 25–27 The Second Piano Concerto is a 1869 in Paris. He composed the Symphonie fantastique in 1830. François-Antoine Habaneck conducted the first good example of what Bartók performance on December 5, 1830 in Paris. meant by a musical language Three important influences entered Berlioz’s life during his 24th year. The first was Goethe’sFaust , which indebted to a folk language. the composer read and reread in a translation by Gérard de Nerval. According to biographer Jacques KEYNOTE. Like many other Bartók works from Barzun, Faust represented for the impressionable the 1920s and 1930s, the concerto is cast in an arch French romantic “genius in all its greatness.” The form. The scherzo section of the second movement second influence was the symphonies of Beethoven, is the keystone of the arch, the midpoint of the form. particularly the Eroica, heard for the first time in Paris It is flanked on both sides by adagio sections that in 1827. Berlioz was overwhelmed by the power and use the same material. The middle movement is in originality of the Bonn master’s orchestration. And, turn surrounded by two fast movements, which finally, there was Shakespeare, known in Letour- also share material. Bartók was fascinated by sym- neur’s translation and experienced in performances metry, and the use of arch form is but one example by an English troupe of actors that toured France in of his interest in balance. Symmetries abound in all 1827. The young Frenchman understood Goethe, his works, from tiny details to entire formal plans. Beethoven and Shakespeare as kindred romantic The piano plays almost continuously throughout spirits. No matter that these perceptions were one- the concerto’s first movement. It often functions in sided and colored by what Berlioz was looking for— opposition to brilliant brass instruments and it is these three artists seemed to answer a great longing frequently combined with percussion. The move- the composer felt for seriousness of purpose, depth ment is scored without strings, in order to create of vision, bold originality and all-encompassing the special sonority appropriate to this driving, humanity. The inspiration he drew from their works forceful, flashy music. coalesced two years later in one of the most original The strings make their appearance in the second pieces ever composed—the Symphonie fantastique. movement. Their sound at the opening is atmo- Actually, there was a fourth influence that turned spheric, even mysterious. They play quiet, sustained out to be more significant for the composer than chords with mutes and no vibrato. Their music is Goethe, Beethoven or Shakespeare. In the Shake- mostly its own mirror image: whenever the high spearean acting company was a young woman strings move some interval, the low strings move the named Harriet Smithson who had a strikingly same interval in the opposite direction. This “mirror beautiful face, a moving voice and an enchanting writing,” as the device is called, is a further example stage manner. Her Ophelia held Parisian audiences of Bartók’s fondness for symmetry. spellbound. Berlioz was more than spellbound. The finale starts with the only fresh material in the He fell in love with Smithson immediately. “The movement. All other themes, transitions and even the impression made on my heart and mind by her coda are new versions of music from the first move- extraordinary talent, nay her dramatic genius, was ment. Except for one subdued interlude, the music equalled only by the havoc wrought in me by the moves relentlessly toward its tumultuous conclusion. poet she so nobly interpreted.” —Jonathan D. Kramer Berlioz was an unknown student composer and Smithson was a famous actress. Did the composer HECTOR BERLIOZ have any hopes of ever winning her love? He felt the Symphonie fantastique, Op. 14a first step was to make himself at least known to her. He began to give concerts with the main purpose of TIMING: approx. 49 min. making his name better established, hoping that she INSTRUMENTATION: 2 flutes (incl. piccolo), 2 oboes (incl. English horn), 2 clarinets (incl. E-flat clarinet), might hear of him. After a few months of touring 4 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, the provinces, Smithson’s company returned to Paris 2 tubas (or 2 ophicleide), 2 timpani, 2 bass drums, chimes, and Berlioz ventured backstage after a performance, cymbals a2, snare drum, suspended cymbals, 4 harps, but she refused to see him. He wrote her love letters, strings CSO SUBSCRIPTION PERFORMANCES which she took as fan mail and left unanswered. She Premiere: March 1897, Frank Van der Stucken returned to England without having even acknowl- conducting edged the existence of her strange suitor. She still Most Recent: March 2012, Pinchas Steinberg conducting had only a vague idea of who he was. Somehow Berlioz convinced himself that she had Berlioz was born on December 11, 1803 in La Côte-Saint- been impressed with his letters and was testing his André, Isère near Grenoble, France; he died on March 8, sincerity by a few months of silence. His feelings

34 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: SEPT 25–27 for her began to wane, but then they returned with LUMENOCITY® Connections: great intensity as he decided to make his love for Cincinnati experienced the Dream her the subject of his new symphony. of a Witches’ Sabbath from Berlioz’s I have just been plunged again into all the exhilarating Symphonie fantastique tortures of an endless and unquenchable passion, during LUMENOCITY 2015. without cause, without purpose. She is still in London, and yet I seem to feel her around me; I hear my heart pounding, and its beats set me series of coincidences. It was fate. I saw it was no going like the piston strokes of a steam engine. longer possible for me to struggle against it. For Each muscle of my body trembles with pain. two years I had heard nothing of the fair Ophelia; Useless! Frightening! Oh, unhappy woman! I had had no idea where she was, whether in If she could for one moment conceive all the England, Scotland, or America; and here I was, poetry, all the infinity of such a love, she would arriving from Italy at exactly the moment when fly to my arms, even if she must die from my she reappeared after a tour of northern Europe. embrace. I was on the point of beginning my We had just missed meeting each other in the grand symphony Episode from the Life of an Artist, same house; I had taken the apartment that she in which the development of my infernal passion had vacated the previous evening. is to be depicted; I have it all in my head, but I can write nothing. Berlioz was arranging for a concert that would include the revised Symphonie fantastique and its new Soon after writing this letter on February 6, 1830, sequel. He had a man named Scutter see to it that Berlioz heard and believed a rumor that Smithson Smithson attended the concert. She was distressed was having an affair with her manager. The com- at the time because Shakespeare was no longer poser was disgusted and he snapped out of his popular in Paris and attendance at her company’s lovesick lethargy. Now he was able to compose the productions was scanty. She decided to spend symphony. It was ready for its first performance the an afternoon at a concert as a diversion from her afternoon of December 5, 1830. financial troubles. By now she knew who Berlioz Smithson, in the meantime, had fallen on hard was, but she still had never met him and she had times, although the rumor of her affair had proven no idea of her intimate connection with the music false and her good name had been restored. The she was about to hear. In the cab to the concert, she acting company had gone bankrupt in London, and studied the concert program and she learned that the actress was forced to accept walk-on parts at the Berlioz was “the originator of the proceedings.” Opéra-Comique. Since she did not have a singing The title of the symphony and the headings of the voice and did not speak French, her roles were various movements somewhat astonished her; but minor, and she was barely able to make a living. By it never so much as occurred to her that the heroine coincidence Smithson gave a benefit performance of this strange and doleful drama might be herself. the very night of the Symphonie fantastique’s afternoon premiere. Berlioz, who was moved by her Every eye was on her as she arrived. Everyone plight and still felt tenderness for her (though he in Parisian music circles knew the truth, but Harriet did not. She took the stares as directed at had still never even met the woman), stayed away a famous actress. During the intermission (after from her performance; he did not want to fuel the the Symphonie fantastique but before The Return to rumors (quite true, of course) that she was the be- Life), Scutter made “veiled allusions to the cause loved woman mentioned in the published program of this young composer’s well-known troubles of of the Symphonie fantastique. the heart. [She] began to suspect the truth.” The A few weeks after the premiere of the Symphonie second half began, and the actor playing the part fantastique, Berlioz left for a year and a half in Rome. of Lélio (the hero who represents Berlioz in The There he revised the second and third movements Return to Life) delivered this line: “Oh, if I could only find her, the Juliet, the Ophelia for whom of the piece, and he composed a sequel called The my heart cries out! If I could drink deep of the Return to Life. He returned to Paris in November mingled joy and sadness that real love offers us, 1832 and rented an apartment across from where and one autumn evening on some wild heath with Smithson used to live. the north wind blowing over it, lie in her arms and sleep a last, long, sorrowful sleep!” I asked [the housekeeper] what had become of Miss Smithson and whether she had heard any “God!” she thought. “Juliet-Ophelia! Am I news of her. “But sir…she’s in Paris. She was dreaming? I can no longer doubt. It is of me he staying here only a few days ago. She left the day speaks. He loves me still.” From that moment… before yesterday and moved to the rue de Rivoli. she felt the room reel about her; she heard no She was in the apartment that you have now. She more but sat in a dream and at the end returned is director of an English company that’s opening home like a sleepwalker, with no clear notion of next week.” I stood aghast at the extraordinary what was happening.

cincinnatisymphony.org | FANFARE CINCINNATI | 35 PROGRAM NOTES: SEPT 25–27 This was Berlioz’ account of of melancholic reverie, interrupted by a few fits of groundless joy, to one of frenzied passion, with how Smithson finally came to its movements of fury, of jealousy, its return to tenderness, its tears, its religious consolations— understand that the irrational young this is the subject of the first movement. A Ball. The artist finds himself in the most varied man who had written her love situations—in the midst of the tumult of a party, letters two years earlier had actually in the peaceful contemplation of the beauties of nature. But everywhere—in town, in the made a monumental musical country—the beloved image appears before him and disturbs his peace of mind. composition based on his hopeless Scene in the Country. Finding himself one evening love for her. in the country, he hears in the distance two shepherds piping a ranz des vaches [a simple This was Berlioz’ account of how Smithson finally melody played or sung by herdsmen as they drove their cattle to or from the pasture] in came to understand that the irrational young man dialogue. This pastoral duet, the scenery, the who had written her love letters two years earlier quiet rustling of the trees gently brushed by the had actually made a monumental musical composi- wind, the hopes he has recently found some tion based on his hopeless love for her. Finally, the reason to entertain—all concur in affording his day after the concert, the inevitable happened: the heart an unaccustomed calm, and in giving a two met. Thus ended a fairy tale and began life’s more cheerful color to his ideas. He reflects upon reality. Several months later they were married, his isolation; he hopes that his loneliness will soon be over. But what if she were deceiving but within a few years they were miserable. They him! This mingling of hope and fear, these ideas separated after a decade of marriage. Berlioz mar- of happiness disturbed by black presentiments, ried his mistress when Harriet died in 1854. form the subject of the adagio. At the end one of KEYNOTE. Berlioz actually made two different the shepherds again takes up the ranz des vaches; versions of the program for the Symphonie fantastique. the other no longer replies. Distant sounds of The original one is printed here; the revised version thunder—loneliness—silence. was intended for use when The Return to Life is also March to the Scaffold. Convinced that his love is performed. But that strange second work is rarely unappreciated, the artist poisons himself with heard today. opium. The dose of the narcotic, too weak to kill The composer’s intention has been to develop, him, plunges him into a sleep accompanied by insofar as they contain musical possibilities, various the most horrible visions. He dreams that he has killed his beloved, that he is condemned and led situations in the life of an artist. The outline of the to the scaffold and that he is witnessing his own instrumental drama, which lacks the help of words, execution. The procession moves forward to the needs to be explained in advance. The following pro- sounds of a march that is now somber and fierce, gram, indispensable for a complete understanding now brilliant and solemn, in which the muffled of the dramatic outline of the work, should thus be noise of heavy steps gives way without transition considered as the spoken text of an opera, serving to to the noisiest clamor. At the end of the march, the introduce the musical movements, whose character first four measures of theidée fixe reappear, like a last thought of love interrupted by the fatal blow. and expression it motivates: Dream of a Witches’ Sabbath. He sees himself at Reveries, Passions. The author imagines that the sabbath, in the midst of a frightful troop of a young musician, afflicted with that moral ghosts, sorcerers, monsters of every kind, who disease that a well-known writer calls the vague have come together for his funeral. Strange des passions, sees for the first time a woman who noises, groans, bursts of laughter, distant cries embodies all the charms of the ideal being he has which other cries seem to answer. The beloved imagined in his dreams, and he falls desperately melody appears again, but it has lost its character in love with her. Through an odd whim, of nobility and shyness; it is no more than a dance whenever the beloved image appears before the tune, mean, trivial and grotesque: it is she, coming mind’s eye of the artist, it is linked with a musical to join the sabbath. A roar of joy at her arrival. thought whose character, passionate but at the She takes part in the devilish orgy. Funeral knell, same time noble and shy, he finds similar to the burlesque parody of the Dies irae [hymn sung in one he attributes to his beloved. the funeral rites of the Catholic Church], sabbath This melodic image and the model it reflects round-dance. The sabbath round and the Dies pursue him incessantly like a double idée fixe. This irae combined. is the reason for the constant appearance, in every The drug-induced fantasy world of this program is movement of the symphony, of the melody that only one of many utterly original aspects of theSym - begins the firstallegro. The passage from this state phonie fantastique. The degree of detail in the program

36 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: SEPT 25–27 and the composer’s insistence on its importance for of bows hitting the strings just before the end. The the listener are also unprecedented. The most original work consistently demonstrates Berlioz’s incredible aspect of the work, however, is its orchestration. The originality as an orchestrator. use of four bassoons, four types of clarinets (A, B-flat, The Symphonie fantastique is a work like no other. C and E-flat), large bells and cornets as well as trum- Its reason for being is odd. Its sound palette is pets lends this score a unique sound. But it is mainly unprecedented. Its forms are fresh. Its program Berlioz’ uncanny sonic imagination that gives the is grotesque. And the result is a composition that piece its special quality, that makes it sound as fresh creates its own world in sound. The influence of today as it must have in 1830. The finale in particular Goethe, Beethoven and Shakespeare, plus the ir- abounds in incredible sonorities—from the parody of rational love for Harriet Smithson, all worked on the idée fixe tune in the C and then E-flat clarinets, to the mind of the 27-year-old composer, and what the bells that announce the ancient Gregorian chant resulted was completely new, amazingly fresh, Dies irae, to the subsequent woodwind distortion of wholly personal—and a masterpiece. that melody, to the weird sound of the wooden parts —Jonathan D. Kramer

GUEST ARTIST Sept 25–26

YEFIM BRONFMAN, pianist Bronfman works regularly with Internationally recognized as an illustrious group of conductors, one of today’s most acclaimed including Daniel Barenboim, Her- and admired pianists, Yefim bert Blomstedt, Semyon Bychkov, Bronfman stands among a hand- Riccardo Chailly, Christoph von ful of artists regularly sought by Dohnányi, Gustavo Dudamel, festivals, orchestras, conductors Charles Dutoit, Daniele Gatti, and recital series. His command- Valery Gergiev, Alan Gilbert, Ma- ing technique, power and excep- riss Jansons, Vladimir Jurowski, tional lyrical gifts are consistently James Levine, Zubin Mehta, Ric- acknowledged by the press and cardo Muti, Andris Nelsons, audiences alike. Yannick Nézet-Séguin, Sir Simon At the center of this season is a Rattle, Esa-Pekka Salonen, Franz residency with the Staatskapelle Welser-Möst and David Zin- Dresden, which includes all the man. Summer engagements have Beethoven concerti conducted by regularly taken him to the major Yefim Bronfman, © Dario Acosta Christian Thielemann in Dresden festivals of Europe and the U.S. and on tour in Europe. Bronfman will also be per- He has also given numerous solo recitals in the forming Bartók concerti with the London Symphony leading halls of North America, Europe and the Far Orchestra and Valery Gergiev in Edinburgh, Lon- East, including acclaimed debuts at Carnegie Hall in don, Vienna, Luxembourg and New York. Recital 1989 and Avery Fisher Hall in 1993. In 1991 he gave performances will capture audiences with the cycles a series of joint recitals with Isaac Stern in Russia, of the daunting complete Prokofiev sonatas over marking Bronfman’s first public performances there three programs in Berlin, New York’s Carnegie Hall, since his emigration to Israel at age 15. That same and Cal Performances, Berkeley. year he was awarded the prestigious Avery Fisher As a regular guest, Yefim Bronfman will return Prize, one of the highest honors given to American to the Vienna, New York and Los Angeles philhar- instrumentalists. In 2010 he was honored as the monics; Mariinsky, Cleveland and Philadelphia recipient of the Jean Gimbel Lane prize in piano orchestras; as well as the symphonies of Boston, performance from Northwestern University. Montreal, Toronto, San Francisco and Seattle. Widely praised for his solo, chamber and or- Following the success of their first U.S. tour last chestral recordings, Bronfman was nominated spring, Bronfman will rejoin Anne-Sophie Mutter for a Grammy® Award in 2009 for his Deutsche and Lynn Harrell in May for a European tour that Grammophon recording of Esa-Pekka Salonen’s takes them from Madrid to Berlin, Moscow and piano concerto with Salonen conducting the Los An- Milan. Always keen to explore chamber music geles Philharmonic, and in 1997 he won a Grammy repertoire, his partners have also included Martha Award, again with Salonen and the Los Angeles Argerich, Magdalena Kožená, Emmanuel Pahud, Philharmonic, for his recording of the three Bartók Pinchas Zukerman and many others. Piano Concerti. His prolific catalog of recordings

cincinnatisymphony.org | FANFARE CINCINNATI | 37 GUEST ARTIST: SEPT 25–26

violinist Gil Shaham, cellist Truls Mørk, and the CD SIGNING! Tönhalle Orchestra Zürich under David Zinman Yefim Bronfman will sign his (Arte Nova/BMG). CDs at intermission Friday Now available on DVD are his 2010 performances and Saturday, including of Liszt’s second piano concerto with Franz Welser- Perspectives, which features Möst and the Vienna Philharmonic from Schoen- concertos and recital works brunn (Deutsche Grammophon); Beethoven’s fifth by Russian composers, piano concerto with Andris Nelsons and the Royal available at The Bravo Shop. Concertgebouw Orchestra from the 2011 Lucerne Festival, and Rachmaninoff’s third concerto with includes works for two pianos by Rachmaninoff and the Berlin Philharmonic and Sir Simon Rattle (Eu- Brahms with Emanuel Ax, the complete Prokofiev roArts). Scheduled for DVD release later this year concerti with the Israel Philharmonic and Zubin are both Brahms Concerti with Franz Welser-Möst Mehta, a Schubert/Mozart disc with the Zukerman and The Cleveland Orchestra. Chamber Players, and the soundtrack to Disney’s Born in Tashkent in the Soviet Union, Yefim Bron- Fantasia 2000. His most recent CD releases are the fman immigrated to Israel with his family in 1973, 2014 Grammy-nominated Magnus Lindberg’s where he studied with pianist Arie Vardi, head of the Piano Concerto No. 2, commissioned for him and Rubin Academy of Music at Tel Aviv University. In performed by the New York Philharmonic con- the United States, he studied at The Juilliard School, ducted by Alan Gilbert (Da Capo); Tchaikovsky’s Marlboro School of Music, and the Curtis Institute Piano Concerto No. 1 with Mariss Jansons and of Music, under Rudolf Firkusny, Leon Fleisher and the Bayerischer Rundfunk; a recital disc, Perspec- Rudolf Serkin. He is a 2015 recipient of an honorary tives, complementing Bronfman’s designation as a doctorate from the Manhattan School of Music. Carnegie Hall “Perspectives” artist for the 2007–08 Yefim Bronfman became an American citizen in season; and recordings of all of the Beethoven piano July of 1989. n concerti as well as the Triple Concerto together with

Q&A WITH YEFIM BRONFMAN

FC: Tell us about your experience with the Bartók FC: Have you worked with Louis Langrée before? Second Piano Concerto. What has the experience been like? YB: I learned it very young. It was a challenge at YB: I have worked with him once. It was a won- the time, something that introduced me to 20th- derful experience at Mostly Mozart. He is a won- century language and particularly the language of derful musician and great conductor. Bartók. It was a foundation for my other interests in 20th-century music and the new music that Fanfare Cincinnati: Was there an “aha” moment evolved from that experience. when you realized you wanted to be a pianist? When did you know you could make being a pianist a career, not just a hobby? Yefim Bronfman: It’s still a hobby!

FC: What music do you listen to when you’re not working? YB: Silence.

FC: Where do you seek and find inspiration? YB: Perspiration, from working hard.

Yefim Bronfman, © Oded Antman

38 | FANFARE CINCINNATI | cincinnatisymphony.org thank you

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2015–2016 SEASON FRI OCT 2, 8 pm SAT OCT 3, 8 pm Music Hall

LOUIS LANGRÉE conductor KAREN GOMYO violinist JAMES DARRAH director/curator ADAM LARSEN projection designer/photographer

SIBELIUS Concerto in D Minor for Violin and Orchestra, Op. 47 (1865–1957) Allegro moderato Adagio di molto Allegro ma non tanto

INTERMISSION

SCHOENBERG Pelleas und Melisande, Op. 5 (1874–1951)

Tom and Dee Stegman are this weekend’s Multimedia Sponsors. The CSO is grateful to MACY’S, the CSO’s Boundless Series Sponsor. PricewaterhouseCoopers is the Concert Sponsor for this weekend’s concerts. Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony and Pops Orchestra. These concerts will end at approximately 9:45 pm Friday and Saturday. 90.9 WGUC will broadcast this concert Sunday, January 17, 8 pm.

JEAN SIBELIUS the first movement of the Mendelssohn Concerto Concerto in D Minor for Violin and while a student in Vienna. Orchestra, Op. 47 My tragedy was that I wanted to be a celebrated TIMING: approx. 31 min. violinist at any price. Since the age of 15, I played INSTRUMENTATION: solo violin, 2 flutes, 2 oboes, my violin for ten years, practically from morning 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, to night. I hated pen and ink, and unfortunately timpani, strings I preferred an elegant violin bow. My preference CSO SUBSCRIPTION PERFORMANCES for the violin lasted quite long, and it was a very Premiere: February 1907, Frank Van der Stucken painful awakening when I had to admit that I conducting; Maud Powell, violinist had begun my training for the exacting career of Most Recent: October 2009, Paavo Järvi conducting, an eminent performer too late. Sayaka Shoji, violinist Between the composition of his Second and Third Sibelius was born in Hämeenlinna, Finland on Decem- symphonies, Sibelius wrote his Violin Concerto ber 8, 1865; he died in Järvenpää, Finland on Septem- for Willy Burmester, former concertmaster of the ber 20, 1957. He composed the Violin Concerto in 1903 Kajanus Orchestra. Burmester delayed playing the and conducted the first performance with violinist Viktor work, however, and Sibelius instead arranged for a Nováček in Helsinki on February 8, 1904. The revised performance by Viktor Nováček. Nováček, who was version was introduced in Berlin by violinist Karl Haliř less accomplished than Burmester, was not quite up and conductor Richard Strauss on October 19, 1905. to the fiendishly difficult passages that had been composed with a great virtuoso in mind. It is not surprising that Sibelius should have com- Critic Karl Theodor Flodin, a long-time supporter posed several works for the violin, since as a young of Sibelius, reviewed the new work: man he aspired to be a violinist. He even performed

cincinnatisymphony.org | FANFARE CINCINNATI | 41 PROGRAM NOTES: OCT 2–3

It is clear that the composer did not want to write “I know more about music than Sibelius, but he is one of those violin concertos which are really the greater composer.” nothing but orchestral works with an obbligato KEYNOTE. Sibelius once advised a student, “I solo part. He knows the fate of these modern warn you against long preludes and interludes. And concertos—to be played once and then set aside.… So he chose rather the other alternative— this refers especially to violin concertos. Think of the to let the soloist remain sovereign ruler the entire poor public!” Indeed, the violin enters after less than time, with a display of traditional pomp and four measures of string oscillations. It plays a long, circumstance. But here he collides with the whole rhapsodic line, the first of three themes. There is no solid mass of what has been said before, written formal development section in this movement, since before, and composed before. Impossible to come each theme is carefully developed when first stated. up with anything really new. And on that hidden The adagio opens with wind duets. The violin reef the ship has foundered. enters with a long, lyrical line in the low register. The composer took this criticism to heart and After an orchestral interlude the solo instrument rewrote the concerto, giving greater prominence plays complex two-voice counterpoint, in which the to the orchestra. The new version was dedicated two parts have quite different rhythms—a true test to a young Hungarian violinist, Franz von Vecsey. of the soloist’s musicianship and technique. Still another soloist premiered the revised con- The second movement’s repeated-note syncopa- certo. Karl Haliř, a member of the Joachim Quartet, tions are transformed into the finale’s long-short- played the work in Berlin under the direction of short rhythm (the timpani contradict constantly Richard Strauss. Sibelius was flattered that the with short-short-long). As in the first movement, famous composer would show an interest in his the strings begin their repetitive accompanimental work, and he appreciated the care with which figure alone for a few measures before the solo Strauss rehearsed. “As an instance of Strauss’s violin enters with the main theme. The rhythmic extraordinary conscientiousness in performing the vitality of the second theme is enhanced by a con- works of other contemporary composers,” wrote stant interplay between 6/8 and 3/4 meters. At the Sibelius, “it should be mentioned that he had three recapitulation the full orchestra plays an exciting rehearsals with just the orchestra for practicing the transformation of the opening. Virtuosic runs in the accompaniment. But the Violin Concerto needs it.” solo violin end this flashy concerto. Many years later Strauss is reported to have said, —Jonathan D. Kramer

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ARNOLD SCHOENBERG These exciting ideas did not, in practice, lead to Pelleas und Melisande, Op. 5 great artistic stimulation or professional success for Schoenberg. His situation in Berlin was no better TIMING: approx. 44 min. than in Vienna. As musical director of the cabaret, INSTRUMENTATION: 3 flutes (incl. 2 piccolos), 3 oboes, English horn, 3 clarinets (incl. E-flat clarinet and 2 bass he made barely enough money to support his new clarinets), 3 bassoons, contrabassoon, 8 horns, 4 trumpets, family. He had to conduct, compose popular music 5 trombones, tuba, 2 timpani, cymbals a2, triangle, and—once again—arrange and orchestrate music glockenspiel, tenor drum, bass drum, tam-tam, 2 harps, by others. He is reputed to have turned out over strings 6,000 pages of manuscript by 1903! Not much time CSO SUBSCRIPTION PERFORMANCES Premiere: March 1917, Ernst Kunwald conducting remained for serious composition. Most Recent: March 2000, Jesús López-Cobos conducting The most prominent composer in Berlin at the time was Richard Strauss. Schoenberg knew and admired Schoenberg was born in Vienna on September 13, 1874; several of Strauss’ scores, and he was glad to meet he died in Los Angeles on July 13, 1951. He composed Strauss in April 1902. The famous composer took an Pelleas und Melisande between July 4, 1902 and interest in the young man from Vienna. Knowing that February 28, 1903. He conducted the first performance Schoenberg was having financial troubles, Strauss in Vienna on January 26, 1905. helped him secure grants and extra jobs. Schoenberg copied the orchestral parts for Strauss’ enormous Schoenberg was 27 years old. He was a struggling Taillefer. Strauss found other copying jobs for Schoen- composer, with high ambitions but few accomplish- berg, helped him secure a part-time teaching post, ments and fewer prospects. He was earning a small and nominated him for a Liszt Foundation Fellow- income in Vienna by orchestrating other composers’ ship. Strauss’ letter of recommendation requested operettas, but he was discouraged about his own ca- that “a man, who lives in the most dire poverty and reer. He began to think about moving to another city. is very talented, be given urgently a scholarship of In September 1901 a touring literary cabaret came one thousand marks a year for some years.… You to Vienna from Berlin. The musical accompaniment will find that his works, if a bit overcharged at the was to be conducted by Oskar Straus, whose uncle moment show great talent and gifts.” forbade his appearance because the performance Strauss helped Schoenberg artistically as well fell on Yom Kippur. Ernst von Wolzogen, director as materially. He called his younger colleague’s of the company, recalled that Straus “brought me attention to the symbolist play Pelléas et Mélisande a young musician of small stature, strong features, by Maurice Maeterlinck. Strauss, unaware that and dark hair, whose name, Arnold Schoenberg, at Debussy’s opera on the same text had recently that time was completely unknown.” been premiered in Paris, suggested that Schoenberg Wolzogen was impressed with Schoenberg’s might want to compose an opera on Pelléas.Writing cabaret songs, and Schoenberg began to think that in 1950, Schoenberg recalled: he might secure employment at the cabaret’s home theater in Berlin. A move away from Vienna would I had first planned to convertPelléas et Mélisande be providential for another reason. Schoenberg was into an opera, but I gave up this plan, though I in love with Mathilde Zemlinsky, sister of his mentor did not know that Debussy was working on his opera at the same time. I still regret that I did and former teacher, composer-conductor Alexander not carry out my initial intention. It would have Zemlinsky. Mathilde was several months pregnant. differed from Debussy’s. I might have missed A move to Berlin promised both employment and the wonderful perfume of the poem; but I might avoidance of a scandal. The young couple married have made my characters more singing. On the in October and moved to Berlin in December. other hand, the symphonic poem helped me, in The cabaret promised artistic excitement and that it taught me to express moods and characters new ideas. One of its writers, Otto Julius Bierbaum, in precisely formulated units, a technique that explained: my opera would perhaps not have promoted so well. Thus my fate evidently guided me with In placing our art at the service of the music hall, great foresight. our intentions are entirely serious. We are firmly The tone poem Pelleas und Melisande was the only convinced that the time has come for the whole of life to be permeated by art. Painters nowadays large-scale work Schoenberg completed while liv- make chairs, and aim to make them not just the ing in Berlin. It is surely no coincidence that in this, sort you can admire in museums but the sort you the only tone poem Schoenberg ever composed, can park yourself in without discomfort to the he employed a technique from Strauss’ famous portions of your anatomy concerned. In the same tone poems of the 1890s: the use of short figures to way we want to write poems that will not just be characterize particular people, objects emotions or read amidst the bliss of solitude, but that can bear events, much in the way Wagner used leitmotiven singing to a crowd hungry for entertainment.

cincinnatisymphony.org | FANFARE CINCINNATI | 43 PROGRAM NOTES: OCT 2–3 in his operas. Strauss and knights, orphan princesses, Schoenberg were attempting and guardians of desolate to tell stories and to depict castles may be; we are their emotional undercur- not told where they come from, nor where they rents in purely orchestral go; their existence has music. nothing concrete about it. In 1903 Schoenberg moved Through everything runs back to Vienna. He wrote to the suggestive symbolism Strauss: of both action and setting. Overtones and implications Some friends have taken say more than direct speech, trouble on my behalf, so that symbols more than fact. I can earn my living here to Maeterlinck’s subject is a certain extent. Naturally I the mystery of fate, the have no fixed employment, power of destiny and of the unfortunately, but I will subconscious, the intense have a lot of work from but hidden inner conflicts Universal Edition, the of life. new Viennese publishing house, and if this goes only In 1920 Schoenberg’s pu- half way, it will at least be pil Alban Berg published bearable. So I must say an analysis of Pelleas und good-bye to you for a long Melisande, in which he iden- time. I would like to take Fashion designer Christian Lacroix was inspired to create this look tified 20 distinct themes, this opportunity to thank for the character Mélisande, saying, “For Golaud, Mélisande is used as leitmotiven. In 1949 you, honored master, once duplicitous, wicked and her hair, emblem of dangerous femininity, serves as an instrument of torture.” again for all the help you Schoenberg himself wrote a have given me at a sacrifice similar analysis. to yourself in the most sincere manner. I will not The work is cast in 17 short sections, which group forget this for the whole of my life and will always into four larger units, roughly corresponding to the be thankful to you for it. four movements of a symphony. It begins with an Schoenberg and Strauss remained on good terms introduction describing how Golaud, step-brother for a number of years. However, once Schoenberg of Pelleas, finds the strange, child-like Melisande turned to composing atonal music, Strauss could weeping by a brook. The bass clarinet, almost no longer understand nor sympathize with Schoen- at the very beginning, presents the fate motive. berg’s music. The two men went their separate ways, Melisande refuses to identify herself, and she evades particularly in old age, when Schoenberg fled the his questions. Her helplessness is represented by a Nazi terror by moving to America while Strauss descending oboe theme. Golaud’s theme appears remained in Germany. In 1946 Schoenberg wrote solftly in the horns, as Melisande refuses to allow about Strauss, denying the allegation that the latter him to help her retrieve the crown she has lost in had been a Nazi and expressing sympathy for the the brook. As his theme expands through the full way the war had ravaged the man’s career and orchestra, he leads her to his castle, where he weds fortune. Schoenberg concluded, “I do not speak as her. After the music dies down, the trumpet sounds a friend of Richard Strauss; though he was helpful the theme of Pelleas, characterized as a youthful to me in my youth, he has later changed his attitude knight. His theme includes the two-chord motive of towards myself. I am sure that he does not like my destiny. The return of Melisande’s theme symbolizes music and in this respect I show no mercy. I consider her growing love for Pelleas. such people as enemies.” The second section, a scherzo, depicts the scene in KEYNOTE. The unworldly atmosphere of Maeter- which Melisande, playing with her wedding ring by linck’s play, which was first produced in 1893, a well, loses it at the same instant that Golaud, rid- inspired music by four major composers. In addition ing far away, falls off his horse: the Golaud theme, to Schoenberg’s tone poem and Debussy’s opera, in trombones and tuba, descends. Golaud begins we have incidental music by Fauré and Sibelius. to grow suspicious of Pelleas and Melisande. In a According to Harry Neville, what attracted these climactic scene Melisande lets her hair fall from a composers was Maeterlinck’s preoccupation… castle window over the ecstatic Pelleas. This scene begins with flutes and clarinets in imitation. Harps …with the mystery that lies just beneath the join in, and two solo violins play Melisande’s theme surface of ordinary life; the facts of time and while a solo cello plays Pelleas’ theme. As Pelleas space have little influence on the movements of his characters. We seldom know who his pale and Melisande declare their love, Golaud’s suspi- cions are realized. He leads Pelleas to the tombs 44 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: OCT 2–3 beneath the castle. Trombone glissandos (used A chorale-like version of Melisande’s theme, ac- here for the first time ever in a symphonic work), companied by a descending figure in the flutes and muted horns and trumpets, and flutter-tongued piccolos, is a premonition of her death. The servants flutes produce a suitably eerie texture. Pelleas fears fall to their knees as Melisande dies. The work ends Golaud’s strange mood. with a recapitulatory epilogue. The third section, an adagio, starts with the love Schoenberg concludes his analysis of the work music of Pelleas and Melisande. The theme is a long, with this statement: lyrical violin line. The love theme combines with the The first performance, 1905 in Vienna, under Pelleas and Melisande themes, as the music surges my own direction, provoked great riots among toward a climax. The couple embraces. Golaud’s the audience and even the critics. Reviews were theme is heard as he rushes from the shadows and unusually violent, and one of the critics suggested kills Pelleas. We hear the fate motive. putting me in an asylum and keeping music paper In the final section Melisande lies in her chamber, out of my reach. Only six years later, under Oscar having given birth to a daughter. Golaud, still sus- Fried’s direction, it became a great success, and since that time has not caused the anger of the picious, questions her, but she denies that her love audience. for Pelleas had been anything more than innocent. —Jonathan D. Kramer

GUEST ARTISTS Oct 2–3

KAREN GOMYO, violinist Future engagements include Recipient of the prestigious debuts with the Bamberger Avery Fisher Career Grant Symphoniker and Aarhus in 2008, violinist Karen Go- Symfoniorkerter; a return to myo has established herself in the Hong Kong Philharmonic recent years as a much in de- with its music director Jaap mand soloist internationally, Van Zweden; engagements performing with orchestras with the St. Louis, Dallas, such as the New York Phil- Houston, Milwaukee and At- harmonic, LA Philharmonic, lanta symphony orchestras; a San Francisco Symphony, two-week residency in Brazil Philadelphia Orchestra and with the Orchestra Sinfonica Cleveland Orchestra. Outside do Estado de Sao Paulo with of the U.S. she has appeared Marin Alsop; and a return to with the Danish National Sym- the New Zealand Symphony phony, Mozarteum Orchester with its new music director Salzburg, Royal Liverpool Edo de Waart. In July of 2015, Philharmonic, Scottish Cham- she toured Australia with ber Orchestra, City of Birming- Karen Gomyo, © Gabrielle Revere mezzo-soprano Susan Graham ham Symphony Orchestra, Tokyo Symphony and and the Australian Chamber Orchestra. Sydney Symphony. In recital and chamber music, Gomyo has In February of 2015, she performed the North performed in festivals throughout the U.S. and American premiere of Matthias Pintscher’s Violin Europe. Her chamber music partners have included Concerto No. 2 with the National Symphony of Leif Ove Andsnes, Olli Mustonen, Kathryn Stott, Washington D.C. and the composer conduct- Juho Pohjonen, Heinrich Schiff, Christian Poltéra, ing. Other 2014–15 highlights included returns to Alisa Weilerstein, Lynn Harrell, Jörg Widmann, The Cleveland Orchestra; the Toronto, Detroit, Or- Isabelle Van Keulen and Benjamin Schmid. During egon and Vancouver symphony orchestras; and a the summer of 2015, she performed a recital with return to Australia for debuts with the Melbourne, guitarist Ismo Eskelinen at the Mainzer Musiksom- Tasmanian and New Zealand symphony orches- mers Festival in Germany, as well as recitals with tras with conductor Pietari Inkinen as part of his pianist Christian Ihle Hadland in various festivals final tour as music director. She also debuted with in Denmark. She also returns to the Delft Festival the Staatsoper Hannover, Radiofonieorchester in Holland, Musiktage Mondsee in Austria, the Stuttgart, Aalborg Symfoniorkester, Argovia Phil- Moritzburg Festival in Germany, and the Louisiana harmonic (Switzerland) and the Taipei Symphony. Museum’s chamber music series in Denmark.

cincinnatisymphony.org | FANFARE CINCINNATI | 45 GUEST ARTIST: OCT 2–3

Karen Gomyo has worked with such conductors from adaptations and new translations of Aeschy- as Sir Andrew Davis, Leonard Slatkin, Neeme lus’ Oresteia to new productions of the plays of Caryl Järvi, David Robertson, David Zinman, Yannick Churchill. He has taught theater and performance Nézet-Séguin, Louis Langrée, Thomas Dausgaard, for the Adler Fellowship Program of San Francisco James Gaffigan, Pinchas Zukerman, Heinrich Schiff, Opera, Cornish College of the Arts, California State Hannu Lintu, Vasily Petrenko, Pietari Inkinen, University, Long Beach and the University of Joshua Weilerstein, Jakub Hrusa, Cristian Macelaru, California, Los Angeles. He holds an MFA from the Gilbert Varga and Mark Wigglesworth. UCLA School of Theater, Film and Television, where Recently, a documentary film about Stradivarius he was the recipient of the George Burns/Gracie produced by Japan’s NHK, The Mysteries of the Allen Directing Scholarship. He continued studies Supreme Violin, in which Gomyo was violinist, and work with director Stephen Wadsworth for two guide and narrator, was broadcast worldwide on seasons at The Juilliard School, including the inau- NHK World. gural Met+Juilliard co-production of The Bartered Gomyo is deeply interested in the Nuevo Tango Bride. He has been awarded the James Pendleton music of Astor Piazzolla and has an ongoing project Foundation Grant and the national Princess Grace with Piazzolla’s longtime pianist and tango legend Award in Theater. Pablo Ziegler and his partners Hector del Curto James Darrah is a member of United Scenic (bandoneon), Claudio Ragazzi (electric guitar) and Artists, Local 829, AGMA, and SDC Society and is Pedro Giraudo (double bass). She also performs represented by Opus 3 Artists (General Manage- regularly with the Finnish guitarist Ismo Eskelinen ment) and IMG Artists (Europe). in a unique duo program. A recording with Mr. Eskelinen is planned for 2015. ADAM LARSEN, Karen Gomyo plays on the “Aurora, ex-Foulis” projection designer/ Stradivarius violin of 1703 that was bought for her photographer exclusive use by a private sponsor. Adam Larsen is a docu- mentarian and projection JAMES DARRAH, designer. He has designed director/curator video projections both On Los Angeles-based di- and Off-Broadway in the rector, production de- U.S. and abroad. signer and visual artist Notable works in- James Darrah’s collab- clude Hal Prince’s Love- orative focus through Musik (Broadway); The Gospel at Colonus (Athens, varied mediums has Edinburgh and Spoleto Festivals); The Wind Up quickly led him to be Bird Chronicle (Singapore and Edinburgh Festi- recognized as “the new- val); Brief Encounters and My Fair Lady (Shaw Fes- est discovery…a gifted tival); The Women of Brewster Place (Alliance/Arena young American direc- Stage); Ghost Brothers of Darkland County and Native tor” (Chicago Tribune) who ”injects real drama” (New Guard (Alliance Theatre); big (Atlanta Ballet); Love York Times) into productions that become ”once-in- Lies Bleeding, Fumbling Towards Ecstasy and Bal- a-lifetime experience[s]” (Opera News). His uniquely letlujah (Alberta Ballet); From the House of the collaborative and team-based approach to unconven- Dead (Canadian Opera); Lily Plants a Garden (Mark tional projects has also led to the creation of the new Taper); Maa (Atlanta Symphony/GloAtl); A Flow- LA-based production and design company Chro- ering Tree and Agrippina (Opera Omaha); Green matic, a collective of interdisciplinary artists who Umbrella: Theatre of the Outrageous (La Phil); Se- collaborate to create aesthetic theatrical events mele (Pacific Musicworks); Quartet (Aspen Santa Fe across blurring mediums. This season, his curation Ballet); Seed (Cedar Lake Contemporary Ballet); Sec- of Chromatic’s wide range of projects includes every- ond Hand and Phorion (New World Symphony); Siren thing from the creation and design of a large gala in Song (Hawaii Opera Theatre); Black Whole (Black an abandoned Omaha shopping mall, full-scale opera Mountain College Museum & Arts Center/Moog productions and original media/graphic designs, to a Music); Le Martyre de St. Sebastien, Peer Gynt, Peter multimedia video installation with the Los Angeles Grimes and SoundBox (San Francisco Symphony). Philharmonic and composer John Adams. Larsen’s first documentary, Neurotypical, a film He trained as a director/designer while a resident about autism from the perspective of autistics, aired artist with the Croatian National Theater and the on the PBS series P.O.V. last year. He holds a BFA Split Summer Festival, and his theater work ranges in Cinematography from the North Carolina School of the Arts. n

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

Ohio Arts Council Rhodes State Office Tower 30 E Broad St, 33rd Floor Columbus, OH 43215-3414 Phone: 614/466-2613 Fax:614/466-4494 oac.ohio.gov BOARDS BOARD OF DIRECTORS (as of September 1, 2015) Mrs. Charles Fleischmann III* Eric V. Oliver Officers Susan S. Friedlander* Robert S. Olson James E. Schwab, Chair Jane Garvey Santa Jeremy Ono Francie S. Hiltz, Chair-Elect and Vice-Chair Joseph W. Hagin Marilyn J. Osborn of Leadership Development Carol C. Hake Jack Osborn Leonard M. Randolph, Jr., M.D., Secretary John L. Harrison J. Marvin Quin II* Otto M. Budig, Jr., Treasurer and Vice-Chair Patti Heldman James B. Reynolds* of Finance Joseph W. Hirschhorn* Sandra Rivers Thomas Charles Garber, Vice-Chair of Facilities Sandra F.W. Joffe Jack Rouse Dianne M. Rosenberg, Vice-Chair of Volunteerism Lois Jolson Ryan Rybolt Rosemary Schlachter, Vice-Chair David Kirk Ann H. Santen of Patron Development Kevin Kline Jeffrey S. Schloemer Sheila J. Williams, Vice-Chair Ronald A. Koetters Pamela Scott of Community Engagement Marvin Kolodzik Edgar L. Smith, Jr. Peter Landgren Matthew Q. Stautberg Directors Tad Lawrence Thomas Stegman * Stuart Aitken Wendy S. Lea William D. Stenger Kathleen Barclay Patricia Gross Linnemann Randolph L. Wadsworth Jr.* Paul M. Booth Timothy J. Maloney Nancy Wagner Trish Bryan* Jonathan McCann Patricia Wagner Harold Byers Robert W. McDonald Nancy Walker* Myra Chabut Bernard L. McKay Geraldine B. Warner Christopher C. Cole Sue McPartlin Warren Weber Peter G. Courlas Linda Freiberg Miller Diane West Alvin H. Crawford, M.D. Elizabeth Reitz Mullenix Stacey G. Woolley Dennis W. Dern Stephen R. Mullin Honorable Tyrone K. Yates Sally Dessner Christopher Muth Shau Zavon Dianne Dunkelman Cora K. Ogle *Director Emeritus

The Board of Overseers: Access and Advocacy The Board of Overseers is a group of advocates for The rewards of membership are many, and the which your annual gift level gains you access to the investment provides invaluable returns. Unlike the operations and musicians of the Cincinnati Sym- Orchestra’s Board of Directors, membership in the phony and Pops Orchestra. Members of the Board Overseers does not require a nomination process. of Overseers are offered a unique, behind-the-scenes The only requirement for membership is to support view of how the Orchestra brings world-class music the Orchestra with a gift of $5,000 or more as an to the community and beyond through invitations individual or $7,500 or more as an organization. to events and other unique opportunities. From As the Orchestra continues its journey to even “lunch and learn” sessions to networking, members greater musical heights and builds an even stronger of the Board of Overseers spend time with those community presence, the near future provides sev- who have a fascination for and love of the music eral in-depth events for the Overseers. To learn more and the institution. about the Board of Overseers, contact Rachel Kirley in the Philanthropy Department at 513.744.3291.

BOARD OF OVERSEERS (as of August 13, 2015) Piotr Chomczynski “Not only have I enjoyed the Cincinnati Symphony Club Dr. Ira A. Abrahamson § Lois and Philip S. Cohen benefits of meeting musicians, Adleta Group, Mr. Robert Adleta Sheila and Christopher C. Cole Romola N. Allen § Coney Island, Victor W. Nolting guest artists and fellow concert- Mr. Anatole Alper Mr. and Mrs. Michael D. Connelly goers, but the programs have also Martha G. Anness § Corporex Companies, LLC, Mr. William Butler Mrs. Katy Barclay Peter G. Courlas § provided a great deal of insight Bartlett & Co., Jane Vanderhorst Crosset Family Fund, Mr. James M. Crosset Ellen A. Berghamer § Mrs. Thomas E. Davidson into how a world-class Orchestra Mary Bergstein Katharine M. Davis makes great music.” Mr. and Mrs. David Berick Dennis W. and Cathy Dern Louis D. Bilionis and Ann Hubbard Mr. and Mrs. Steve Dessner —Marvin Kolodzik, Board of Mrs. Herbert Bloch, Jr. Amy and Trey Devey § Rosemary H. and Frank Bloom § Nancy and Steve Donovan Overseers Member BMES, John Moore Marjorie Drackett Robert L. Bogenschutz Mrs. David Ellis, Jr. Martha P. Bolognini Emory P. Zimmer Insurance Agency, Baker D. Bahlman Dr. and Mrs. John and Suzanne Bossert § Ernst & Young, Mr. Scott Trosset Richard D. Gegner Chris and Karen Bowman Harry and Linda Fath § Mrs. Philip O. Geier § Mr. and Mrs. Frederick E. Bryan, III § Catherine Lepley Feig Sabine and Werner Geissler Mr. Otto M. Budig, Jr. Fifth Third Bank Foundation, Ms. Heidi Jark L. Timothy Giglio Mary Alice Burke § Mr. and Mrs. James T. Fitzgerald Drs. Lesley Gilbertson and William Hurford Shannon and Lee Carter Mr. and Mrs. David Fleischer Mr. and Mrs. Michael H. Giuliani Edward and Susan Castleberry Mrs. Charles Fleischmann Clifford J. Goosmann and Andrea M. Wilson CES/Link, Ms. Deborah Spradley Susan Friedlander § Priscilla Garrison Haffner § CFM, Ms. Jamie Jewell Frost Brown Todd, Ms. Jill Myer Mr. Joseph Hagin Ms. Geraldine V. Chavez Dr. and Mrs. Harry F. Fry Dr. and Mrs. Edward Hake Robert and Debra Chavez Molly and Tom Garber, CCI Design, Inc. David G. Hakes Chemed Corp., Sandra E. Laney Ms. Jane Garvey Tom and Jan Hardy §

48 | FANFARE CINCINNATI | cincinnatisymphony.org BOARDS

Mrs. Anne P. Heldman § Mr. and Mrs. Thomas J. Mueller Towers Watson, George Morrison Robert and Patricia Henley Stephen and Kristin Mullin § Toyota Motor Eng. & Mfg. Co. N.A., Inc., David Fleischer David C. Herriman Mr. and Mrs. Christopher Muth § UBS, Mr. Troy DeBord Mr. and Mrs. Joseph W. Hirschhorn § Mrs. Ruth Myers Dale and Joyce Uetrecht Mrs. Harry M. Hoffheimer Anne Nethercott § Larry Uhlenbrock HORAN, Terry Horan § Ohio National Financial Services, United Dairy Farmers, Mr. Brad Lindner Dr. and Mrs. M. Howett § Mr. Gary T. “Doc” Huffman U.S. Bank, Bradley Scott Dr. Murray Jaffe Dr. Santa Ono and Mrs. Gwendolyn Yip Sallie and Duck Wadsworth § Dr. and Mrs. Stephen Joffe Marilyn J. and Jack D. Osborn § Mr. and Mrs. Paul H. Ward § Johnson Investment Counsel, Mr. Dean Moulas Arlene Palmer Ginger and David W. Warner Lois and Dick Jolson John and Farah Palmer Gary and Diane West § Frank Jordan § Dr. and Mrs. John Parlin Western Pacific Holdings, Chiun-Teng Cheng Mr. Mace C. Justice § Paycor, Bob Coughlin Western & Southern Financial Services, Mr. and Mrs. Lorrence T. Kellar Joseph A. and Susan E. Pichler Mr. Don Wuebbling Dr. and Mrs. Lionel King PNC Bank, Kay Geiger Mrs. Harris K. Weston (Alice) Mr. and Mrs. Kevin Kline PricewaterhouseCoopers LLC, Evelyn L. Cole World Pac Paper, LLC, Edgar Smith and Mrs. Thomas Klinedinst, Sr. Terry and Marvin Quin Toni Robinson-Smith Edward A. Klint Irene and Dan Randolph § Ms. Karen Wright Linda Dianne Knose Rendigs, Fry, Kiely & Dennis, Mrs. Pat Fry Betsy and Alex C. Young § Florence and Ron Koetters Mercer and Gabrielle Reynolds Mr. and Mrs. James M. Zimmerman Marvin P. Kolodzik § Vicky and Rick Reynolds Anonymous (5) Michael and Marilyn Kremzar Melody Sawyer Richardson § Kroger, Ms. Katy Barclay Ellen Rieveschl § § Denotes members of The Thomas Schippers Anne I. Lawrence Elizabeth and Karl Ronn § Society. Individuals who have made a planned gift to Mr. and Mrs. Robert L. Lawrence J. David and Dianne Rosenberg the Cincinnati Symphony Orchestra are eligible for Louis Levin Nancy and Ed Rosenthal membership in The Thomas Schippers Society. For Daniel R. Lewis Moe and Jack Rouse § more information, please contact Rachel Kirley at Mr. and Mrs. Brad Lindner Ann and Harry Santen 513.744.3291. Edyth B. Lindner Mark S. and Rosemary K. Schlachter § Calvin and Patricia Linnemann § Jeffrey S. Schloemer and Marcia A. Banker Thomas and Adele Lippert Harold C. Schott Foundation, Francie and Tom Hiltz Whitney and Phillip Long Digi and Mike Schueler “Since I have gotten to know Mark and Tia Luegering Vivian and Jim Schwab Macy’s, Mr. Matthew Q. Stautberg Ladislas & Vilma Segoe Family Foundation, the Orchestra and the people by Mr. and Mrs. Timothy Maloney Mr. David Ellis Elizabeth and Brian Mannion, MD Irwin and Melinda Simon way of my volunteer activities, Alan Margulies and Gale Snoddy Mr. Murray Sinclaire every time I walk into Music Rhoda Mayerson Mr. and Mrs. Gerald Skidmore § Mr. and Mrs. Jonathan McCann Michael and Donnalyn Smith Hall I feel like I am at home. I Mr. Robert W. McDonald Tom and Dee Stegman § Laura Kimble McLellan § William D. Stenger hope you will consider becoming Mrs. Susan M. McPartlin Mary S. Stern a member of the Board of Mercy Health, Mario Cicchinelli Laurence G. Stillpass Messer Construction Co., Kathleen C. Daly Theodore W. and Carol B. Striker Overseers!” Mr. and Mrs. Douglas Miller Mr. and Mrs. Roy Sweeney Mr. James A. Miller Taft Stettinius & Hollister, Mr. Jeffrey Schloemer —Trish Bryan, Board of Linda and James Miller Delle E. Taylor Monarch Construction, Mr. Ron Koetters Ms. Anne D. Thomas Overseers Chair Mrs. James Monroe § Laura G. Thomson

cincinnatisymphony.org | FANFARE CINCINNATI | 49 FINANCIAL SUPPORT 2015–2016 SPONSORS The Cincinnati Symphony and Pops Orchestra is Greater Cincinnati area. For information on spon- grateful for the generosity of our sponsors. Sponsor- sorships, please contact the Philanthropy Office at ship support is vital to the success of the Orchestra 513.744.3365. We are proud to be partnered with and helps enhance the quality of cultural life in the the following:

PLATINUM BATON CIRCLE ($50,000+)

The Louise Dieterle Nippert Musical Arts Fund

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

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

GOLD BATON CIRCLE ($25,000–$49,999)

Tom & Molly Garber The Cincinnati Symphony Club

Western & Southern Financial Group

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

CONDUCTOR’S CIRCLE ($10,000–$24,999)

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

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

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

Queen City (OH) Chapter

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

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

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

50 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT 2015–2016 Sponsors, cont. ARTSWAVE Partners Ohio National Financial Services The Carol Ann & Ralph V. Haile The CSO and Pops acknowledges the thousands Convergys Corporation U.S. Bank Foundation of individuals who generously participate in the American Modern Insurance Group University of Cincinnati and UC Health ArtsWave Campaign at the following Partner AK Steel Enquirer Media Companies. Your support helps make our community vibrant and connects people across our region through the arts. P&G ArtsWave Partners | SEPTEMBER 2015 GE Aviation Fifth Third Bank Macy’s, Inc. Western & Southern Financial Group The Kroger Co. Cincinnati Bell Procter & Gamble GE Aviation Cincinnati Children’s Hospital Medical Center Pops, Sept 18/20 Pops, Sept 19 The Cincinnati Insurance Companies U.S. Bank American Financial Group Duke Energy Corporation Toyota Motor Engineering & Manufacturing North America, Inc. Frisch’s Restaurants, Inc. Kroger Western & Southern Financial Group PNC Bank CSO, Sept 25–27 CSO, Oct 2–3

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

ENDOWED CHAIRS Tom & Dee Stegman Chair U. S. Bank Foundation Grace M. Allen Chair Mary and Joseph Stern, Jr. Chair Sallie and Randolph Wadsworth The Kenneth & Norita Aplin and Cynthia & Frank Stewart Chair Endowment Fund Stanley Ragle Chair for Cello The Jackie and Roy Sweeney Family Chair Ellen A. & Richard C. Berghamer Chair Anna Sinton Taft Chair Educational Concerts Robert E. & Fay Boeh Chair Brenda & Ralph Taylor Chair Rosemary & Frank Bloom The Marc Bohlke Chair James P. Thornton Chair Cincinnati Financial Corporation & Given by Katrin and Manfred Bohlke Nicholas Tsimaras-Peter G. Courlas Chair The Cincinnati Insurance Companies Otto M. Budig Family Foundation Chair Jo Ann & Paul Ward Chair The Margaret Embshoff Educational Fund Mary Alice Heekin Burke Chair Matthew & Peg Woodside Chair Kate Foreman Young Peoples Fund Peter G. Courlas-Nicholas Tsimaras Chair Mary M. & Charles F. Yeiser Chair George & Anne Heldman Ona Hixson Dater Chair Anonymous Chair Macy’s Foundation The Anne G. and Robert W. Dorsey Vicky & Rick Reynolds Chair for Violin ENDOWED William R. Schott Family Jane & David Ellis Chair PERFORMANCES Western-Southern Foundation, Inc. Irene & John J. Emery Chair & PROJECTS James M. Ewell Chair Eleanora C. U. Alms Trust, OTHER NAMED FUNDS Susan S. & William A. Friedlander Chair Fifth Third Bank, Trustee Ruth Meacham Bell Memorial Fund Charles Gausmann Chair Rosemary and Frank Bloom Endowment Fund Frank & Mary Bergstein Fund for Susanne and Philip O. Geier, Jr. Chair Cincinnati Bell Foundation Inc. Musical Excellence Emma Margaret & Irving D. Mr. & Mrs. Val Cook Jean K. Bloch Music Library Fund Goldman Chair Nancy & Steve Donovan Cora Dow Endowment Fund Charles Frederic Goss Chair Sue and Bill Friedlander Endowment Fund Corbett Educational Endowment David G. Hakes & Mrs. Charles Wm Anness, Belmon U. Duvall Fund Kevin D. Brady Chair Mrs. Frederick D. Haffner, Ewell Fund for Riverbend Maintenance Dorothy & John Hermanies Chair Mrs. Gerald Skidmore and the Linda & Harry Fath Endowment Fund Josephine I. & David J. Joseph, Jr. Chair La Vaughn Scholl Garrison Fund Ford Foundation Fund Lois Klein Jolson Chair Fred L. & Katherine H. Groll Natalie Wurlitzer & William Ernest Harold B. & Betty Justice Chair Fund for Musical Excellence Griess Cello Fund Marvin Kolodzik Chair Fred L. & Katherine H. Groll Fund Fred L. & Katherine H. Groll Trust Al Levinson Chair for Great Artists Music Director Fund for Excellence Patricia Gross Linnemann Chair Fred L. & Katherine H. Groll Trust Pianist Fund Josephine I. & David J. Joseph, Jr. Alberta & Dr. Maurice Marsh Chair The Carol Ann and Ralph V. Haile, Jr./ Scholarship Fund Laura Kimble McLellan Chair U.S. Bank Foundation Endowment Fund Richard & Jean Jubelirer & Family Fund The Henry Meyer Chair Anne Heldman Endowment Fund Elma Margaret Lapp Trust Louise Dieterle Nippert & Lawrence A. & Anne J. Leser Jésus López-Cobos Fund for Excellence Louis Nippert Chairs Mr. & Mrs. Carl H. Lindner Mellon Foundation Fund Ida Ringling North Chair PNC Financial Services Group Nina Browne Parker Trust Rawson Chair The Procter & Gamble Fund Dorothy Robb Perin & Harold F. Poe Trust The Vicky and Rick Reynolds Chair Vicky & Rick Reynolds Fund for Diverse Artists Rieveschl Fund in Honor of William A. Friedlander Melody Sawyer Richardson Thomas Schippers Fund Donald & Margaret Robinson Chair Rosemary and Mark Schlachter Martha, Max & Alfred M. Stern Ticket Fund Dianne & J. David Rosenberg Chair Endowment Fund Mr. & Mrs. John R. Strauss Student Ticket Fund Ruth F. Rosevear Chair The Harold C. Schott Foundation, Anna Sinton & Charles P. Taft Fund The Morleen & Jack Rouse Francie and Tom Hiltz Endowment Fund Lucien Wulsin Fund Associate Principal Timpani Chair Peggy Selonick Fund for Great Artists Wurlitzer Season Ticket Fund Emalee Schavel Chair Dee and Tom Stegman Endowment Fund CSO Pooled Income Fund Karl & Roberta Schlachter Family Chair Mr. & Mrs. Joseph S. Stern, Jr. Fund CSO Musicians Emergency Fund Serge Shababian Chair for Great Artists Melinda & Irwin Simon Chair cincinnatisymphony.org | FANFARE CINCINNATI | 51 FINANCIAL SUPPORT HONOR ROLL OF CONTRIBUTORS The Cincinnati Symphony and Pops Orchestra our heartfelt thanks to each and every one and pay is grateful to the following individuals and tribute to them here. organizations that support its efforts. We extend

PLATINUM BATON CIRCLE Mr. and Mrs. Michael H. Giuliani Mr. and Mrs. Steve Dessner Miss Norma L. Clark § Gifts of $50,000 and above Mr. Joseph Hagin Amy and Trey Devey § Bob and Tisha Clary The Louise Dieterle Nippert Tom and Jan Hardy § Mr. and Mrs. David Fleischer Mary Ellen and Thomas G. Cody Musical Arts Fund Robert and Patricia Henley Dr. and Mrs. Harry F. Fry Dr. and Mrs. Alvin Crawford The Otto M. Budig Family Foundation § Mr. and Mrs. L. Thomas Hiltz Ms. Jane Garvey Drs. Fuheid and Ingrid Daoud Harry and Linda Fath § Mr. and Mrs. Joseph W. Hirschhorn § Richard D. Gegner Mr. and Mrs. Albert C. Dierckes, Jr. Susan Friedlander § Dr. and Mrs. M. Howett L. Timothy Giglio Jim and Elizabeth Dodd Molly and Tom Garber, CCI Design, Inc. Frank Jordan § Drs. Lesley Gilbertson and William Hurford Mrs. Diana T. Dwight George L. and Anne P. Heldman Fund* § Dr. and Mrs. Lionel King Clifford J. Goosmann and Andrea M. Wilson Ann A. Ellison Dr. and Mrs. Stephen Joffe Mr. Thomas Klinedinst, Sr. Priscilla Garrison Haffner § Drs. Thomas W. Filardo and Nora L. Zorich Mrs. Anne I. Lawrence Florence and Ron Koetters Dr. and Mrs. Edward Hake Marlana and Walter Frank Daniel R. Lewis Mr. and Mrs. Robert L. Lawrence David C. Herriman Kenneth J. Furrier Edyth B. Lindner Levin Family Foundation Mrs. Harry M. Hoffheimer Frank and Tara Gardner Vicky and Rick Reynolds Doris M. and Charles B. Levinson Fund * Dr. Murray Jaffe Mr. and Mrs. Otto P. Geier Margaret McWilliams Rentschler Fund* Mr. and Mrs. Timothy Maloney Mr. and Mrs. Lorrence T. Kellar* Ms. Louise J. Gissendaner Ann and Harry Santen Rhoda Mayerson Mr. and Mrs. Kevin Kline Mr. and Mrs. Robert R. Heidenreich Tom and Dee Stegman § Mrs. Susan M. McPartlin Edward A. Klint Dr. and Mrs. Robert S. Heidt, Jr. Mr. and Mrs. Roy Sweeney Linda and James Miller Linda Dianne Knose In Memory of Alma Huenefeld Mr. and Mrs. Randolph L. Wadsworth, Jr. § Mr. and Mrs. Thomas J. Mueller Michael and Marilyn Kremzar Drs. Marcia Kaplan and Michael Privitera Malcolm and Ruth Myers Family Fund * Thomas and Adele Lippert Peter Landgren and Judith Schonbach Dr. and Mrs. John Parlin Whitney and Phillip Long Elizabeth and Terry Lilly GOLD BATON CIRCLE The Daniel & Susan Pfau Foundation Mark and Tia Luegering Mrs. Vladimir Lukashuk Gifts of $25,000–$49,999 Joseph A. and Susan E. Pichler Fund* Mandare Foundation Mary Ann Meanwell Dr. Ira A. Abrahamson § August A. Rendigs, Jr. Foundation Elizabeth and Brian Mannion, MD Mr. and Mrs. David W. Motch Mr. and Mrs. Frederick E. Bryan, III § Mercer and Gabrielle Reynolds Alan Margulies and Gale Snoddy Mr. Scott Nelson and Dr. Susan Kindel Mrs. Charles Fleischmann Melody Sawyer Richardson § Mr. and Mrs. Jonathan McCann Mr. and Mrs. Robert S. Olson Mrs. Philip O. Geier § J. David and Dianne Rosenberg § Mr. Robert W. McDonald Gary and Nancy Oppito Sabine and Warner Geissler Irwin and Melinda Simon Mr. and Mrs. Douglas Miller Mr. and Mrs. Thomas R. Ruthman Lois and Dick Jolson Mary S. Stern Mr. James A. Miller Martha and Lee Schimberg Mr. Mace C. Justice § Laurence G. Stillpass Mrs. James Monroe § Clifford R. and Peter R. Scholes Marvin P. Kolodzik § Theodore W. and Carol B. Striker Stephen and Kristin Mullin § James Schubert Calvin and Patricia Linnemann § Delle E. Taylor Mr. and Mrs. Christopher Muth § Elizabeth Schulenberg Marilyn J. and Jack D. Osborn § Ms. Anne D. Thomas Dr. Santa Ono and Mrs. Gwendolyn Yip Mr. and Mrs. William A. Starr Terry and Marvin Quin Tomcinoh Fund* Arlene Palmer Bunny and Frank Szecskay Moe and Jack Rouse § Malcolm Thomson, John and Farah Palmer Dr. and Mrs. Shiro Tanaka Mark S. and Rosemary K. Schlachter § in honor of Louis Langrée Ellen Rieveschl § Sarah and Neil Thorburn Vivian and Jim Schwab Larry Uhlenbrock Elizabeth and Karl Ronn § Nydia C. Tranter § William D. Stenger Mr. and Mrs. Paul H. Ward § Nancy and Ed Rosenthal Robert and Audrey Varley § Dale and Joyce Uetrecht Gary and Diane West § Jeffrey S. Schloemer and Marcia A. Banker Christopher and Nancy Virgulak Ginger and David W. Warner Mr. and Mrs. James M. Zimmerman Mike and Digi Schueler Nancy C. Wagner § Mrs. Harris K. Weston (Alice) Anonymous (1) Mr. Murray Sinclaire Patricia M. Wagner § Mr. and Mrs. Gerald Skidmore § Nancy F. Walker CONDUCTOR’S CIRCLE CONCERTMASTER’S Michael and Donnalyn Smith Anonymous (3) Gifts of $10,000–$24,999 CIRCLE Ms. Karen Wright Martha G. Anness § Betsy and Alex C. Young § ENCORE CIRCLE Mary Bergstein Gifts of $5,000–$9,999 Anonymous (4) Romola N. Allen § Gifts of $1,500–$2,999 Louis D. Bilionis and Ann Hubbard Mr. and Mrs. James R. Adams § Rosemary H. and Frank Bloom Mr. Anatole Alper Mrs. Katy Barclay ARTIST’S CIRCLE William and Janet Albertson Special Fund *§ Gifts of $3,000–$4,999 Mr. Richard Antoine Dr. and Mrs. John and Suzanne Bossert § Ellen A. Berghamer § Mr. and Mrs. David Berick Stuart and Sarah Aitken Dr. Norita Aplin and Stanley Ragle § Robert and Debra Chavez Drs. June and John K. Alexander Dr. Bruce Aronow Sheila and Christopher C. Cole In Memory of Herbert R. Bloch, Jr. Robert L. Bogenschutz Yousef Aouad Robert and Janet Banks Crosset Family Fund*, Thomas P. Atkins Jane and Ed Bavaria § Mr. James M. Crosset Martha Bolognini Chris and Karen Bowman Mrs. Robert J. Ayer Mrs. Robert M. Bergstein Mrs. Thomas E. Davidson Mr. and Mrs. William T. Bahlman, Jr. § Rexford and Sharon Bevis Katharine M. Davis Shannon and Lee Carter Edward and Susan Castleberry Dr. and Mrs. William L. Barrett Jane Birckhead Dennis W. and Cathy Dern Mrs. Thomas S. Benjamin Dabby Blatt Nancy and Steve Donovan Ms. Geraldine V. Chavez Piotr Chomczynski David and Elaine Billmire Mr. and Mrs. John P. Boorn Marjorie Drackett Mr. and Mrs. William P. Butler Glenn and Donna Boutilier Emory P. Zimmer Insurance Agency Lois and Philip S. Cohen Mr. and Mrs. Michael D. Connelly Janet and Bruce Byrnes Dr. and Mrs. William Bramlage Catherine Lepley Feig Dr. and Mrs. Charles O. Carothers Mr. Thomas A. Braun III § Mr. and Mrs. James T. Fitzgerald Peter G. Courlas § The Lewis and Marjorie Daniel Foundation Mrs. Jackson L. Clagett III § Mr. and Mrs. Larry Brueshaber

John and Susan Doucleff pose prior to the start of the Summer Guests of The Brandery pay a visit backstage during the Star Trek performance Schippers Celebration at Riverbend on July 4, 2015. at the Taft Theatre in July of 2015.

52 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT

ArtsWave CEO Alecia Kintner and CSO President CSO Board Member Francie Hiltz Linda Greenberg, Frank and Rosemary Bloom, and Trey Devey welcome Ellen Katz as President and her husband, Tom, visit with Louis Langrée visit in the sponsor tent at of the Greater Cincinnati Foundation during a Trey Devey prior to the start of LUMENOCITY 2015. welcome reception on July 27, 2015. LUMENOCITY 2015.

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

cincinnatisymphony.org | FANFARE CINCINNATI | 53 FINANCIAL SUPPORT

Dr. and Mrs. Joshua J. Sands Mr. and Mrs. William Fotsch Carol Thaman Mrs. Linda D. Crozier Mr. and Mrs. William C. Schmidter, III Dr. Charles E. Frank and Mr. Howard E. Thompson Clara Dantic Timothy W. Schraw Ms. Jan Goldstein Mr. and Mrs. Carl J. Tillery Mr. Joseph Dattilo Pamela Scott Mr. and Mrs. James Fryman Ms. Jan Timmel Mr. and Mrs. John Doviak Martha S. Seaman § Marjorie Fryxell Paul and Diana Trenkamp Tom and Leslie Ducey Mrs. Mildred J. Selonick § Drusilla Garms Mr. and Mrs. Paul Turner Mr. David Dugan Mr. Thomas Shepherd Mark S. Gay Mike and Diane Wagner Ms. Silvia Dunnaback Jack Sherman, Jr. Mrs. Madeleine H. Gordon § Erika Wagoner C. Thomas and Fay Dupuis Alfred and Carol Shikany Mary Grooms Sarella Walton Mr. and Mrs. Tyler Durnell Mr. Eli E. Shupe, Jr. Mr. Louis Guttman Lucy and Ashley Ward Michael D. and Carolyn Camillo Eagen Rennie and David Siebenhar Mr. Sinisa Haberle Robert and Helen Watkins Janet and Joel Ebersole Kenneth and Janet Smith Ham and Ellie Hamilton Dr. and Mrs. Warren A. Webster Mr. and Mrs. James Eigel Dr. and Mrs. Robert Sefton Smith Mr. and Mrs. Irving Harris Janell and Frank Weinstock Larry and Barbara Elleman Mr. Troy R. Snider Deborah Hauger, MD Laurena Werner Ms. Tiffany Evans Ellen and Clark Sole Mr. and Mrs. Donald L. Henson David and Sandy Westerbeck Mr. Steve Faigley Jeff and Juddy Solomon Fund* Mr. and Mrs. Stephen Hicks Barbara Weyand Mr. and Mrs. Frederick A. Fink Harold and Faye Sosna Mr. and Mrs. William Housh, III Mr. and Mrs. John Winkelmann Mrs. Peg Fischer Phillip and Karen Sparkes Amy and Larry Hughes Mr. James Wolterman Mr. and Mrs. Bruce Fisher Ethan and Barbara Stanley Mrs. Thomas Huheey Mr. and Mrs. Stacey Woolley Mr. and Mrs. Jim Fisher Jerry and Melinda Stenger Mrs. William H. Hutcherson, Jr. § Mr. and Mrs. Robert Wylly III John and Susan Frank Ms. Judy H. Stewart Ms. Holly Huttenbauer Mr. and Mrs. Robert L. Zierolf Harriet and William Freedman Mr. and Mrs. Richard Stradling, Jr. Isidor-Kaltman Philanthropic Fund Irene A. Zigoris Mr. Gregory S. French and Patricia Strunk § Kathleen and Michael Janson § Mrs. Beth Zwergel Mrs. Dianne Gebhardt-French Mrs. Sally Sundermann Lois and Kenneth Jostworth Anonymous (17) Dudley and Kathryn Fulton Ralph C. Taylor § Robert J. Kempton, Ph.D. Mr. Paul Gaitan Mr. Fred Tegarden Anne B. Koehler CRESCENDO CLUB Mr. Charles V. Ganelin Kathy Teipen In Memory of Erich Kunzel Mr. Brian Ganen Gifts of $250–$499.99 Cliff and Diane Thornsburg Evelyn and Fred Lang Barbara Aberlin Mr. and Mrs. Edwin Gauggel, Jr. Mr. and Mrs. Ronald Tinklenberg Mr. and Mrs. John C. Layne Mr. and Mrs. J. Wickliffe Ach Mr. Genther Janet Todd Dr. and Mrs. Brad Lemberg Mr. and Mrs. David Acker Dr. Kimberly Geoppinger Marcia and Bob Togneri J. Timothy and Mary D. Leonard Fund* Ms. Kirsta B. Albert Jean R. Gerhardt Neil Tollas and Janet Moore Mr. and Mrs. James A. Link Mr. and Mrs. Edward F. Alf Dr. and Mrs. Freidoon Ghazi Gloria and Peter Toot Mrs. Marianne Locke James and Leesa Alford Kathleen Gibboney Mr. William Trach James A. Markley, Jr. Lois M. Marples § Lisa Allgood Rebecca Gibbs and Anne Mulder Mr. Dennis L. Turner Andrew and Jean Martin Mr. and Mrs. James Allison S. Bradley Gillaugh Stephen F. Voellmecke Family Dr. and Mrs. Dean Matz Dolores and Paul Anderson Ms. Mary Glazer Mr. and Mrs. Jason R. Waggoner Robert and Gretchen McCormick Mr. and Mrs. Frank Andress Ms. Mary Godar Mary and Jack Wagner § Dr. Janet P. McDaniel Mr. and Mrs. Albert Andrews Don Goebel and Cathy McLeod Mr. and Mrs. James L. Wainscott Daniel and Elizabeth McMullen Mr. and Mrs. Dan E. Antenen Sharon L. Goodcase Mrs. Ronald F. Walker Faye and Bunny Meisel Apke/Premium Cleaning Christa M. Gorman Greg and Diane Wehrman Ms. Megan K. Meyer Mr. and Mrs. William Appleton Margot and Harry Gotoff Ted and Mary Ann Weiss Dr. and Mrs. Richard A. Meyer Miss Rosemary M. Auer Robert and Cynthia Gray Linda Wellbaum Father Thomas Meyer David and Kathleen Ayres Dr. Bryan Griffin Donna A. Welsch Dr. Stanley R. Milstein § Ms. Patricia Baas Lewis and Helen Grimes E. E. West Dr. Rajbir S. Minhas and Ms. Renu Kotwal Ken and Kathy Baier Mr. and Mrs. Adam Gross Franklin H. White Mr. Ivan L. Moehle Mr. and Mrs. Rod Baker Ms. Clare H. Gross Cathy S. Willis Ms. Nancy W. Moormann Mr. and Mrs. Gene Bartholomew Mr. Dustin Grutza and Ms. Ashley Wells Mrs. James W. Wilson, Jr. Ms. Mary Lou Motl Doug and Sherry Baxter Randy Gudvangen and Brett Siereveld Mr. and Mrs. Robert L. Wilson, Jr. David and Beth Muskopf Ms. Shirley Bear Mr. and Mrs. Byron Gustin Andrea Wiot Dr. and Mrs. Charles M. Myer III Ms. Bianca Becker Ms. Celeste Hahn Mrs. Barbara A. Witte § Mr. William Naumann Dr. and Mrs. Thomas E. Bell Peg and Dick Halberstadt Mr. John M. Yacher Judge and Mrs. David A. Nelson Dr. Kathleen Bennett Mrs. Sandra Faith Hall Dr. and Mrs. Marvyn H. Youkilis Jim and Marty Neumeister Fred and Gail Berger David Halstead David and Sharon Youmans Dr. James Newberne Dr. David and Cheryl Bernstein Mr. Andrew L. Hand Zaring Family Foundation Mr. Lawrence Newman and Mr. and Mrs. Robert Besl Jane F. Hansley Carlos Zavala Mr. Bruce Palmer Ms. Marianna Bettman Mr. and Mrs. William Hartmann Mr. and Mrs. Dan Zavon Mr. and Mrs. Eric Nies Mr. and Mrs. Rodd Bixler Leonore Hatfield Mr. John W. Zorio Pat and Tom Noonan Shirley and William Bourdman David and Debra Haustrath Anonymous (11) Jane and Erv Oberschmidt § Dr. Connie Williams Boehner Janet Heiden Kate and Ben Ohlander Ava Jo Bohl Debra E. Heidrich CONCERTO CLUB Robert and Carol Olson Pam and Gordon Bonfield Mrs. Robert S. Heidt, Sr. Nan Oscherwitz Ms. Nancy Hesselbrock Gifts of $500–$749.99 Mr. George Bosarge Mr. and Mrs. Dick Alderson Mr. and Mrs. C. Richard Paulsen Ingrid and Otto Bosch Ms. Julia Heyob Mr. Eziekel E. Allen Mr. Raymond Peterson Mr. and Mrs. Carl Bostrom Kathryn Hinkle Dr. and Mrs. B. G. Anaya Joseph and Mary Raterman Ms. Carol Bowling Mr. Eric Hizer The Armor Group Beverly and Dan Reigle Mr. and Mrs. James J. Brady Richard and Marcia Holmes Mr. and Mrs. Herbert J. Beigel John and Linda Rockaway Ms. Donna Briede Mr. and Mrs. James Hood Miriam G. Bernstein Dr. and Mrs. Gary Roselle Ms. Peggy Brooks Ms. Kathryn L. Hosea Mr. Daniel D. Blasing John and Amy Rosenberg Ralph and Diane Brueggemann Mr. and Mrs. Alan Hoskin Randal and Peter Bloch Mr. and Mrs. G. Roger Ross Mr. and Ms. Gary Bryson Anne K. Hoskins Laurence and Hildy Bonhaus Solveiga Rush § Ms. Margaret Buchanan Ms. Jane T. Howard Mr. and Mrs. Todd Braff James and Mary Russell Mrs. Amy Bull Katherine M. Howell Marilyn and John Braun Mr. Paolo Salamone Rob and Kara Bult Mr. and Mrs. Craig Hudson Raymond J. Brokamp Dr. and Mrs. Richard B. Salzer Dr. Andrew and Dr. Mary Burger Karen and David Huelsman Mrs. Jo Ann C. Brown Mr. and Mrs. Robert A. Sanders Daniel A. Burr Mr. Gordon Hughes Ronald D. and Linda A. Brown Ida Scherer Mr. Page Busken Mr. Gordon Hullar Mr. Robert W. Buechner Glenda C. Schorr Fund* Harold and Dorothy Byers Ms. Nancy A. Humbach Ann V. Bullock Mr. and Mrs. David V. Schwab Ms. Catherine Calko Mrs. Heather Hunt Amy and Robert Catanzaro Marvin D. Settle Jack and BJ Carter Samuel Huttenbauer Catharine W. Chapman Doug and Laura Skidmore Mrs. Douglas S. Cherry Mr. Charles H. Jackson, Jr. Dick and Joy Chapman Mr. and Mrs. Robert W. Slater Edmund Choi and Kieran Daly In Memory of Michael J. Janovic Leland M. and Carol C. Cole § Geoff and Robin Smith Ms. Fran Christensen Mr. and Mrs. Thomas Jarrold Mr. Alan E. Crace Jennifer S. Smith Dee and Frank Cianciolo Fund* Marcia Jelus Mr. Kevin Crowley Stephen and Lyle Smith James Clasper and Cheryl Albrecht Mr. John Johnston Jacqueline Cutshall Richard and Lois Sprigg Ron Colwell Ms. Edna B. Jones Rank and Barbara Dawson Barry and Sharlyn Stare § Mr. and Mrs. F. W. Colucci Hon. Nathaniel R. Jones Stephen and Cynthia DeHoff Mr. and Mrs. Timothy Stautberg Mr. Marion and Dr. Diana Combs Mr. Richard Joseph Ms. Rhonda Dickerscheid John Steele, Sr. Mr. Gary N. Conley Mr. and Mrs. Robert Judd Mr. Robert W. Dorsey § Stephanie and Joseph Stitt Ms. Danuta Connell Phyllis F. Kadle Mr. and Mrs. Herman A. Eckstein Nancy and Gary Strassel Mr. and Mrs. Thomas Conroy Tom and Kathy Kahle Mr. Eric Elam Mrs. Mary Suhre Mr. Scott Cook Nikolaus and Susanne Kalti Don L. Fernandez Glenda Suttman Thomas and Sondra Copanas Susan Kamon Mrs. Nancy Finke Dave and Maureen Taylor Robert and Nancy Cottrell Mr. and Mrs. Lee Kapor Mr. Julien Finlay Tom and Sue Terwilliger George and Mary Croog Drs. Jerald and Rena Kay Jim and Rita Kaya 54 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT

Holly Keeler Mr. and Mrs. Kenneth Revelson Mrs. Linda Wulff Dennis and Patricia Coyne Mr. John Keman Helen and Don Rhoad Mr. Joseph D. Zazzi Mr. Fred Craig, Jr. John and Leslie Ketchum Dr. and Mrs. Dillon D. Rhodenbaugh Mary and Steve Ziller, Jr. Mr. David Cramer Evelyn Kick Stephanie Richardson Anonymous (26) Tim and Katie Crowley Bill and Penny Kincaid Mr. Mark Riedinger Mr. and Mrs. Brendon Cull Rachel Kirley and Joseph Jaquette Ms. Kristina Roberts FORTE CLUB Bobbie and Pierce Cunningham John and Lynn Klahm Mr. and Mrs. Keith Robertson Donald and Victoria Daiker Gifts of $115–$249.99 John and Lindsay Danahy Frank B. Knapke, Jr. Stephen and Patricia Robertson Charles and Mary Abbott William C. and Elizabeth Knodel Mr. and Mrs. Tom Robinson Dr. J. Harris Daniels Mr. and Mrs. Hiro Adachi Douglas B. Daugherty Mr. and Mrs. David H. Knoll Dr. Anna Roetker Mrs. Neza Adams Marie and Sam Kocoshis Chris Roetting Dr. and Mrs. Michael Daun Mr. Robert B. Adams Richard and Merrily Davis Mr. and Mrs. Arthur J. Koehler Joan and Michael Rolf Ms. Ruth Alpers Jean Hope Davison Diane and Matt Kolleck Dr. and Mrs. Ernst G. Rolfes Mr. and Mrs. Peter Anderson Jo Anne Dawson Mr. and Mrs. J. R. Romano Carita and Paul Kollman R. Bruce and Patricia A. Anderson Loren and Polly DeFilippo Mr. Jin Kong Mr. Jens Rosin and Mrs. Pamela Arnold Virginia and Harry DeMaio Mr. and Mrs. Nicholas Kopeloff Ms. Annelly Torres-Gomez Dr. and Mrs. Alex B. Aronis Dr. and Mrs. Charles Demirjian Mr. Patrick M. Korb In Memory of Judith M. Rottenberger Tom and Mary Anne Asbury Mr. Dexter Denney Carol W. Kortekamp Mr. and Mrs. Walter E. Rueger Willam Ash and Debra McMillan-Ash Mr. and Mrs. J. Thomas Deren Mr. and Mrs. Bruce A. Krone Mr. and Mrs. Kazuya Sato Margaret Atterbury Major and Mrs. Randall Derrick Kathleen B. and Michael C. Krug Fund* David and Judy Savage Mr. Brian Auden Mr. and Mrs. Mike Desch Mr. and Mrs. Randolph L. Krumm § Ms. Dionysia Savas and Mr. Martin Wilz Mr. Jack L. Bachman Mrs. Wesley C. Dicken, Jr. Girts Kruze Mr. Mark Schababerie David Bagent and Elizabeth Pruden Jahnett M. Dickman Mrs. John H. Kuhn Cindy Scheets Todd and Ann Bailey Mr. and Mrs. Richard C. Dickmann Vera Lambert Mr. John Schenck Mr. Gerard Baillely Mrs. Rosemarie R. Dietrich Mr. Eric Lanter Mr. and Mrs. Wayne Schleimer Jerry and Martha Bain Ms. Megan K. Dittman Karen Larsen Mr. Eugene A. Schwoeppe Mr. Joseph Baker Mr. and Mrs. Jim Donnelly Setsuko LeCroix Mr. and Mrs. James H. Scott Mr. Rodney Baker Dr. Julie Dorenbusch Ms. Patricia L. Leikhim Mr. Daniel P. Shannon, Jr. Ruth Bamberger Father William Dorrmann Donna Levi Judith Sharp Ms. Henrietta Barlag § Jon and Susan Doucleff § Jonathan and Nancy Lippincott Drs. Mick and Nancy Shaughnessy Mrs. Arnold Barnett Jack and Diane Douglass Bonnie and Randy Loftspring John Shepherd Carole Barnhart Mr. and Mrs. Harold Dull Mr. Chuck Lohre Hal and Sandy Shevers Mr. and Mrs. Paul S. Barnhart Freeman Durham and Dean Clevenger John F. Barrett Mr. Tom Lohre and Ms. Irene Moore Mr. and Mrs. A. C. Shoop, Jr. Jean Durkin and Teresa Durkin Mr. Robert Bartz Mrs. Gisele Loriot-Raymer Julie Siefke Ken Eckert Mr. and Mrs. W. D. Baskett, III James and Virginia Lothrop Mr. and Mrs. Scott Slovin Dr. Philip and Rita Edlin Ms. Glenda Bates Dale and Lillian Eickman § David and Katja Lundgren Mr. Edgar L. Smith, Jr. Mrs. Haskell Bazell Matt and Karen Luther Mr. John Smith Alan and Priscilla Elgersma Ms. Hannah Beck Paul and Dr. Tsila Evers Deborah Lydon Ms. Judith G. Smith Mr. and Mrs. Donald W. Becker Thomas and Lorie MacDonald Terri and Mark Smith In Memory of Cheryl Faust Daniel and Terri Beebe Mr. and Mrs. Raymond J. Ferguson Mr. and Mrs. Russell Mack Mr. and Mrs. Schuyler J. Smith William H. Benagh Mr. Rick Maddux Mr. Timothy L. Smith Bruce Fiene Christine Beran Richard and Elizabeth Findlay Mr. Antonio Magana Mr. and Mrs. Christopher L. Sprenkle § Robert Betts Allie and George Maggini Ms. Emily Stahl Mr. Nolan R. Fine Bill and Jane Beuttel Ms. Mary Finn Dr. and Mrs. John E. Maier Susan G. Stanton § Mr. and Mrs. Richard Biedinger Mr. and Mrs. Scott Maier Marian P. Stapleton Ms. Meg Fiora Charles and Jacklyn Biery Dr. and Mrs. Thomas Fischer Barry and Ann Malinowski Paul and Jill Staubitz Karen E. Bishea David and Nancy Masters Mr. and Mrs. Michael Stephens Mr. Bruce W. Fisher Mr. and Mrs. Walter R. Blados Mrs. Stona J. Fitch Dr. Thomas J. McCartney John and Helen Stevenson § Gifford E. Blaylock III and Anne L. Reed Jack and Vickie McKee Mr. Jason V. Stitt Mrs. Sarah A. Fitzhugh Ms. Jean Boeschlin Don and Holly Flischel Mrs. Carole A. Meldon Mrs. Donald C. Stouffer Mr. and Mrs. Ken Boesherz Janice and Dr. Tom Forte Mr. Peter Strasser Mr. Michael Meloy Kathleen and Wallace Bolduc Mike and Ann Frederick Mrs. Sally Strater Edward Merkes Richard Bollman, S. J. Mr. and Mrs. Fred Freidman Mr. Eric Messamore Joann Strong Mr. John Bomtrager Jane S. Friedman Taylor and Rita Metcalfe Ms. Amy Summerville and Mr. and Mrs. Gilbert Born Mary and Kent Friel Mr. and Mrs. Mitchell S. Meyers Mr. Mike C. Wolfram Ms. Maureen Boskin Ms. Jean C. Frolicher Lynne Meyers-Gordon, M.F.A. Dr. Michael L. Swank Ms. Phyllis Bossin and Dr. Robert Strauss Ms. Patricia A. Frolicher Becky Miars Mrs. Robert D. Swanson Eleanor A. Botts John and Miriam Gallagher Mr. and Mrs. Joseph A. Milburn Karl and Marilyn Technow Mollie Bowers and Walter Hollon, Jr. § Nancy E. Gard Chris and Kathryn Miller Carlos and Roberta Teran David A. Brashear Mrs. Sarah Gardocki Mr. and Mrs. James Minutolo Mrs. Nancy Tereba Dr. and Mrs. Gilbert L. Braun Melanie Garner and Michael Berry Ms. Danute Miskinis Timothy G. Thalheimer Mrs. Kathy Bright James M. Garvey, M.D. Dr. and Mrs. Gerald Molfenter Dr. and Mrs. Louis Thibodeaux Robert and Joan Broersma Mr. and Mrs. Donald R. Gilb Norbert Mollmann Sari and Tom Thoman Mrs. Nancy T. Brown Dr. and Mrs. Donald Gilbert Mr. and Mrs. Fred Moore Greg Tiao and Lisa Kuan Ms. Sheila J. Brown Timothy Gilday Regeana and Al Morgan Aurelio Tio Mrs. Virginia F. Brown Mary Jean Giltner Richard and Carolyn Morin Towne Properties Mr. Thomas G. Bruckmann Mr. Robert A. Goering Mr. and Mrs. Robert Morse Mr. Robert Trach Tom and Diane Brunst Mr. Richard Goetz Vicki and John Moseley Fran Turner Joanne Buchman Mr. and Mrs. Jim Goldschmidt Douglas Mossman and Kathleen J. Hart Shiloh Turner and James Winget Mrs. Nancy Bunnell Louise Gomer-Bangel and James Bangel Mr. and Mrs. James Mullin Mr. and Mrs. Harold Vick Dr. Kathleen J. Burch Carol Grasha and Christopher Knoop Lawrence and Faye Busse Mr. and Mrs. William Mullins Mr. and Mrs. Larry Vignola Anita J. and Thomas G. Grau Vicki L. Butler Mr. Stephen Vogel Kate and Gerry Greene Mr. and Mrs. Lawrence Muzzo Mr. and Mrs. John Butz Mr. and Mrs. Dennis Walker Mrs. William M. Greulich Dr. and Mrs. Ashraf Nassef Edson G. Cabalfin Doris Nell Jane A. Walker Ms. Charlene Grisemer Ms. Judith Calhoun Mr. and Mrs. Leo Grote Patrick Nesbitt Mr. and Mrs. John M. Wallace Vincent and Carol Cappiello Dr. and Mrs. Alan E. Oestreich Rosemary Waller Linda Grote Dr. and Mrs. Gary Carothers Mr. and Mrs. Rodney Grubb Bahar Omrani Michael L. Walton Barbara C. Carr and Bren Blaine Mr. Fred Orth and Marlene Miner Carole and Ed Warfel Frank and Christine Gudorf Bill and Pat Case Mr. and Mrs. J. Andrew Hadley Mrs. Sylvia Osterday Frederick and Jo Anne Warren § Mrs. Grace A. Chabris Margaret Parks Mrs. Louise Watts Mr. and Mrs. John Haffey Mrs. Joan Cholak Mary and Phil Hagner Steven Patterson Paul and Kathleen Wehner Ms. Laura Christobek Dr. and Mrs. Wayne M. Paulsen Fred and Sue Weller Mr. and Mrs. Richard G. Hagee Mr. and Mrs. Robert L. Clark Ms. Lynn S. Hamamoto Karin and Frank Pendle Joseph and Kate Wespiser Mr. and Mrs. Nick Clooney Mr. Glenn Pfendt Mr. Joseph J. Wessling Dr. and Mrs. Stuart Handwerger Mrs. Charles T. Cobb Verle Hansen and Cheryl Staats Mr. Larry R. Plum Mr. Richard Whittaker Mr. and Mrs. Robert A. Cody Anne M. Pohl § Janice T. Wieland Mr. and Mrs. Carl Harbour Alfred Cohen and Ann Pappenheimer William H. Hardesty Mr. Gunnar Pohlman Ms. Sarah E. Wilkinson § Ms. Carol S. Colclasure Ms. Stephana Harmony Mary Jean Priest Michael and Janice Willis Mr. Anthony Cole James and Sally Harper Mr. Steve Wilton Mr. Peter Quinnan Ms. Nancy J. Colegrove Bonnie Harrison Glenn and Jane Rainey Mr. and Mrs. Alan Wolf Mr. Louis Colgan Rev. Raymond S. Hartman Mr. and Mrs. David Raney Mrs. Ann Wolford Marilyn Cones Joanne Harvey Joan F. Reckseit, Ph.D. Don and Karen Wolnik Mr. Calvin F. Conrad Bruce and Sany Hayes Mrs. Angela M. Reed Anita Wright Janet Conway Mr. and Mrs. Thomas Hayes Mr. and Mrs. Gerald D. Rehn Cedric B. Wright Ms. Lois Conyers Dr. and Mrs. Joseph P. Hazen Mr. and Mrs. Kurt Reiber Edward W. Wuest Ken Cook and Sue Marshall cincinnatisymphony.org | FANFARE CINCINNATI | 55 FINANCIAL SUPPORT

Mr. and Mrs. James Healy § Mary Pierce Brosmer Dr. and Mrs. Robert R. Lukin Mr. Michael Neverman Alan and Marion Heitner Mrs. Gloria H. Kelley Edmund D. Lyon Lorna and Gerald Newman Mr. Ted Henschen Roslyn Kelly Marilyn J. Maag § Dr. and Mrs. Theodore Nicholas Mr. and Mrs. Jon D. Hershberger Faith L. Kemper Mr. and Mrs. George Mabey Mr. and Mrs. David J. Nickel Vern and Ann Hicks Ms. Sharon A. Kerns and Mr. Mike Birck Tim and Maureen McCarthy-Magill Matt Nitzberg and Family Tim and Joyce Hoerst Dr. and Mrs. Richard Kerstine Mr. and Mrs. John E. Mahn Ms. Jane Nocito Judith Holden Mr. and Mrs. Timothy Kilfoil Mr. and Mrs. Richard Maier Mr. Timothy Noster Tim and Connie Holman Mr. and Mrs. David J. Klein Mr. Ernest C. Manders Mr. and Mrs. Michael O’Brien Mr. Mark Holmes Justin and Barbara Klein Dr. George T. Manitsas Ms. Kimberly Ogle Mrs. Paula E. Holstein Patricia Klein and Reid Hartmann Mr. Derek Marks Patricia O’Hara Norah and Richard Holt Mr. Donald Kieman Neil B. Marks Fred and Leila Oliver Bob and Dolly Holzwarth Gail Koizumi Carl G. Marquette, Jr. Roberta Olt Roger and Mary Honebrink Harold and Laurie Kolenbrander Mr. and Mrs. Lewis Masters Mr. and Mrs. Joe Orndorff Stanley A. Hooker, III Walter and Patricia Koral Scott Masturzo Mr. and Mrs. James Osterburg William and Jane Hopewell Mr. and Mrs. James Krismer Mr. and Mrs. J. D. Matchett John and Phyllis Overmann Noel and Angela Horne Ms. Margaret Kuck Charles and Nancy Mauch Mr. Stuart Owen Mr. and Mrs. William B. Horning II Tim Kuderer Mr. and Mrs. Wolfgang Mayer Mr. and Mrs. Joachim Parrella Ms. Sandra Houck Mr. and Mrs. John L. Kuempel Anne G. McAdams Dr. and Mrs. Jerome L. Paul The Howles and Allison Banerji Mr. Daniel Kung Daniel and Phyllis McCann Mr. Don Paulsen Carolyn Hoyt Mr. and Mrs. Jonathan Kushner Mr. and Mrs. Thomas M. McClurg The Pavelka Family Yen and Ron Hsieh Dr. George W. Lackemann Mr. David McElwee Mr. and Mrs. Graham Paxton Melissa Huber Mr. Robert C. Lafkas Michael and Janet McGrath Ms. Kit Petricone Ms. Nada Huron M.A. Lamb Jane Tucker McHugh Mr. and Mrs. John Planalp Roderick and Autumn Huron Ms. Diane M. Lambert Harvard and Elaine McLean Mrs. Mary Lou Pleasants Dr. and Mrs. Kenneth Hyams Gloria Landry Mr. Robert McMahon Nicholas and Phyllis Poccia Roxana Imam Mary Lou and Jim Lang Mr. Lawrence G. Merrill David and Hollace Poissant Mrs. Robert E. Inkrot Mr. and Mrs. Curt LaRue Mr. and Mrs. Dennis J. Meyer Mr. Dan-El Ponath Mr. and Mrs. Paul Isaacs E. Randall and Marian Laubach Dr. Karen Meyers and Mr. Bill Jones Ms. Patricia Pope Dr. and Mrs. Allen G. Jackson Dan Ledford John and Roberta Michelman Ron and Judy Porges Mark and Caitlin Jeanmougin Ms. Sharon Leman Art and Sandy Miller Barbara and Michael Porte Lee and Elsa Jensen Mr. Bernard Lenchitz Mr. John N. Miller Mrs. Sara W. Porter Mrs. Diane Jeynes Ms. Patricia E. Leo Sharon and Graham Mitchell Thomas Powers Mr. and Mrs. H. Eric Johnson Janet Leonhardt Mr. Kevin L. Moermond Mr. and Mrs. David Puckett Dr. Kay Johnson and Dr. Gregory Rouan Marion F. Levy Ed and Ruth Molloy Elizabeth Rabkin Dr. J. O’Neal Johnston Ernie Lewis and Susan Smyth Charles and Sally Moomaw Mrs. Joseph F. Raga Mrs. Marilyn P. Johnston Mr. and Mrs. Lance A. Lewis Jennifer Morales and Ben Glassman Mr. and Mrs. Fred Rausch Mr. and Mrs. Robert Johnston Mr. William C. Lewis Dr. and Mrs. Joseph J. Moravec Paul and Ruth Ann Ravenna Lawrence J. Jones Janet and Sidney Liebeman Dr. and Mrs. Carlos Moreno Carol Ray and Paul Medin Mr. Paul Jordan Mr. Eric A. Liebman Ms. Casi Morris Dr. and Mrs. Ali Razavi Ron and Mary Ann Jordan Mr. and Mrs. Henry Limouze Ms. Margaret Morris-Boger Joyce Re Mr. and Mrs. Scott Joseph Mr. and Mrs. Cheyeh Lin Mrs. Ivan Morse Ms. Lori Reed Mr. and Mrs. Robert C. Juenke Jacob and Joanne Lindy Paul and Susanne Mort Mr. and Mrs. Bartley Reitz Mr. and Mrs. Donald Junker Ellen A. Litton Marjorie Motch § Mr. and Mrs. William A. Renz Marian Kaiser Mr. and Mrs. Barry L. Loeb Dr. Richard Munson Sam Reynolds Dick Kammer and Lori Munro Jon and Mayduane Longtin Ms. Terry Mussio Mrs. Irene B. Richardson Susan and Rod Kaplan Mr. John Loring and Faye Sutherlan Kevin and Lane Muth Mr. and Mrs. Bill Roberson Dr. and Mrs. James Katz John Louden Linda and Michael Myers Terry and Burr Robinson Mr. and Mrs. William J. Keating Mrs. Mary Lowe Mr. and Mrs. Norman Neal Mr. and Mrs. Stephen E. Robinson Thomas J. Keller and Janice and Gary Lubin Ms. Anne Nestor and Mr. Alan Cady Mrs. Nancy Robson

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Mary Frances Roll Mr. and Mrs. Thomas A. Steele Mr. Louis Weisser Mr. Thomas D. Croft Robert and Mary Ann Roncker Judith K. Stein, MD Robert and Joyce Westerkamp Funky’s Catering Lindsay Rorick Julie Stenken Carolyn L. White Intrust IT Mr. and Mrs. Kevin C. Ross Mark and Anne Stepaniak Mr. Donald White Jungle Jim’s International Market Robert Roy Mr. and Mrs. Frank Stephenson Richard Wilhelm Ms. Kathleen Kiely Barb and Rich Ruddy Dick and Karen Stewart Steve and Nancy Wills Nancy C. Wagner Mrs. Joseph C. Russo Mr. and Mrs. Dale L. Stimpert Mrs. Mary Ellen Wilson Patricia M. Wagner Mr. Jerome Ruthman Peter and Edna Stites Mr. and Mrs. Rolland Wilson Mary E. Ryland Naomi Stoehr Mr. Stephen P. Wilson List as of August 20, 2015 Dr. and Mrs. Khamis A. Saba Michael and Barbara Stough Mr. and Mrs. David Witte Mr. and Mrs. Alan Sakalas Dr. and Mrs. Bill Stowell Eric and Kim Wittkugel * Denotes a fund of The Greater Mrs. Diane C. Salvato Dr. and Mrs. Richard F. Sulek Mr. and Mrs. John B. Workman Cincinnati Foundation Julie Savchenko Karen Lytle Sumpter William and Susan Wortman § Denotes members of The Thomas Richard J. and Patricia S. Sayre Mr. and Mrs. Edward Swain Barbara L. Wuest Schippers Society. Individuals who have Shirley and Irv Scharfenberger Mr. Dale Swisher Betty A. Wuest made a planned gift to the Cincinnati Dr. R. Thomas and Mrs. Virginia Scheer Mr. and Mrs. Charles Tackett Mr. and Mrs. Daniel R. Wurtzler Symphony and Pops Orchestra Mr. Ken Scheffel Mr. and Mrs. Charles L. Thomas, Jr. Emel Yakali are eligible for membership in The Cathy L. Schloss Ms. Charlotte Thomas Ms. Cynthia Yunger Thomas Schippers Society. For more Ceil Schlosser Marshall W. Thomas Mr. Richard Zinicola information, please contact Rachel Jane and Wayne Schluetker James L. Thompson Mr. and Mrs. Daniel Zuck Kirley 513.744.3291. Carl and Nancy Schmidt David and Christine Thornbury Anonymous (51) Lee and Susie Schmidt Mr. and Mrs. Joe Thrailkill C. Jean Schroer Mrs. Barbara Timmerman GIFTS IN-KIND Marcia Schulte Anita and Doug Todd Mrs. Charles Fleischmann III Janet R. Schultz and Russell Lascelles Dr. and Mrs. Haig G. Tozbikian Clark Schaefer Hackett Mr. and Mrs. Carl Schwab Fred and Christine Tritschler Carol Schweitzer Mr. and Ms. James Troutt Mary D. Schweitzer Bob and Loris Ungar The Cincinnati Symphony Orchestra is grateful for Peter Seidel Richard and Lois Ursillo Mr. and Mrs. Thomas P. Semancik Mrs. Nona Van Den Berg the support of the following: Stephanie Sepate Mr. and MRs. E. Dieter van der Bent Mrs. Gertrude Seybold Mr. and Mrs. Leon Van Derzee Mrs. Henry Shaw David and Amy Van Schoik The Louise Dieterle Nippert Mr. Robert Shaw Thomas M. Vaughn § Musical Arts Fund Dr. Rees and Jeanne Sheppard Rick and Diana Veid Lise and Kevin Sigward Mr. and Mrs. Stephen G. Verdin, Sr. Ms. Courtney Simonse Rev. Francis W. Voellmecke John and Janet Simpkinson E. Vondenbrink Richard Sininger Mr. Stephen VonWahide Adrienne Angst Smith Mr. and Mrs. James K. Votaw Susan and David Smith Mrs. Tina Wachter Mrs. Wanda Smith Judy Wahl Christina Sommer Ms. Priscilla S. Walford Mr. and Mrs. Donald A. Spencer, Sr. Mr. T. C. Wanstrath Mr. and Mrs. John A. Spiess Dr. and Mrs. Jerry Warner Lee T. Spitznagel Mr. and Mrs. Norman S. Wasserman Mr. and Mrs. Estel D. Sprague Dr. James E. Weaver Mr. and Mrs. Sterling Staggs, Jr. Mr. Francis Webb Robert and Sarah Stanley Mr. Richard A. Weiland

SEPTEMBER 2015 Who’s a Group? You’re a Group!

The Cincinnati Symphony and Pops Orchestra is pleased to welcome the following groups to these concerts: • Discover our specially priced tickets for groups of 10 or Pops at the Movies, 9/18 & 20 CSO 9/25–27 more! Anderson Senior Center Barrington of Oakley • Find out how you can Berkeley Square Franklin County High School orchestrate a profitable Bryan Equipment Sales, Inc The Kenwood Senior Living Center fundraising event Miami Senior Center The Knolls of Oxford for your local organization. Seasons Retirement Community Maple Knoll Village Marielders Contact CSO Group Sales: Pops Back to the Future, 9/19 Mason Christian Village 513.744.3590 or Mrs. Paula Vickery Northern Kentucky University csogroupsales.org Jayson Zoller English Department Saint Luke Catholic School Seasons Retirement Community Turkeyfoot Middle School Twin Lakes at Montgomery

cincinnatisymphony.org | FANFARE CINCINNATI | 57 FINANCIAL SUPPORT THE THOMAS SCHIPPERS LEGACY SOCIETY Thomas Schippers—whose life phony Orchestra. The Thomas Schippers Legacy was tragically cut short—was Society was established in 1990 to recognize those Music Director from 1970 to 1977. who contribute to the tradition of planned giving He left us with many wonderful exemplified by its namesake. memories, but his legacy is more For more information on how you can create your than musical for he remembered own CSO or Pops legacy by becoming a member of his adopted city of Cincinnati The Thomas Schippers Legacy Society, or making a with a substantial personal be- gift to the endowment, please contact Ron Cropper quest to the Cincinnati Sym- at 513.744.3365 or [email protected].

Dr. Ira & Linda Abrahamson * Ms. Roberta Hermesch * Moe & Jack Rouse Dr. & Mrs. Thomas Todd * Mr. & Mrs. James R. Adams * Ferd & Jill Hersman * Marianne & Snowden Rowe * Nydia Tranter Jeff & Keiko Alexander * Karlee L. Hilliard Solveiga Rush Dick & Jane Tuten * Mrs. Robert H. Allen * Mr. & Mrs. Joseph W. Hirschhorn Ms. Emalee Schavel ** Mr. & Mrs. Robert Varley * Mrs. Charles William Anness Daniel J. Hoffheimer * Rosemary & Mark Schlachter ** Thomas M. Vaughn Dr. Norita Aplin & Stanley Ragle Mr. & Mrs. Edward A. Hogan * Mr. & Mrs. Arthur F. Schmitt * Mr. & Mrs. Randolph Wadsworth, Jr. * Jean L. Appenfelder Kenneth L. Holford * Mrs. William R. Seaman Jack K. & Mary V. Wagner Carole J. Arend * Mr. & Mrs. Terence L. Horan * Dr. & Mrs. William Blake Selnick * Nancy C. Wagner Donald C. Auberger, Jr. Evelyn V. Hess Howett, M.D. Mrs. Mildred J. Selonick Patricia M. Wagner Dr. Diane Schwemlein Babcock Mrs. Benjamin C. Hubbard Joyce Seymour Mr. & Mrs. Paul Ward * Mr. & Mrs. William T. Bahlman, Jr. * Isabelle F. Hugo Mrs. Robert B. Shott * Debie Crosset Warkany * Henrietta Barlag Mrs. William H. Hutcherson, Jr. Sarah Garrison Skidmore Jo Anne & Fred Warren Peggy Barrett Mary Ellen Hutton Roberta L. Sontag * Anne M. Werner * Jane & Ed Bavaria * Julia M. F. B. Jackson * Mrs. Warren Spalding Gary & Diane West * Ellen A. Berghamer Michael & Kathleen Janson * Marie Speziale Mary West Dava L. Biehl * Andrew MacAoidh Jergens Mr. & Mrs. Christopher L. Sprenkle Charles Wilkinson Walter Blair * Jean C. Jett Michael M. Spresser Sarah E. Wilkinson Lucille & Dutro Blocksom * Mrs. Morse Johnson * Susan Stanton * Harriet C. Wilson * Rosemary & Frank Bloom ** Frank Jordan Barry & Sharlyn Stare Mrs. Monte Witte * Fay Boeh * Margaret H. Jung Mrs. Edward P. Staubitz * Mrs. Joan R. Wood Dr. John and Suzanne Bossert Rosalind Juran * Dee & Tom Stegman Harris Wright ** Mollie H. Bowers-Hollon Mace C. Justice ** Mary & Bob Stewart * Betsy & Alex C. Young ** Ronald Bozicevich Karen Kapella Brett Stover & Christopher Hassall Dr. & Mrs. Daryl Zeigler Thomas A. Braun, III Dr. & Mrs. Steven Katkin * Dr. Robert & Jill Strub * Anonymous (27) Joseph Brinkmeyer Paul C. Keidel * Patricia M. Strunk Mr. & Mrs. Frederick Bryan, III * Dr. Robert A. Kemper * Ralph & Brenda Taylor * * Schippers Society Member Mary Alice Heekin Burke * Mrs. Paul N. Kibler Conrad F. Thiede for 10 or more years Deborah Campbell & Eunice M. Wolf Alan and Jill Kinstler Minda F. Thompson ** Schippers Society Member Dimitra A. Campbell ** Marvin Kolodzik * Carrie & Peter Throm for 20 or more years Myra Chabut ** Randolph & Patricia Krumm CSO Ad .25 Page.pdf 1 10/4/2013 3:03:44 PM Jean & Matthew Chimsky Mrs. Theresa M. Kuhn Mrs. Jackson L. Clagett III Owen & CiCi Lee * Norma L. Clark Audrey Kuethe Leeser Stanley & Frances Cohen * Mrs. Jean E. Lemon Leland M. & Carol C. Cole Mr. & Mrs. Peter F. Levin * Grace A. Cook * George & Barbara Lott ** Mr. & Mrs. Charles Cordes ** Mr. & Mrs. Ronald Lyons * Peter G. Courlas & Nick Tsimaras ** Margot Marples Amy & Scott Darrah Allen & Judy Martin Meredith & Will Darrah, children Mrs. Thomas H. McCrary * Harrison R.T. Davis Laura Kimble McLellan Miriam Deshon Dr. Stanley R. Milstein Amy & Trey Devey Mrs. William K. Minor Robert W. Dorsey Mr. & Mrs. D.E. Moccia THE OFFICIAL PIANO OF THE CINCINNATI SYMPHONY ORCHESTRA Jon & Susan Doucleff Mr. & Mrs. James Monroe * Mr. & Mrs. John Earls * Mrs. Arthur E. Motch, Jr. *

Dale & Lillian Eickman * Kristin and Stephen Mullin C Linda and Harry Fath Ms. Maryjane N. Musser *

Alan Flaherty Christopher & Susan Muth M Mrs. Richard A. Forberg Patti Myers

Guy & Marilyn Frederick ** Anne Nethercott Y Susan Friedlander * Susan & Kenneth Newmark

Mr. & Mrs. Nicholas Fry Dr. & Mrs. Theodore Nicholas CM Mrs. Charles W. Fryer Patricia Grignet Nott

H. Jane Gavin Jane & Erv Oberschmidt * MY Mrs. Philip O. Geier * William A. Ogden *

Kenneth A. Goode** Julie & Dick Okenfuss * CY Clifford J. Goosmann & Andrea M. Wilson Jack & Marilyn Osborn *

Mrs. Madeleine H. Gordon Maurice E. Oshry CMY J. Frederick & Cynthia Gossman The Palmer Family—Cletus and

Kathy Grote Mary Lou, David and Kathy, K William Hackman Bill and Jamie * Priscilla Garrison Haffner Mrs. Gerald C. Petersen * David G. Hakes William H. Phelan * Vincent C. Hand & Ann E. Hagerman Sandy Pike * Tom and Jan Hardy Mrs. Harold F. Poe ** William L. Harmon Anne M. Pohl Bill Harnish & John Harnish Mr. & Mrs. Robert C. Porter, Jr. Mrs. Jay Harris * Irene & Daniel Randolph * Dr. & Mrs. Morton L. Harshman * James W. Rauth WILLIS MUSIC CO. Trusted Since 1899 Mary J. Healy Barbara S. Reckseit DAYTON CINCINNATI NORTHERN KENTUCKY Frank G. Heitker Edward J. Requardt * www.steinwaycincinnati.com Anne Heldman Melody Sawyer Richardson Betty & John Heldman * Ellen Rieveschl John Hermanies * Elizabeth & Karl Ronn

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

cincinnatisymphony.org | FANFARE CINCINNATI | 59 CODA diverse array of performances and and is designed for activities furthers our vision to engage content to change audiences and community. The Orches- frequently. It’s also tra’s expansive and community-focused designed for the programming isn’t always obvious to many stories, pho- Aconcertgoers, and that’s the primary reason we tos and videos to THE MARKET launched this program book magazine, Fanfare be shared via social Cincinnati, two years ago. It’s our hope that this media, including platform better tells the story of your CSO and all of the content HAD A BAD DAY. Pops and the people who help to make this success you’re reading story possible. in this edition of In that spirit, our website underwent a major Fanfare Cincinnati. transformation in late July. If you haven’t looked Do you see some- QUICK, DON’T DO at the site recently and have a smart phone, thing interesting please go ahead and navigate your browser to you’d like to share cincinnatisymphony.org or cincinnatipops.org. If on your Facebook SOMETHING. the concert hasn’t started yet, it’s okay. I promise! wall or tweet? Find In addition to our lineup of performances, you’ll the Facebook or OR find a variety of stories related to the Orchestra Twitter logo on our and the people behind it, a robust calendar with new website and filters, and even a “Watch & Listen” page that share it with just Remaining focused on the long term. allows you to experience CSO and Pops concert one click! clips and recordings, including the latest American We’re always eager for your feedback, so please Originals album. send any questions or comments about the new site to Medically speaking, checking one’s reflexes Raymond James advisor employs a slow and This “responsive” new site is built for your [email protected]. is an important test of the nervous system. steady approach to financial planning. It’s a smart phone, tablet, laptop and computer desktop, —Chris Pinelo However, in our overly deliberate opinion, rigorously thorough process in which every the doctor’s office is the only place decision is made with the long where knee-jerk reactions should term in mind. When you sit down be considered a positive. Especially with a Raymond James financial UP NEXT OCTOBER 2015 when it comes to investing. We advisor, they will take the time to realize that it’s only natural to want tailor a plan just for you. And help Holding on during the to react impulsively to a down day or ups and downs. Typically you stick to it during the ups. And a sound strategy. two, but we believe remaining stead- downs. For over 50 years, our advisors OCT 4, 2015 The Tchaikovsky fast is the more prudent financial decision. have quietly served clients differently. Go to Experience And while there is a time and place to take lifewellplanned.com to learn more. It’s time OCT 16 & 17 action, it should be done thoughtfully. As to find out what a Raymond James financial opposed to rapidly. Which is why every advisor can do for you. LIFE WELL PLANNED.

Destiny + Dante’s Inferno OCT 30 & 31

John Ryan Managing Director Investments, Complex Manager

201 East Fifth Street, Suite 2500 Cincinnati, OH 45202 T (513) 287-6763 // F: (513) 287-6788 [email protected] // raymondjames.com/johnryancapitaladvisory

60 | FANFARE CINCINNATI | cincinnatisymphony.org

13-BR-InCr-0433 BadDay_FullPg_Color_All.indd 1 1/16/14 4:53 PM THE MARKET HAD A BAD DAY. QUICK, DON’T DO SOMETHING.

Remaining focused on the long term.

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

John Ryan Managing Director Investments, Complex Manager

201 East Fifth Street, Suite 2500 Cincinnati, OH 45202 T (513) 287-6763 // F: (513) 287-6788 [email protected] // raymondjames.com/johnryancapitaladvisory

13-BR-InCr-0433 BadDay_FullPg_Color_All.indd 1 1/16/14 4:53 PM Living well.