MAY 2017 MAY 2017
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CINCINNATISYMPHONY.ORG MAY 2017 CYNTHI ERIVO Cynthia Erivo and Sons of Serendip Cynthia Erivoheadline and Sons Classical of Serendip Roots headline Classical Roots P GE 33 P GE 33
P GE 21 P GE 45 P GE 49 P GE 60 MidoriP GE returns 21 ith Pianist,P GE singer 45 & SeasonP GE Finale: 49 CSOP GE Chamber 60 Players Midori returns ith Pianist, singer & CSO Chamber Players Britten’s Violin Concerto songriter Ben Folds Stravinsky’sSeason Finale: Firebird present Spring Britten’s Violin Concerto makessongriter Pops Ben debut Folds Stravinsky’s Firebird Inspirationpresent Spring makes Pops debut Inspiration The happiness of coming home. An Exceptional Everyday Experience
Interesting people make the best neighbors. At Twin Towers and Twin Lakes senior living communities, everyday moments are just a bit more special. A spirited conversation, a shared laugh, a smile as bright as a sunny day. It all adds up to an exceptional lifestyle. Find magic in the everyday. Call us to schedule a tour or visit us online at LEC.org.
Twin Towers Twin Lakes 513.853.2000 513.247.1300 5343 Hamilton Avenue 9840 Montgomery Road Cincinnati, OH 45224 Cincinnati, OH 45242
Life Enriching Communities is affiliated with the West Ohio Conference of the United Methodist Church and welcomes people of all faiths. The happiness of coming home. An Exceptional Everyday Experience
Interesting people make the best neighbors. At Twin Towers and Twin Lakes senior living communities, everyday moments are just a bit more special. A spirited conversation, a shared laugh, a smile as bright as a sunny day. It all adds up to an exceptional lifestyle. Find magic in the everyday. Call us to schedule a tour or visit us online at LEC.org.
Twin Towers Twin Lakes 513.853.2000 513.247.1300 5343 Hamilton Avenue 9840 Montgomery Road Cincinnati, OH 45224 Cincinnati, OH 45242
Life Enriching Communities is affiliated with the West Ohio Conference of the United Methodist Church and welcomes people of all faiths. MAY 2017 CONTENTS
CONCERTS 47 Multi-platinum-selling singer/ songwriter/producer Ben Folds is widely regarded as one of the major 21 CSO: Violin Legends: Midori, May 4 & 6 music influencers of our generation. 31 Guest artists: Robert Treviño, conductor; He’ll bring his unique blend of rock, Midori, violinist piano-pop and jazz to the Taft May 9 33 Classical Roots: May 5 for a one-night-only debut with the 38 Guest artists: Cynthia Erivo, vocalist; Cincinnati Pops. Sons of Serendip; Blake-Anthony Johnson, cellist; Classical Roots Community Mass Choir; 58 Hailed by the Washington Post CSYO Nouveau Chamber Players as a “lioness at the keyboard,” Anna 45 Pops: Ben Folds, May 9 Vinnitskaya debuts with the CSO 47 Guest artists: Ben Folds; Sarah Hicks, and guest conductor Gilbert Varga conductor May 12–13. She’ll perform the fiery Prokofiev Piano Concerto No. 2, and 49 CSO: Stravinsky’s Firebird, May 12–13 the concerts (and the season) close 58 Guest artists: Gilbert Varga, conductor; with Stravinsky’s exotic Firebird Suite. Anna Vinnitskaya, pianist 60 CSO Chamber Players: Spring Inspiration, May 12 NEWS
31 One of the most admired violinists 11 Snapshots from the Orchestra’s Asia Tour of her generation, Midori returns to the CSO stage May 4/6 for concerts 12 Feature: Classical Roots: Building Bridges featuring Britten’s technically dazzling Violin Concerto. Strauss’ dynamic Also sprach Zarathustra (think 2001: A Space DEPARTMENTS Odyssey) closes the program.
38 Cynthia Erivo, who made her 6 A Letter from the Board Chair award-winning Broadway debut 8 Your Concert Experience starring as Celie in the critically Orchestra Roster acclaimed revival of The Color Purple, 10 headlines the annual Classical Roots 14 Artistic Leadership: Louis Langrée and concert May 5 at Crossroads Church John Morris Russell Oakley, along with vocal/instrumental 15 Music Hall Renovation Update group Sons of Serendip and the 17 If It Sounds Good, It Is Good! by JMR Classical Roots Community Mass Choir. 18 Spotlight: Patty Wagner 63 Boards 65 Financial Support 71 Administration 72 Coda
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FANFARE CINCINNATI STAFF: Cincinnati Symphony Orchestra and Cincinnati Pops Vice President of Communications Chris Pinelo Director of Communications Meghan Berneking Digital Communications Manager Lee Snow Communications Assistant Melissa Knueven Editor/Layout McKibben Publications
All contents © 2016–17. The contents cannot be reproduced in any manner, whole or in part, without written permission from the Cincinnati Symphony Orchestra and Cincinnati Pops.
CINCINNATI SYMPHONY & POPS ORCHESTRA Temporary Administrative Offices ON THE COVER Broadway star Cynthia Erivo 441 Vine Street, Eighth Floor stars alongside the CSO and Classical Roots Community Cincinnati, OH 45202 Mass Choir in this year’s Classical Roots concert Administrative Offices: 513.621.1919 at Crossroads Church Oakley. The annual concert [email protected] celebrates African-American music traditions. Temporary Box Office & Concert Venue Taft Theatre 317 East 5th Street CINCINNATI MAGAZINE: Cincinnati, OH 45202 Advertising and Publishing Partners 513.381.3300 for Fanfare Cincinnati [email protected] Publisher Ivy Bayer Group Sales Director of Advertising 513.744.3590 Tammy Vilaboy [email protected] Art & Production Manager Julie Whitaker TTY/TDD Marketing Director Use TTY/TDD Relay Service 7-1-1 Chris Ohmer cincinnatisymphony.org | cincinnatipops.org Advertising & Marketing Designer Emily Nevius facebook.com/CincySymphony or /CincinnatiPops Custom Publishing Account Manager twitter.com/CincySymphony or /CincinnatiPops Maggie Wint Goecke Senior Outside Account Representative Laura Bowling Operations Director RECYCLE FANFARE CINCINNATI Missy Beiting Business Coordinator You are welcome to take this copy of Erica Birkle Fanfare Cincinnati home with you as a souvenir of your concert experience. Advertising and Business Offices Alternatively, please share Fanfare Carew Tower 441 Vine Street, Suite 200 Cincinnati with a friend or leave it with Cincinnati, OH 45202 an usher for recycling. Thank you! 513.421.4300 Subscriptions: 1.800.846.4333 cincinnatimagazine.com
4 | FANFARE CINCINNATI | cincinnatisymphony.org Plant NATIVE!
By planting native flowers, shrubs and trees, you are helping to provide critical food sources and habitat for declining populations of monarch butterflies, bees and other pollinators.
www.CincyNature.org A LETTER FROM THE BOARD CHAIR
Dear Friends, new CSO subscription season beginning October 6 and the Cincinnati Pops subscription season begin- On behalf of my fellow Board members, our dedi- ning October 13 in a Music Hall, with long-awaited cated staff and talented musicians, welcome to the updates and upgrades that retain and even enhance Taft Theatre! the Hall’s historic grandeur. It will be nothing short As we search for a successor to Cincinnati Sym- of spectacular! phony Orchestra President Trey Devey following his Prior to our Music Hall return, there is much more eight extraordinary years at the helm, I want to assure to look forward to with the May Festival later this you that the CSO has the most compelling success month right here at the Taft Theatre, performances story of any American orchestra, and the Board is this summer with Cincinnati Opera at the Aronoff confident we will identify and attract excellent can- Center for the Arts, our “Patriotic Pops” celebration didates from across the country to fill this important with John Morris Russell at Riverbend, and Orchestra position. That search process is well underway. We performances around the community. At the end are also confident that the organization’s senior of August, the Orchestra will then embark on the management team, whose members average nine second of our two 2017 international tours, this time years of experience with the Orchestra, will provide to Europe. We are proud to represent the Queen City. leadership and ensure a smooth transition as the Thank you again for your continued support, and CSO’s mission continues to be advanced during this enjoy the performance! transition period. This month marks the end of our “home away from home” season at the Taft Theatre, and what a season it’s been. We are so grateful to all of you for taking this journey with us while our beloved Music Francie Hiltz Hall has been undergoing an important and much- Chair needed renovation. We are all looking forward to the Board of Directors
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YOUR CONCERT EXPERIENCE
Welcome! Here are some tips for making the most of your concert experience.
The 2,500-seat, Art Deco-style Taft Theatre was Assistive listening devices and seating for built in 1928 and is the Orchestra’s temporary audience members with accessibility needs are home during Music Hall’s historic renovation. For available for all events. updates, visit cincinnatisymphony.org/musichall. Restrooms are located on the lower level and Stay up-to-date with the CSO and Pops via second level. Accessible restrooms are located Facebook, Twitter and Instagram. on the first level in the lobby.
Visit the Bravo Shop in the Mayfair Hallway Please silence all noise-making electronics on the far east side of the lobby. CD recordings, before entering the theatre. Flash photography, merchandise and gifts are available for purchase. glowing screens and audio/video recording are prohibited during concerts. Classical Conversations takes place one hour before CSO subscription concerts, and is free to Out of consideration for all patrons, children ticketholders. Program notes are also available online under 6 will not be admitted to CSO at cincinnatisymphony.org. performances. Ushers will assist patrons with young children to seats at the back of the auditorium. For Please donate unused tickets to the box office family concerts, booster seats are available on a first- prior to the concert, so that others may attend! come, first-served basis in the lobby. Subscribers have unlimited free ticket exchanges and single ticket buyers may exchange for a $3 per ticket Ushers will seat latecomers at appropriate service charge (some restrictions apply). breaks in the concert. If there is a need to leave the auditorium during the concert, re-seating Concessions are available for purchase prior to will happen in the same fashion. These policies are concerts and during intermission. based on patron survey feedback. Thank you for Lost and found is located at the box office; for understanding. inquiries, call 513.381.3300 during business hours.
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8 | FANFARE CINCINNATI | cincinnatisymphony.org Plan for tomorrow. Live for today.
Confi dent Living. Prepare now for a better future.
Wouldn’t it be great to have a crystal ball and know exactly what the future will bring? While that may not be a reality, you can still plan well for the what-ifs of tomorrow. Confi dent Living is a unique new way to plan for the needs you may have someday, while delivering immediate access to a host of lifestyle and wellness services so you can remain at home and independent as you age. With prevention, support, and whole-health services, Confi dent Living gives you the opportunity to thrive at any stage of life. Join us for an informational event. Visit Confi dent-Living.org or call 513-719-3522 for dates and times.
Confi dent Living, a Life Enriching Communities program, is affi liated with the West Ohio Conference of the United Methodist Church and welcomes people of all faiths. LOUIS LANGRÉE, CSO Music Director Louise Dieterle Nippert & Louis Nippert Chair Paavo Järvi, Music Director Laureate Jesús López-Cobos, Music Director Emeritus JOHN MORRIS RUSSELL, Pops Conductor Louise Dieterle Nippert & Louis Nippert Chair Erich Kunzel, Founder and Conductor Emeritus, Cincinnati Pops Orchestra Keitaro Harada, Associate Conductor David G. Hakes & Kevin D. Brady Chair Gene Chang, Assistant Conductor
FIRST VIOLINS Denisse Rodriguez-Rivera ENGLISH HORN BASS TROMBONE Timothy Lees Steven Rosen Christopher Philpotts Peter Norton Concertmaster Melinda & Irwin Simon Chair Principal Anna Sinton Taft Chair Joanne Wojtowicz Alberta & Dr. Maurice TUBA Kathryn Woolley Marsh Chair++ Christopher Olka Acting Associate Concertmaster CELLOS Principal Tom & Dee Stegman Chair Ilya Finkelshteyn CLARINETS Rebecca Culnan Principal [Open] TIMPANI First Assistant Concertmaster Irene & John J. Emery Chair Principal Patrick Schleker James M. Ewell Chair++ Daniel Culnan* Emma Margaret & Principal Eric Bates Ona Hixson Dater Chair Irving D. Goldman Chair Matthew & Peg Second Assistant Concertmaster Norman Johns** Ixi Chen Woodside Chair Nicholas Tsimaras– Karl & Roberta Schlachter Vicky & Rick Reynolds Chair Richard Jensen* Peter G. Courlas Chair++ Family Chair in Honor of Morleen & Jack Rouse Chair Anna Reider Matthew Lad§ William A. Friedlander Dianne & J. David Marvin Kolodzik Chair Jonathan Gunn*‡ PERCUSSION Rosenberg Chair Susan Marshall-Petersen Benjamin Freimuth† David Fishlock Minyoung Baik Laura Kimble McLellan Robert E. & Fay Boeh Chair++ Principal Mauricio Aguiar§ Chair++ Susan S. & William A. Serge Shababian Chair Hiro Matsuo† BASS CLARINET Friedlander Chair James Braid Theodore Nelson Ronald Aufmann Michael Culligan* Marc Bohlke Chair given Kenneth & Norita Aplin and Richard Jensen by Katrin & Manfred Bohlke Stanley Ragle Chair BASSOONS Morleen & Jack Rouse Chair Michelle Edgar Dugan Alan Rafferty William Winstead Marc Wolfley+ Rebecca Kruger Fryxell Ruth F. Rosevear Chair Principal Gerald Itzkoff Charles Snavely Emalee Schavel Chair++ KEYBOARDS Jean Ten Have Chair Peter G. Courlas– Hugh Michie Michael Chertock Lois Reid Johnson Nicholas Tsimaras Chair++ Martin Garcia* James P. Thornton Chair Anne G. & Robert W. Dorsey Julie Spangler+ Chair++ BASSES CONTRABASSOON James P. Thornton Chair Sylvia Mitchell Owen Lee Jennifer Monroe Jo Ann & Paul Ward Chair Principal GUITAR/BANJO Luo-Jia Wu Mary Alice Heekin Burke FRENCH HORNS Timothy Berens+ Chair++ Elizabeth Freimuth SECOND VIOLINS James Lambert* Principal CSO/CCM DIVERSITY Gabriel Pegis Matthew Zory, Jr.**+ Mary M. & Charles F. FELLOWS~ Principal Trish & Rick Bryan Chair Yeiser Chair Vijeta Sathyaraj, violin Al Levinson Chair Wayne Anderson§ Thomas Sherwood* Emilio Carlo, viola Yang Liu* Boris Astafiev Ellen A. & Richard C. Diana Flores, cello Harold B. & Betty Justice Ronald Bozicevich Berghamer Chair Chair Blake-Anthony Johnson, cello Rick Vizachero Elizabeth Porter† Maurice Todd, bass Scott Mozlin** Acting Assistant Principal Henry Meyer Chair HARP Lisa Conway ORCHESTRA PERSONNEL Kun Dong Gillian Benet Sella Susanne & Paul Pietrowski, Director Cheryl Benedict Principal Philip O. Geier, Jr. Chair Drake Crittenden Ash§ Cynthia & Frank Stewart Chair Duane Dugger LIBRARIANS Rachel Charbel Mary & Joseph S. Stern, Jr. Ida Ringling North Chair Mary Judge FLUTES Chair Principal Chiun-Teng Cheng Randolph Bowman Charles Bell Lois Klein Jolson Chair Stefani Collins Principal Christina Eaton* Chika Kinderman Charles Frederic Goss Chair TRUMPETS Matthew Gray Hye-Sun Park Amy Taylor† [Open] Assistant Librarian Paul Patterson Jane & David Ellis Chair Principal Charles Gausmann Chair++ Henrik Heide* Rawson Chair STAGE MANAGERS Stacey Woolley Douglas Lindsay Ralph LaRocco, Jr. Brenda & Ralph Taylor Chair++ PICCOLO Acting Principal Technical Director Joan Voorhees Jackie & Roy Sweeney Robert Junk Family Chair VIOLAS Patricia Gross Linnemann Brian P. Schott Christian Colberg Chair Steven Pride Principal Otto M. Budig Family Foundation Chair++ § Begins the alphabetical listing of Louise D. & Louis OBOES players who participate in a system Nippert Chair Dwight Parry Christopher Kiradjieff Acting Associate Principal of rotated seating within the string Paul Frankenfeld* Principal section. Grace M. Allen Chair Josephine I. & David J. * Associate Principal Julian Wilkison** Joseph, Jr. Chair TROMBONES Cristian Ganicenco ** Assistant Principal Marna Street Richard Johnson † One-year appointment Donald & Margaret Principal Principal Emeritus ‡ Leave of absence Rebecca Barnes§ Robinson Chair++ Dorothy & John Hermanies Chair + Cincinnati Pops rhythm section Stephen Fryxell Lon Bussell* Joseph Rodriguez** ++ CSO endowment only ~ Funded by the Andrew W. Mellon Foundation 10 | FANFARE CINCINNATI | cincinnatisymphony.org Snapshots from the Orchestra’s Asia Tour The Cincinnati Symphony Orchestra and Cincinnati Pops, led by Music Director Louis Langrée and Conductor John Morris Russell, embarked on a tour of Asia in March, serving as Cincinnati’s ambassador in Hong Kong, Beijing, Shanghai, Tainan and Taipei. The photos below present highlights from the tour, and more photos, videos and reviews can be found at csoontour.com.
Clockwise, from top left: Louis jokes with the audience at the prestigious Hong Kong Arts Festival on March 17, the first performance of the tour. Violinist Cho-Liang Lin performs John Williams’ theme from Schindler’s List with the Pops in Shanghai March 23. JMR speaks with media, part of a warm welcome for the Pops’ performances in Tainan. JMR smiles during the crowd’s enthusiastic applause in Tainan March 25. The Pops performs a program of Hollywood action and adventure scores in Tainan. JMR and the Pops rehearse at the National Concert Hall in Taipei on March 26. Louis and pianist Alexander Gavrylyuk accept a standing ovation from the audience in Shanghai March 22 following a performance of Gershwin’s Rhapsody in Blue. Louis conducts the CSO at the Hong Kong Arts Festival in a program that included works by Ives, Saint-Saëns, Gershwin and Ravel.
cincinnatisymphony.org | FANFARE CINCINNATI | 11 Brought together by a series of what they call ser- CLASSICAL ROOTS: endipitous events, the members of Sons of Serendip (lead vocalist Micah Christian, cellist and vocalist Kendall Ramseur, harpist Mason Morton, and pianist Building Bridges and guitarist Cordaro Rodriguez) each brings with by Meghan Berneking them a unique backstory, including former careers, that led to the group’s foundation. What they share ust two days after her jaw-dropping perfor- is a love for music and for inspiring joy in others mance with John Legend at the 2017 Grammy through their talents. Award ceremony, the news broke that Cynthia This sentiment of inspiration echoes the longtime J Erivo would be headlining this year’s Classical mission of the Classical Roots Community Mass Roots concert program with the Cincinnati Symphony Choir, the 145-member choir made up of volunteer Orchestra. While Classical Roots is always one of the singers who represent dozens of area churches. Led CSO’s most highly anticipated programs of the year, by conductor William H. Caldwell and prepared by the star power generated by this Grammy- and Tony- several area music ministers, the Choir has played a winning singer and actress shines a light on what this key role in Classical Roots since its inception. “This en- program means for the participating guest artists, as tire experience is very positive because the members well as the Cincinnati community. come from various churches throughout the greater Ms. Erivo’s profile has skyrocketed in recent Cincinnati area, and the pastors of these churches months, largely due to her widely lauded performance that I have personally interacted with are proud of as Celie in Broadway’s The Color Purple, which earned the fact that they have members in the group,” said her the 2016 Tony Award for Best Actress in a Musical, Mr. Caldwell. “It’s a good thing in Cincinnati. When as well as the 2017 Grammy Award for Best Musical we are in need of rehearsal space, churches of various Theater Album. Her powerful vocals brought down denominations gladly volunteer to serve as host,” he the house at the Kennedy Center Honors ceremony in said. Since membership has grown in recent years, December which, coupled with the aforementioned it’s been possible for the Choir to perform outside Grammy Award appearance, has made her a house- of the annual Classical Roots CSO concert, proving hold name. More than her celebrity, though, she’ll the group can play a major role in the choral music bring her commanding stage presence and heart- ecosystem in Cincinnati, he said. rending musical interpretations to the Queen City, By encompassing members of all levels of musi- elevating the Classical Roots experience for musicians, cal expertise, the Choir also serves to foster lasting choir members and audience members alike. relationships between singers and help them deepen Ms. Erivo won’t be the only fame on stage on May roots in their communities. Members of the Choir 5. Also joining the CSO for Classical Roots this year turn to each other for encouragement outside of the is the Sons of Serendip. The chamber ensemble, who immediate musical experience as well. “Many of the won fans around the country after appearing on members like to seek prayer and spiritual support as America’s Got Talent, is known for putting “classical” they deal with personal situations and crises in their spins on modern popular music. During their stay in lives. It’s not uncommon for someone to ask for prayer Cincinnati in the week prior to Classical Roots, the for a family member or friend [at the beginning or Sons of Serendip will visit classrooms and perform a end of] the rehearsal,” said Mr. Caldwell. community concert, as well as perform the National Also included on the program are the Cincinnati Anthem at Great American Ball Park prior to a Cin- Symphony Youth Orchestra Nouveau Chamber Play- cinnati Reds game. ers, a group of middle and high school string players who perform together year-round in recitals around the community. The Nouveau program, which recently celebrated its 10th anniversary, is designed to give young African American musi- cians valuable performance experience, as well as the opportunity to learn life-long professional skills and earn community service credits. CSYO Nouveau Chamber Players is an important part of the CSO’s commitment to diversity and edu- cation, and the presence of these young people on the Classical Roots stage continues to inspire audiences and musicians alike.
Cellist Blake-Anthony Johnson, part of the inaugural class of CSO/CCM Diversity Fellows, meets with CSO cellist Norman Johns following the announcement of Mr. Johnson’s successful audition for the program.
12 | FANFARE CINCINNATI | cincinnatisymphony.org For the first time in Classical Roots history, there will also be five new faces on the stage who will be familiar to regular CSO and Pops concertgoers. The CSO’s new Diversity Fellowship program, in partnership with the University of Cincinnati College-Conservatory of Music (CCM) and funded by The Andrew W. Mellon Foundation, provides new opportunities for underrepresented musicians, while simultaneously fostering a more inclusive environ- ment in the world of professional orchestras. All five members of the inaugural class of Fellows (Emilio Carlo, viola; Diana Flores, cello; Blake-Anthony Johnson, cello; Vijeta Sathyaraj, violin; and Maurice Todd, double bass) will perform in their respective sections during Classical Roots. Mr. Johnson will also perform as soloist during the first movement of Dvořák’s Cello Concerto. Conductor John Morris Russell has been leading Classical Roots concerts since their inception. While of course inspiring for audiences, the program and work with the Choir also inspire him. “Each year, my experience working with the Choir just gets more musically intense, as the skill and musicianship that is honed from year to year brings a new level of artistry to our performances,” said Mr. Russell. “The music ministers do an exemplary job preparing their singers, and William Caldwell is an extraordinary choral conductor who brings out the best in the en- semble. It is a joy for me to work with Mr. Caldwell and our chorus in rehearsal in the weeks prior to the performance. From the new arrangements that are crafted specifically for our choir, to the classic works of African American choral tradition—music-making with the Choir is invariably one of the most exciting things I do every year.” With Music Hall undergoing a long-anticipated renovation, the CSO has been performing subscrip- tion concerts at the Taft Theatre during the 2016–17 Top: The Community season. As the search began for a suitable venue for Mass Choir performs annually at the Classical Classical Roots during the Music Hall transition, a Roots concert. Center: partnership opened with Crossroads Oakley, which Student musicians from the CSYO provided the space and resources able to accommo- Nouveau Chamber date the sold-out crowd and large choir. This new Players are an annual highlight of Classical partnership further demonstrates the community- Roots. Bottom: Blake- centric approach to Classical Roots. “It’s really an Anthony Johnson performs in the CSO honor for the Crossroads community to host Classical cello section earlier this Roots this year,” said Chuck Mingo, Campus Pastor season; he’ll perform as soloist during Classical for Crossroads Oakley. “This program is a tremen- Roots. dous opportunity, not only because of the world-class music-making that will take place, but also because Classical Roots is all about fostering relationships and making connections with friends and neighbors. This is the sort of bridge-building that Crossroads is all about, so it’s a natural fit for Classical Roots to take place at Crossroads Oakley this season.” As Classical Roots continues to evolve and grow, so, too, do the relationships on which it is built. n
cincinnatisymphony.org | FANFARE CINCINNATI | 13 ARTISTIC LEADERSHIP
LOUIS LANGRÉE, Music Director monic, Orchestre de Cincinnati Symphony Orchestra Paris, Deutsche Kam- The French conductor Louis Langrée has been Music merphilharmonie Bre- Director of Cincinnati Symphony Orchestra since 2013 men, Budapest Festival and of the Mostly Mozart Festival at Lincoln Center in and NHK symphony New York since 2002. With the Cincinnati Symphony orchestras. Festival ap- Orchestra, recent and future highlights include a pearances have included performance in New York as part of the anniversary the Wiener Festwochen, season of Lincoln Center’s Great Performers series, a Salzburg Mozartwoche tour to Asia, and several world premieres, including and Whitsun festivals, three Concertos for Orchestra by Sebastian Currier, and the BBC Proms. Thierry Escaich and Zhou Tian. He has held positions Guest conducting projects over the next two as Music Director of seasons include Louis Langrée’s debut with the the Orchestre de Picardie (1993–98) and Orchestre Philadelphia and Konzerthaus Berlin orchestras and Philharmonique Royal de Liège (2001–06) and was return engagements with the Leipzig Gewandhaus, Chief Conductor of the Camerata Salzburg (2011–16). Wiener Symphoniker and Hallé. With the Orchestre Louis Langrée was Music Director of Opéra National de France he will conduct Debussy’s opera National de Lyon (1998–2000) and Glyndebourne and Schoenberg’s tone poem based on Maeterlinck’s Touring Opera (1998–2003). He has also conducted Pelléas et Mélisande. He will also return to The Metro- at La Scala, Bayerische Staatsoper in Munich, the politan Opera in New York, Wiener Staatsoper and Royal Opera House Covent Garden, Opéra-Bastille Opéra Comique in Paris. and Théâtre des Champs-Elysées in Paris, Dresden Louis Langrée has conducted the Berliner Phil- Staatsoper and the Netherlands Opera in Amsterdam. harmoniker, Wiener Philharmoniker (in concert in Louis Langrée’s recordings have received several both Vienna and Salzburg) and London Symphony awards from Gramophone and Midem Classical. He Orchestra. He has worked with many other orchestras was appointed Chevalier des Arts et des Lettres in around the world, including the London Philhar- 2006 and Chevalier de la Légion d’Honneur in 2014. n
Bricks, Mortar and Community So much goes into keeping Music Hall the pride of Cincinnati. Join us in our mission to preserve and promote one of America’s most celebrated concert halls and keep it a beautiful showcase for future generations. Visit SPMHCincinnati.org to make a donation or learn more. 1241 Elm St., Cincinnati, OH 45202 | 513-744-3293
14 | FANFARE CINCINNATI | cincinnatisymphony.org 8 Reasons We’re Excited for October
to explore the renovated Music Hall. The CSO, Pops, May Festival, Ballet and Opera will be scheduling performances throughout the day to make the Community Open House an unforgettable event. Look for more information over the summer! [OCT 7]
5. CSO Opening Weekend. The CSO artistic team has designed a concert of music meant to explore the rich acoustics of Music Hall. From 1. Music Hall’s Grand Opening. That had to be the the very first notes of John Adams’ Short Ride in a top of our list, right?! The renovated Music Hall Fast Machine to the final moment of Scriabin’sPoem will strike a beautiful balance between the histori- of Ecstasy, audiences will experience the full sonic cal character you love and the modern amenities splendor of the renovated hall. [OCT 6–7] you’ve been asking for. We cannot wait to show you the architectural details that have been uncovered, 6. Pops Opening Weekend. Did you know that the clever reclaimed spaces throughout the hall, legendary composer John Williams himself has the more evenly distributed acoustics in Springer provided a never-before-performed piece of music Auditorium, and so much more. [OCT 6–7] for this event? And that is on top of some of the most-requested music in the Pops arsenal, includ- 2. Our first look at Corbett Tower. The Society for the ing selections from Jurassic Park, Indiana Jones, Harry Preservation of Music Hall (SPMH) has overseen Potterand—wait for it—Star Wars. [OCT 13–15] every aspect of Corbett Tower’s extensive restora- tion, including removing the drop ceiling to reveal 7. The first Friday Orange in Music Hall. Friday 14 feet of additional ceiling height. Corbett’s coved Orange is a new series of Friday concerts—with windows have been restored, historic stenciling a twist. Past surprises have included custom has been discovered and replicated, and the entire cocktails, art installations, dancers and more. You space has been freshened up and made new. You never know what you’re going to get! The first will hardly recognize this jaw-dropping space. Friday Orange in Music Hall coincides with the CSO’s collaboration with the Cincinnati Opera for 3. Unveiling new spaces. The architects overseeing the Debussy’s Pelléas et Mélisande. [OCT 20–21] renovation have made clever use of under-utilized spaces in Music Hall, including empty carriage- 8. SPMH’s Beyond the Bricks walking tours. Techni- ways that haven’t seen a horse in decades. While cally these guided tours of Music Hall’s façade Springer Auditorium will look and feel familiar, resume in May 2017, but we include them here spaces such as a brand new rehearsal studio and because we cannot ignore the amazing restora- audience lounge will be exciting new experiences, tion work being done to the outside of Music adding additional function and character to our Hall. SPMH will point out architectural details on beloved hall. Music Hall’s iconic face, including certain bricks being re-stained to return them to architect Samuel 4. Music Hall’s Community Open House, presented Hannaford’s original vision. For more information by ArtsWave. On Saturday, October 7, from 10 am on these tours, visit spmhcincinnati.org. to 3 pm, Music Hall will be flooded with energy, art, music—and our neighbors! Made possible by Why are you excited? Drop us a line at information@ ArtsWave, this free event is one of your first chances cincinnatisymphony.org and let us know! —Erica Reid
cincinnatisymphony.org | FANFARE CINCINNATI | 15 ARTISTIC LEADERSHIP
JOHN MORRIS RUSSELL, Conductor ment has yielded a new level of artistic excellence. Cincinnati Pops Orchestra Mr. Russell is also Principal Pops Conductor of the A remarkable artist Buffalo Philharmonic Orchestra and Conductor with boundless en- Laureate of the Windsor Symphony Orchestra in thusiasm for music- Ontario, Canada, where he served as Music Director making of all kinds, for eleven years. John Morris Russell With the Cincinnati Pops, Mr. Russell regularly is a modern conduc- leads electric performances at Music Hall, the Taft tor who engages and Theatre and Riverbend Music Center and throughout enthralls audiences the Greater Cincinnati region and on tour. Mr. Russell with the full breadth has collaborated with generations of great perform- of the orchestral ex- ers including Ray Charles, Rosemary Clooney, Idina perience. Now in his Menzel, Vince Gill, Branford Marsalis, Brian Stokes sixth season as Con- Mitchell, Megan Hilty, Michael McDonald, George ductor of the Cincin- Takei, Amy Grant, Rosanne Cash, Brian Wilson, nati Pops Orchestra, Katharine McPhee and Marvin Winans. Mr. Russell’s diverse His first four recordings released with the Cincin- programming and nati Pops on the Orchestra’s Fanfare Cincinnati label, electric stage pres- Home for the Holidays, Superheroes!, Carnival of the ence have infused Animals and American Originals, have all appeared new creativity and on the Billboard charts. In December 2014, Mr. Russell energy into one of the world’s most iconic pops led the Cincinnati Pops on a Florida tour. orchestras. A sought-after guest conductor across the con- Consistently winning international praise for his tinent, Mr. Russell’s list of frequent engagements extraordinary music-making and visionary leader- include the Los Angeles Philharmonic at the Hol- ship, this Ohio native is also Music Director and lywood Bowl, the New York Philharmonic, Toronto Principal Conductor of the Hilton Head Symphony Symphony Orchestra, The Cleveland Orchestra and Orchestra in South Carolina, where his commit- Vancouver Symphony Orchestra, among others. n
16 | FANFARE CINCINNATI | cincinnatisymphony.org IF IT SOUNDS GOOD, IT IS GOOD!
am grateful for the many memories we’ve poser and a consummate showman, he consistently shared here at the Taft, and I’m excited for Pops blows audiences away with his creative, poignant— summer concerts and our triumphant return to and often hilarious—songwriting and stage presence. Music Hall in October. For this one-night-only concert, we also have the real IThis summer, our annual Independence Day treat, to hear him perform his own Piano Concerto in concert is on Tuesday, July 4th at Riverbend Music addition to fully-orchestrated arrangements of some Center. Our traditional “Salute to America” will of his most popular songs. Ben Folds’ contributions include patriotic favorites as well as the richly di- to the Great American Song Book are only just begin- verse musical styles that define the American spirit, ning, and although I’ll be out of town, I will jealously overflowing with energy, enthusiasm and optimism. I be checking in with all my friends who will be rocking can’t wait to share and celebrate our musical heritage out with the Pops. at Riverbend on July 4, including a dazzling display Our FINAL concert at the Taft is our “Superheroes!” of Rozzi’s famous fireworks after the concert. Later Lollipops concert, in collaboration with Cincinnati that month, we’ll be performing during the post- Children’s Theater, on Saturday, June 10. We’ve taken game fireworks show at Great American Ball Park many of our favorite Pops arrangements (many of on Friday, July 21. We all hope the Reds will pull which we’ve recorded!), added the effervescently out a W, but regardless, I’m confident the Pops will talented kids of CCT, and a ZANY story-line to cre- remain undefeated! And that’s not all: the Pops will ate an unforgettable experience that will thrill folks be performing several outdoor community concerts of all ages. I look forward to seeing you there as we throughout the region during the summer. Stay tuned wish the Taft Theatre adieu and bring on the new era to the Pops Facebook page to keep up to date with of our Pops in Cincinnati. all we have going on. This month, the Pops performs for the first time Cheers, with Ben Folds. A dazzling pianist, a brilliant com-
DEC 28–30, 2017 THURS, FRI 7:30 pm; SAT 7 pm Justin Freer conductor The Harry Potter™ film series is a once-in-a-lifetime cultural phenomenon that continues to delight millions of fans around the world. Relive the magic of the film Harry Potter and the Sorcerer’s Stone™ on the big screen above the stage as the Pops performs every note of John Williams' unforgettable score.
On Sale JUNE 1, 2017 • 10 am Subscribers may add on tickets with season ticket order.
cincinnatisymphony.org | FANFARE CINCINNATI | 17 SPOTLIGHT ON... Patty Wagner
Patty Wagner is much work, especially around the holidays, but when such a regular you saw the results it was always good,” she said. presence in the As the 2016–17 season draws to a close, so too does CSO and Pops Patty’s two-year tenure as President of the Cincinnati administrative Symphony Volunteer Association (CSVA) and, by offices, where extension, the Orchestra’s Board of Directors. During her cheerful yet that time, one of her biggest achievements has been unassuming de- creating a volunteer handbook, to help orient new meanor makes or potential volunteers to the Orchestra and the vari- her a welcome ous volunteer opportunities available. She has also teammate, one been working on facilitating more cross-pollination might under- between the various CSVA interest groups. standably as- Now, she is moving into a new Senior Counsel role, sume that she and will serve as an advisor to CSVA. She hopes to is a member of bring a greater awareness of the CSO’s and CSVA’s the staff. If that rich history, and build on it. “The Orchestra is founded were the case, by volunteers, and the volunteer group [now CSVA] however, she is 80 years old and remains strong. I’d like to be able Former CSO and Pops President Trey Devey presents Patty with a Volunteer would certainly to bring information when it’s needed of things that Appreciation Award for her contributions to CSVA. qualify as the have worked in the past, what didn’t and why, and most underpaid what could work again,” she said. Volunteerism has employee—Patty instead is one of the Orchestra’s changed over the years, as have the needs of the or- most dedicated volunteers. ganization, but she says what sustains it all is passion. She and her sister, Nancy, grew up with music “This orchestra is so fantastic, and to have an orchestra around the home; their father enjoyed listening to this caliber in a city this size is incredible, and locally classical music while their mother preferred Broad- we still don’t always appreciate it. We as volunteers way and popular music. They did not have music want to make sure that it’s here for the next generation, class in school most years, and while she tried piano and make sure the next generation wants it.” and guitar lessons, they didn’t take. “I gave up on “Retirement” seems to be relative for this former playing any instrument besides the stereo,” she systems manager for Western & Southern. In addition jokes. However, a high school teacher periodically to her work with the Orchestra, she is instrumental took her class to Friday morning CSO concerts. As to the annual “Action Auction” and “Live on CET” adults, Nancy and Patty starting attending concerts, fundraisers for WCET. She also serves on the Board starting with Pops before morphing into CSO as well. for the Three Arts Scholarship Program, which The sisters have been subscribers for over 25 years. distributes $250,000 in scholarships every year to In 1991, Erich Kunzel announced at a concert that female students in Greater Cincinnati colleges and there was a group being formed that would come to universities, as well as her parish council, the Visit- be known as Friends of the Pops. Patty and Nancy ing Nurse Association committee and the Cincinnati thought that sounded like something interesting to Symphony Club. She’s also a CSVA representative on get involved in, socially if nothing else. Thus began the American Major Symphony Orchestra Volunteers the start of their volunteer “career,” which has seen Board, where she can network and share ideas with countless hours of work, fundraisers, concerts and other orchestra volunteers. more—most of it unsung behind the scenes. The What’s the secret to finding the time and energy beginning of Patty’s 15 years as part of the Friends for so much volunteerism? The cliché answer is “the of the Pops saw several fundraisers, the biggest of reward in giving back,” but Patty says that is truly which was a two-year “musical squares” quilt project, what it comes down to. “It’s hard work, it’s not always which raised $25,000. In addition to Friends of the fun and there is not always immediate gratification, Pops, Patty has also been very involved with Parties but when you see some of the results it makes it of Note for about 20 years, including two seasons as worthwhile. You find organizations that not only the Chair. Patty was also a key player in the CSO’s an- need what you give them, but appreciate what you nual New Year’s Eve silent auction, which she cites as give them. Find something you’re passionate about, one of her most rewarding projects. “It was always so and then you’ll work like a dog.” —Meghan Berneking
18 | FANFARE CINCINNATI | cincinnatisymphony.org CINCINNATI SYMPHONY ORCHESTRA LOUIS LANGRÉE • MUSIC DIRECTOR
TICKETS ON ON AS S SE A 8 LE –1 N 17 O 0 W 2
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cincinnatisymphony.org/1718 • 513.381.3300 Shouldn’t there be a light at the beginning of the tunnel, too?
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2016–2017 SEASON THURS MAY 4, 7 :30 pm SAT MAY 6, 8 pm Taft Theatre
ROBERT TREVIÑO conductor MIDORI violinist
LIGETI Concert Românesc (“Romanian Concerto”) (1923–2006) Andantino Allegro vivace Adagio ma non troppo Molto vivace
BRITTEN Concerto No. 1 for Violin and Orchestra, Op. 15 (1913–1976) Moderato con moto Vivace Passacaglia: Andante lento (un poco meno mosso)
INTERMISSION
R. STRAUSS Also sprach Zarathustra (“Thus Spake Zarathustra”), Op. 30 (1864–1949)
The CSO is grateful to U.S. Bank, the CSO’s Masterworks Series Sponsor. The appearance of Midori is made possible by an endowed gift to the Fund for Great Artists by Mr. and Mrs. Joseph Stern, Jr. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation. The Cincinnati Symphony Orchestra is grateful for the thousands of people who give generously to the ArtsWave Community Campaign. Classical Conversations are endowed by Melody Sawyer Richardson.
WGUC is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. These concerts will end at approximately 9:15 pm Thursday, 9:45 pm Saturday. Listen to this program on 90.9 WGUC May 21, 2017 at 8 pm and at cincinnatisymphony.org May 22–28.
cincinnatisymphony.org | FANFARE CINCINNATI | 21 PROGRAM NOTES: May 4 & 6 © 2016–17 Cincinnati Symphony Orchestra
It is often during times of great hardship that composers write their most deeply personal and moving music. The first half of this wonderfully evocative program features works by György Ligeti and Benjamin Britten, both written while each composer was grappling with an ever- shifting global landscape. Ligeti’s Concert Românesc was composed as an homage to the rich Romanian folk tradition, which was stifled under Stalin’s dictatorship. Britten’s Violin Concerto serves as a statement against war and conflict, which was unfortunately raging across Western Europe at the time of the work’s inception. On the second half we encounter Strauss’ visceral depiction of Nietzche’s Also sprach Zarathustra. It is a thrill to welcome back to Cincinnati the wonderful violinist, Midori, as well as the CSO’s former Associate Conductor, Robert Treviño! —Louis Langrée
GYÖRGY LIGETI Hungary, and had been advocated for decades by Concert Românesc (“Romanian Concerto”) Béla Bartók and Zoltán Kodály, neither of whom were Communists. Bartók had died in his self-imposed n Born: May 28, 1923, Târnava-Sânmărtin (now American exile in 1945, but Kodály was very much Tîrnăveni), Romania alive, as the reigning spirit of Hungarian cultural life Died: June 12, 2006, Vienna until his death in 1967. n Work composed: 1951 Young composers seemed to have little choice but n Premiere: April 1, 1952, Hungarian Army Orchestra to follow in the footsteps of their elders. Yet György (radio broadcast) Ligeti, who had recently moved to Hungary from his n Instrumentation: 2 flutes (incl. piccolo), 2 oboes native Romania, was not cut out to be an epigone. He (incl. English horn), 2 clarinets, 2 bassoons, 3 horns, 2 dutifully collected and arranged folksongs, but in his trumpets, bass drum, cymbals a2, side drum, suspended hands, the material somehow sounded different. His cymbals, strings first purely symphonic work, the Romanian Concerto, n CSO notable performances: One previous walks a fine line between mandatory folklorism and subscription weekend | Premiere/Most recent: March 2009, Paavo Järvi conducting original ideas that already begin to challenge the n Duration: approx. 12 minutes system, however tentatively. The concerto’s melodies are very much in Romanian folk style, but no original Postwar Hungary was not an easy place for young folksongs seem to be quoted: Ligeti came up with composers. The road they had to travel was extremely some very skillful and utterly convincing imitations. straight and narrow, defined by the confluence of Five years after the composition of this work, Ligeti various political and artistic constraints. Politically, fled to the West where he became one of the leaders these were the worst years of Stalinism when the of the musical avant-garde; yet he retained a certain doorbell could ring in the middle of the night and fondness for this early essay, so uncharacteristic of his anyone with suspected bourgeois sympathies could later style. He allowed the concerto to be published be taken away to undisclosed locations. A composer and recorded, and in recent years, performances have had to sing the praises of the working classes day been multiplying. and night, and use as much folkloristic material as KEYNOTE. The four-movement concerto follows possible. Yet the idea that new concert music should a slow-fast-slow-fast outline reminiscent of Bartók’s be based on folk music predated Communism in Music for Strings, Percussion and Celesta, although
WHAT TO LISTEN FOR: n The folk-influenced melodies contained within Ligeti’s Concert Românesc. n In Britten’s Violin Concerto, the five-note timpani figure with cymbal punctuation that evokes a distinctly Spanish rhythm. n The memorable opening of Strauss’s Also sprach Zarathustra, famously used by Stanley Kubrick in his iconic film 2001: A Space Odyssey.
QUESTIONS TO DISCUSS ON THE WAY HOME: n Both Ligeti’s Concert Românesc and Britten’s Violin Concerto were written during tumultuous periods in the last century, and serve as reminders of these difficult moments in our history. How do you think art and music can help us understand and contextualize history? n Strauss wrote that his intention for Also sprach Zarathustra was to “convey in music an idea of the evolution of the human race from its origin, through the various phases of development, religious as well as scientific, up to Nietzsche’s idea of the Superman.” Certainly no easy feat—do you think Strauss succeeded?
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KEYNOTE.
PROGRAM NOTES: MAY 4 & 6 the movements follow one another without pauses. performed by the CSO, Paavo Järvi conducting, on its The opening “Andantino” resembles a colindă, or European tour in 2008. Romanian Christmas carol; it has the same typical n Duration: approx. 34 minutes melodic elements and mixed meters. First presented One program note on the Britten Violin Concerto in unison, it is repeated with harmonies added, in observes that the work was written during England’s different orchestrations. The second movement is an build-up to World War II, and thus mirrors the anxiety energetic folk dance, with a prominent violin solo that he felt about the war. Others state that it was his re- conjures up direct associations with Transylvanian sponse to the Loyalist defeat in the Spanish Civil War. village fiddlers. Particularly in the case of this work, the extra- In addition to the two horns in the orchestra, musical attribution seems forced and unsubtle. The Ligeti required a third horn, to be seated separately, Britten Violin Concerto is no “war concerto”; one will at a distance, echoing the first horn—an arrangement wait in vain for military snare drums and trumpet that dominates the third-movement “Adagio ma non fanfares; it contains no parody of goose-stepping troppo.” The composer further instructed the horn soldiers like Stravinsky’s Symphony in Three Move- players to play natural overtones even if they don’t ments, nor any rousing and timpani-studded military sound “in tune” according to the well-tempered maneuvers, like Shostakovich’s Seventh “Leningrad” system. He always retained his special love for “out- Symphony, or George Antheil’s Fourth, subtitled of-tune” harmonics, as we can see from such late “1942.” On the contrary—while storm clouds do ap- works as the Violin Concerto (1992) and his final pear, the predominant impression is that of a graceful composition, the Hamburg Concerto for solo horn, lyricism, albeit tinged with melancholy. Britten was a string orchestra and four natural horns. devout pacifist, and he had fled England before writ- The last movement begins with a direct takeoff on ing the work partly because his sentiments were so the finale from Bartók’s Concerto for Orchestra. But out of step with those of his countrymen. If anything, the scurrying string figures are much more mysteri- the Concerto sounds not so much like a communal ous and more intensely chromatic than the corre- expression of fear, but an individual flight from the sponding passage in the Bartók, at times presaging idea of war and those who urge it. In the later Sinfonia Ligeti’s intricate “micro-polyphonies” from the 1960s. da Requiem and War Requiem, Britten would address Then the dancing begins anew. The solo violin and the war directly, but at the moment, he had many the accompanying violin and viola with their open other things on his mind. strings suggest a village band. At one point, the two For one thing, in 1935 he had fallen in with a heady violas, two cellos and two basses are instructed to poetry/drama crowd centered on the great W.H. play “quasi timpani,” that is, to create a percussive Auden, and including novelist Christopher Isher- effect by plucking the strings very precisely, close to wood and Montague Slater (who would become the the bridge. As the excitement grows, the orchestra librettist for Britten’s operaPeter Grimes). Such friends interjects some heavy down strokes coming at the encouraged in the 22-year-old a franker assessment of most unexpected moments. Just before the end, the SUNDAYS | 8:30PM his homosexuality, as well as reinforcing his pacifism, horns of the third movement are briefly recalled, only agnosticism and admiration of Communism. The sud- to be interrupted by the final downbeat. den death of Britten’s mother in January 1937, from —Peter Laki illness, was another freeing influence; she had stage- mothered him into an accelerated musical career, but BENJAMIN BRITTEN he confided to his diaries that he couldn’t help but Concerto No. 1 for Violin and Orchestra, Op. 15 feel some relief at the absence of her controlling influ- n Born: November 22, 1913, Lowestoft, England ence, and he now felt more comfortable expressing Died: December 4, 1976, Aldeburgh, England his sexuality. On March 6 he met a tenor named Peter n Work composed: November 1938–September 1939 Pears, who would become his lifelong companion. n Premiere: March 28, 1940, Carnegie Hall with the In August the success of his Variations on a Theme of New York Philharmonic, John Barbirolli conducting, Frank Bridge (Bridge had been his most sympathetic CET Arts is available over-the- Antonio Brosa, violinist teacher) greatly increased his reputation, but a year Join Barbara Kellar as air on channel 48.3, n Instrumentation: solo violin, 3 flutes (incl. 2 piccolos), later his Piano Concerto, played at the prestigious she showcases performing 2 oboes (incl. English horn), 2 clarinets, 2 bassoons, BBC Promenade Concerts under Sir Henry Wood, met Time Warner Cable (Ohio) 987, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, with a distressing reception from friends and critics artists and cultural snare drum, triangle, suspended cymbals, cymbals a2, alike. The work was seen as campy, too clever and Cincinnati Bell Fioptics 248, glockenspiel, tenor drum, bass drum, harp, strings marked by “irritatingly smart vulgarity.” leaders from the n CSO notable performances: Three previous When the 25-year-old Britten fled England for Greater Cincinnati subscription weekends | Premiere: October 2006, Andrey North America in April of 1939 with the sketches Time Warner Cable Boreyko conducting, Hilary Hahn, violinist | Most recent: of a violin concerto in his valise, it is difficult to community. (Northern Kentucky) 192. April 2013, Carlos Kalmar conducting, Simone Lamsma, imagine which of many motivations was uppermost violinist. Janine Jansen was soloist when this work was in his mind. Pacifists were not going to be suffered patiently in a country so mobilized against an evil
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CET Arts is available over-the- Join Barbara Kellar as air on channel 48.3, she showcases performing artists and cultural Time Warner Cable (Ohio) 987, leaders from the Cincinnati Bell Fioptics 248, Greater Cincinnati Time Warner Cable community. (Northern Kentucky) 192.
CSO Fanfare Ad 2016 Showcase-fnl.indd 1 8/12/2016 12:41:19 PM PROGRAM NOTES: MAY 4 & 6 enemy as England was against Hitler, and he would time it spends in the very highest register. For all its be pressed to join the military. Auden and Isherwood chromaticism and wandering, the movement’s basic had already jumped ship themselves. Britten was outline is simple: a second theme (now in the correct moving toward an exclusive commitment to Pears, key of D) based on the common triad takes over the and putting an ocean between himself and some solo part and then the orchestra, after which the first previous entanglements was more than convenient. major/minor theme returns, now in the orchestra with Also thin-skinned and stung by reviews, he was leav- the violin playing the rhythmic ostinato. The closing ing behind the scene of some acknowledged artistic solo takes the violin back up into the stratosphere, failures and was searching for new inspiration in first to the highest D on the piano, and ultimately America’s burgeoning music scene. He and Pears up to F-sharp. landed in Montreal, visited Grand Rapids and New The second movement is a driving scherzo filled York City, and found Aaron Copland in Woodstock. with bracing syncopations. If one wanted to ascribe Copland, just entering a period of increased fame with a program, an argument could be made here: after the success of his ballet Billy the Kid, had a salutary the first climax in the brass and percussion, in which effect on Britten, who already admired his El Salón the violin does not join, the orchestra seems to erupt México. Copland too, however, was critical of Brit- repeatedly with calls for war and action, to which ten’s music so far, and told him that “he must search the violin responds in a calmer, more melancholic deeper for a more personal, more interesting idiom... tone, as if urging peace. A protracted buildup in good craftsmanship is not enough.” the orchestra leads to a long, thoughtful cadenza in Nevertheless, musical organizations of the new which the soloist refers to the first movement’s main world, then as now, were excited to have a British theme and runs through a panoply of emotions. The wunderkind in their midst. Britten’s Variations on a cadenza’s concluding upward scale leads directly into Theme of Frank Bridge was performed by the New York the third movement, a moody passacaglia based on Philharmonic soon after his arrival, to enthusiastic a theme introduced by the trombones. This theme is response. On September 29 from St. Jovite, Quebec, based partly, though not consistently, on a scale of he wrote to a former lover that he had just completed alternating whole- and half-steps, known to classical the violin concerto on which he had been working musicians as the “octotonic,” and to pop musicians as since November. “[It] is at times like these,” he added, the “diminished,” scale—widely used by Stravinsky, “that work is so important—that humans can think of among others. Nine variations ensue, leading to an other things than blowing each other up!... I try not extended coda in which the violin plays an emotive to listen to the radio more than I can help.” Heifetz solo over slow chords in the orchestra. This final solo himself allegedly called the work unplayable, but can’t decide between the F and F-sharp that would Antonio Brosa, a Spanish violinist friend of Bridge end the piece in minor or major, and finally closes who had premiered Britten’s own Suite for Violin with an inconclusive trill between them. and Piano in 1936, stepped forward to master it. It —Kyle Gann was also Brosa who had soloed in Alban Berg’s Violin Concerto at the ISCM festival in Barcelona in 1936, RICHARD STRAUSS where Britten heard it; the work, with its finale on a Also sprach Zarathustra (“Thus Spake similarly rising-scale theme, was doubtless part of Zarathustra”), Op. 30 the inspiration for Britten’s desire to write a work in the same genre. n Born: June 11, 1864, Munich Brosa premiered the Violin Concerto with John Died: September 8, 1949, Garmisch, Germany Barbirolli and the New York Philharmonic on March n Work composed: February 4–August 24, 1896 28, 1940 at Carnegie Hall. The composer had been n Premiere: November 27, 1896, Frankfurt, Strauss suffering a serious tonsil infection and only barely conducting made it to the performance. n Instrumentation: 4 flutes (incl. 2 piccolos), 3 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, KEYNOTE. Although it opens misleadingly in F, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 following a Mahlerian practice of “progressive tonal- trombones, 2 tubas, timpani, 2 harps, organ, bass drum, ity,” the Concerto is ultimately in the key of D—not chimes, suspended cymbals, cymbals a2, glockenspiel, major or minor, but both at once, as the violin an- triangle, strings nounces in its opening phrases. The first movement n CSO notable performances: 12 previous subscription opens in the percussion with a premonition of a weekends | Premiere: November 1926, Fritz Reiner rhythmic ostinato figure that will run through the conducting | Most recent: October 2010, Paavo Järvi initial section; the rhythm of this figure was alleged conducting by Brosa to be Spanish in origin, contributing to the n Duration: approx. 35 minutes theory that the piece refers to the Spanish Civil War. From the outset the solo part is highly virtuosic, Glorification of the individual was a fundamental not because of speed but because of the amount of tenet of 19th-century German romanticism. In music this idea originated with Beethoven—both the man
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PROGRAM NOTES: MAY 4 & 6 and his compositions. The first major composer man? All beings hitherto have created something to break away from the patronage system, he saw beyond themselves: and ye want to be the ebb of himself primarily as an independent artist and only that great tide, and would rather go back to the secondarily as a servant of nobility. His music was beast than surpass man? What is the ape to man? expressive of individual emotions and values to A laughing-stock, a thing of shame. And just the an unprecedented degree. Subsequent composers same shall man be to the Superman: a laughing- emulated Beethoven the free-spirited artist as they stock, a thing of shame. Ye have made your way from the worm to man, and much within you attempted music of ever increasing individuality. is still worm. Once were ye apes, and even yet The idiosyncratic musical personality of Berlioz, the man is more of an ape than any of the apes. Even megalomania of Wagner, the unique world-view of the wisest among you is only a disharmony and Mahler and the vivid imagination of Strauss are just hybrid of plant and phantom. But do I bid you some expressions of romantic individuality. become phantoms or plants? Lo, I teach you the Romanticism was primarily a literary movement, Superman! The Superman is the meaning of the although it affected all the arts. Philosopher Fried- earth. Let your will say: the Superman shall be the rich Nietzsche (1844–1900) was a romantic. He was meaning of the earth! deeply influenced by the ideas and the personality of Wagner, at first respecting and later rejecting the Zarathustra’s striving for perfection and transcen- composer-dramatist’s values. One of Nietzsche’s dence is not really an idea of the sixth century B.C., major works was the book Also sprach Zarathustra when Zoroaster actually lived, but rather it is related (“Thus Spake Zarathustra”), in which the ancient to the late 19th-century concept of progress and the seer Zarathustra, or Zoroaster, delivers a series of individual. To us such ideas may seem naïve, they pronouncements for humankind. Nietzsche glorifies once spoke of very real cultural concerns. And they the individual in the figure of the prophet and also in appealed to a composer such as Richard Strauss, who Zarathustra’s concept of the Übermensch, or Superman saw himself as a master craftsman transcending his (not to be confused with the 20th-century Superhero past and leading music on to ever greater heights. He character), a recurrent theme throughout the book: was the composer who in 1898 had celebrated himself as genius in Ein Heldenleben (“A Hero’s Life”). And And Zarathustra spake thus unto the people: I it was he who dared to compose a symphonic poem teach you the Superman. Man is something that around the figure of Nietzsche’s hero. is to be surpassed. What have ye done to surpass
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28 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: MAY 4 & 6
Today, Strauss’s Zarathustra has a new meaning. rather to convey in music an idea of the evolution It is a symbol no longer of the Superman, but of of the human race from its origin, through the knowledge and mystery. The source of this symbol various phases of development, religious as well as is not a book written in 1885, but a Hollywood film of scientific, up to Nietzsche’s idea of the Superman. the late 1960s. Stanley Kubrick’s 2001: A Space Odyssey The whole symphonic poem is intended as my used as a recurrent leitmotif the opening 20 measures homage to the genius of Nietzsche, which found of the tone poem. The music is associated with the its greatest exemplification in his bookAlso sprach Zarathustra. mysterious monolith that appears on the earth in prehistoric times, on the moon at the beginning of the According to Strauss’s biographer, conductor Nor- space age and on Jupiter in an infinity beyond time. man Del Mar, the tone poem responds to the book in The monolith seems to contain all knowledge of the three ways. (1) Strauss selected eight of Nietzsche’s past and future, of good and evil. The popularity of 80 chapter headings to suggest sections of the music. this movie, and of the music associated with it, has Each chapter is Zarathustra’s brief discourse on a par- replaced Strauss’s dated symbolism with something ticular idea. (2) The opposition found throughout the appropriate to the late 20th century. One possible book between immutable nature and the progress of conclusion to draw from this unexpected dénoue- man is symbolized by the conflict between two keys, ment of Zarathustra’s musical story is that Strauss’s the “natural” key of C major (no sharps, no flats) and composition is philosophical, but that the philosophy the distant B major (five sharps). (3) The evolution of it “expresses” is independent of the music. man from primitive being to Superman became the But just how philosophical is Strauss’s tone poem? metaphor for the form of the entire tone poem. The composer, who was known to brag that he could KEYNOTE. The music begins in the depths of portray anything in the orchestra, understood that darkness, with a low rumble in string basses, con- music is not a medium of philosophy. It could reflect trabassoon, organ and bass drum. Then comes the the mood of Nietzsche’s work and the character sunrise, as four trumpets intone the Nature theme—a of Zarathustra, and it could even depict a series of simple three-note rising figure. After day breaks with events. But there is no way music can convey complex a tremendous C major cadence, the orchestra begins ideas. Strauss realized music’s limitations: to sound the Spirit motive—also a rising figure, this time four notes of a triad. Significantly, the key shifts I did not intend to write philosophical music or portray Nietzsche’s great work musically. I meant to B minor. After the Spirit motive is expanded to a CSO Ad .5 Page.pdf 1 10/4/2013 2:52:49 PM
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cincinnatisymphony.org | FANFARE CINCINNATI | 29 PROGRAM NOTES: MAY 4 & 6 complete theme in pizzicato low strings, two horns causes a catharsis, described with extraordinarily intone a quotation from the Gregorian chant Credo. rich orchestration. The prophet must recover. Now This statement of belief is ironic, representing the he understands his mission on earth, and he descends dreaded (to Nietzsche and Strauss) dogma of the once again from his cave to proclaim the Superman. church, which supposedly has prevented man from The ensuing section, “The Dance Song,” grows out spiritual evolution. of the Nature motive. Nietzsche’s chapter tells how The strings begin an adagio that corresponds to Zarathustra comes upon some maidens dancing. Zarathustra’s pronouncement “Of the Backworlds- He sings to them of the fickleness of wisdom and men.” This title plays on of life itself. The music is, the more common name, Stanley Kubrick’s 2001: surprisingly, a Viennese “backwoodsmen.” Ni- A Space Odyssey used as a waltz, which is developed etzsche depicts the naïve at great length. Perhaps religious faith of simple recurrent leitmotif the opening Strauss is trying to suggest, people as an impediment beneath this incongruous to spiritual growth. Zara- 20 measures of the tone façade, that the Superman thustra states that he once poem. The music is associated is not a lofty or abstract believed in God, and that being but resides within then he saw the world as with the mysterious monolith ourselves even in our most “colored vapors before the that appears on the earth mundane activities. The eyes of a divinely dissatis- music remains firmly in fied one.… The God whom in prehistoric times…. The the key of C until it finally I created was human work monolith seems to contain slips to B and then back: this and human madness, like waltz belongs to both nature all the gods!” God and the all knowledge of the past and and the human spirit. heavenly world were cre- future, of good and evil. The waltz builds to the ated by weak and perishing final, climactic section: “The men. The backworldsmen believe in God as salvation Song of the Night Wanderer” (Nietzsche’s prelimi- because their bodies are sickly, whereas Zarathustra nary title for his penultimate chapter, which he later preaches the healthy body as the true meaning of renamed “The Drunken Song”). Del Mar explains: the earth. Strauss’s music is an expression “of de- Zarathustra is surrounded by his disciples and vout fervor, depicting the naïve emotional comfort interrupts their joyful dancing and demonstrations through belief in a benevolent divinity, however of affection by passing through a kind of drunken man-inspired,” according to Del Mar. fit. He recovers just as the Great Bell begins to After an ecstatic climax, we arrive at a section titled toll and quietly interprets the solemn strokes by “Of the Great Longing.” Zarathustra proclaims the rhapsodizing line by line around the poem “O independence of the soul, to which man has given all. Man, Take Heed.” After rushing figures in the strings, winds and harps, a section called “Of Joys and Passions” commences. The tone poem closes with a peaceful coda, The music attempts to illustrate Zarathustra’s ideas disturbed only by the Satiety motive. The tonality on how passions lead to virtues. During the Joys is B major, the key of man’s progress toward the and Passions music, the trombones blare forth a new Superman, but chords belonging to C major, the key motive, the Satiety theme. of unchangeable nature, intrude toward the end. The return of the Spirit motive in the low strings, The actual ending is an astonishing stroke of musi- as other instruments continue the Joys and Passions cal imagination. Pizzicato C major arpeggios in the music, announces the section titled “The Song of the low strings alternate with sustained B major chords Grave.” Zarathustra cries out against lost youth and in the high winds and strings. Isolated C’s have the proclaims the triumph of the will. final word, but ultimate resolution has been denied. The music dies down for a section labeled “Of Sci- Del Mar again: ence.” Strauss depicts learning with a learned fugue. Nietzsche ends on a note of climax with the idea Suggesting the keys of both C and B, incorporating of “Eternal Recurrence.” Zarathustra emerges from the Nature motive, and containing all 12 tones of the his cave in the last lines, glowing and strong in chromatic scale, the fugue subject is stated again and the spirit of a new dawn for his life’s work. Such again in the low strings. Subsequently, the music a conception has no place in Strauss’s musical incongruously suggests a dance, but, after inter- scheme, and he closes his tone poem in a mood ruptions by the Nature theme, the fugue resumes, of utter tranquility, but showing the conflict accompanied by rushing figures. The resumption between Man and Nature basically unresolved section is called “The Convalescent.” and as irreconcilable as the two nearest and yet Zarathustra sheds all external values and looks harmonically so distant keys of B and C. within himself for perfection. This intense search —Jonathan D. Kramer
30 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: May 4 & 6
ROBERT TREVIÑO, MIDORI, violinist conductor n Previous CSO n Previous CSO Performances: Midori has Performances: As a former performed with the CSO on Associate Conductor of the eight previous subscription CSO and Pops, Trevino weekends. has led the Orchestra n Noteworthy: In on numerous occasions, 1992 Midori founded including one prior Midori & Friends, a New subscription concert. York non-profit that n Noteworthy: Trevino brings music education recently made his Berlin programs to underserved debut with the Rundfunk- schoolchildren. Music Sinfonieorchester Berlin. Sharing, based in Robert Treviño, © Lisa Hancock n Read more: Japan, and Partners in RobertTrevino.org Performance, based in the Midori, © Timothy Greenfield-Sanders U.S., also bring music Robert Treviño has rapidly emerged as one of the closer to the lives of people who may not otherwise have involvement with the arts. most exciting American conductors performing n Read more: GotoMidori.com today, one of the most in-demand talents of the younger generation. He is immensely proud to have Midori is one of the most admired violinists of her been named, in 2016, as Music Director of the Basque generation. In addition to performing at the high- National Orchestra. est levels internationally, giving masterclasses and Treviño burst into the international spotlight at participating in prominent artistic residencies, she the Bolshoi Theater in December 2013, when he led has made a sustained commitment to commissioning a production of Verdi’s Don Carlo, substituting for new concerto and recital works. Vasily Sinaisky. He was subsequently nominated for Midori also has been recognized as a dedicated a Golden Mask award for “Best Conductor in a New and gifted educator and an innovative community Production.” Appearances with some of the world’s engagement activist throughout the U.S., Europe, top orchestras swiftly followed. Asia and the developing world. Among many honors He soon caught the eye of David Zinman, with she has received in recent years, she was named a whom he studied as an Aspen Conducting Fellow at Messenger of Peace by U.N. Secretary-General Ban the Aspen Music Festival and School—where he was Ki-moon and received the prestigious Crystal Award awarded the James Conlon Prize for Excellence in by the World Economic Forum in Davos. Conducting. Immediately afterward, in 2011, James In recent seasons Midori added several recordings Levine invited Treviño to be the Seiji Ozawa Conduct- to her extensive discography—Bach’s Complete Solo ing Fellow at the Tanglewood Music Festival. He was Sonatas and Partitas; a recital CD of Bloch, Janáček also invited to study with Michael Tilson Thomas at and Shostakovich sonatas with pianist Özgür Aydin; the New World Symphony, and to assist Leif Segers- and Paul Hindemith’s violin concerto with the NDR tam at the Helsinki Philharmonic Orchestra. Treviño Symphony Orchestra and Christoph Eschenbach is also a laureate of the Evgeny Svetlanov International (Grammy for Best Classical Compendium). In 2016, Conducting Competition in France. He served as Sony Classical released The Art of Midori, a 10-CD set Associate Conductor at the Cincinnati Symphony containing some of her most important recordings for Orchestra (2011–15) and as Associate Conductor to the label. DoReMi, the violin concerto written for her New York City Opera at Lincoln Center (2009–11). by Peter Eötvös and performed with the Orchestre Recent seasons have seen Treviño crossing conti- Philharmonique de Radio France under the baton of nents in an ever-growing number of major debuts, and the composer, was released in 2016. immediate reinvitations have frequently followed. Midori was born in Osaka, Japan, in 1971 and began Coming seasons will bring him to the Rundfunk studying the violin with her mother, Setsu Goto, at Sinfonieorchester Berlin, The Cleveland Orchestra, an early age. In 1982, Zubin Mehta invited the then Royal Stockholm Philharmonic, HR Sinfonieorches- 11-year-old Midori to make her debut at the New ter, Tonkuenstler Vienna, MDR Leipzig,Toronto York Philharmonic’s traditional New Year’s Eve Symphony, Maggio Musicale Florentino, Helsinki concert, where she received a standing ovation and Philharmonic, Bournemouth and City of Birmingham the impetus to begin a major career. symphony orchestras, as well as opera productions at Midori is Distinguished Professor of Violin (Jascha Washington National Opera. Robert Trevino has com- Heifetz Chair) at USC’s Thornton School of Music and missioned, premiered and worked closely with many holds guest and honorary professorships in Japan, of today’s leading composers, among them Augusta Shanghai and Beijing. She plays the 1734 Guarnerius Read Thomas, André Previn, Jennifer Higdon, Philip del Gesù “ex-Huberman,” and she uses four bows— Glass, Shulamit Ran and John Zorn. two by Dominique Peccatte, one by François Peccatte and one by Paul Siefried. n
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JOHN MORRIS RUSSELL, conductor CYNTHIA ERIVO, vocalist SONS OF SERENDIP BLAKE-ANTHONY JOHNSON, cello ERIN PIERCE, cello CLASSICALKENDALL ROOTS RAMSEUR, cello CSYO NOUVEAU CHAMBER PLAYERS Marion Peraza de Webb, ensemble coach CINCINNATI SYMPHONYCLASSICAL ROOTS ORCHESTRA COMMUNITY MASS CHOIR William Henry Caldwell, Resident Conductor
LIFT EV’RY VOICE AND SING James Weldon Johnson, arr. Price Please sing along; text on page 37 DANSE NÈGRE Samuel Coleridge-Taylor YOU MUST HAVE THAT TRUE RELIGION Roland Carter PASTORALE David Baker DREAMS Alan Lawson I LIVED Ryan Tedder & Noel Zancanella DON’T YOU WORRY CHILD Swedish House Mafia CONCERTO FOR TWO CELLOS, Mvt. III: Allegro Antonio Vivaldi MAKE OUR GARDEN GROW from CANDIDE Leonard Bernstein
INTERMISSION
CONCERTO IN B MINOR FOR CELLO AND ORCHESTRA, Mvt. I Antonín Dvořák CITY CALLED HEAVEN Josephine Poelenitz ORDINARY WORLD Duran Duran HOME from THE WIZ Charlie Smalls, arr. Catingub BRIDGE OVER TROUBLED WATER Paul Simon, arr. Catingub FLY BEFORE YOU FALL Cynthia Erivo, arr. Catingub THE IMPOSSIBLE DREAM from MAN OF LA MANCHA Mitch Leigh, arr. Krogstad
Guest Artist Sponsor: Cynthia Erivo’s appearance underwritten by: Jeffrey & Jody Lazarow and Janie & Peter Schwartz Family Fund of the Greater Cincinnati Foundation. Special thanks to the National Endowment for the Arts for underwriting Classical Roots. Fifth Third Bank Foundation is this evening’s Community Impact Sponsor. The CSO is grateful to World Pac Paper, this evening’s Presenting Sponsor. The Kroger Company is this evening’s Concert Sponsor. Stone Financial Retirement Planning is this evening’s Chorus Sponsor. Youth Education Ticket Sponsor: CES/LINKS Fund, in partnership with the Cincinnati Chapter of The Links, Inc. Housed at The Greater Cincinnati Foundation. Macy’s, Inc. is this evening’s Show Sponsor. Classical Roots is made possible in part thanks to The Corbett Educational Endowment established by Mrs. Patricia Corbett and The Corbett Foundation. We gratefully acknowledge Annual Support from the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation, ArtsWave and Ohio Arts Council. Special Thanks to Classical Roots Benefactor, Patron & Community Sponsors: The Voice of Your Customer | Dan Beard Council, Boy Scouts of America | Kram & Associates Marketing Solutions. The May Festival is this evening’s Artistic Partner.
cincinnatisymphony.org | FANFARE CINCINNATI | 33 Fifth Third Foundation is proud to support Classical Roots.
Fifth Third Bank. Member FDIC. Fifth Third Foundation A NOTE ON THE PROGRAM Programming for our annual Classical Roots per- Take, for ex- formance is invariably a challenge, not for any lack ample, Samuel is proud to support of breadth of orchestral repertoire that celebrates Coleridge-Taylor, the African American musical experience, but in the notable English narrowing it down to one concise and uniquely composer who was Classical Roots. themed concert program. I’m the first to admit that given his first big I get a great deal of help putting it all together: from break when recom- our music ministers, administrators, programming mended for a major committee and YOU, to find repertoire that is both commission by an musically satisfying and also delivers a strong, uplift- admiring Edward ing message. The problem is, there are just too many Elgar. Coleridge- stories, and too much amazing music to explore in a Taylor went on single concert so we invariably have to pick a theme to become one of with a narrow focus and run deep. the most popular This year it’s about “paying it forward.” From our composers of the guest artists and talented performers who call Cincin- late Victorian era in Samuel Coleridge-Taylor nati home, to the composers and arrangers whose Britain, but would also take frequent tours to the USA works we celebrate; all of us have been profoundly to work with aspiring young artists of color, inspiring influenced and inspired by great teachers and men- the first great generation of African American com- tors. Building success on top of success, observing posers to embrace African heritage in orchestral art. the triumphs and failures of our predecessors, and His Danse nègre we perform this evening remains a embracing the responsibility of sharing what we’ve sparkling testament to his contributions to American learned with the next generation—this is what breeds music making. success in music. This is what breeds success in life.
The CSO is grateful to the Jeffrey & Jody Lazarow and Jane & Peter Schwartz Family Fund of The Greater Cincinnati Foundation for their support of Cynthia Erivo’s appearance.
Fifth Third Bank. Member FDIC. cincinnatisymphony.org | FANFARE CINCINNATI | 35 PROGRAM NOTES: Classical Roots
We also feature works by Vivaldi and Dvořák on evocative voice and brings a new original song to our our program, both of whom are as well-known as repertoire, “Fly Before You Fall.” Our Classical Roots teachers as they are composers. Vivaldi led an or- Community Mass Choir continues to build in size chestra at a girls’ orphanage in Venice, while Dvořák and musical might, and will be featured in several taught composition at the National Conservatory in works from the world of traditional Gospel as well New York City. Blake-Anthony Johnson, a member as Cynthia’s selections from Broadway. These songs of our first class of CSO/CCM Diversity Fellows, will carry such inspiration in the message they convey. be performing the first movement of the Dvořák Cello Charlie Smalls (The Wiz), Mitch Leigh (Man of La Man- Concerto, written in New York, which contains many cha) and Leonard Bernstein (Candide), all tell stories musical snippets gleaned from his American experi- of the hope, compassion and the power of “we.” It is ence, including melodies inspired by the spiritual. always an honor to share the stage with our resident Erin Pierce, a member of the CSYO Nouveau Cham- conductor William Caldwell, the longtime conductor ber Players (which celebrates its 10th Anniversary this of the choral program at Central State University, who year) will be playing alongside Kendall Ramseur, of inspired a generation of singers there and continues the spectacular Sons of Serendip, in the blazing third to inspire us all with his brilliant musicianship. movement of Vivaldi’s Concerto for Two Cellos. The It is always a joy to present our Classical Roots first time I worked with Kendall was with the Boston concert each year and we hope you are as moved Pops a couple years ago, and I am thrilled the Sons by it as we are performing. Through this shared of Serendip will be joining us this weekend for their experience of music this evening, I hope that we Cincinnati debut. all might be inspired to recommit ourselves to help Also making her Cincinnati Symphony debut is those around us reach their highest potential. Music Cynthia Erivo, who won a Tony and a Grammy for can change the world because music changes people. her performance in The Color Purple on Broadway, and Thank you for taking this musical journey with us, was recently a featured performer on the Grammy and enjoy Classical Roots! Awards. Cynthia has touched so many lives with her —John Morris Russell
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Bartlett & Co. is proud to continue in partnership with the our tradition of longstanding support of the CSO. As an active corporate citizen we provide support that spans the arts, social services, civic endeavors CINCINNATI CHAPTER of and education.
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36 | FANFARE CINCINNATI | cincinnatisymphony.org LIFT EV’RY VOICE AND SING
Lift ev’ry voice and sing, Have not our weary feet ‘Til earth and heaven ring, Come to the place for which our fathers sighed? Ring with the harmonies of Liberty; We have come over a way that with tears Let our rejoicing rise has been watered, High as the listening skies, We have come, treading our path through Let it resound loud as the rolling sea. the blood of the slaughtered, Sing a song full of the faith that the dark past Out from the gloomy past, has taught us, ‘Til now we stand at last Sing a song full of the hope that the present Where the white gleam of our bright star is cast. has brought us; God of our weary years, Facing the rising sun of our new day begun, God of our silent tears, Let us march on ‘til victory is won. Thou who hast brought us thus far on the way; Stony the road we trod, Thou who hast by Thy might Bitter the chast’ning rod, Led us into the light, Felt in the days when hope unborn had died; Keep us forever in the path, we pray. Yet with a steady beat, Lest our feet stray from the places, our God, where we met Thee, CDs AVAILABLE! Lest, our hearts drunk with the wine of the world, Erich Kunzel and the Cincinnati we forget Thee; Pops’ Amen! A Gospel Celebration, Shadowed beneath Thy hand, featuring Jennifer Holliday, is for May we forever stand, sale tonight at The Bravo Shop. True to our God, True to our native land.
SAVE THE APR 20, 2018 • MUSIC HALL • 7:30 pm DATE!
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cincinnatisymphony.org | FANFARE CINCINNATI | 37 CLASSICAL ROOTS GUEST ARTISTS
Cynthia Erivo Sons of Serendip, from left: Kendall Ramseur, Mason Morton, Micah Christian and Cordaro Rodriguez
CYNTHIA ERIVO Rodriguez, a former attorney from Charlotte, NC, is Cynthia Erivo is a multiple award-winning actress the pianist and guitarist; Kendall Ramseur, a former who has made a name for herself on both London’s cello instructor from Charlotte, NC, is the cellist and West End and New York’s Broadway stages. vocalist; and Mason Morton, who is a former teacher In 2015, Erivo made her Broadway debut star- from Atlanta, is the harpist for the quartet. They have ring as Celie in the critically acclaimed revival of each been playing their instruments since childhood, The Color Purple, for which she has since received a but in 2014, they came together to begin what they Tony Award, Drama Desk Award, Theatre World know will be a long, beautiful journey of creating Award, Outer Critic Circle Award, and a Grammy music that touches people’s hearts. They hope that for her stellar performance. Most recently, Erivo was their music will resonate deeply with listeners and nominated for a Daytime Emmy for her performance that, in some way, it will make their lives a little on The Today Show while promoting The Color Purple. better—even if just for a moment. Erivo recently performed at the 39th annual Ken- For more information about Sons of Serendip, visit nedy Center Honors broadcast on CBS, where she SonsofSerendip.com. sang an illustrious rendition of “The Impossible Dream” in honor of JFK’s 100 birthday. She also is BLAKE-ANTHONY an accomplished songwriter, having written and JOHNSON, cellist performed the song “Fly Before You Fall” for the 2014 Blake-Anthony Johnson feature film Beyond the Lights. started playing cello In the spring of 2017, Erivo will co-star opposite at age 12 and was self- Viola Davis in Widows, directed by Oscar winner taught until the age of Steve McQueen. She is also set to star in the biopic 18. His multi-faceted film about Harriet Tubman to be directed by Seith career has included Mann. A UK native, Erivo graduated from the famed work as a performer, Royal Academy of Dramatic Art (RADA). collaborator, recording Most recently, Cynthia Erivo performed a beauti- artist and educator. His Blake-Anthony Johnson ful rendition of “God Only Knows Where I’d Be diverse experiences in- Without You” alongside John Legend during the “In clude performing as a guest principal cellist, chamber Memoriam” segment at the 2017 Grammy Awards. musician, soloist and recitalist around the globe. The song was made available on all platforms directly Johnson has recorded works by Richard Danielpour, following the performance. Claudio Gabriele and Poul Ruders, and he has pre- viously been featured on NPR’s From the Top with SONS OF SERENDIP Christopher O’Riley and What Makes it Great with Sons of Serendip is a musical group of four friends Rob Kiplow radio broadcasts. who, through a series of serendipitous events, came Passionate about chamber music, Johnson is a together in graduate school at Boston University. founding member and former cellist in the Läc Micah Christian, a former teacher from Randolph, Quartet. As the recipient of the Vanderbilt Music MA, is the lead vocalist of the group; Cordaro Académie grant, the quartet received commissions
38 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS and residency in the Festival d’Aix festival held in CSYO NOUVEAU CHAMBER PLAYERS Aix-en-Provence, France. He has also performed Marion Peraza de Webb, ensemble coach chamber music and as a soloist at the Spoleto USA CSYO Nouveau Chamber Players is a program of the Music Festival, Lev Aronson Legacy Music Festival, Cincinnati Symphony Orchestra’s Sound Discoveries: National Repertory Orchestra and Brevard Music Music for a Career and is made possible by the Corbett Festival. Educational Endowment. The program, under the Blake-Anthony Johnson is a prizewinner in direction of Marion Peraza de Webb, is sponsored in the MTNA Young Artist Competition, the World part by the Queen City (OH) Chapter of the Links, Inc. Competition, the Daniel Rains Competition, and the national Signature Arts Program, Classics Through Brevard Music Festival Concerto Competition. He the Ages. Designed to be a springboard for careers received his Bachelor of Music degree under Felix in classical music, CSYO Nouveau Chamber Players Wang and Kathryn Plummer while attending the has performed at numerous community gatherings Blair School of Music at Vanderbilt University, later to rave reviews and is an important part of the CSO’s studying under Bryan Dumm and Alan Harrell of The commitment to diversity and education. Cleveland Orchestra for his Master of Music degree. Johnson’s professional studies degree was completed Violinist MARION PERAZA de WEBB began her at the Manhattan School of Music in the Orchestral musical career as a member of Venezuela’s Youth Or- Performance program. Additional studies were with chestra System, El Sistema. As a member of the Simón Martin Löhr, Aline Champion, David Geber, Alan Bolívar Symphony Orchestra she has toured Japan, Stepanksy, Alan Rafferty and Wolfram Koessel. France, Spain, Mexico, Colombia and Brazil, among Currently a CSO Diversity Fellow, Blake-Anthony others, and has performed on seven recordings. Johnson is making his solo debut with the Cincinnati Marion owns the Peraza Music Workshop (PMW), Symphony Orchestra this evening. where she teaches private violin lessons, coaches her award-winning chamber ensembles, and offers theory WILLIAM HENRY classes. The PMW is a Founding School of the Carn- CALDWELL, egie Hall Royal Conservatory Achievement Program. resident conductor She is an internationally recognized guest teacher/ William Henry Caldwell, clinician and has taught at the Western Springs an active lyric baritone Suzuki Talent Education and Elmhurst College in and choral director, is Chicago, the University of Vermont, University of currently resident con- Louisville, University of Southern Maine, Bermuda ductor for the Classical Music School, Conservatorio de Bogotá and Simón Roots Community Mass Bolívar Conservatory in Venezuela. Mrs. Peraza de Choir for the Cincinnati Webb is also the director and founder of the Encore Symphony Orchestra and William Henry Caldwell Advanced Chamber Orchestra, a summer program the Martin Luther King at the University of Cincinnati College-Conservatory Celebration Community Chorus for the Cleveland of Music. Her principal teachers are Jose Francisco Orchestra. Caldwell served as full professor of Del Castillo (Simón Bolívar Conservatory), Margaret music at Central State University in Wilberforce, Pardee (Juilliard School), the Tokyo Quartet and the OH, where he was chairman of the Department of Vermeer Quartet. Fine and Performing Arts. For 34 years, he served as 2016–17 CSYO NOUVEAU CHAMBER PLAYERS conductor of the Grammy-nominated Central State Violin Cello University Chorus. He holds degrees from Stillman Maxwell Fairman+ Ethan Mugwira Louis Searcy Erin Pierce+ College (B.A. magna cum laude) and The University Lileth Stricklin of Texas in Austin (M.M. in Vocal Performance). He Matteus Thompson did further study at The Ohio State University and Viola the University of Cincinnati College-Conservatory Eva Pierce of Music and advanced studies in Lucca, Italy and Noah Torlop Vevey, Switzerland. Caldwell toured extensively + 2016–17 MAC CSYO Norman E. Johns Chair Award Recipient throughout the United States, Europe and Asia as conductor of the Central State University Chorus.
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CLASSICAL ROOTS COMMUNITY MASS BRENDA SCREWS’ early musical journey began CHOIR and DIRECTORS in Saginaw, MI, where her formal music education The Cincinnati Symphony Orchestra has connected included classical piano training and studying the with local churches to form a Community Mass Choir accelerated principles of music theory at the Riley for its Classical Roots concert. Some of the most highly Dennett Institute of Arts. While successfully earning regarded church music ministers in the area, includ- a B.S. in Pharmacy at Texas Southern University, ing A. Michael Cunningham, New Jerusalem Baptist she continued her musical path as the chief musi- Church; Eric V. Oliver, Zion Baptist Church; Brenda cian at Love United Methodist Church in Houston, Screws, Lincoln Heights Missionary Baptist Church; TX. She later received her certification in Diabetes Deborah Shipps, Church of the Resurrection; The Management from the University of Florida. Later, Rev. Dr. Marcellene Winfrey, Allen Temple A.M.E. Screws was sought out by Super X Pharmacy, and Church; and Geneva Woode, Quinn Chapel A.M.E. was transferred to Cincinnati to begin a career as Church, have prepared the Choir. a pharmacist. While she has continued a fruitful medical career in Cincinnati, she is a member of the A. MICHAEL CUNNINGHAM is Minister of American Pharmacist Association and is currently Music at New Jerusalem Baptist Church. A classi- providing pharmaceutical services for the Lincoln cally trained violinist and former professional opera Heights Family Pharmacy and Ziks Family Pharmacy. singer, Cunningham played lead roles in Verdi’s La In 1994, she joined Lincoln Heights Missionary Baptist Traviata, Mozart’s Don Giovanni and Bizet’s Carmen. Church, where she received additional music training He received bachelor’s degrees in music performance and exposure on a national level under the leadership and business management from the University of of the late Grammy-winning Dr. Charles Fold. After Alabama at Birmingham. A native of Gadsden, AL, his passing, in the search of his replacement, Brenda Cunningham began singing in the Sweet Home Screws agreed to serve as the interim lead of the Music United Methodist Church youth choir at age 4 and Ministry. After 14 years, she continues to teach and started playing violin at age 6 and saxophone at age accompany the various choirs in the Music Depart- 12, and studied piano and organ at age 13. Cunning- ment. Also, while there, Screws’ recording credits ham is Musical Director for the Urban League’s Mass featured her as a songwriter, recording with their Choir and Musical Director for the Louise Shropshire Mass Choir. She has also written music for the Gospel “We Shall Overcome Evening of Hope Mass Choir,” Music Workshop of America’s Children’s Division. and he has taught voice, violin and saxophone since Currently, Screws is gauging her focus by furthering 2001. He is a graduate of the Urban League’s AALDP her medical credentials as a Doctor of Pharmacy, Class XVI, past District Commissioner of the Hopkins and by sustaining her devotion to her artistic drive, District of Boy Scouts of America, a proud member helping to develop creativity in children through the of Kappa Alpha Psi Fraternity, and an Eagle Scout. teaching of Christian music.
ERIC V. OLIVER was born and raised in Cincinnati DEBORAH SHIPPS has been a church musician since and is a graduate of Walnut Hills High School. He she was 12 years old. She has written more than 60 attended Oberlin College, where he earned a B.A. in Christian children’s songs and has arranged several Government and Music. After earning a Juris Doctor hymns. She has written several parts of the Catholic from Case Western Reserve University School of Law, Mass and completed the Mass for the Church of the he was licensed to practice law in Ohio and Texas. He Resurrection in 2011. She is a member of the national is currently a supervisory attorney with the National faculty of the Gospel Music Workshop of America, Labor Relations Board, Minister of Music at Zion Inc., and she directed a children’s choir that per- Baptist Church, and the founder of and choral director formed all over the United States from 1986 to 1999. for the Loretta C. Manggrum Chorale. Oliver also was She has served as accompanist and Assistant Music a member of the American Negro Spiritual Festival Director for the St. Louis Legend Singers—a group Competition Criteria Committee, served as President that sang literature written by African-American of the Federal Bar Association (Fort Worth, TX), served composers, which included classical, spirituals, jazz as a legal consultant for the Heritage Music Founda- and gospel. Shipps has assisted in the direction and tion, and was a member of the search committee for accompaniment of several local choirs and has par- the selection of Cincinnati Pops conductor John Morris ticipated as clinician in several children’s workshops Russell. Oliver serves on the CSO and Cincinnati across the country. She has a music minor, a B.S. in Children’s Choir boards of directors. education, an M.S. in Computers in Education, and
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GUEST ARTISTS an Accounting Certificate. She was chosen as Teacher GENEVA L. KINARD WOODE earned Bachelor of of the Year for the St. Louis Public Schools. She is Music degrees in piano and Music Education from presently the Music Director for the Church of the the University of Cincinnati College-Conservatory of Resurrection in Bond Hill. Presently she is the staff Music and is a pianist, composer and educator. She accountant, Assistant Business Manager and choir taught music and the gifted and talented program director for DePaul Cristo Rey High School. She has in Cincinnati Public Schools for 31 years. She has worked with the Classical Roots Choir for four years. performed with various artists including Odetta, The Temptations, James Brown and John Clayton, and The Rev. Dr. MARCELLENE S. WINFREY is a pia- has played with the Cincinnati Symphony Orchestra, nist, organist and educator who has dedicated her Cincinnati Ballet Orchestra, Middletown Symphony life to the performing arts. She has performed with and Illinois Philharmonic Orchestra. She has worked various artists, including the Rev. James Cleveland, as pianist and choral director in preparation for the Albertina Walker, Charles Fold and Nikki Giovanni. CSO’s Classical Roots concerts under John Morris Other collaborations have included the Helen Steiner Russell, Parks Concerts on the Green under Erich Rice Project, Cincinnati Ballet Orchestra, Cincin- Kunzel, and Community Concerts under Carmon De nati Symphony Orchestra, Carolfest and Cincinnati Leon. Woode was officially recognized in resolution Opera’s Opera Goes to Church. She is presently a No. R/11-2016 by Cincinnati Mayor Cranley and musician for and on the ministerial staff at the historic council as a legendary historical recording artist of Allen Temple A.M.E. Church. King Records. She has successfully prepared young people for college, choir and theater auditions, includ- ing Broadway. She was program coordinator for the University of Cincinnati Young Scholars Program and an artist-in-residence for the CSO’s outreach programs. Woode is assistant minister of music at Quinn Chapel A.M.E. Church.
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CLASSICAL ROOTS COMMUNITY MASS CHOIR* Singers represent the following area churches: Sopranos Laura Thompson Tenors Allen Temple AME Church Deniya Davis Marchelle Tubbs Willam Bell Bethel AME Church Mary Franklin Ruth Walker William Berry Church of the Resurrection Rita Bain-Wilkens Donna Welch Robert Chess City Gate Church Corinthian Baptist Church Yvonne Barnes Saundra Whigham Nancy Dempsey Greater Emanuel Apostolic Temple Vicka F. Bell Iona Wynn Keith Edmondson New Mission Missionary Baptist Church Brenda Berry Eddie Mae Yates Praise Ekeng New Vision United Methodist Church Cornelia Bindford Brandon Hare Peoples Church Joann Blake Altos Leonard Hawkins Quinn Chapel AME Church Union Baptist Church Rosa Brinkman Pam Bettner Carol Johnson Zion Baptist Church Mari-Lynn Calhoun Marla Givens Jerome Johnson Bethel Baptist Church—Walnut Hills Tristan Cargile Lillie B. Tyler-Paddio Josephine Justice Bethel AME Church—Lockland Blanche Castleberry Clemmie Armstrong Dante Keeling Beulah Missionary Baptist Church Lenora Castleberry Melody P. Beall Robert K. Lomax Bibleway Church of God in Christ Bread of Life Church Mildred Chaney Donita Bindford Stephen Menifee Bright Star Baptist Church Betty J. Connors Barbara Bouldin Brian Nabors Brown Chapel AME Church Joyce P. Cooper Kim Branch Timothy Oliver Calvary United Methodist Church Mariah C. Crawley Yvonne Brantley Nick Payne Canaan Early Church of God in Christ Church Adia Dobbins Deana Brown Nancy Provine- Christ Community Church Christ Emmanuel Christian Fellowship Minnie Everett Coeany Bryant Turner Christ Emmanuel Christian Fellowship Church Cassandra Fowler Carol Cargile Gwen Rhodes Christ Our Redeemer AME Church Marqueta Freeman Lisa Bouldin Carter Derek Rowles Church of the Redeemer Bunitta Frierson Kim Drummonds Janice Sanders College Hill Presbyterian Church Joy Gazaway Sonya Foster Calvin Singleton Crossroads Community Church Ekklesia of the Lord Jesus Christ Betty J. Gorley Sandra Geiser Bryant Smith Family Life Alfreda Green-Harvey Barbara Gomes Shirley Thompson Fifth Christian Church Gloria Hanley Jeannette Harrison William Tillman First Baptist Church of Hazelwood Ciara Harper Natalie Hayes Brandy Turnbow First Church of God Amy Hartley Debbie Hill Teresa Canton First Unitarian Church Fresh Anointing Impact Church MaryCarol Hopkins Linda Hilson Turnbow Gospel Music Workshop of America-Cinti Chapter Trudy Jackson Pamela Jackson Annie Williams Greater Emmanuel Apostolic Temple Geraldine Jones Minnie Jefferson Greater Liberty Baptist Church Catrina J. Judie Karen L. Kirksey Basses Greater New Hope Missionary Baptist Church Tyra LeazerHolman Marianne Lander George Akins Heritage Universalist Unitarian Church House of Joy Barbara McMullen Gail P. Lewis Archie Armstrong Inspirational Missionary Baptist Church Christina Miller Lonia Lyle Wilton Blake Kemper Rd Christian Church Glondora Moore Sharon Monroe Rev. David Brentley Latter Day Saint—Montgomery Ward Annette Mundon Maxine Price Moore Ron Bridges Lee Chapel AME Church Margaret O’Leary Rose Morgan Frank Collins LifeSpring Christian Church, Clovernook Lincoln Heights Missionary Baptist Church Shari Palmer Lavaugh Neal David Fowler Love & Grace Outreach Carol Patton Carolin O’Bryant Ron Hoffman Morning Star Missionary Baptist Church Renee Payne Pamela Pack-Rowles Walter Huckaby Mother of Christ Catholic Church Stacia Perry Gloria Parker-Martin Allen Millsaps Mountaintop Power Center Church Mt. Carmel Missionary Baptist Church Lyda Phillips Jessica P. Rankins Samuel Olakunle Mt. Zion Baptist Church—Woodlawn Ruth J. Powell Sherry Scott Omoshebi Mt. Zion Missionary Baptist Church—Glendale Valarie Price Gwen Walton Karl Payne New Covenant Community Church of God Debbie Riley Kesha Wiley Edward Phillips New Friendship Baptist Church Barbara J. Sanders Marcellene Winfrey Jim Powell New Jerusalem Baptist Church New Nazarene Missionary Baptist Church Mildred Stallworth Betsy Wones Ramon Tubbs New Vision Missionary Baptist Church Kimberley S. Stewart Debra Woolfolk James Walton Office of African American Catholic Ministries Patricia Strachan Donte Woods Office of Pastoral Care Ronando Yates Omega Christian Center Pleasant Grove Missionary Baptist Church * as of Apr. 10, 2017 President Drive Church of Christ Rockdale Baptist Church SAAF Ministries Sanctuary Covenant Christian Church Second Baptist Church West College Hill St. Andrew Episcopal Church St. Andrew’s Episcopal Church—Evanston St. Anthony Church St. John’s Unitarian Universalist Church St. Joseph Catholic Church St. Jude Church St. Leo’s Church St. Mark Missionary Baptist Church St. Paul AME Church St. Paul United Methodist Church Tabernacle Bible Church The Greater New Hope Missionary Baptist Church The Redeemed Christian Church Tryed Stone New Beginnings Church Turning Point Church of Zion United Missionary Baptist Church Urban League of Greater Cincinnati Vineyard Community Church Tri-County Willing Spirit Baptist Church Word of Deliverance York Street United Methodist Church Zion Temple First Pentecostal Church
cincinnatisymphony.org | FANFARE CINCINNATI | 43 your performance will stick with us forever.
The arts serve as a source of inspiration for us all. That’s why PNC is proud to be the Presenting Sponsor of the Pops Series and support the Cincinnati Symphony Orchestra and Cincinnati Pops.
©2016 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC NINTH POPS SERIES PROGRAM
2016–2017 SEASON TUES MAY 9, 7:30 pm Taft Theatre
BEN FOLDS Sarah Hicks, conductor your performance Selections will be announced from the stage. will stick with us There will be one 20-minute intermission during this program. forever.
The arts serve as a source of inspiration for us all. That’s why PNC is proud to be the Presenting Sponsor of the Pops Series and support the Cincinnati Symphony Orchestra and Cincinnati Pops.
The Cincinnati Pops Orchestra is grateful to PNC, the Pops Series Sponsor. The Cincinnati Pops Orchestra is grateful to Edyth B. Lindner, whose generous underwriting and endowment gifts support these performances. Edyth B. Lindner The Cincinnati Pops Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation. The Cincinnati Pops Orchestra is grateful for the thousands of people who give generously to the ArtsWave Community Campaign.
WVXU is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. 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.
©2016 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC cincinnatisymphony.org | FANFARE CINCINNATI | 45 46 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: May 9
BEN FOLDS, SARAH HICKS, vocalist conductor n Previous Pops n Previous Pops Performances: Performances: May 2014, Debut leading Boyz II Men n Noteworthy: n Noteworthy: Born Folds is also an in Tokyo and raised in avid photographer, Honolulu, Hicks trained and is a member of on both the piano and viola the distinguished and was a prizewinning Sony Artisans of pianist by her early teens. Imagery. He says, She received her BA magna “my interest in cum laude from Harvard photographs has University in composition; expanded to equal her AIDS Oratorio was that of music and premiered in May of 1993. I find one art form Sarah Hicks She holds an Artists’ always informs and Degree in conducting from inspires the other.” the Curtis Institute of Music, where she studied with n Read more: Otto-Werner Mueller and now serves as Staff Conductor. BenFolds.com n Read more: SarahHicksConductor.com
Ben Folds Ben Folds is widely Noted in The New York Times as part of “a new wave regarded as one of of female conductors in their late 20s through early the major music influencers of our generation. 40s,” Sarah Hicks’ versatile and vibrant musicianship He’s spent over a decade sharing the stage with has secured her place in “the next generation of up- some of the world’s greatest symphony orches- and-coming American conductors.” In 2009 she was tras—from Sydney, Australia to the Kennedy Center, named Principal Conductor, Live at Orchestra Hall performing his pop hits and his critically acclaimed of the Minnesota Orchestra; in addition to conduct- Concerto for Piano and Orchestra. ing most Pops and special presentations, she has For five seasons he was a judge on the popular been instrumental in creating new Pops productions NBC series The Sing Off, which catapulted the art while also heading the innovative classical series of a cappella into the national spotlight, and helped “Inside the Classics.” She has collaborated with launch the careers of numerous a cappella groups. diverse artists, from Jamie Laredo and Hilary Hahn Throughout his career, Folds has created an to Josh Groban and Smokey Robinson; in 2011 she enormous body of genre-bending musical art that was on a two-month tour with Sting as conductor of includes pop albums as the front man for Ben Folds the final leg of his Symphonicities Tour. In 2012 she Five, multiple solo rock albums, as well as unique conducted the opening concert of the St. Petersburg collaborative records with artists from Sara Bareilles International Economic Forum in a program featuring and Regina Spektor to Weird Al and William Shatner. Dmitri Hvrostovsky, Sumi Jo and Jackie Evancho. His most recent album is a blend of pop and classical Hicks has guest conducted extensively both in the original works, in part recorded with the revered U.S. and abroad. Upcoming concerts include return classical sextet yMusic that soared to No. 1 on both engagements in San Francisco and Washington, DC the Billboard classical and classical crossover charts. as well as debuts with the St. Louis, San Diego and Throughout 2017, Folds will continue to pound Edmonton symphony orchestras. pianos with cross-country solo touring reminiscent Hicks’s past positions include Associate Conduc- of his earliest solo tour, where he defied skeptics by tor of the North Carolina Symphony, Associate delivering a high energy rock performance using the Conductor of the Richmond Symphony, Resident intimacy of just a piano. His tour schedule will also Conductor of the Florida Philharmonic, and Assistant include a series of orchestral performances where he Conductor of the Philadelphia Singers, the chorus of will showcase his piano concerto and pop hits. the Philadelphia Orchestra. She was Music Director In addition to his self-described love of performing of the Hawaii Summer Symphony, an ensemble she and making music “for humans,” Folds is also an avid founded in 1991 in her hometown of Honolulu. photographer, and is a member of the distinguished A committed proponent of the performance of new Sony Artisans of Imagery. music, Hicks recently completed a Microcommission Folds is also an advocate for music education and Project with the Minnesota Orchestra. Her record- music therapy as a member of Artist Committee of the ing project with the Vermont Symphony, “Triple Americans for the Arts, and he serves as a member Doubles,” featuring music of Richard Danielpour of the Board of Directors of the Nashville Symphony. and David Ludwig with soloists Jaime Laredo and Sharon Robinson (Bridge label). n
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EIGHTEENTH SUBSCRIPTION PROGRAM Masterworks Series
2016–2017 SEASON FRI MAY 12, 11 am SAT MAY 13, 8 pm Taft Theatre
GILBERT VARGA conductor ANNA VINNITSKAYA pianist
BARTÓK Two Portraits, Op. 5 (1881–1945) One Ideal One Grotesque Kathryn Woolley, violinist
PROKOFIEV Concerto No. 2 in G Minor for Piano and Orchestra, Op. 16 (1891–1953) Andantino Scherzo: Vivace Moderato Finale: Allegro tempestoso
INTERMISSION ROUSSEL Suite No. 2 from Bacchus et Ariane, Op. 43 (1869–1937) Ariadne’s Awakening Ariadne and Bacchus Bacchus’ Dance The Kiss Bacchus’ Cortège Ariadne’s Dance Ariadne and Bacchus Bacchanale and the Coronation of Ariadne
STRAVINSKY L’oiseau de feu (“The Firebird”) Suite (1882–1971) Introduction ed. McAllister Variations of the Firebird Round of the Princesses Khorovod Infernal Dance of King Katschei Berceuse Finale
The CSO is grateful to U.S. Bank, the CSO’s Masterworks Series Sponsor. The CSO is grateful to Ohio National Financial Services, this weekend’s Concert Sponsor. These concerts are endowed by Martha Anness, Priscilla Haffner & Sally Skidmore in loving memory of their mother, LaVaughn Scholl Garrison, a long-time patron of the Symphony. The appearance of Gilbert Varga is made possible by a generous gift from Mace Justice. Friday Morning Shuttle Partner: Croswell Bus Lines. Friday Morning Parking Garage Sponsor: City of Cincinnati. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation. The Cincinnati Symphony Orchestra is grateful for the thousands of people who give generously to the ArtsWave Community Campaign. Classical Conversations are endowed by Melody Sawyer Richardson.
WGUC is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. These concerts will end at approximately 12:50 pm Friday, 9:50 pm Saturday. Listen to this program on 90.9 WGUC May 28, 2017 at 8 pm and at cincinnatisymphony.org May 29–June 4.
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In 1910, the great ballet impresario Sergei Diaghilev, leader of the influential Parisian-based Ballet Russes, took a risk on a young, fairly unknown Russian composer named Igor Stravinsky. This gamble, which resulted in the ballet The Firebird, would fundamentally change the direction of music for the rest of the 20th Century. Nine years later, Stravinsky extracted music from the full ballet into a Suite, which concludes this evening’s colorful program. The program also features works by Béla Bartók and Albert Roussel, as well as the Second Piano Concerto by Stravinsky’s compatriot, Sergei Prokofiev. For this season finale, we are thrilled to welcome two exceptional artists to the CSO for the first time: the wonderful conductor Gilbert Varga and the exciting Russian pianist Anna Vinnitskaya. —Louis Langrée
BÉLA BARTÓK n CSO notable performances: Two previous Two Portraits, Op. 5 subscription weekends | Premiere: November 1996, George Pehlivanian conducting, Alexander Kerr, violinist n Born: March 25, 1881, Nagy-szentmiklos, Hungary | Most recent: March 2009, Paavo Järvi conducting, Died: September 26, 1945, New York Timothy Lees, violinist n Work composed: based on the First Violin Concerto, n Duration: approx. 12 minutes composed between July 1907 and January 1908, and on the Fourteenth Bagatelle, composed in May 1908 Bartók’s first love was violinist Stefi Geyer. His pas- n Premiere: The first of theTwo Portraits was played sions for her were spiritual, physical, musical and on February 12, 1911 in Budapest. István Strasser and the philosophical (he enjoyed intellectual discussions Opera Orchestra of Budapest gave the first performance of with her). While visiting her and her brother in the entire work on April 20, 1916. 1907, he began to compose a violin concerto based n Instrumentation: solo violin, 2 flutes (incl. piccolo), on a musical motive that represented his love. This 2 oboes (incl. English horn), 2 clarinets (incl. 2 E-flat figure, a rising arpeggiated D major seventh chord clarinets, bass clarinet), 2 bassoons, 4 horns, 2 trumpets, followed by a descended B minor triad is known as 2 trombones, tuba, timpani, bass drum, cymbals a2, snare the “declaration of love” motive. drum, tam-tam, triangle, 2 harps, strings The concerto was projected to be in three move- ments, of which Bartók completed only the first two.
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The first (which is virtually identical to the first of the the fateful rejection letter from Geyer, the composer Two Portraits) he characterized as a musical portrait married Márta Ziegler. of the “idealized Stefi Geyer, celestial and inward.” But what became of the ill-fated First Violin Con- The composer felt that this music had been “written certo? Geyer was not going to perform it. Bartók did exclusively from the heart.” The second movement try to interest some other violinists in the work, but was also a portrait, this time of the “cheerful, witty, with no success. Eventually, once he got over his an- amusing” Geyer. ger toward Geyer, Bartók came to feel that he would The composer hoped that Geyer would perform be reopening old wounds by allowing the piece to the concerto as a public affirmation of their personal be played. In its two-movement form, therefore, the and professional union. As soon as he had completed concerto remained unperformed and unpublished (but not yet orchestrated) the first two movements, until 1958, after the deaths of both Bartók and Geyer. he sent Geyer the manuscript. Her reply was most KEYNOTE. But the composer did resurrect the con- unexpected. Instead of writing that she was planning certo’s first movement. Renamed “Ideal,” it became to perform the concerto, she sent a letter in which she the first of the Two Portraits. The second movement terminated the courtship. Bartók was devastated. His is an orchestrated version of the last of the Fourteen first impulse was to compose a third movement for Bagatelles for piano—one of the works based on the the concerto, in which he would depict an “indif- love motive. He retitled this movement “Grotesque.” ferent, cool and silent Stefi Geyer,” using music he He gave Two Portraits the opus number 5, which had characterized as “hateful.” originally been intended for the concerto. Despite the Bartók rejected this plan, but over the next five fact that only the first movement uses a solo violin, months he did work out his feelings in a series of both pieces work well together. They both use the compositions based on the love motive. The first love motive (it is heard in the solo violin at the very such piece he appropriately called “Elegy.” It is the beginning, and answered as each new group of first of the Two Portraits for piano. Two additional instruments is added), and they both are musical “Stefi lost” works are the last two of the Fourteen portraits of Geyer (though from very different per- Bagatelles for Piano. One of these is a dirge called spectives—respectively before and after her rejection “She is Dead,” and the other is a wild and satiric of the composer). waltz (which eventually became the second of the —Jonathan D. Kramer Two Portraits). The composer’s bitterness toward the violinist is palpable in this music. SERGEI PROKOFIEV He also included the love motive in “Dedication,” Concerto No. 2 in G Minor for Piano and the epilogue to his Ten Easy Piano Pieces. His most Orchestra, Op. 16 extensive musical working through of his feelings of unrequited love occurs in the First String Quartet. His n Born: April 23, 1891, Sontsovka, Ekaterinoslav, Russia last letter to Geyer mentions that he was at work on a Died: March 5, 1953, Moscow quartet using her motive: “this is my funeral dirge.” n Work composed: winter, 1912–13; revised 1923 n The quartet, according to Bartók’s friend and fellow Premiere: September 5, 1913, Pavlovsk, A.P. Aslanov composer Zoltán Kodály, chronicles Bartók’s return conducting, Prokofiev, pianist; revised version premiered in Paris, Serge Koussevitzky conducting, Prokofiev, to life. The music progresses from the opening dirge pianist to a finale, the introduction of which quotes the song n Instrumentation: solo piano, 2 flutes, 2 oboes, 2 “Just a Fair Girl”—yet another reference to Geyer. clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, These compositional projects must have been thera- tuba, timpani, bass drum, cymbals a2, snare drum, peutic. By November 1909, 21 months after receiving
WHAT TO LISTEN FOR: n The impressionistic qualities of Bartók’s Two Portraits, which were influenced by his great admiration for the French composer Claude Debussy. n The almost perpetual movement quality and shear virtuosity required of the pianist in the second movement Scherzo from Prokofiev’s Second Piano Concerto. n The rousing Finale of Stravinsky’s Firebird Suite, which all emerges from a quiet horn solo.
QUESTIONS TO DISCUSS ON THE WAY HOME: n When Prokofiev’s Second Piano Concerto was first premiered, the audience at that time did not respond favorably, describing it as too “modern” and “difficult.” Since its premiere, it has become part of the standard repertoire. Can you think of a piece of music or a book that you initially did not find appealing that you now love? n Stravinsky’s Firebird Suite utilizes the entire orchestra to maximum effect in each of the seven movements or sections. What was your favorite moment of the piece?
cincinnatisymphony.org | FANFARE CINCINNATI | 51 PROGRAM NOTES: MAY 12–13 suspended cymbals, tambour militaire, tambourine, rejections. Medtner commented, “If that is music strings then I am no musician.” The young composer next n CSO notable performances: Nine previous approached the firm of P.I. Jurgenson, the most subscription weekends | Premiere: March 1954, Thor respected publishing house in Russia. Although Pro- Johnson conducting, Jorge Bolet, pianist | Most recent: kofiev included a recommendation from composer February 2011, Paavo Järvi conducting, Alexander Sergei Taneyev along with his scores, the response Toradze, violinist; also on 10-week world tour in 1966, was disheartening as well as maddening: the firm Max Rudolf conducting, Lorin Hollander, pianist—the was “too busy to look at new work.” CSO was the first American orchestra to make a world The obstinate composer decided that he would tour sponsored by the U.S. Department of State find a way to make Jurgenson look at his scores. He n Duration: approx. 31 minutes decided to enlist the aid of A.V. Ossovsky, a wealthy As a student Sergei Prokofiev was something of an amateur musicologist. Prokofiev showed up at Os- enfant terrible. He was brash and self-confident, and sovsky’s house one day, got past the servants, and his attitude toward the conservatory education he refused to leave until he had played some of his music. was receiving and the classics he was taught was The composer’s effrontery worked: Ossovsky was less than reverent. His early compositions reflect his charmed (whether by the young man or his music we personality: they were and are bold, innovative, and do not know) and wrote a strong letter of recommen- at times harsh. Prokofiev had the confidence of youth, dation to Jurgenson. At about the same time Prokofiev and he believed in his own talent. He wanted a career, performed some of his piano pieces in concert. When and he used a combination of craftiness, notoriety and they were well received, he told everyone to make sure aggressiveness to pursue his goal. that Jurgenson heard about his success. After a number of his works had been performed, Jurgenson could not resist this two-pronged attack. Prokofiev felt that the next step in his growing career He sent for the composer, listened to his music, and should be to have some music published. Conductor offered him a contract on the spot. Somewhat to Serge Koussevitzky had established a publishing Jurgenson’s surprise, the piano music he published house in 1909, appointing an editorial board of such sold quite well. distinguished musicians as Scriabin, Rachmaninoff Now that Prokofiev was a published composer, and Nikolai Medtner. Prokofiev submitted some he was able to secure prestigious performances. pieces to this panel and received the first of several Thus he introduced his First Piano Concerto in 1912,
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52 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: MAY 12–13 simultaneously making his debut as a piano soloist and did not win the prize, the defeat would be less with orchestra and as a concerto composer. Critical mortifying because no one would be able to decide reaction was mixed, with some particularly nasty whether I had forfeited the prize because my concerto reviews. Rather than be discouraged, Prokofiev began was bad in itself or because I played it badly!” almost immediately to compose the Second Concerto. When he announced that he would play his own When he performed it, the critics were again harsh. First Concerto (“the Second would have sounded These negative reactions closed many doors to the too outlandish inside the hallowed walls of the Con- aspiring composer, but he did not give up. He took servatory”), the jury balked. How could they assess solace in the fact that his compatriot Igor Stravinsky the accuracy of his playing if they did not know the had suffered insults at the premiere of The Rite of work? The composer thus arranged for his publisher Spring earlier the same year and yet seemed to be hav- to provide scores for everyone in the audience to read. ing a spectacularly successful career. Furthermore, This gesture of brash over-confidence impressed the Prokofiev felt that his concerto was more radical and jurists, and—after much deliberation—they awarded more endurable than any of Stravinsky’s music. He the prize to Prokofiev. continued to compose the aggressive music that he Alexander Glazunov, chairman of the jury, rep- believed was right. resented the minority opinion. True, several years And he continued to pursue his career. He tried earlier he had helped a brilliant young boy of 13 pass to get conductor Alexander Siloti to program the the rigid entrance examination for the St. Petersburg Second Concerto, but Siloti resisted. With the help of Conservatory. True, he had been forgiving when a composer Nikolai Miaskovsky, Prokofiev made the certain irreverent Conservatory student had pur- issue public. Siloti responded in the press, “I cannot posefully added wrong notes to classical chamber invite Prokofiev to play his Second Concerto at my pieces. But to have the effrontery to enter a piano concerts, for the simple reason that I should have to competition with his own so-called concerto was too conduct the orchestra in a work that is quite beyond much! Glazunov told his fellow jurors that they would me. After all, Debussy’s music at least possesses a sanction “a harmful trend” if they awarded the first pleasant aroma. Prokofiev’s stinks to high heaven.” prize to a rebel and an upstart, to a young man who The composer next decided to enter a competition publicly expressed scorn for Mozart and Chopin. for piano performance. He planned to play one of his But Glazunov was overruled. At first he refused to own concertos, saying “...if I played my own concerto announce the result, but finally, seeing the impossibil-
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cincinnatisymphony.org | FANFARE CINCINNATI | 53 PROGRAM NOTES: MAY 12–13 ity of his position, he told the waiting audience the soon included him regularly in their social gatherings. name of the winner “in a flat, toneless mumble,” as He decided it would further his acceptance in France Prokofiev later recalled. The winner received a grand to play one of his most typically Russian works. His piano, the opportunity of performing his concerto at performance of the revised Second Piano Concerto the Conservatory graduation ceremonies and, from was an enormous success. Parisians were excited to his mother, a trip to England. see as well as hear Prokofiev hammering out what When he arrived in London, Prokofiev met the they took to be the longest and most difficult cadenza Russian impresario Sergei Diaghilev, whose ballet ever written. The tremendous energy in the music, troupe had made history by introducing spectacular and in Prokofiev’s performance of it, secured his new works by Stravinsky and Ravel. Diaghilev was reputation in Paris. a sophisticated man of the world, and Prokofiev was KEYNOTE. Listening to Prokofiev’s Second Piano an outspoken young man with no sense of social man- Concerto today, it is easy to hear the brashness and ners. Nonetheless, Diaghilev was willing to listen to verve that excited its first audiences and horrified Prokofiev’s music. The composer played the Second Prokofiev’s learned professors and some of the stuffier Concerto (in an arrangement for piano alone). One of newspaper critics. But we can also be amused by the Diaghilev’s assistants murmured, “This young man thought that this music was condemned as cacophonic is a wild beast.” But Diaghilev saw the potential for or talentless. What struck early listeners as cacophony yet another ballet novelty, and he commissioned the today seems more like the unbridled exuberance of arrogant composer on the spot. youth. This is exciting, extroverted music. Prokofiev returned to the Second Concerto several The virtuosity in the Second Concerto is at times years later. The original score had been burned in a staggering. Prokofiev was out to conquer the world fire, and he revised the piece as he wrote out a new as a pianist and as a composer. The extremely long score. He completed the revision just before moving cadenza in the first movement, for example, builds to Paris in 1923. inexorably in intensity and technical fireworks. He went to France in an attempt to make his career Every time we think the pianist can give no more, international. Paris was then the center of contempo- Prokofiev demands more. And this is in the concerto’s rary music, and Prokofiev knew of the reverence for slow movement! By contrast, the cadenzas in the Russian music harbored by Ravel (and, earlier, by tempestuous last movement are points of repose in Debussy). Although the suave French musicians had an otherwise relentless piece. The perpetual motion trouble at first with Prokofiev’s blunt personality, they of the scherzo and march-like drive of the intermezzo
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54 1173_4-17| FANFARE CSO.indd CINCINNATI 1 | cincinnatisymphony.org 3/30/2017 9:23:51 AM PROGRAM NOTES: MAY 12–13 add to the impression of barbarism. This is highly Roussel, an approximate contemporary of Ravel and original music, and, like its 22-year-old composer, Debussy, was an important figure in French music. brash, irreverent and aggressive. It is not surprising An uncompromising, original and talented composer, that a public nurtured on music by Rimsky-Korsakov he is credited with reconciling two divergent trends in and his successors would find this music baffling. early 20th-century music in his country: the impres- Today, however, audiences understand its disso- sionism of Debussy and the academicism of d’Indy. nances as exciting, its power as breathtaking, and its Although he was a teacher and counted among his aesthetic as engaging. students Satie, Varèse and Martinů, Roussel’s influ- —Jonathan D. Kramer ence was small. His style was inimitable, and he left no disciples, although his art was highly respected ALBERT ROUSSEL during his lifetime. The ballet Bacchus et Ariane is Suite No. 2 from Bacchus et Ariane, Op. 43 one of the finest scores by a composer whose music deserves to be far better known. n Born: April, 5, 1869, Tourcoing, France Roussel came to composition probably later in life Died: August 23, 1937, Royan, France than any other major composer. Although he did n Work composed: 1930 show musical promise in his youth, he opted instead n Premiere: (complete ballet) May 22, 1931 with for a career as a naval officer. choreography by Serge Lifar; (suite no. 2—ballet’s second In the Navy he traveled extensively, particularly act) February 2, 1934, Paris Symphony Orchestra, Pierre to the Far East. Whenever time permitted on these Monteux conducting journeys, he tried to study harmony from a book, but n Instrumentation: 2 flutes (incl. 2 piccolos), 2 oboes, he found it difficult to understand the technicalities English horn, 2 clarinets, bass clarinet, 2 bassoons, of music without a teacher. He also tried his hand at contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, composing and even had a few performances of his timpani, 2 harps, celeste, bass drum, cymbals a2, snare pieces. A fellow naval officer offered to show some drum, tam-tam, tambourine, triangle, strings of Roussel’s manuscripts to the famous conductor n CSO notable performances: Six previous subscription weekends | Premiere: February 1955, Thor Edouard Colonne. His friend reported that Colonne Johnson conducting | Most recent: April 2011, Roberto had been impressed and had advised Roussel to give Abbado conducting up his naval career and become a composer. In actual- n Duration: approx. 20 minutes ity, the friend had never shown the music to Colonne. The friend believed so strongly in Roussel that he
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cincinnatisymphony.org | FANFARE CINCINNATI | 55 PROGRAM NOTES: MAY 12–13 invented the story of the conductor’s praise in order Ariadne’s repose is evoked by a texture of subtle to encourage Roussel to follow his musical instincts. transparency, and her terror by a modernized Impressed by what he believed was an authoritative version of a time-honored device, a succession evaluation of his talents, Roussel sought out the direc- of chords of the diminished seventh. Ariadne’s tor of the Roubaix Conservatory for a second opinion. solo dance is an instance of Roussel’s ability to This time the encouragement was real, and Roussel coordinate different elements in a sustained rise made his fateful decision. He resigned his commission to a climax. The increasing abandon of the dancer in 1894 and went to Paris to study music. He was then is depicted by an intensification of the melodic 25 years old, an age by which most composers have line, by means of chromaticism, a progressive accelerando, a crescendo from pp to ff, and the finished their formal education. expansion of a restrained texture to the sonority Roussel’s first musical success came three years of the full orchestra. The exultant energy of the later, when two of his works shared first prize in a lovers’ pas de deux is matched by the swaggering contest. The following year he enrolled at the newly 10/8 rhythm, and the concluding Bacchanalia formed Schola Cantorum and became a student of sweeps forward with ever-mounting excitement composer Vincent d’Indy. He studied composition, to the final apotheosis of Ariadne. orchestration and music history from d’Indy for the —Jonathan D. Kramer next nine years, completing his education at the age of 38. During these years Roussel spent his vacations IGOR STRAVINSKY, ed. McAllister on ocean voyages, to assuage his nostalgia for his L’oiseau de feu (“The Firebird”) Suite former life. His love of the sea remained with him his entire life and became part of his identity as an artist. n Born: June 17, 1882, Oranienbaum, Russia D’Indy appointed Roussel a professor at the Schola Died: April 6, 1971, New York Cantorum, a position the composer held until the out- n Work composed: November 1909–May 18, 1910 break of World War I. Despite health problems he was n Premiere: (complete ballet) June 25, 1910, Paris able to enlist in the wartime Navy. By the end of the Opéra, Ballets Russes war, his health was so bad that he had to retire to the n Instrumentation: 2 flutes (incl. piccolo), 2 oboes Brittany coast to convalesce. He continued to compose (incl. English horn), 2 clarinets, 2 bassoons, 4 horns, 2 large works, and his reputation grew. In 1929 he was trumpets, 3 trombones, tuba, timpani, bass drum, cymbals honored by a festival of his music in celebration of his a2, suspended cymbals, tambourine, triangle, xylophone, 60th birthday. In 1931 he visited the United States for harp, celeste, piano, strings the premiere of his Third Symphony, commissioned n CSO notable performances: 25 previous subscription by the Boston Symphony Orchestra. He was then weekends | Premiere: March 1925, Igor Stravinsky the leading composer of France: Saint-Saëns, Fauré, conducting | Most recent: September/October 2011, Debussy and Satie were dead, and the output of Ravel Julian Kuerti conducting and d’Indy was intermittent at best. At the same time n Duration: approx. 21 minutes the premiere of Bacchus et Ariane secured Roussel’s Serge Diaghilev and his Ballets Russes had an enor- reputation as a composer of theater music. mously successful debut performance in Paris in the The Second Suite from Bacchus et Ariane is the summer of 1909. Diaghilev and his chief choreogra- second act of the ballet. In his biography of the com- pher, Michel Fokine, began to make plans for future poser, Basil Deane provides the following scenario performances in the city that most appreciated their and commentary: talents. Fokine felt it necessary to add to their reper- At the beginning of Act II Ariadne awakens and, tory a ballet on a Russian folk subject. After reading finding herself alone, climbs to the summit of the several folktales, he decided that the legend of the rocks. Looking seaward, she discerns the receding Firebird could be adapted to the dance. He worked sail of Theseus’ galley. Terrified, she attempts to out a scenario in which Katschei the Immortal, one throw herself into the sea, but falls instead into of the most fearsome ogres in Russian folklore, is the embrace of Bacchus. Together they resume defeated by the Firebird. their dream dance. Their lips unite in a kiss which Then came the crucial question of who was to be releases a Dionysiac enchantment, whereupon the the composer. Rimsky-Korsakoff would have been island comes to life, and vine-wreathed fauns and the logical choice, since he had written an opera on maenads spring from among the rocks, crowding the subject of the Firebird a few years earlier, but he the scene. Two of them offer a golden goblet had died unexpectedly in 1908. Nicholas Tcherepnin filled with grape juice to Ariadne. She drinks and Sergei Vassilenko were considered, but Diaghilev and, intoxicated, dances with mounting frenzy, decided to commission Anatol Liadov, who had first alone, then with Bacchus. The entire troop written a number of orchestral works based on fairy of followers joins in a Bacchanalia, while the god tales. Liadov proved to be a slow worker, however, conducts Ariadne to the highest pinnacle and and reportedly was just buying the music paper at the crowns her with a diadem of stars ravished from time Diaghilev had hoped to receive a finished score. the heavenly constellations.…
56 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: MAY 12–13
Diaghilev and Fokine had recently heard a concert Three times Stravinsky returned to Firebird to ex- that included two works that greatly impressed them: tract the concert suites that today are heard far more Scherzo fantastique and Fireworks by the relatively often than the complete ballet. The composer’s reason unknown young composer Igor Stravinsky. So the was partly artistic and partly practical. Once he began commission went to Stravinsky. The composer was to have a career as a conductor, Stravinsky wanted to flattered to receive what turned out to be the first of be able to perform a suitable set of excerpts from his several commissions from the great impresario. most popular theater work. Furthermore, the ballet Clearly in the popular tradition of Rimsky-Korsa- had been composed in Czarist Russia and therefore koff, who had been Stravinsky’s teacher,Firebird was was not protected under international copyright nonetheless boldly original and extremely colorful. agreements. The same is true, incidentally, of his other The composer was not completely comfortable writ- two early ballets, Petrouchka and The Rite of Spring. ing descriptive music, but he knew the importance of Stravinsky was thus robbed of substantial income. the commission and produced exactly what Diaghilev To try to remedy this problem, he copyrighted the needed. The ballet, while not typical of Stravinsky, later Firebird Suites. became (and remains) his best known work. An The first suite (sometimes called Symphonic Suite) amusing story shows how popular the work is: a was extracted in 1911, when the piece was still new. stranger once came up to the composer and asked if It uses the same large (“wastefully large,” Stravinsky he were indeed the famous composer, Mr. Fireberg! later called it) orchestra. In fact, it was printed from the As soon as the score was ready in piano reduction, same plates as the complete ballet, with appropriate the company began to rehearse. Many people heard omissions and a few small changes. This suite ends Stravinsky play the exhilarating new music at the with the exciting “Infernal Dance.” keyboard. A typical reaction was that of French critic In 1919, after Stravinsky had left Russia and was R. Brussel, who had been invited by Diaghilev to hear living in Morges, Switzerland, he made a different the ballet score: Firebird Suite (sometimes called the Concert Suite) for conductor Ernest Ansermet. The orchestra is of The composer, young, slim, and uncommunicative, normal rather than outlandish size. This suite omits with vague meditative eyes and lips set firm in an two movements that appear in the 1911 version, but energetic-looking face, was at the piano. But the moment he began to play, the modest and dimly it adds at the end the “Berceuse” and “Finale.” lit dwelling glowed with a dazzling radiance. By When the 1919 suite was published, its score was the end of the first scene, I was conquered; by the full of mistakes. Many of these errors found their last, I was lost in admiration. way into the third version (sometimes known as the Ballet Suite), which Stravinsky derived in 1945 from Ballerina Anna Pavlova was originally cast in the the second version and from the complete ballet. Al- title role, but she found the music incomprehensible. though the 1919 suite has always been the best known She was replaced by Tamara Karsavina, whose of the three, only in 1985 did it become available in knowledge of music was only rudimentary. She had a corrected edition. to rely on the composer for help: KEYNOTE. Stravinsky faced a compositional Often he came to the theater before a rehearsal challenge in The Firebird. How could he musically dif- began in order to play for me, over and over again, ferentiate the natural (Ivan, the Princess, the finale’s some particularly difficult passage. I felt grateful, hymn of rejoicing) from the magical (the Firebird, not only for the help he gave me but also for the Katschei)? His idea, derived from Rimsky-Korsakoff’s manner in which he gave it. For there was no opera The Golden Cockerel, was clever. The natural impatience in him with my slow understanding, characters and scenes were composed in a diatonic no condescension of a master of his craft towards style, while the supernatural were interpreted with the slender equipment of my musical education. chromatic music. It was interesting to watch him at the piano. His The orchestration in Firebird is spectacular. body seemed to vibrate with his own rhythm. Although he was still in his 20s, Stravinsky was Punctuating staccatos with his head, he made the already a master of scoring. The famous passage of pattern of his music forcibly clear to me, more so natural harmonic string glissandos, at the end of the than the counting of bars would have done. introduction, is one of the most beautiful sonorities in the piece. Some of the other well-known effects, Finally the company was ready for Paris. There such as trombone and French horn glissandos, were were rehearsals with the orchestra, and at last the per- added only when Stravinsky made the Firebird Suite formance. It was the first great triumph for Stravinsky, of 1919. The colorful orchestral and rhythmic drive and it solidified the reputation of the Ballets Russes. of the “Infernal Dance” foreshadow the brutally Diaghilev went on to commission two more major primitivistic world of the Rite of Spring, composed ballets from Stravinsky, Petrouchka and Rite of Spring, three years later. plus several smaller works. He also sought out other —Jonathan D. Kramer leading or promising composers, including Debussy, Ravel, Falla and Prokofiev.
cincinnatisymphony.org | FANFARE CINCINNATI | 57 GUEST ARTISTS: May 12–13
GILBERT VARGA, ANNA conductor VINNITSKAYA, n Previous CSO pianist Performances: Debut n Previous CSO n Noteworthy: “The Performances: conductor’s flair for shaping Debut a long crescendo proved n Noteworthy: especially admirable, making Vinnitskaya each gradation all the more and Varga, with gripping, each crest all the Deutsches the more shattering.”— Sinfonieorchester Baltimore Sun Berlin, collaborated n Read more: Intermusica. on her debut Anna Vinnitskaya, © Gela Megrelidze Gilbert Varga, © Felix Broede co.uk/artist/Gilbert-Varga orchestral CD, which featured the work they will perform this weekend Principal Conductor, Taipei Symphony Orchestra (Prokofiev’s Piano Concerto No. 2) and Ravel’s Piano Gilbert Varga, son of celebrated Hungarian violin- Concerto in G. The CD earned a 2011 ECHO Klassik ist Tibor Varga, conducts with distinctive presence award. and flair. A commanding and authoritative figure n Read more: AnnaVinnitskaya.com on the podium, Varga is repeatedly acclaimed for performances displaying a broad range of colors, Hailed by the Washington Post as a “lioness at the exquisite textures, and subtle use of dynamics. keyboard,” Anna Vinnitskaya made her U.S. recital Renowned for his elegant and exceptionally clear debut in 2010 at the Kennedy Center to great critical baton technique, Varga has held positions with and acclaim, and subsequently made her U.S. orchestral guest-conducted many of the major orchestras across debut with the Indianapolis Symphony under Krzysz- the world, including the Philadelphia Orchestra, tof Urbanski. She returns to Indianapolis in 2017–18 DSO Berlin, Radio Symphony Berlin, Orchestre de as one of three world-renowned pianists playing all Paris, Oslo Philharmonic and Sydney Symphony. five Prokofiev concerti in one weekend. She will also In the 2016–17 season he returns to lead the Royal debut with the Kalamazoo Symphony next season. Liverpool Philharmonic and the Macao Orchestra. Worldwide, Vinnitskaya’s recent engagements in- In 2013 Varga was appointed Principal Conductor clude a return to the City of Birmingham Symphony, of the Taipei Symphony Orchestra. Philharmonia Zurich, Philharmonisches Orchester Gilbert Varga studied under three very different Kiel, Orchestre Philharmonique Royal de la Liége, a and distinctive maestros: Franco Ferrara, Sergiu return to the Rundfunk Sinfonieorchester Berlin (for Celibidache and Charles Bruck. In the earlier part of a marathon concert featuring all three Bartók piano his conducting career Varga concentrated on work concertos), Staatsorchester Darmstadt, and the Trond- with chamber orchestras, particularly the Tibor Varga heim Symfoniorkester. Also an enthusiastic chamber Chamber Orchestra, before rapidly developing a music player, she performs regularly in a trio with reputation as a symphonic conductor. He was Chief violinist Erik Schumann and cellist Nicolas Altstaedt. Conductor of the Hofer Symphoniker (1980–85) and Vinnitskaya’s recordings include her award- Chief Conductor of the Philharmonia Hungarica winning 2009 debut recital CD (Naïve label) featuring in Marl (1985–90), conducting their debut tour to works by Rachmaninoff, Gubaidulina, Medtner and Hungary with Yehudi Menuhin. He was also Per- Prokofiev; her first orchestral CD (2011) featuring manent Guest Conductor of the Stuttgart Chamber Prokofiev and Ravel concertos; a 2012 CD showcasing Orchestra (1991–95) and Principal Guest of the Malmö masterpieces by Ravel; her first recording on Alpha Symphony (1997–2000). In 1997 Varga became Music Classic (2015), of concertos by Shostakovich. Her latest Director of the Basque National Symphony Orchestra, project is recording the complete Bartók concertos leading them through ten seasons, including tours with Jukka-Pekka Saraste and the WDR Symphony across the UK, Germany, Spain and South America. Orchestra Cologne, where she is artist-in-residence Varga’s discography includes recordings with for the 2016–17 season. various labels including ASV, Koch International Among her numerous awards and prizes, Vinnits- and Claves Records. His latest recording, released in kaya was Gold Medalist at the 2007 Queen Elisabeth January 2011, of concertos by Ravel and Prokofiev Competition in Brussels and winner of the Leonard with Deutsches Symphonie-Orchester Berlin and Bernstein Award at the 2008 Schleswig-Holstein Anna Vinnitskaya on Naïve Records was given five Music Festival. stars by BBC Music magazine. Born in 1983 in Novorossiysk, Russia, to parents who are both pianists, Vinnitskaya played her first orchestral concert at age eight and her first recital at age nine. After studies at the Sergei Rachmaninoff Conservatory with Sergey Osipenko, she became a protégé of Evgeni Koroliov at the Hamburg Univer- sity of Music and Theater in 2002, where she herself was appointed Professor of Piano in 2009. n
58 | FANFARE CINCINNATI | cincinnatisymphony.org CROSWELL TOURS IS EXCITED TO PRESENT A new “Arts” experience! Adventure Awaits!
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Croswell VIP Tours • 975 West Main Street • Williamsburg OH 45176 FOURTH CHAMBER PLAYERS CONCERT “SPRING INSPIRATION” 28th Season, 2016–2017 FRI MAY 12, 7:30 pm Christ Church Cathedral Cincinnati
ARENSKY Quartet No. 2 in A Minor for Violin, Viola and Two Cellos, Op. 35 (1861–1906) Moderato Variations sur un thème de Tchaikovsky Finale: Andante sostenuto—Allegro moderato Stefani Collins, violin Gerald Itzkoff, viola Hiro Matsuo, cello Matthew Lad,cello
BEACH Theme and Variations for Flute and String Quartet in A Minor, Op. 80 (1867–1944) Theme: Lento di molto, sempre espressivo Variation I: L’istesso tempo Variation II: Allegro giusto Variation III: Andantino con morbidezza (quasi valzer lento) Variation IV: Presto leggiero Variation V: Largo di molto, con “grand” espressione Variation VI: Allegro giocoso Amy Taylor, flute Eric Bates, violin Emma Sutton,violin Christian Colberg, viola Daniel Culnan, cello
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BRAHMS Clarinet Quintet in B Minor, Op. 115 (1833–1897) Allegro Adagio—Più lento Andantino—Presto non assai, ma con sentimento Con moto Ixi Chen, clarinet Anna Reider, violin Mauricio Aguiar, violin Gerald Itzkoff, viola Theodore Nelson, cello
YOU’RE INVITED to greet the musicians after the concert. The CSO Chamber Players series has been endowed in perpetuity by the ELEANORA C.U. ALMS TRUST, Fifth Third Bank, Trustee. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.
60 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES © 2016–17 Cincinnati Symphony Orchestra
ANTON ARENSKY however, includes more counterpoint and a second- Quartet No. 2 in A Minor for Violin, Viola ary “sighing” theme used to intensify the melody. and Two Cellos, Op. 35 The following six variations either use the theme in Arensky’s String Quartet in A Minor, Op. 35 was its entirety or broken into halves. The work was com- composed in 1894 in memory of Tchaikovsky. To pleted in 1916 and dedicated to the Chamber Music create a somber tone, Arensky composed this quartet Society of San Francisco, which had commissioned it; for violin, viola and two cellos. As this combination the group premiered the work in September of 1916. is highly unusual, another version of the work exists In all, the Theme and Variations is a complex and for standard string quartet, yet the two-cello version glowing example of the American Romantic style is Arensky’s original composition. The work begins of writing. Beach and fellow members of the Boston with a movement in the style of funeral music in Six, including Arthur Foote and John Knowles Paine, the Russian Orthodox Church. This is followed by a excelled in this genre of composition. movement in the form of theme and variations. For —Amy Taylor the theme, Arensky borrows a theme by Tchaikovsky titled “Legend.” This theme is followed by seven JOHANNES BRAHMS variations before the movement comes to a close. The Clarinet Quintet in B Minor, Op. 115 finale begins slowly before employing the “Slava” In December of 1890, Johannes Brahms sent a letter theme to create an uplifting end to this masterwork. to his publisher informing him that “you may bid —Stefani Collins farewell to my music.” In March of 1891, however, a mere three months MRS. H. H. A. BEACH (AMY BEACH) later, Brahms experienced the playing of the clarinet- Theme and Variations for Flute and String ist Richard Mühlfeld, his “Fraulein Klarinette,” and Quartet in A Minor, Op. 80 was inspired to return to composing, producing for Amy (Cheney) Beach was America’s first truly suc- Mühlfeld four masterpieces: the Trio, Op. 114; two cessful female composer of art music. Her works sonatas, Op. 120; and the Quintet Op. 115. were rarely performed for many years, but have The Quintet is modeled on Mozart’s great Quintet enjoyed a resurgence of interest since the end of the for the same ensemble, and follows the same outline 20th century. in its movements. However, Brahms’ compositional Although largely self-taught, Beach wrote more techniques reflect a progressive approach in this than 300 works, including Gaelic Symphony (which piece, using a high degree of motivic unity through- launched her career), a piano concerto, an opera, out, with thematic material repeated and explored many chamber music pieces, as well as songs, choral throughout multiple movements. works and piano pieces. Her first well-received per- Although the overall effect is of deep sadness, formance was of her Grand Mass, Op. 5, in 1892. The the Quintet explores a wide expressive language, Theme and Variations was part of a large chamber and Brahms’ palette is diverse and free throughout. music output occurring later in her career. Despite this freedom, the key structure of the piece Beach used her own song, “An Indian Lullaby,” for is limited in scope, and the high degree of motivic the theme of the quintet. She retained the four-voice inter-connectedness results in a typically Brahmsian, setting of the original song in the theme statement, tightly knit structural unity. arranging it for the quartet sans flute. The new setting, —Theodore Nelson
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n BOARD OF DIRECTORS (as of September 1, 2016) Officers Randi S. Bellner Marvin Kolodzik James B. Reynolds* Francie S. Hiltz, Chair Paul M. Booth Peter E. Landgren Sandra Rivers Otto M. Budig, Jr., Trish Bryan* Tad Lawrence Jack Rouse Treasurer and Vice-Chair of Finance Harold Byers Wendy S. Lea Ann H. Santen Robert W. McDonald, Secretary Myra Chabut Spencer Liles* Pamela Schmitt Dianne Dunkelman, Christopher C. Cole Edyth B. Lindner* Dennis L. Schoff Vice-Chair of Volunteerism Peter G. Courlas Patricia Gross Linnemann Pamela Scott Thomas Charles Garber, Alvin H. Crawford, M.D. Mark Luegering Edgar L. Smith, Jr. Vice-Chair of Facilities Dennis W. Dern Timothy J. Maloney Thomas Stegman * Dianne M. Rosenberg, Shaun Ethier bruce d. mcclung William D. Stenger Vice-Chair of Leadership Development Mrs. Charles Fleischmann III* Bernard L. McKay Ken L. Stone Rosemary Schlachter, Susan S. Friedlander* Sue McPartlin Theodore W. Striker, M.D. Vice-Chair of Patron Development Jane Garvey Anne Mulder Randolph L. Wadsworth, Jr.* James E. Schwab, Immediate Past Chair L. Timothy Giglio Elizabeth Reitz Mullenix Patricia Wagner Sheila J. Williams, Joseph W. Hagin Stephen R. Mullin Nancy Walker* Vice-Chair of Community Engagement Carol C. Hake Christopher Muth Geraldine B. Warner Patti Heldman Eric V. Oliver Warren Weber Directors Joseph W. Hirschhorn* Marilyn J. Osborn Diane West Jessica C. Adelman Sandra F.W. Joffe Thanh T. Pham Stacey G. Woolley Lars C. Anderson Lois Jolson J. Marvin Quin II* Honorable Tyrone K. Yates Kathleen Barclay Peter E. Koenig Thomas H. Quinn, Jr. Shau Zavon *Director Emeritus
n BOARD OF OVERSEERS (as of March 15, 2017) The Board of Overseers are devotees of classical music and all things Orchestra related. With annual gifts of $5,000 or more for an individual and $7,500 or more for an organization, donors gain unique access to the people who make the music happen and a behind-the-scenes view into the workings of the Orchestra. To learn more about becoming a member, contact Mary McFadden Lawson in the Philanthropy Department, 513.744.3272.
Dr. and Mrs. Charles Abbottsmith Frost Brown Todd, Mr. Bernard McKay Mr. and Mrs. Jonathan McCann Ms. Genevieve Smith Ms. Jessica Adelman, The Kroger Co. Dr. and Mrs. Harry F. Fry Mr. Robert W. McDonald Michael and Donnalyn Smith Adleta Group, Mr. Robert Adleta Ms. Jane Garvey Mr. Bernard McKay Tom and Dee Stegman § Romola N. Allen § Richard D. Gegner Laura Kimble McLellan § Dr. Jean and Mrs. Anne Steichen Mr. Anatole Alper Mrs. Philip O. Geier § Mrs. Susan M. McPartlin William D. Stenger Mr. and Mrs. Lars C. Anderson, Sr. Rebecca Gibbs and Anne Mulder Mercy Health, Mario Cicchinelli Mary S. Stern Martha G. Anness § Dr. Lesley Gilbertson and Messer Construction Co., Kathleen C. Daly Laurence G. Stillpass Dr. Norita Aplin and Stanley Ragle § Dr. William Hurford Mr. James A. Miller Mr. Ken Stone and Stone Financial Kathleen and Michael Ball Mrs. Michael H. Giuliani Linda and James Miller Retirement Planning Mrs. Katy Barclay Clifford J. Goosmann and Mr. and Mrs. David A. Millett Theodore W. and Carol B. Striker Bartlett & Co., Jane Vanderhorst Andrea M. Wilson George and Sarah Morrison III Mrs. Roy Sweeney Mr. Randi Bellner and U.S. Bank Ms. Hali Grauvogel Mr. and Mrs. Christopher Muth § Taft Stettinius & Hollister, Mary Bergstein Priscilla Garrison Haffner § Mr. Scott Nelson and Dr. Susan Kindel Mr. Jeffrey Schloemer Mr. and Mrs. Allan Berliant Mr. Joseph Hagin Anne Nethercott § Delle E. Taylor Rosemary H. and Frank Bloom § Dr. and Mrs. Edward Hake Ohio National Financial Services, Ms. Anne D. Thomas BMES, John Moore David G. Hakes Mr. Gary T. “Doc” Huffman Mr. and Mrs. Harold M. Thomas Robert L. Bogenschutz Tom and Jan Hardy § Marilyn J. and Jack D. Osborn § Laura G. Thomson Dr. and Mrs. John and Suzanne Bossert § Mr. and Mrs. Brian E. Heekin Arlene Palmer Towers Watson, George Morrison Chris and Karen Bowman Mrs. Anne P. Heldman § John and Farah Palmer Toyota Motor Eng. & Mfg. Co. N.A., Inc., Mr. and Mrs. Frederick E. Bryan, III § Mr. and Mrs. Fred Heldman Dr. and Mrs. John Parlin David Fleischer Mr. Otto M. Budig, Jr. § Patricia Henley § Paycor, Bob Coughlin UBS, Mr. Troy DeBord Edward and Susan Castleberry Mr. and Mrs. Joseph W. Hirschhorn § Daniel and Susan Pfau Dale and Joyce Uetrecht CCI Design, Inc., Molly and Tom Garber Mrs. Harry M. Hoffheimer Joseph A. and Susan E. Pichler Larry Uhlenbrock CES/Link, Ms. Deborah Spradley HORAN, Terry Horan § PNC Bank, Kay Geiger United Dairy Farmers, Mr. Brad Lindner CFM, Ms. Jamie Jewell Ann Hubbard and Louis D. Bilionis Mr. and Mrs. David A. Powell Mr. and Mrs. Gregory Waddell Ms. Geraldine V. Chavez Dr. Murray Jaffe PricewaterhouseCoopers LLC, Sallie and Duck Wadsworth § Robert and Debra Chavez Dr. and Mrs. Stephen Joffe Evelyn L. Cole Nancy C. Wagner § Chemed Corp., Sandra E. Laney Johnson Investment Counsel, Terry and Marvin Quin Patricia M. Wagner § Cincinnati Symphony Club Mr. Dean Moulas Mr. and Mrs. Thomas H. Quinn, Jr. Mr. and Mrs. Paul H. Ward § Michael L. Cioffi Lois and Dick Jolson Rendigs, Fry, Kiely & Dennis, Mrs. Pat Fry Ginger and David W. Warner Sheila and Christopher C. Cole Frank Jordan § Vicky and Rick Reynolds Warren and Pam Weber Coney Island, Rob Schutter Mr. Mace C. Justice § Melody Sawyer Richardson § Gary and Diane West § Corporex Companies, LLC, Mr. and Mrs. Lorrence T. Kellar Ellen Rieveschl § Mary E. West Mr. William Butler Dr. and Mrs. Lionel King Elizabeth and Karl Ronn § Western Pacific Holdings, Peter G. Courlas § Mrs. Thomas Klinedinst, Sr. Dianne and J. David Rosenberg Chiun-Teng Cheng Dr. and Mrs. Alvin Crawford Florence Koetters Nancy and Ed Rosenthal Western & Southern Financial Services, Jodelle S. Crosset Marvin P. Kolodzik § Moe and Jack Rouse § Mr. Don Wuebbling Mrs. Thomas E. Davidson § Michael and Marilyn Kremzar Mr. and Mrs. Thomas R. Ruthman Mrs. Harris K. Weston (Alice) The Dehan Family Kroger, Ms. Katy Barclay Ann and Harry Santen Mrs. James W. Wilson, Jr. Dennis W. and Cathy Dern Mrs. Anne I. Lawrence Martha and Lee Schimberg Vance and Peggy Wolverton § Mr. and Mrs. Steve Dessner Mr. and Mrs. Jeffrey W. Lazarow Mark S. and Rosemary K. Schlachter § World Pac Paper, LLC, Edgar Smith and Amy and Trey Devey § Ms. Wendy Lea and Centrifuse Pamela F. Schmitt Toni Robinson-Smith Mr. and Mrs. Albert C. Dierckes, Jr. Mr. Louis Levin Mr. Dennis Schoff and Ms. Nina Sorensen Eric B. Yeiser Nancy and Steve Donovan Daniel R. Lewis Harold C. Schott Foundation, Betsy and Alex C. Young § Marjorie Drackett Mr. and Mrs. Brad Lindner Francie and Tom Hiltz Mr. and Mrs. James M. Zimmerman Dianne Dunkelman Edyth B. Lindner Mike and Digi Schueler Anonymous (3) Emory P. Zimmer Insurance Agency, Calvin and Patricia Linnemann § Vivian and Jim Schwab Baker D. Bahlman Mrs. Robert Lippert David and Abby Schwartz § Denotes members of The Thomas Ernst & Young, Mr. Scott Trosset Whitney and Phillip Long Mr. Peter Schwartz Schippers Society. Individuals who have Mr. Shaun Ethier and Empower Mark and Tia Luegering Ladislas & Vilma Segoe Family made a planned gift to the Cincinnati MediaMarketing Macy’s, Mr. Matthew Q. Stautberg Foundation, Mr. David Ellis Symphony Orchestra are eligible for Fifth Third Bank Foundation, Ms. Heidi Jark Mr. and Mrs. Timothy Maloney Irwin and Melinda Simon membership in The Thomas Schippers Dr. and Mrs. Carl G. Fischer Elizabeth and Brian Mannion, MD Mr. Murray Sinclaire Society. For more information, please Mr. and Mrs. James T. Fitzgerald Alan Margulies and Gale Snoddy Elizabeth C. B. and Paul G. Sittenfeld contact Ron Cropper at 513.744.3365. Mrs. Charles Fleischmann Andrew and Jean Martin Mr. and Mrs. Gerald Skidmore § Susan Friedlander § Rhoda Mayerson
cincinnatisymphony.org | FANFARE CINCINNATI | 63
FINANCIAL SUPPORT
2016–2017 SPONSORS The Cincinnati Symphony Orchestra and the Cincinnati Pops sponsors are an integral part of the Orchestra’s vibrant performances whether supporting a series, a concert or an artist. For information on becoming a sponsor, contact Mary McFadden Lawson at 513.744.3272. We are proud to be partners with the following organizations:
PLATINUM BATON CIRCLE ($50,000+)
Tom & Molly Garber
Anonymous Thomas J. Emery Memorial
Dr. and Mrs. Lois and Dick Florence and Ron Edyth B. Lindner The H.B., E.W. and F.R. Luther The Margaret McWilliams Dr. John & Louise Mulford Stephen Joffe Jolson Koetters Charitable Foundation, Fifth Rentschler Fund of the Greater Fund for the CSO Third Bank and Narley L. Haley, Cincinnati Foundation Co-Trustees Jacob G. Schmidlapp Harold C. Schott The John A. Schroth Ginger & David W. Trusts, Fifth Third Foundation/Francie Louise Taft Semple Ms. Genevieve Tom and Dee Jackie and Roy Family Charitable Trust, Foundation Smith Stegman Sweeney Warner Bank, Trustee and Tom Hiltz, PNC Bank, Trustee Trustees
GOLD BATON CIRCLE ($25,000–$49,999)
The Cincinnati Symphony Club
Sue Friedlander Ann & Gordon Mr. Mace C. Justice The Patricia Kisker Getty Foundation Foundation
Jeffrey & Jody Lazarow Ohio Valley The Ladislas & and Janie & Peter Schwartz Mr. Daniel R. Lewis MusicNOW Family Fund of the Greater Foundation, Fifth Vilma Segoe Family Cincinnati Foundation Third Bank, Agent Foundation
CONDUCTOR’S CIRCLE ($10,000–$24,999)
Rosemary and Crosset Family Mrs. Thomas R. Mr. & Mrs. Robert L. Frank Bloom Fund Davidson Lawrence
The August A. Rendigs, Jr. and The John C. Anne Heldman Marvin P. Kolodzik Anne Lawrence The Daniel & Susan Helen J. Rendigs Foundation, Griswold Foundation Pfau Foundation W. Roger Fry, Trustee, and the firm of Rendigs, Fry, Kiely & Dennis Rosemary and Mark William D. The Sutphin Family The Wohlgemuth The Eric B. Yeiser Family Schlachter Stenger Foundation Herschede Foundation Foundation
CONCERTMASTER’S CIRCLE ($5,000–$9,999)
Queen City (OH) Chapter M MINNILLO & J ENKIN S CO . LPA,ATTO RNEY S AT L AW
The Willard & Louis D. Bilionis & Dr. and Mrs. The Dehan James M. Ewell Jean Mulford YOT Full Circle Surgery Ann Hubbard John E. Bossert Family Foundation Charitable Fund Foundation
ARTIST’S CIRCLE ENCORE CIRCLE Clark Schaefer Hackett Delta Dental $3,000–$4,999 $2,500–$2,999 The ASCAP Foundation The Amphion Foundation EY Paul and Cynthia Booth, COBCO Enterprises LLC Hightowers Petroleum Co. CE Power Solutions The J.M. Smucker Company Cincinnati USA Convention and Visitors Bureau Ohio CAT RiskSource Clark-Theders
cincinnatisymphony.org | FANFARE CINCINNATI | 65 FINANCIAL SUPPORT 2016–2017 Sponsors, cont. ARTSWAVE Partners ArtsWave provides significant support to the Orchestra. The CSO and Pops thanks all who generously participate in the ArtsWave Campaign, including employees at the following partner companies. P&G Fifth Third Bank and the Fifth Third Bank Foundation MAY 2017 GE ArtsWave Partners | The Kroger Co. Macy’s, Inc. Ohio National Financial Services: Frisch’s Restaurants: Pops, May 9 Western & Southern Financial CSO, May 4/6 Cincinnati Bell Convergys Corporation: CSO U.S. Bank Duke Energy: Classical Roots, May 12-13 Cincinnati Children’s Hospital Medical Center The Cincinnati Insurance Companies May 5 Toyota Motor Engineering & Manufacturing North America, Inc. Great American Insurance Group Ohio National Financial Services Duke Energy PNC Frisch’s Restaurants Convergys Corporation Enquirer Media
PERMANENT ENDOWMENTS Endowments provide stability for the Orchestra, help us attract and retain world-class musicians, and allow us to concentrate on fulfilling our core mission to seek and share inspiration. We extend our deep gratitude to the donors who have provided permanent endowments to enrich lives today and in perpetuity. For more information about endowment gifts, contact Ron Cropper at 513.744.3365. ENDOWED CHAIRS Tom & Dee Stegman Chair+ Educational Concerts Grace M. Allen Chair Mary and Joseph S. Stern, Jr. Chair+ Rosemary & Frank Bloom * The Kenneth & Norita Aplin and Stanley Cynthia & Frank Stewart Chair Cincinnati Financial Corporation & Ragle Chair for Cello The Jackie and Roy Sweeney Family Chair The Cincinnati Insurance Companies Ellen A. & Richard C. Berghamer Chair Anna Sinton Taft Chair The Margaret Embshoff Educational Fund Robert E. & Fay Boeh Chair Brenda & Ralph Taylor Chair Kate Foreman Young Peoples Fund The Marc Bohlke Chair James P. Thornton Chair George & Anne Heldman+ Given by Katrin and Manfred Bohlke Nicholas Tsimaras-Peter G. Courlas Chair Macy’s Foundation Otto M. Budig Family Foundation Chair Jo Ann & Paul Ward Chair Vicky & Rick Reynolds*+ Mary Alice Heekin Burke Chair Matthew & Peg Woodside Chair William R. Schott Family** Peter G. Courlas-Nicholas Tsimaras Chair Mary M. & Charles F. Yeiser Chair Western-Southern Foundation, Inc. Ona Hixson Dater Chair Anonymous Chair The Anne G. and Robert W. Dorsey OTHER NAMED FUNDS Chair for Violin+ ENDOWED PERFORMANCES Ruth Meacham Bell Memorial Fund Jane & David Ellis Chair & PROJECTS Frank & Mary Bergstein Fund for Musical Irene & John J. Emery Chair Eleanora C. U. Alms Trust, Fifth Third Bank, Trustee Excellence+ James M. Ewell Chair Rosemary and Frank Bloom Endowment Fund*+ Jean K. Bloch Music Library Fund Susan S. & William A. Friedlander Chair+ Cincinnati Bell Foundation Inc. Cora Dow Endowment Fund Charles Gausmann Chair Mr. & Mrs. Val Cook Corbett Educational Endowment** Susanne and Philip O. Geier, Jr. Chair+ Nancy & Steve Donovan* Belmon U. Duvall Fund Emma Margaret & Irving D. Goldman Chair Sue and Bill Friedlander Endowment Fund*+ Ewell Fund for Riverbend Maintenance Charles Frederic Goss Chair Mrs. Charles Wm Anness*, Linda & Harry Fath Endowment Fund David G. Hakes & Kevin D. Brady Chair Mrs. Frederick D. Haffner, Ford Foundation Fund Dorothy & John Hermanies Chair Mrs. Gerald Skidmore and the Natalie Wurlitzer & William Ernest Griess Josephine I. & David J. Joseph, Jr. Chair La Vaughn Scholl Garrison Fund Cello Fund Lois Klein Jolson Chair Fred L. & Katherine H. Groll Fund for Fred L. & Katherine H. Groll Trust Harold B. & Betty Justice Chair Musical Excellence Music Director Fund for Excellence Marvin Kolodzik Chair+ Fred L. & Katherine H. Groll Fund for Great Artists Josephine I. & David J. Joseph, Jr. Al Levinson Chair Fred L. & Katherine H. Groll Trust Pianist Fund Scholarship Fund Patricia Gross Linnemann Chair+ The Carol Ann and Ralph V. Haile, Jr./ Richard & Jean Jubelirer & Family Fund* Alberta & Dr. Maurice Marsh Chair U.S. Bank Foundation Endowment Fund Elma Margaret Lapp Trust Laura Kimble McLellan Chair Anne Heldman Endowment Fund** Jésus López-Cobos Fund for Excellence The Henry Meyer Chair Lawrence A. & Anne J. Leser* Mellon Foundation Fund Louise Dieterle Nippert & Louis Nippert Chairs Mr. & Mrs. Carl H. Lindner** Nina Browne Parker Trust Ida Ringling North Chair PNC Financial Services Group Dorothy Robb Perin & Harold F. Poe Trust Rawson Chair The Procter & Gamble Fund Rieveschl Fund The Vicky and Rick Reynolds Chair Vicky & Rick Reynolds Fund for Diverse Artists+ Thomas Schippers Fund in Honor of William A. Friedlander+ Melody Sawyer Richardson* Martha, Max & Alfred M. Stern Ticket Fund Donald & Margaret Robinson Chair Rosemary and Mark Schlachter Endowment Fund*+ Mr. & Mrs. John R. Strauss Student Ticket Fund Dianne & J. David Rosenberg Chair+ The Harold C. Schott Foundation, Anna Sinton & Charles P. Taft Fund Ruth F. Rosevear Chair Francie and Tom Hiltz Endowment Fund+ Lucien Wulsin Fund The Morleen & Jack Rouse Peggy Selonick Fund for Great Artists Wurlitzer Season Ticket Fund Associate Principal Timpani Chair+ Dee and Tom Stegman Endowment Fund*+ CSO Pooled Income Fund Emalee Schavel Chair Mr. & Mrs. Joseph S. Stern, Jr. Fund CSO Musicians Emergency Fund Karl & Roberta Schlachter Family Chair for Great Artists Serge Shababian Chair U. S. Bank Foundation* *Denotes support for Annual Music Program Fund Melinda & Irwin Simon Chair+ Sallie and Randolph Wadsworth Endowment Fund+ **Denotes support for the 2nd Century Campaign +Denotes support for the Fund for Musical Excellence
66 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT HONOR ROLL OF CONTRIBUTORS The Cincinnati Symphony Orchestra and Cincinnati Pops extends our heartfelt thanks to the donors who support our work, providing nearly one third of the funding needed to bring great music to Cincinnati and the world. You can join our circle of supporters online at cincinnatisymphony.org/give or by contacting the Philanthropy Department at 513.744.3271.
PLATINUM BATON Mr. and Mrs. Joseph W. Hirschhorn § CONCERTMASTER’S Mr. and Mrs. Gerald Skidmore § CIRCLE Frank Jordan § CIRCLE Michael and Donnalyn Smith Linda and James Miller Dr. Jean and Mrs. Anne Steichen Gifts of $50,000 and above Joseph A. and Susan E. Pichler Fund* Gifts of $5,000–$9,999 Mr. Ken Stone and The Louise Dieterle Nippert Irwin and Melinda Simon Dr. Norita Aplin and Stanley Ragle § Stone Financial Retirement Planning Musical Arts Fund Ms. Anne D. Thomas Kathleen and Michael Ball Delle E. Taylor Mr. and Mrs. Frederick E. Bryan, III § Dale and Joyce Uetrecht Mrs. Katy Barclay Nancy C. Wagner § The Otto M. Budig Family Foundation § Mr. and Mrs. Gregory Waddell Robert L. Bogenschutz Patricia M. Wagner § Sheila and Christopher C. Cole Gary and Diane West § Chris and Karen Bowman Warren and Pam Weber Susan Friedlander § Eric B. Yeiser Family Foundation Ms. Geraldine V. Chavez Welchwood Foundation Molly and Tom Garber, CCI Design, Inc. Betsy and Alex C. Young § Michael L. Cioffi Mary E. West George L. and Anne P. Heldman Fund* § Mr. and Mrs. James M. Zimmerman Peter G. Courlas § Vance and Peggy Wolverton § Francie and Tom Hiltz, Harold C. Schott Anonymous (1) The Lewis and Marjorie Daniel Foundation Anonymous (3) Foundation The Dehan Family Dr. and Mrs. Stephen Joffe Mr. and Mrs. Steve Dessner Lois and Dick Jolson CONDUCTOR’S CIRCLE Amy and Trey Devey § ARTIST’S CIRCLE Florence Koetters Gifts of $10,000–$14,999 Mr. and Mrs. Albert C. Dierckes, Jr. Gifts of $3,000–$4,999 Daniel R. Lewis Dr. and Mrs. Charles Abbottsmith Mr. Shaun Ethier and Stuart and Sarah Aitken Edyth B. Lindner Ms. Jessica Adelman and The Kroger Co. Empower MediaMarketing Romola N. Allen § Marilyn J. and Jack D. Osborn § Mr. and Mrs. Lars C. Anderson, Sr. Dr. and Mrs. Carl G. Fischer Yousef Aouad Margaret McWilliams Rentschler Fund* Martha G. Anness § Dr. and Mrs. Harry F. Fry Thomas P. Atkins Vicky and Rick Reynolds Mr. Randi Bellner and U.S. Bank Ms. Jane Garvey Mrs. William Bahlman, Jr. § Dianne and J. David Rosenberg § Mr. and Mrs. Allan Berliant Richard D. Gegner Mrs. Thomas S. Benjamin Ms. Genevieve Smith Edward and Susan Castleberry Rebecca Gibbs and Anne Mulder David and Elaine Billmire Tom and Dee Stegman § Robert and Debra Chavez Dr. Lesley Gilbertson and In Memory of Herbert R. Bloch, Jr. Mrs. Roy Sweeney Jodelle S. Crosset Dr. William Hurford Mr. and Mrs. Joseph Brinkmeyer § Mr. and Mrs. Randolph L. Wadsworth, Jr. § Mrs. Thomas E. Davidson § Clifford J. Goosmann and Mr. and Mrs. Larry Brueshaber Ginger and David W. Warner Nancy and Steve Donovan Andrea M. Wilson § Janet and Bruce Byrnes Anonymous (1) Dianne Dunkelman Ms. Hali Grauvogel Dr. and Mrs. Charles O. Carothers Emory P. Zimmer Insurance Agency Patricia Henley § Miss Norma L. Clark § GOLD BATON CIRCLE Mr. and Mrs. James T. Fitzgerald Mrs. Harry M. Hoffheimer Drs. David and Nina Clyne L. Timothy Giglio Ann Hubbard and Louis D. Bilionis Mr. and Mrs. Michael D. Connelly Gifts of $25,000–$49,999 Mrs. Michael H. Giuliani Jack and Janice Cook § Mr. and Mrs. William R. Burleigh Dr. Murray Jaffe Mr. Joseph Hagin Mr. and Mrs. Lorrence T. Kellar* Stephen J. Daush Mrs. Charles Fleischmann Dr. and Mrs. Edward Hake Jim and Elizabeth Dodd Mr. Mace C. Justice § Dr. and Mrs. Lionel King Tom and Jan Hardy § Michael and Marilyn Kremzar Betty M. Duncan Marvin P. Kolodzik § Mr. and Mrs. Brian E. Heekin Mrs. Diana T. Dwight Mr. and Mrs. Jeffrey W. Lazarow Mrs. Robert Lippert Mr. and Mrs. Fred Heldman Mark and Tia Luegering Ann A. Ellison Calvin and Patricia Linnemann § Mrs. Anne I. Lawrence Marlana and Walter Frank Terry and Marvin Quin Dr. and Mrs. Brian A. Mannion Ms. Wendy Lea and Centrifuse Alan Margulies and Gale Snoddy Carol S. Friel Moe and Jack Rouse § Levin Family Foundation Frank and Tara Gardner Ann and Harry Santen Andrew and Jean Martin Whitney and Phillip Long Mr. and Mrs. Jonathan McCann Mr. and Mrs. Otto P. Geier Mark S. and Rosemary K. Schlachter § Mr. and Mrs. Timothy Maloney John B. Goering Mr. Peter Schwartz Mr. Robert W. McDonald Rhoda Mayerson Mr. Bernard McKay Dr. and Mrs. James M. Greenberg William D. Stenger Mrs. Susan M. McPartlin Mr. and Mrs. Robert R. Heidenreich Larry Uhlenbrock Mr. James A. Miller George and Sarah Morrison III Mr. and Mrs. David A. Millett Dr. and Mrs. Robert S. Heidt, Jr. Mrs. Harris K. Weston (Alice) Dr. and Mrs. John Parlin Drs. Robert C. Hodges and Anthony A. McIntire Wodecroft Foundation Mr. and Mrs. Christopher Muth § The Daniel & Susan Pfau Foundation Mr. Scott Nelson and Dr. Susan Kindel Drs. Marcia Kaplan and Michael Privitera Mr. and Mrs. Thomas H. Quinn, Jr. Arlene Palmer Takashi and Chiseko Kato SILVER CIRCLE August A. Rendigs, Jr. Foundation John and Farah Palmer Mr. and Mrs. Richard Kovarsky Gifts of $15,000–$24,999 Melody Sawyer Richardson § Mr. and Mrs. David A. Powell Peter E. Landgren and Mr. Anatole Alper Pamela F. Schmitt Ellen Rieveschl § Judith Schonbach Landgren Mary Bergstein Mary S. Stern Elizabeth and Karl Ronn § Elizabeth and Terry Lilly Rosemary H. and Frank Bloom Laurence G. Stillpass Nancy and Ed Rosenthal Thomas and Adele Lippert Special Fund *§ Theodore W. and Carol B. Striker Mr. and Mrs. Thomas R. Ruthman Mrs. Vladimir Lukashuk Dr. and Mrs. John and Ms. Anne D. Thomas Martha and Lee Schimberg David L. Martin Suzanne Bossert § Mr. and Mrs. Harold M. Thomas Mr. Dennis Schoff and Ms. Nina Sorensen Ms. Amy McDiffett Dr. and Mrs. Alvin Crawford Tomcinoh Fund* Mike and Digi Schueler Miami University College of Creative Arts Dennis W. and Cathy Dern Mr. and Mrs. Paul H. Ward § Vivian and Jim Schwab Mr. and Mrs. David W. Motch Marjorie Drackett Mrs. James W. Wilson, Jr. David and Abby Schwartz John and Francie Pepper* Priscilla Garrison Haffner § Anonymous (1) Mr. Murray Sinclaire Mr. John W. Plattner Mrs. Philip O. Geier § Elizabeth C. B. and Paul G. Sittenfeld Sandra Rivers James Rubenstein and Bernadette Unger Ann Ruchhoft Elizabeth Schulenberg Bunny and Frank Szecskay Sarah Thorburn Robert and Audrey Varley § Christopher and Nancy Virgulak Dr. Barbara R. Voelkel Robert and Antoinette Warden Jim and George Ann Wesner Jo Ann Wieghaus Steve and Katie Wolnitzek Anonymous (1) ENCORE CIRCLE Gifts of $1,500–$2,999 Andria Carter, Quiera Levy-Smith, Chair, and Board member Edgar Smith (2nd from left) and guests Mr. and Mrs. Richard N. Adams Daphney Thomas enjoy the reception hosted by the at the Multicultural Awareness Council’s post-concert Drs. Frank and Mary Albers Multicultural Awareness Council following Smokey reception celebrating Smokey Robinson’s visit to William and Janet Albertson Robinson’s appearance with the Pops Jan. 21. All Cincinnati Jan. 21. Mr. and Mrs. Richard H. Allen three volunteer with the organization. cincinnatisymphony.org | FANFARE CINCINNATI | 67 FINANCIAL SUPPORT
Guests of Paycor, Ascent Series Sponsor, with Principal Oboe Dwight Parry (2nd from left) (from left) Dr. Lesley Gilbertson, Dr. William violinist Christian Tetzlaff (center) following with guests at the post-concert reception Hurford, DeeDee West, Nancy Wagner, Patty the Violin Legends performance on Jan. 28. following his solo appearance conducted by Wagner and Gary West at a reception following Edo de Waart on Feb. 4. the Rachmaninoff: Symphony No. 2 concert Feb. 4.
Arne and Sharon Almquist Joseph N. Green Diane and Alex Resly Randal and Peter Bloch Dr. Victor and Dolores Angel Mr. and Mrs. Gary Greenberg Mrs. Jack F. Rohde Lucille and Dutro Blocksom § Dr. Bruce Aronow Kurt and Joanne Grossman Dr. Raymond H. Rolwing Martha Bolognini Ms. Laura E. Atkinson Dr. and Mrs. Jack Hahn Marianne Rowe § Mr. and Mrs. Kenneth Borisch Mr. and Mrs. Thomas B. Avril Dr. Donald and Laura Harrison James and Mary Russell Marilynn K. Braude Robert and Janet Banks Mr. John L. Harrison Dr. and Mrs. Michael Scheffler Raymond J. Brokamp Mr. and Mrs. Robert T. Betz Emma D. Hartkemeier Mr. and Mrs. Peter A. Schmid Jacklyn and Gary Bryson Rexford and Sharon Bevis Ms. Elizabeth A. Harty James Schubert Chris and Tom Buchert Jane Birckhead Mr. and Mrs. John S. Heldman § Rev. Dr. David V. Schwab Donald L. and Kathleen Field Burns Drs. Bennett and Helene Blitzer Dr. James and Ms. Susan Herman Theodore Schwartz and Minette Hoffheimer John Byczkowski Rebecca Bolce Dr. Bernard Hertzman Dr. and Mrs. Carl M. Sedacca Ms. Deborah Campbell § Mr. and Mrs. John P. Boorn Ms. Janet Hickman Mrs. Mildred J. Selonick § Shannon and Lee Carter Cynthia Booth Mr. and Mrs. Stephen Hone Mrs. Robert B. Shott § Amy and Robert Catanzaro Glenn and Donna Boutilier Elizabeth and Lawrence Hoyt Sue and Glenn Showers Mike and Shirly Chaney Dr. and Mrs. William Bramlage In Memory of Benjamin C. Hubbard § Rennie and David Siebenhar Catharine W. Chapman § Thomas A. Braun III § Mr. and Mrs. Michael C. Hughes Ms. Joan L. Smith Leland M. and Carol C. Cole § Rachelle Bruno and Stephen Bondurant Mr. and Mrs. Marshall C. Hunt, Jr. William A. and Jane Smith Dr. Margaret Conradi Mr. Gregory D. Buckley and Doug and Melanie Hynden Ellen and Clark Sole Mr. and Mrs. Patrick Cunningham Ms. Susan Berry-Buckley Barbara M. Johnson Harold and Faye Sosna Mr. and Mrs. Charles E. Curran III § Mrs. Ann J. Bunis Mr. Timothy Juenke Howard and Nancy Starnbach John and Lynne Curtiss Stephen and Diedra Burns Mr. and Mrs. Geoffrey Keenan Bill and Lee Steenken Mr. and Mrs. Henry F. Dabek, Jr. Linda Busken and Andrew M. Jergens § Don and Kathy King Elizabeth A. Stone Mr. Louis M. Dauner and Ms. Geraldine N. Wu Anna K. and G. Gibson Carey Jeff and Mary Ann Knoop Ms. Margaret M. Story Stephen and Cynthia DeHoff Joan Carlin Carol Louise Kruse Brett Stover § Robert B. Dick, Ph.D. Paul and Judy Carlson Mrs. John H. Kuhn § Mr. and Mrs. Richard Stradling, Jr. Shirley and Roy Duff Tom Carpenter and Lynne Lancaster Everett and Barbara Landen Patricia Strunk § Ms. Ruth Engel Dr. Julia H. Carter Kevin L. Langston Mrs. Sally Sundermann Hardy and Barbara Eshbaugh Becky and Sam Cassidy Rita and Pete LaPresto Ralph C. Taylor § Barbara Esposito-Ilacqua Mr. and Mrs. Martin Chambers Richard and Susan Lauf Kathy Teipen Alice Fegelman and Leo Munick, MD Mrs. Jackson L. Clagett III § Philip and Judy Leege Susan and John Tew Mr. Walter Feige Bob and Tisha Clary Mrs. Jean E. Lemon § Mr. and Mrs. Ronald Tinklenberg Mr. Laughton Fine Michael and Minnie Clements Mr. Peter F. Levin § J. Titchener Mrs. Nancy Finke Susan and Burton Closson Drs. Douglas Linz and Ann Middaugh Janet Todd Ashley and Bobbie Ford Dr. and Mrs. John M. Collins Merlanne Louney Neil Tollas and Janet Moore Mr. and Mrs. William Fotsch Dr. Pearl J. Compaan Mr. and Mrs. Clement H. Luken, Jr. Mr. William Trach Gregrick A. Frey and Karen L. Frey Sally and Rick Coomes Jacqueline M. Mack and Dick and Jane Tuten § Linda P. Fulton § Randy K. and Nancy R. Cooper Dr. Edward B. Silberstein Patrick and Mary Vondrak Jean R. Gerhardt Dr. Youssef and Suzanne Costandi Mandare Foundation Mr. and Mrs. James L. Wainscott Mrs. Nicholas Giannestras Robin Cotton and Cindi Fitton Mr. and Mrs. Donald Marshall Mrs. Ronald F. Walker Ms. Louise J. Gissendaner Martha and David Crafts Lynn and Glen Mayfield Dr. and Mrs. Galen R. Warren Dr. and Mrs. Charles J. Glueck Mr. and Mrs. John Crittenden Dr. bruce d. mcclung and Mr. Jerry DeFilipps Donna A. Welsch Steven and Shelley Goldstein Drs. Fuheid and Ingrid Daoud Eleanor S. McCombe Virginia Wilhelm Ms. Arlene Golembiewski Mr. and Mrs. James Dealy Stephanie McNeill Sheila Williams and Bruce Smith H. Drewry Gores and George Warrington George Deepe and Kris Orsborn Charles and JoAnn Mead Cathy S. Willis Thomas W. Gougeon Red and Jo Deluse Mary Ann Meanwell Ronna and James Willis Mr. Don Gray Bedouin and Randall Dennison Mrs. Patricia Misrach Gene Wilson Lesha and Samuel Greengus Jon and Susan Doucleff § Mr. and Mrs. David Moccia § Andrea Wiot Kathy Grote § in loving memory of Mrs. Jack E. Drake Mrs. Sally A. More Wright Brothers, Inc. Robert Howes Patricia Dudsic Stephen and Kristin Mullin § Mr. Tyrone K. Yates Mr. Louis Guttman Rev. Virginia A. Duffy David and Beth Muskopf Dr. and Mrs. Marvyn H. Youkilis William P. Hackman § Ms. Mo Dunne Dr. and Mrs. William H. Newell Mr. and Mrs. Dan Zavon Ham and Ellie Hamilton Dr. and Mrs. Stewart B. Dunsker Dr. Cora Ogle Mr. and Mrs. Robert L. Zierolf Deborah Hauger, MD The Dyer Family Mr. and Mrs. Eric Oliver Anonymous (12) Irmgard and Horst Hehmann Mr. and Mrs. John G. Earls § Mr. and Mrs. Robert S. Olson Mr. and Mrs. Donald L. Henson Mr. Jimmy C. Edwards Gary and Nancy Oppito SYMPHONY CIRCLE Mr. and Mrs. Stephen Hicks Jerome H. and Jean K. Eichert Mr. and Mrs. Joe Orndorff Gifts of $750–$1,499 Karlee L. Hilliard § David and Kari Ellis Fund* Patricia and Morris Passer Mr. and Mrs. J. Wickliffe Ach Ruth C. Holthaus Mr. Erwin F. Erhardt III Dr. Manisha Patel and Dr. Michael Curran Mr. and Mrs. James R. Adams § Mr. and Mrs. Terence Horan Dr. and Mrs. Alberto Espay Poul D. and JoAnne Pedersen Jeff and Keiko Alexander § Mr. David Huberfield Catherine Lepley Feig Mr. and Mrs. George Perbix Helen T. Andrews Mr. and Mrs. Bradley G. Hughes Gail F. Forberg § Alice and Burton Perlman Nancy J. Apfel Mrs. Thomas Huheey Ms. Jacqueline S. Francis Phillip and Karen Pflaumer Judy Aronoff and Marshall Ruchman Yuzo and Shinobu Imoto Richard Freshwater Alice and David Phillips David Axt and Susan Wilkinson Dr. Maralyn M. Itzkowitz Yan Fridman Mr. and Mrs. Robert T. Pike Dr. Diane S. Babcock § Jark Kenat Family Mr. and Mrs. James R. Gardner Mr. Phillip Potter Robert and Beth Baer Mr. and Mrs. Robert Judd Theresa Deters Gerrard Michael and Katherine Rademacher Mr. and Mrs. Carroll R. Baker Susan Kamon and David Blazer Dr. and Mrs. Ralph Gianella Dr. and Mrs. Leonard M. Randolph, Jr. Mrs. Polly M. Bassett Holly H. Keeler Mary and Jack Gimpel Marjorie and Louis Rauh Judy A. Bean Dr. Robert W. Keith and Mrs. Jocelyn Glass James W. Rauth § Robert D. Bergstein Ms. Kathleen Thornton Dr. and Mrs. Glenn S. Gollobin Mrs. Robert S. Read Dava L. Biehl § John and Lynn Klahm Phyllis Myers and Danny Gray Dr. and Mrs. Robert Reed Mr. and Mrs. Rodd Bixler Mrs. Thomas Klinedinst, Sr. Steven Kohler 68 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT
Diane and Matt Kolleck David and Marilyn Reichert § Mary and Jack Wagner § GIFTS IN-KIND Mrs. Joseph A. Lane Dr. Robert Rhoad and Kitsa Tassian Rhoad Nancy F. Walker* Comics 2 Games Charles and Jean Lauterbach Becky and Ted Richards Sarella Walton Mrs. Charles Fleischmann III Dr. and Mrs. Brad Lemberg Mr. and Mrs. Mike Riegel Chad and Betsy Warwick FRCH Design Worldwide Dr. and Mrs. Lynn Y. Lin Mr. and Mrs. Marcus Rose Herman and Margaret Wasserman Taft Stettinius & Hollister Mr. and Mrs. James A. Link Mr. and Mrs. G. Roger Ross Music Fund Nancy C. Wagner Paula and Nick Link Ryan and Kara Rybolt Elizabeth Weber Patricia M. Wagner Mrs. Marianne Locke Mrs. Richard B. Salzer In Memory of Milton and Helen Weber Ms. Molly Wellmann Al and Mary Lopez Mr. and Mrs. Robert A. Sanders Greg and Diane Wehrman Mr. Richard K. Zinicola and Mr. and Mrs. David B. Lopez Jeffrey S. Schloemer and Marcia A. Banker Ted and Mary Ann Weiss Ms. Linda R. Holthaus Marshall and Nancy Macks Ms. Pamela Schneider E. E. West Chris and Bev Maloney George Palmer Schober Barbara Weyand List as of March 15, 2017 Mrs. Sarah Mandell Timothy W. Schraw Franklin H. White * Denotes a fund of The Greater Christian and Carrie Masterson Mary D. Schweitzer Dianne Whitten Cincinnati Foundation Mr. and Mrs. Dean Matz Pamela Scott Mr. and Mrs. Robert L. Wilson, Jr. § Denotes members of The Thomas Drs. Brian and Janice McConville Martha S. Seaman § Mrs. Barbara A. Witte § Schippers Society. Individuals who have Dr. Janet P. McDaniel Alfred and Carol Shikany Don and Carol Wuebbling made a planned gift to the Cincinnati Mr. and Mrs. Michael McDonnell Mr. Eli E. Shupe, Jr. Mrs. Richard Wurzelbacher Symphony Orchestra and Cincinnati Mary Sue McDuffie Kenneth and Janet Smith Mr. John M. Yacher Pops are eligible for membership in The Robert and Heather McGrath Dr. and Mrs. Robert Sefton Smith David and Sharon Youmans Thomas Schippers Society. For more Daniel and Elizabeth McMullen Dr. and Mrs. Roger D. Smith Irene A. Zigoris information, please contact Ron Cropper Dr. and Mrs. C. Nelson Melampy David and Sonja Snyder John and Mary Ann Zorio 513.744.3365. Dr. and Mrs. Richard A. Meyer Jeff and Juddy Solomon Fund* Mrs. Beth Zwergel Dr. Stanley R. Milstein § Phillip and Karen Sparkes Anonymous (13) Regeana and Al Morgan Mr. and Mrs. John A. Spiess Douglas Mossman and Kathleen J. Hart Matt and Shannon Stautberg Ms. Mary Lou Motl Mr. and Mrs. Timothy Stautberg The Cincinnati Symphony Orchestra is grateful for Mr. William Naumann John Steele, Sr. Jim and Marty Neumeister Mark and Anne Stepaniak the support of the following: Dr. James Newberne Ms. Judy H. Stewart Matt Nitzberg and Family Stephanie and Joseph Stitt Dr. and Mrs. Thomas W. Osborn, III Amy Summerville and Michael Wolfram Marilyn Z. Ott Mrs. Robert D. Swanson Paul and Roberta Pappenheimer Carol Thaman Dr. and Mrs. Richard Park § Mr. and Mrs. Alexander Thomson Mr. Bryan Peters Cliff and Diane Thornsburg Ms. Thienthanh Pham Marcia and Bob Togneri Mr. and Mrs. Robert D. Phelps Mr. and Ms. James Troutt Sandy Pike § Dr. Tammy Turner-Vorbeck and Ann M. Pohl § Mr. Dave Vorbeck Mr. Paul E. Potter Stephen F. Voellmecke Family Barbara S. Reckseit § Mr. and Mrs. Jason R. Waggoner
MAY 2017 Who’s a Group? You’re a Group! The Cincinnati Symphony Orchestra and Cincinnati Pops are pleased to welcome the following groups to concerts this month: • Discover our specially priced CSO, May 4 & 6 New Jerusalem Baptist Church Apollo High School, Owensboro, KY New Vision United Methodist Church tickets for groups of 10 or Hidden Valley Middle School, Roanoke, VA Peoples Church more! Japan America Society of Greater Rockdale Baptist Church Cincinnati St. Andrew’s Episcopal • Find out how you can Mt. Vernon High School, Mt. Vernon, IL St. John’s Unitarian Universalist Church orchestrate a profitable St. Simon of Cyrene Episcopal Church Classical Roots, May 5 The Links, Inc.—Queen City Chapter fundraising event Allen Temple Upward Bound for your local organization. Alpha Kappa Alpha Sorority, Inc.— Zion Baptist Church Sigma Omega Chapter Baldwin Grove Community Pops, May 9 Contact CSO Group Sales: Carmel Presbyterian Church Howard Financial 513.744.3590 or Chatfield College University Club of Cincinnati Christ Emmanuel Christian Fellowship csogroupsales.org Church of the Resurrection CSO, May 12–13 Crossroads Community Church—Oakley Barrington of Oakley First Baptist Church of West College Hill CCM Alumni Greater Liberty Church Cedar Village Greater New Hope Christian Village at Mason Missionary Baptist Church JR Williams Junior High, Painesville, OH Heirs Covenant Church of Cincinnati Lafayette High School, Lexington, KY Interact for Health Ludlow High School, Ludlow, KY Jerriel Baptist Church Maple Knoll Village Lee Chapel AME Otterbein Retirement Community Lincoln Heights Rising Sun High School, Rising Sun, IN Missionary Baptist Church Sheldon Clark High School Band, Inez, KY Madisonville Mission Ministries The Kenwood by Senior Star Mt. Zion Baptist Church—Woodlawn The Knolls of Oxford Mt. Zion Missionary Baptist Church— Twin Lakes at Montgomery Glendale
cincinnatisymphony.org | FANFARE CINCINNATI | 69 FINANCIAL SUPPORT THE THOMAS SCHIPPERS LEGACY SOCIETY Thomas Schippers was Music Director from 1970 to 1977. He left not only wonderful musical memories, but also a financial legacy with a personal bequest to the Orchestra. The Thomas Schippers Legacy Society recognizes those who contribute to the Orchestra with a planned gift. We thank these members for their foresight and generosity. For more information on leaving your own legacy, contact Ron Cropper at 513.744.3365.
William L. Harmon Barbara S. Reckseit Carrie & Peter Throm* Bill Harnish & John Harnish Edward J. Requardt * Dr. & Mrs. Thomas Todd * Mrs. Jay Harris * Melody Sawyer Richardson Nydia Tranter* Dr. & Mrs. Morton L. Harshman ** Ellen Rieveschl Dick & Jane Tuten * Mary J. Healy* Elizabeth & Karl Ronn Mr. & Mrs. Robert Varley * Dr. Ira & Linda Abrahamson * Frank G. Heitker* Moe & Jack Rouse* Thomas M. Vaughn* Mr. & Mrs. James R. Adams * Anne Heldman * Marianne Rowe * Mr. & Mrs. Randolph Wadsworth, Jr. * Jeff & Keiko Alexander * Betty & John Heldman * Solveiga Rush Jack K. & Mary V. Wagner Mrs. Robert H. Allen * John Hermanies * Ms. Emalee Schavel ** Nancy C. Wagner * Mrs. Charles William Anness Ms. Roberta Hermesch * Rosemary & Mark Schlachter ** Patricia M. Wagner * Dr. Norita Aplin & Stanley Ragle Karlee L. Hilliard* Mr. & Mrs. Arthur F. Schmitt * Mr. & Mrs. Paul Ward * Jean L. Appenfelder Mr. & Mrs. Joseph W. Hirschhorn Mrs. William R. Seaman Debie Crosset Warkany * Carole J. Arend * Daniel J. Hoffheimer ** Dr. & Mrs. William Blake Selnick * Jo Anne & Fred Warren* Donald C. Auberger, Jr. * Mr. & Mrs. Edward A. Hogan * Mrs. Mildred J. Selonick* Anne M. Werner * Dr. Diane Schwemlein Babcock Kenneth L. Holford * Mrs. Robert B. Shott * Gary & Diane West * Mr. & Mrs. William T. Bahlman, Jr. ** Mr. & Mrs. Terence L. Horan ** Sarah Garrison Skidmore Mary West Henrietta Barlag Evelyn V. Hess Howett, M.D. Adrienne A. Smith Charles Wilkinson Peggy Barrett Mrs. Benjamin C. Hubbard Roberta L. Sontag * Sarah E. Wilkinson Jane & Ed Bavaria * Isabelle F. Hugo* Marie Speziale Harriet C. Wilson * Dava L. Biehl * Carolyn R. Hunt Mr. & Mrs. Christopher L. Sprenkle* Mrs. Monte Witte * Walter Blair * Mrs. William H. Hutcherson, Jr. Michael M. Spresser Vance & Peggy Wolverton Lucille & Dutro Blocksom * Mary Ellen Hutton Susan Stanton * Mrs. Joan R. Wood Rosemary & Frank Bloom ** Julia M. F. B. Jackson * Barry & Sharlyn Stare Harris Wright ** Fay Boeh * Michael & Kathleen Janson * Cynthia Starr Betsy & Alex C. Young ** Dr. John and Suzanne Bossert Andrew MacAoidh Jergens Dee & Tom Stegman* Dr. & Mrs. Daryl Zeigler Mollie H. Bowers-Hollon Jean C. Jett Mary & Bob Stewart * Anonymous (28) Ronald Bozicevich Mrs. Morse Johnson * Brett Stover Thomas A. Braun, III Frank Jordan Dr. Robert & Jill Strub * * Schippers Society Member Joseph Brinkmeyer Margaret H. Jung Patricia M. Strunk for 10 or more years Mr. & Mrs. Frederick Bryan, III * Rosalind Juran * Ralph & Brenda Taylor * ** Schippers Society Member Harold & Dorothy Byers Mace C. Justice ** Conrad F. Thiede for 20 or more years Deborah Campbell & Eunice M. Wolf Karen Kapella* Minda F. Thompson New Schippers members are in bold Dimitra A. Campbell ** Dr. & Mrs. Steven Katkin * Myra Chabut ** Paul C. Keidel * Catharine W. Chapman Dr. Robert A. Kemper * Jean & Matthew Chimsky Mrs. Paul N. Kibler* Mrs. Jackson L. Clagett III* Alan and Jill Kinstler Norma L. Clark Rachel Kirley and Joseph Jaquette Lois and Philip Cohen Marvin Kolodzik * Stanley & Frances Cohen * Randolph & Patricia Krumm Leland M. & Carol C. Cole Mrs. Theresa M. Kuhn Grace A. Cook * Owen & CiCi Lee * Jack and Janice Cook Audrey Kuethe Leeser* Mr. & Mrs. Charles Cordes ** Mrs. Jean E. Lemon Peter G. Courlas & Nick Tsimaras ** Mr. & Mrs. Peter F. Levin * Mr. & Mrs. Charles E. Curran III** George & Barbara Lott ** Amy & Scott Darrah Mr. & Mrs. Ronald Lyons * Meredith & Will Darrah, children Marilyn J. Maag Caroline H. Davidson Margot Marples Harrison R.T. Davis* Allen & Judy Martin Miriam Deshon* Mrs. Thomas H. McCrary * Amy & Trey Devey Laura Kimble McLellan Robert W. Dorsey Dr. Stanley R. Milstein Jon & Susan Doucleff Mrs. William K. Minor Mr. & Mrs. John Earls * Mr. & Mrs. D.E. Moccia Dale & Lillian Eickman * Mr. & Mrs. James Monroe * Linda and Harry Fath Mrs. Arthur E. Motch, Jr. * Alan Flaherty Kristin and Stephen Mullin Mrs. Richard A. Forberg Ms. Maryjane N. Musser * Guy & Marilyn Frederick ** Christopher & Susan Muth Susan Friedlander ** Patti Myers Mr. & Mrs. Nicholas Fry* Anne Nethercott* Mrs. Charles W. Fryer* Susan & Kenneth Newmark* Linda P. Fulton Dr. & Mrs. Theodore Nicholas H. Jane Gavin Patricia Grignet Nott Mrs. Philip O. Geier * Jane & Erv Oberschmidt * Kenneth A. Goode** Julie & Dick Okenfuss * Clifford J. Goosmann & Andrea M. Wilson Jack & Marilyn Osborn * Mrs. Madeleine H. Gordon The Palmer Family—Cletus and J. Frederick & Cynthia Gossman* Mary Lou, David and Kathy, Kathy Grote Bill and Jamie * Esther B. Grubbs, Marci Bein, Mindi Hamby Sandy Pike * William Hackman* Mrs. Harold F. Poe ** Priscilla Garrison Haffner Anne M. Pohl* David G. Hakes* Mr. & Mrs. Robert C. Porter, Jr. Vincent C. Hand & Ann E. Hagerman Irene & Daniel Randolph * Tom and Jan Hardy James W. Rauth
70 | FANFARE CINCINNATI | cincinnatisymphony.org ADMINISTRATION
OFFICE OF THE PRESIDENT E. Selean Holmes Catherine Hann Katie Murry Trey Devey Classical Roots Coordinator Leadership Giving Manager Marketing Manager, Subscriptions President Logan Kelly Teresa N. Ahrenholz Ellen Graham Lauren Roberson Education Programs Manager Philanthropy Assistant Group Sales Manager Executive Assistant to the President Carol Dary Dunevant Penny Hamilton Michelle Lewandowski ARTISTIC ADMINISTRATION & Instructional Programs Manager Philanthropy Assistant Subscription Coordinator PRODUCTION Robert McGrath COMMUNICATIONS FINANCE PATRON SERVICES Vice President & General Manager Christopher Pinelo Richard Freshwater Supervisors Vice President of Communications Vice President & Danielle Mahone Zan Burkhardt Chief Financial Officer Matthew White Production Assistant Meghan Berneking Director of Communications Scott Eckner Representatives Heather L. Stengle Director of Information Technology Erica Archer Director of Operations Lee Snow Seth Burkhardt Digital Communications Manager Will McCoy Jonathan Dellinger Alex Magg Systems Support Manager Justin Exposito Production Manager Melissa Knueven Communications Assistant Kyle Wynk Elizabeth Fricke Kenji Ulmer Human Resources Manager John Geiger Operations Project Coordinator PHILANTHROPY Elizabeth Schmidt Mary McFadden Lawson Megan Inderbitzin-Tsai Jessica Smithorn Sam Strater Vice President of Philanthropy Payroll Administrator Kenji Ulmer Director of Artistic Administration, Judy Prinz Andrea Vos-Rochefort Cincinnati Pops Orchestra Michelle Devine Corinne Wiseman Director of Institutional Giving Receptionist Isaac Thompson Director of Artistic Administration, Lyndsay Coleman Melissa Scott RIVERBEND MUSIC CENTER/ CSO Corporate Relations Manager Director of Data Systems PNC PAVILION/TAFT THEATRE/MUSIC & EVENT Marissa Goodman Kristi Reed Kathleen Curry MANAGEMENT INC. Data Entry Clerk Assistant Artistic Administrator Grants Manager The Hulbert Taft, Jr. Ahmad Mayes Hannah Johnson Sharon D. Grayton Center for the Director of Education & Community Director of Events Data Services Manager Performing Arts, J. Ralph Corbett Engagement Pavilion Sarah Maguire Tara Williams Data Entry Analyst PNC Pavilion at Charmaine Moore Volunteer Manager Riverbend Music Center Community Engagement and Ron Cropper Eric Smith Diversity Manager Director of Finance Michael Smith Director of Special Campaigns Vice President of Project Monica Putnick Development & Riverbend Accounting Manager Music Center Brandy Hauser Matthew Dunne Accounting Clerk General Manager Kristina Pfeiffer Amy Dahlhoff Accounting Manager Concessions Manager & Rosie Rothhaar Special Events Coordinator Accounting Clerk Ryan Jaspers Kelly Saylor Event/Operations Manager Accounting Clerk James Kirby Assistant Operations Manager MARKETING & SALES Sherri Prentiss Lane Kolkmeyer Vice President of Marketing Assistant Marketing Manager M. Todd Bezold Michele Ferrara Director of Marketing, Subscriptions Corporate Sales Manager Steve Kinney Rosemarie Moehring Graphic Designer Marketing Manager Amy E. Catanzaro Ed Morrell Director of Sales General Manager Erica Keller Jennifer Schoonover Director of Audience Engagement Premium Seat Program Manager Amber Ostaszewski Kelly Benhase Director of Audience Engagement Box Office Manager Kaitlyn Driesen Kristin Woehl . Audience Engagement Manager Box Office Manager it ir Brittany Byrd Holly Dickman Sp Marketing Sales Coordinator Assistant Box Office Manager d an Erica Reid Monty Wolf ind Director of Marketing, Plant Operations Manager t, M Special Projects r Hear Rick McCarty for you Heather Brown Marketing Director Box Office Manager Joan Wright Receptionist
cincinnatisymphony.org | FANFARE CINCINNATI | 71 CODA by Chris Pinelo
enue transitions always come with With the current CSO and Pops seasons coming challenges, logistical and otherwise. to a close, the list of great performers at the Taft I know many, if not all (myself in- has measurably grown with the likes of Yo-Yo Ma, cluded), are clamoring for the return Smokey Robinson, Lang Lang, Vanessa Williams, Vto our beautiful Music Hall, but this doesn’t take Itzhak Perlman, Melissa Etheridge, Hilary Hahn and away from the fantastic “home away from home” Emanuel Ax, among others, and the Taft Theatre’s season for the CSO and the Pops we’ve had here story continues. at the Taft Theatre. With $3.5 million of improvements in recent years, Music Hall is of course irreplaceable, but we put the Taft is expertly managed by the CSO’s Music and a lot of thought into where the CSO and Pops could Event Management Inc. subsidiary. It is a vibrant perform during this transition year. Built in 1928, the community gathering space in Downtown Cincinnati Taft Theatre was selected for its wonderful historic that not only serves as the home of the Children’s characteristics, including its neo-classical/art deco Theatre of Cincinnati’s mainstage productions, but architecture, its history as a performance venue for also hosts a diverse array of touring musicians, important classical artists (Vladimir Horowitz, Sergei comedians and theatrical productions. You can find Rachmaninoff, Fritz Kreisler and other legends had out more at TaftTheatre.org. performed in unamplified recitals here), and its Later this month, the Taft will also host this year’s proximity to downtown amenities and to Music Hall. May Festival, re-imagined in 2017 and building Also importantly, it allowed the CSO and Pops to on Cincinnati’s incredible singing tradition. This perform in one venue for the entire 2016–17 season. is not to be missed, and I invite you learn more at mayfestival.com. n
72 | FANFARE CINCINNATI | cincinnatisymphony.org THE MARKET HAD A BAD DAY. QUICK, DON’T DO SOMETHING.
OR
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