THE NATIONAL PHILHARMONIC at the Music Center at Strathmore Piotr Gajewski, Music Director & Conductor

FALL & WINTER 2019-2020 PROGRAM

WHAT’S INSIDE

ADVERTISING Onstage Publications 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com The National Philharmonic program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. The National Philharmonic program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business!, Inc. Contents © 2019. All rights reserved. Printed in the U.S.A.

NATIONAL PHILHARMONIC 1 2 NATIONAL PHILHARMONIC Welcome

elcome to the National Philharmonic’s W2019-2020 Season at the Music Center at Strathmore!

The year 2020 will mark the 250th birthday of Ludwig van Beethoven, so we begin and end our season with several of his masterworks. The season opens on September 21 and 22 with the unique Triple Concerto, featuring the award-winning Eroica Trio, followed by the groundbreaking Symphony No. 3 (Eroica).

For those with more than classical tastes, the Philharmonic, in November, features the music of ABBA with the tribute band Arrival from Sweden. Later in the month, Voices of Light, an original composition for solo voices, chorus and orchestra by Richard Einhorn, is performed as a backdrop to the silent movie classic The Passion of Joan of Arc (1928).

December brings Holiday Singin’ Pops with Mallin credit Jay Photo top Broadway talent and the Philharmonic Orchestra and Chorale, all under the direction of pops sensation conductor Luke Frazier. Also in December: our popular performances of Handel’s Messiah.

In January, I look forward to the return of pianist Orli Shaham, who joins the orchestra and me for Mozart’s Piano Concerto No. 20, followed by my all-time favorite, the Jupiter Symphony.

I look forward to seeing you at the concerts!

Piotr Gajewski Music Director & Conductor

NATIONAL PHILHARMONIC 3 NATIONAL PHILHARMONIC 2019-20 CALENDAR

EROICA + BEETHOVEN HOLIDAY SINGIN’ POPS SAT SEPT 21, 2019 8PM FRI DEC 6, 2019 7:30PM SUN SEPT 22, 2019 3PM Note: No pre-concert lecture Sat + Sun: Member Encore Q&A Ali Ewoldt Phantom of the Opera Sun 2-2:30pm: Meet the Musicians Hilary Morrow Birdland Jazz Club Eroica Trio Kevin Rose international vocalist Erika Nickrenz, piano Evan Ruggiero acclaimed tap dancer Sara Parkins, violin Luke Frazier conductor Sara Sant’Ambrogio, cello National Philharmonic Chorale Piotr Gajewski, conductor Join top-level Broadway and international talent for a fun and Beethoven Triple Concerto in C Major festive evening featuring fresh new takes on traditional and Symphony No. 3 in E-flat Major (“Eroica”) beloved holiday songs. Come early to take a festive photo with Santa, decorate an ornament and hear young carolers. Sponsored by Ms. Jane Liu & Mr. Edward Brinker

THE MUSIC OF ABBA HALLELUJAH! HANDEL’S MESSIAH ARRIVAL FROM SWEDEN SAT DEC 21, 2019 8PM SAT NOV 2, 2019 8PM SUN DEC 22, 2019 3PM Note: No pre-concert lecture For Young People: Participate in the Esther Heideman, soprano Color the Music Project Magdalena Wór, mezzo-soprano Matthew Loyal Smith, tenor ABBA Musicians Kevin Deas, bass Piotr Gajewski, conductor National Philharmonic Chorale Relive the musical and movie Mamma Mia as ABBA musicians Stan Engebretson, conductor perform the group’s greatest hits including Dancing Queen, Mamma Mia, Take a Chance, Waterloo, Fernando and more! JUPITER SYMPHONY SAT JAN 18, 2020 8PM VOICES OF LIGHT SUN JAN 19, 2020 3PM SILENT FILM WITH Sat + Sun: Member Encore Q&A LIVE ORCHESTRA & CHORALE Sun 2-2:30pm: Meet the Musicians Featuring The Passion of Joan of Arc Orli Shaham, piano SAT NOV 23, 2019 8PM Piotr Gajewski, conductor Suzanne Karpov, soprano Mozart Overture to Il Re Pastore Katherine Pracht, mezzo-soprano (The Shepherd King) Matthew Loyal Smith, tenor Piano Concerto No. 20 in D minor Kerry Wilkerson, baritone with Beethoven cadenzas National Philharmonic Chorale Symphony No. 41 (“Jupiter”) Stan Engebretson, conductor Sponsored by Rochelle Stanfield & Edward Grossman PIANIST BRIAN GANZ 10th CHOPIN—THE GROWTH OF GENIUS Year! SAT FEB 1, 2020 8PM Note: No pre-concert lecture Featuring Chopin masterpieces such as the great Polonaise- Fantaisie, the Funeral March Waltzes, Op. 34 and Nocturnes, Op. 27, along with the surprisingly engaging youthful efforts that made them possible.

4 NATIONAL PHILHARMONIC BLACK CLASSICAL MUSIC PIONEERS MUSIC + PROSE SAT FEB 22, 2020 8PM SAT APRIL 18, 2020 8PM 6:45-7:30pm: Meet the Composers Melissa White, violin (Sphinx Competition winner) Member Encore Q&A Piotr Gajewski, conductor Danielle Talamantes, soprano Wynton Marsalis Wild Strumming of Fiddle Zuill Bailey, cello (three-time Grammy winner) (from All Rise) Piotr Gajewski, conductor Florence Price Violin Concerto No. 1 in D Major George Walker Lyric for Strings Samuel Barber Overture to The School for Scandal William Grant Still Symphony No. 1 (“Afro-American”) Henry Dehlinger The Love Song of J. Alfred Prufrock A Rhapsody for Voice and Sponsored by Patricia Haywood Moore & Roscoe M. Moore, Jr. Orchestra (orchestral premiere) Alistair Coleman Concerto for Cello and Orchestra MOZART REQUIEM (world premiere) SAT MARCH 21, 2020 8PM Michael Daugherty Tales of Hemingway Member Encore Q&A Sponsored by the Prufrock Fund Suzanne Karpov, soprano Magdalena Wór, mezzo-soprano Norman Shankle, tenor BEETHOVEN’S MISSA SOLEMNIS SAT MAY 30, 2020 8PM Kevin Deas, bass For Young People: Participate in the Jon Manasse, clarinet Color the Music Project National Philharmonic Chorale Piotr Gajewski, conductor Esther Heideman, soprano Shirin Eskandani, mezzo-soprano W. A. Mozart Clarinet Concerto in A Major Norman Shankle, tenor Requiem in D Minor Kerry Wilkerson, baritone National Philharmonic Chorale Piotr Gajewski, conductor

Free pre-concert lectures are offered 75 minutes before concerts throughout the season. Please check nationalphilharmonic.org for up-to-date information.

NATIONAL PHILHARMONIC 5 EROICA + BEETHOVEN

SATURDAY, SEPTEMBER 21, 2019, 8PM SUNDAY, SEPTEMBER 22, 2019, 3PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor EROICA + BEETHOVEN

Eroica Trio Erika Nickrenz, piano Sara Parkins, violin Sara Sant’Ambrogio, cello

Piotr Gajewski, conductor

Star-Spangled Banner Francis Scott Key (1779-1843)

Concerto for Violin, Cello, and Piano in C major (“Triple Concerto”) Ludwig van Beethoven (1770-1827) Allegro Largo Rondo alla polacca INTERMISSION

Symphony No. 3 in E-flat Major (“Eroica”) Ludwig van Beethoven Allegro con brio Adagio assai (“Marcia funebre”) Scherzo—Allegro vivace Finale—Allegro molto

Weekend Sponsor: Ms. Jane Liu & Mr. Edward Brinker

All Kids, All Free, All The Time is sponsored in part by Mrs. Patricia Haywood Moore and Dr. Roscoe M. Moore, Jr. and Dieneke Johnson.

The Music Center at Strathmore Marriott Center Stage

6 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Piotr Gajewski, for young string players and singers, conductor master classes with esteemed visiting artists, and a concerto competition for “Immensely talented high-school students. Working with and insightful conductor, the local school system, Gajewski also whose standards, taste established and conducts annual concerts and sensitivity are for all Montgomery County second grade Photo credit Jay Mallin credit Jay Photo impeccable,” raves students, some 12,000 each year! The Washington Post. Piotr Gajewski, a student and disciple of the late Leonard In his native Poland, Gajewski has Bernstein, continues to thrill audiences all appeared with the Warsaw Philharmonic, over the world with inspiring performances the Krakow Philharmonic and with most of great music. “His courtly, conservative other major orchestras. Since 2007, he movements matched the music’s mood. A also regularly serves as the only American flick of the finger, and a fanfare sounded. on the jury of the prestigious Grzegorz He held up his palm, and the musicians Fitelberg International Competition quieted. It was like watching a race car in for Conductors. the hands of a good driver,” reports The Buffalo News. Gajewski began studying piano at age four. After immigrating to the United With one foot in the United States, as States, he continued his studies at the the Music Director & Conductor of the Preparatory Division of the New England National Philharmonic at the Music Center Conservatory, at Carleton College in at Strathmore, and the other in Europe, Minnesota, and at the University of as the Principal Guest Conductor of the Cincinnati, College-Conservatory of Music, Silesian Philharmonic (Katowice, Poland) where he earned B.M. and M.M. degrees and frequent guest at other orchestras, in orchestral conducting. His conducting the jet-set maestro’s seemingly limitless mentors, in addition to Bernstein, with repertoire, most conducted without a whom he studied at the Tanglewood score, amazes critics and audiences alike. Music Center on a Leonard Bernstein Conducting Fellowship, include such Maestro Gajewski is one of a select group luminaries as Seiji Ozawa, André Previn, of American conductors equally at home Gunther Schuller and Maurice Abravanel. in nearly all musical genres. A sought after guest conductor, a recent season saw Maestro Gajewski’s many honors include him conduct Bach at the Northwest Bach Poland’s Knight’s Cross of the Order of Festival, Prokofiev with the South Florida Merit bestowed on him by the President of Symphony and Copland in Jelenia Gora, Poland, and a prize at New York’s Leopold Poland. While Gajewski freely admits that Stokowski Conducting Competition. Mozart is perhaps his favorite composer, he ventures as far as Barry Manilow and A true Renaissance man, when away beyond at Pops Concerts, and has led from music Gajewski continues to play several dozen world premieres, including a competitive soccer, holds a law degree recent one of the opera Lost Childhood by and a license to practice law in two the American composer Janis Hamer. states, and from 2007-2011 served on his hometown (Rockville, Maryland) A committed arts educator, Maestro City Council. Gajewski is the muscle behind National Philharmonic’s groundbreaking “All Kids, Piotr Gajewski is represented worldwide All Free, All The Time” initiative, as well by Sciolino Artist Management. as the creation of summer institutes

NATIONAL PHILHARMONIC 7 ARTIST BIOGRAPHIES

Eroica Trio formed at The Juilliard School. This intricate web of early connections helped The most sought-after trio forge a lifelong bond between the three in the world, the Grammy women of the Eroica Trio. nominated Eroica Trio enraptures audiences The Eroica Trio performs the Beethoven with flawless technical Triple Concerto more frequently than any Photo credit David Bean credit David Photo virtuosity, irresistible other trio in the world, having appeared enthusiasm and sensual elegance. The with renowned symphonies such as three women who make up this celebrated Chicago, St. Louis, San Francisco, Mostly ensemble electrify the concert stage with Mozart Orchestra, Atlanta and Seattle and their passionate performances. The New more. In addition, The Trio has performed York Times writes, “There is an edge of the the work abroad with Orquesta Sinfonica seat intensity to every note they produce.” de Euskadi in Spain, Haydn Orchestra in Italy, with the Budapest Symphony The Trio won the prestigious Naumburg in Germany, and on multiple tours in Award, resulting in a highly successful the United States with the Cincinnati Lincoln Center debut and has since Symphony as well as with the Prague toured the United States, Europe, Middle Chamber Orchestra. The Eroica Trio’s East, South America and Asia. While recording of the Beethoven Triple with maintaining their demanding concert the Prague Chamber Orchestra was schedule, the Eroica Trio has released so successful it landed this piece on eight critically lauded recordings for Billboards Top 20 for the first time in Angel/EMI classics Records, garnering recording history. The Trio appeared on them multiple Grammy nominations. The the German television program “Klassich!” first all female chamber ensemble to reach performing the Beethoven Triple Concerto the top echelon of the field, the women of with the Munich Symphony, which was the Eroica Trio has shattered the age-old aired throughout Europe. A multi-city gender barrier, leading the vanguard and tour of North America with the Vienna inspiring many to follow. Symphony Orchestra, under the baton of Maestro Fabio Luisi, culminated in The unique history of the players of the a soldout performance on the “Great Eroica Trio goes all the way back to Performers at Lincoln Center” series in childhood. Sara Sant’Ambrogio and Erika Avery Fisher Hall in New York City. Nickrenz first met at age 12, when Erika came to study with Sara’s Grandmother, The Eroica Trio has appeared on the founder of Red Fox Music Camp. numerous television shows, including Two years later, Sara collaborated with ABC’s The View, CNN’s Showbiz Today, violinist Sara Parkins at the renowned CBS and ABC News, the CBS Morning Meadowmount School of Music, where Show and Saturday Morning, A&E’s they became fast friends, and later became Breakfast with the Arts, The Isaac Mizrahi roommates when they were both students Show, Pure Oxygen, Bloomberg TV and at The Curtis Institute of Music. Sara Fox’s The Crier Report. Eroica!, a special Parkins and Erika Nickrenz also met in documentary about the Trio and its their teens, playing together as students commissioning of a new triple concerto at the Pre-College division of The Juilliard by Kevin Kaska, premiered on the PBS School and at the Tanglewood Music series Independent Lens and has had Center. That same year the Eroica Trio was multiple airings worldwide. The group has

8 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

been featured in such magazines as Elle, Whether the Eroica Trio is interpreting Glamour, Vanity Fair, Detour, Marie Claire, the Baroque Masters, the power and Gotham, Entrée, Bon Appétit, Time Out strength of Beethoven, the jazzy tunes New York, Gramophone, Piano, Vivace, of Schoenfield or the Bluegrass toe Auditorium, and Chamber Music. In tapping rhythms of Mark O’Connor, addition, the ladies have graced the covers their performances are deeply personal of magazines as diverse as Fanfare, Cigar, and continue to thrill audiences around Strings, Tall, and Strad. Grand Marnier® the world. To quote the San Francisco created a new cocktail dubbed “The Examiner, “It has been decades since this Eroica” which was unveiled for the release country has produced a chamber music of their “Pasión” recording. Chateau Sainte organization with this much passion…” Michelle, a vineyard in Seattle, also named one of its Gold Medal winning Reislings in honor of the Trio.

PROGRAM NOTES

Concerto for Violin, Cello, and Piano his unsuccessful search for love (he kept in C Major, Op. 56 (Triple Concerto) falling in love with unattainable aristocratic women), his social ineptitude (he was Ludwig van Beethoven the object of ridicule in some circles), (baptized on December 17, 1770; his ongoing battle with compositional died March 26, 1827 in Vienna, Austria) difficulties (his inspiration did not come easy), and the often appalling conditions Perhaps no other composer in the history under which he lived (he was constantly of Western music has elicited such visceral moving between apartments because his reactions as has Beethoven. His music neighbors and landlords could not cope often affects the listener with an intensity with his temper and his more than sloppy and immediacy of emotion that dispense daily habits). And yet, against so many with any critical or scholarly commentary, odds, this towering figure in the history as if it gave expression to feelings that of Western music (and one of the most are known intimately to all of us. His life volcanic artists in any field) managed was a continuous struggle against many to sublimate all the adversities of his adversities (personal, emotional, social, life into music of transcendent beauty familial) culminating in the greatest and unmitigated emotional power. The tragedy of his life, the hearing loss that magnitude of his achievement is one of the started in his late 20s and rendered greatest glories of human civilization. him completely deaf at the height of his maturity as a composer. Very early in his It is customary to divide Beethoven’s life, Beethoven realized that fate had not career into three stylistic periods (early, been very kind to him, and his resolve to middle and late), with the middle period “grab fate by the horns” and make it do his (1802-1812) often associated with his bidding was a resolution that sustained “heroic” style, even though that label him through some of the most difficult does not readily apply to all the works he moments in his career. One cannot help composed in that period. The two pieces but sympathize with him, wondering at in tonight’s program, both of which were

NATIONAL PHILHARMONIC 9 PROGRAM NOTES

composed in 1803-04, stand at the very perpetual buzz of rhythmic activity that, threshold of Beethoven’s middle period, toward the end, acquires an almost and one of them (the “Eroica” Symphony) frenetic intensity. It concludes the is one of the most arresting examples of work in the best tradition of the rondos Beethoven’s heroic style. of the classical concerto, a relatively lighthearted movement that balances The Concerto for Violin, Cello and Piano the seriousness and complexity of the in C Major, Op. 56 (1803-04), generally opening sonata form. known as the “Triple Concerto,” is unique among Beethoven’s works. It is a hybrid Symphony No. 3 in E-flat Major, of two well-established classical genres Op. 55 (“Eroica”) of chamber music (the piano trio) and orchestral music (the concerto). It is The Symphony No. 3 in E-flat Major also the only concerto that Beethoven (“Eroica”) (1803-04) is one of Beethoven’s ever wrote for more than one solo most celebrated works and one of the instrument. The work was composed for most majestic pieces in the symphonic the Archduke Rudolf of Austria, one of repertoire. Even though it is firmly Beethoven’s most devoted patrons, who anchored in the Classical tradition, the also studied with Beethoven and became sheer scope of its form (it is twice as long an accomplished pianist. as any symphony by Haydn or Mozart), the breadth of its thematic material, and The unique nature of the instrumentation its emotional and cultural content are posed some compositional problems for harbingers of musical Romanticism. The Beethoven, the most pressing one being structure of the symphony is such that how to adequately divide the thematic the first three movements can be seen as material between three solo instruments sets of variations (in different forms) on and the orchestra. Beethoven solved the thematic material that is the basis of this problem by having the three soloists the fourth movement. This, in turn, derives sometimes perform as a regular piano from the themes used in the Variations trio, and also by ensuring that the cello and Fugue for Piano in E-flat Major, Op. has the lead in introducing new thematic 35 (now known as the “Eroica Variations”) materials, thereby placing this instrument composed in 1802. on a par with the role of soloist that was already established for the violin and the The Symphony No. 3 was originally piano. He also opted for short thematic dedicated to Napoleon Bonaparte, motives, rather than long and elaborate whom Beethoven believed embodied melodies. The first movement displays all the most democratic ideals of the the richness of thematic variation that is French Revolution, But when Bonaparte a hallmark of Beethoven’s style, handled proclaimed himself Emperor of the French here with a mixture of grace and poise in 1804, Beethoven scratched out the that are far from the forceful heroic tone of dedication in a fit of fury that actually other works from this period. The second damaged the manuscript. The work was movement is very brief in comparison eventually published, in 1806, with an with the others, functioning mostly as an inscription on the title page that read, extended introduction to the final rondo, Sinfonia Eroica … composta per festeggiare to which it leads without a break. It is il sovvenire di un grande Uomo (“Heroic economically scored, with the piano trio Symphony, composed to celebrate the featuring prominently as the main carrier memory of a great man”). The symphony of the thematic material. The rondo finale embodies the lofty ideals which Beethoven is a spirited movement infused with a hoped to find in Bonaparte. The work

10 NATIONAL PHILHARMONIC PROGRAM NOTES

opens with two assertive and powerful justify the subtitle “Eroica,” given to this musical gestures that lead to a musical work. With this symphony, Beethoven texture of great richness and complexity, clearly and unambiguously left the world full of drama and energy. The funeral of the Viennese classicism behind and march of the second movement (the set his views on the broader and more longest of the four) shifts the mood toward tumultuous vistas of the Romantic period. darker shades that are only partly relieved The Symphony No. 3 has been justly by music of subtle sweetness later in revered as a groundbreaking work ever the movement. The short scherzo, with since, while its second movement has its suggestions of pastoral life evoked acquired the status of a cultural icon. In through the call of hunting horns, forms 1963, the Boston Symphony Orchestra an immediate contrast with the funeral performed the “Marcia funebre” in an march. The finale is cast in a grand and impromptu concert to mourn the recently majestic form, where a great variety assassinated John F. Kennedy. of moods alternate and support each other. This movement by itself would @ James Melo, 2019

AAA KKKK, AAA FFFF, AAA TTT TTTT!

Young people age 7-17 attend all National Philharmonic concerts at the Music Center at Strathmore free of charge, making it easy for families to attend concerts together and for young adults to attend a live classical music performance with friends.

To order Kids Free tickets, visit the Strathmore Ticket Office or call 301-581-5100.

For more information, visit nationalphilharmonic.org

NATIONAL PHILHARMONIC 11 THE MUSIC OF ABBA

SATURDAY, NOVEMBER 2, 2019, 8PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor

THE MUSIC OF ABBA ARRIVAL FROM SWEDEN

ABBA musicians Piotr Gajewski, conductor

That’s Me Knowing Me Knowing You When I Kissed the Teacher Fernando SOS Money Money Money Intermezzo No. 1 Medley: Waiting/Honey/Brother S.O Waterloo Mamma Mia

INTERMISSION

Voulez Vous As Good as New Medley: Kisses/Angel/Lay All Gimme Gimme/Super Trouper One Man One Woman The Winner Chiquitita Take a Chance Summer Night City

All Kids, All Free, All The Time is sponsored in part by Mrs. Patricia Haywood Moore and Dr. Roscoe M. Moore, Jr. and Dieneke Johnson.

The Music Center at Strathmore Marriott Center Stage

12 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Piotr Gajewski, ARRIVAL From Sweden has also played conductor with more than 60 symphony orchestras throughout the world. Successful shows (For Piotr Gajewski’s with some of the finest orchestras in biography, please see the USA such as Boston Symphony page 7.) Orchestra, San Francisco Symphony Orchestra, Dallas Symphony Orchestra, Photo credit Jay Mallin credit Jay Photo Houston Symphony Orchestra and Atlanta Symphony Orchestra. ARRIVAL from Sweden ARRIVAL from Sweden is the only group that has been given a previously ARRIVAL from unreleased ABBA song directly from Björn Sweden was Ulvaeus and Benny Andersson of ABBA. founded by Vicky The song “Just A Notion” will be due for a Zetterberg in 1995 worldwide release. in Gothenburg, Sweden and very soon became one of This production has all the features a the world’s most popular and most selling great ABBA show needs: lovely costumes, ABBA show band. Since the start in 1995 extremely talented musicians and the band has toured in 60 countries and breathtaking singers. Millions of people has appeared in several TV and radio all around the world celebrate this show shows all over the world. Since 2005 as the best ABBA show in the world; in ARRIVAL from Sweden has made 58 fact this is the only ABBA show the world successful tours in the USA. needs. This production is the closest you will ever get to see ABBA! ARRIVAL from Sweden in the production ”The Music of ABBA” has sold out arenas and venues all over the world since 1995 and is the absolute best and most authentic ABBA show there is. Hits like: Dancing Queen, Mamma Mia, Does Your Mother Know, Take A Chance, SOS, The Winner Takes It All, Super Trouper, Money Money Money, Waterloo, Honey Honey, Fernando, Chiquitita, Knowing Me Knowing You, Thank You For The Music, Lay All Your Love On Me, Gimme Gimme Gimme and many more are delivered with such accuracy that it’s hard to believe that it’s not the real ABBA on stage.

NATIONAL PHILHARMONIC 13 VOICES OF LIGHT

SATURDAY, NOVEMBER 23, 2019, 8PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor

VOICES OF LIGHT SILENT FILM WITH LIVE ORCHESTRA AND CHORALE Featuring The Passion of Joan of Arc

Suzanne Karpov, soprano Katherine Pracht, mezzo-soprano Matthew Loyal Smith, tenor Kerry Wilkerson, baritone National Philharmonic Chorale Stan Engebretson, conductor

Voices of Light Richard Einhorn (b. 1956)

Presented in connection with a screening of La Passion de Jeanne d’Arc by Carl Theodor Dreyer (1889-1968)

1. Prelude: Exclamavati 2. Victory at Orleans 3. Interrogation 4. The Jailers 5. Pater Noster 6. The Jailers Return 7. Torture 8. Illness 9. Sacrament 10. Abjuration 11. Relapse 12. Anima 13. The Final Walk 14. The Burning 15. The Fire of the Dove: Protest 16. Epilogue

Sponsored by Rochelle Stanfield & Edward Grossman

All Kids, All Free, All The Time is sponsored in part by Mrs. Patricia Haywood Moore and Dr. Roscoe M. Moore, Jr. and Dieneke Johnson.

The Music Center at Strathmore Marriott Concert Stage

14 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Stan Engebretson, Suzanne Karpov, soprano conductor Hailed by the San Stan Engebretson has Francisco Chronicle for served as the Artistic her “elegant” soprano, Director of the National both “incisive and tender,” Philharmonic Chorale since Suzanne Karpov is quickly

Photo credit Fan Tjong Wong credit Fan Photo its inception. In addition distinguishing herself to the Chorale at Strathmore, Engebretson as one of the country’s leading young has appeared on concert stages throughout sopranos. Ms. Karpov recently made her the United States and in Europe, Asia, and Carnegie Hall debut as the soprano soloist Australia. He studied with masters of choral in Poulenc’s Gloria with DCINY. Past season music including Robert Shaw, Gregg Smith, oratorio highlights as soprano soloist Roger Wagner and the Swedish conductor include performances of Handel’s Messiah Eric Ericson. with the Washington Bach Consort, and the Washington Opera Orchestra at the A Midwest native, he earned undergraduate Kennedy Center, as well as soprano soloist and graduate degrees in Piano and Voice in Haydn’s The Creation with the UC-Davis from the University of North Dakota, then Symphony Orchestra. Operatic highlights went on for his Doctorate in Conducting include performances with Washington from Stanford University. He held faculty National Opera, and Boston Early Music positions in the University of Texas system Festival. Ms. Karpov has won numerous and at the University of Minnesota. In awards, including 1st place at the national addition, he served as the Artistic Director NATS Competition in Chicago, and 1st of the Midland-Odessa Symphony Chorale place in the 2018 Handel Aria Competition, and was the Associate Conductor of the and an Encouragement Award from the Minnesota Chorale. Metropolitan Opera National Council Auditions. Ms. Karpov is a graduate of In Washington, DC since 1990, the Maryland Opera Studio (University of Dr. Engebretson is Professor of Music at Maryland, College Park), and earned her George Mason University and is the Director Bachelor’s degree from Boston University. of Music at the historic New York Avenue Presbyterian Church. In 2009, he served as Katharine Pracht, a Fulbright Senior Scholar to Iceland, and mezzo-soprano abroad in recent seasons he performed in Europa Cantat and AMJ (Arbeitskreis Mezzo-soprano Katherine Musik in der Jugend) events plus others Pracht’s engagements in in Germany, Estonia, Ireland, and Austria. 2018-2019 season included In 2018, he co-edited a new collection, Stravinsky’s Requiem “Hallelujah! Spirituals and Gospels for Canticles with Leon Botstein European Choirs.” In 2019, he received the and The Orchestra NOW as well as the J. Reilly Lewis Ovation award for Outstanding role of Dunyasha in Rimsky-Korsakov’s Contributions to Choral Music, a prestigious The Tsar’s Bride in Russian at the Bard honor presented by Choralis that marks Festival; she reprised Prokofiev’s Alexander his thirty years of choral leadership in the Nevsky with York Symphony, and sang role metropolitan area. debuts with Madison Opera as Charlotte in A Little Night Music and Ottavia in Florentine Opera’s L’Incoronazione di Poppea. Performances in the 2019-2020 season include the role of Kate Julian in Britten’s Owen Wingrave for her debut with the Little Opera Theater of New York, the role

NATIONAL PHILHARMONIC 15 ARTIST BIOGRAPHIES

of Linette in Opera Philadelphia‘s The Love Opera. Matthew received the Carmel for Three Oranges, mezzo-soprano solos in Bach Festival’s Adams Fellowship for Richard Einhorn’s Voices of Light with the performance and study of the music of Bach National Philharmonic and Beethoven’s in 2008. A finalist in the 2002 San Francisco 9th Symphony with the York Symphony. In Opera Center auditions and a semifinalist 2016-17, Pracht made her Kennedy Center in the 2005 Montreal International Musical debut as soloist in Philip Glass’ Symphony Competition, his operetta and operatic No. 5 with the Washington Chorus, then roles have included Frederic in Pirates recorded the piece in NYC with Trinity of Penzance, Baron Zsupàn in Countess Wall Street for release this summer (2019). Maritza, The Prologue in The Turn of the Screw, and Torquemada in L’heure Espagnol. Ms. Pracht sang the US premiere of Matthew has studied voice with Beverley Richard Wernick’s …and a Time for Peace Rinaldi and Christine Anderson while with Leon Botstein and the American earning a B.M. in Voice from the Cleveland Symphony Orchestra at Carnegie Hall, and Institute of Music and a M.M. in Opera from created several roles in workshops of new Temple University. Matthew currently serves operas: Florence Williams in a workshop with the Air Force Singing Sergeants in of Susan Kander’s The News From Poems, Washington, DC. With them, he performs Hester Prynne in Eric Sawyer’s The Scarlet at the White House, with the National Professor, Eve in Julian Wachner and Symphony Orchestra, for nationally televised Cerise Jacobs’ Rev 23 for the Prototype events including the funeral of former Festival. Additionally, Ms. Pracht performed Presidents Ronald Reagan and Gerald Ford, Bernstein’s Arias and Barcarolles and on tours across the United States. accompanied by Bright Sheng and Michael Barrett for The Intimacy of Creativity Kerry Wilkerson, baritone 2017 Festival in Hong Kong, and then again for her debut with New York Festival of Song Kerry Wilkerson has sung with Barrett and Steven Blier. Pracht sang with the professional the role of Lady Wang in Bright Sheng’s choruses of the United Dream of the Red Chamber on tour in States Air Force, United China, the role of Mariam in Sheila Silver’s States Army, Carnegie Hall A Thousand Splendid Suns in workshop for Choral Workshops and the American Opera Projects, a world premiere critically acclaimed Robert Shaw Festival of Karl Jenkins’ Sing! The Music was Singers. He currently serves as Assistant Given and a reprisal of The Armed Man at Director of Music Ministries at Vienna Carnegie Hall with Distinguished Concerts Presbyterian Church where he oversees International New York, and her critically- a program for teenage musicians that acclaimed title role debut in Elizabeth Cree includes a chorus, orchestra, handbells and for Chicago Opera Theater by Kevin Puts worship teams. As a military musician he and Mark Campbell. has sung extensively throughout the United States and Canada in some of our nation’s Matthew Loyal Smith, finest performance halls. Washington, DC tenor audiences also know him as a local recitalist and frequent guest soloist with community Matthew Loyal Smith is based orchestras and choruses. Mr. an accomplished tenor Wilkerson is a graduate of the University of soloist, having performed North Carolina at Greensboro (BMEd) and with many prestigious George Mason University (MA). ensembles including the Washington Bach Consort, the Cathedral Choral Society and the Washington Concert

16 NATIONAL PHILHARMONIC PROGRAM NOTES

Voices of Light (composed Here is how Einhorn recounts the artistic 1994; premiered in February 1994 epiphany that inspired him to compose at the Academy of Music in Voices of Light: “I was idly poking around Northampton, Massachusetts). in the film archives of New York’s Museum of Modern Art, looking at short avant garde Richard Einhorn (born 1952 in films, when I happened across a still from Newark, New Jersey) Joan of Arc in the silent film catalog. In spite of a deep love of cinema and its history, I In the golden age of silent film, during the had never heard of the director of the film, first three decades of the 20th century, the but … asked to take a look at it. Some 81 musical soundtrack that accompanied minutes later, I walked out of the screening the images had a role far more significant room shattered, having unexpectedly seen than it has today. Because there was no one of the most extraordinary works of art sound that was inherent to the action on that I know. I immediately began to plan screen (including the absence of speech), the piece about Joan of Arc…” (from the music enabled the audience to respond composer’s notes for Voices of Light). The emotionally to situations that would appear film that Einhorn had seen, La Passion significantly tame without the soundtrack. de Jeanne d’Arc (1928), directed by Carl It is no secret that music is capable of Theodor Dreyer, is one of the greatest eliciting feelings in a manner that is visceral, masterpieces of silent film. It dramatizes primeval, and sometimes bordering on the life and trial of the 15th-century teenage the irrational. Film music composers and warrior, Joan of Arc, who was subjected film directors are highly sensitive to the to inhumane treatment in the hands of dramatic impact of music, and the history of the Inquisition for claiming that she heard cinema offers numerous examples of highly the voice of God urging her to fight for her successful collaborations between director country in the face of English oppression. and composer, one of the most famous of She was tortured, excommunicated, and which is that between Alfred Hitchcock and burned at the stake on May 30, 1431 in Bernard Herrmann. Rouen. Nearly 500 years after her death, she was declared a saint. In Dreyer’s film, Music affects the dramatic impact of a the plight of Joan of Arc is presented film in two ways: through diegetic music, through an ingenious combination of close- which is part of the fictional setting and ups that are incredibly charged with the is heard by the characters themselves entire spectrum of human emotions: anger, as well as by the audience; and through doubt, scorn, fear, pity, cruelty, revenge, non-diegetic music, which is heard only spite, indifference. by the audience and has an important role in setting up a particular mood or in Einhorn conceived Voices of Light both influencing the audience’s response to a as an accompaniment to Dreyer’s film dramatic situation. This latter type is what and as a stand-alone musical work that is more often understood when referring to could speak about the same emotions to the “soundtrack” of a film. By its very nature, other audiences and in other contexts. then, all the music heard as accompaniment He compiled a libretto that draws from a to a silent film is non-diegetic music, of rich literature by female mystics from the which Richard Einhorn’s Voices of Light is a Middle Ages, blending texts in Latin, Old supreme example, one of the most affecting and Middle French, and Italian. The texts and emotionally charged soundtracks in the that ultimately correlate to each scene in history of film music. the film bear different relationships to the image. Sometimes, the textual excerpt offers a direct description of what is happening on screen, but at other times the text functions

NATIONAL PHILHARMONIC 17 PROGRAM NOTES

as a reflection on subliminal or subjective was during her lifetime. It seems that no meanings attached to the images. In his one could quite know exactly what Joan notes, Einhorn singles out the use of the of Arc looked like. The soundscape that Inquisition’s instruments of torture as an Einhorn created, then, hovers in a space example: “Although the Inquisitors did not that transcends immediate experience, physically harm Joan, she was shown the while at the same time bridging the realms instruments of torture. I thought that, rather of earthly life and the promise of a spiritual than speak directly about this horror, it redemption. The musical style resonates might be more interesting to explore some with historical references to the music of of the stranger aspects of the medieval view the Middle Ages, albeit inflected to respond of physical pain, the tradition of suffering to contemporary sensibilities. While visiting as a means of achieving spiritual ecstasy. the village of Domremy, where Joan of Arc Accordingly, the chorus obsessively was born, Einhorn recorded the sounds repeats the phrase ‘glorious wounds’ while of the bells from the small church, which a solo soprano sings a combination of still stands along with Joan of Arc’s house. lurid texts from both Blessed Angela and These sounds were incorporated into the Na Prous Boneta, a 13th century penitent score, adding poignancy to the story of this and a 14th century heretic, respectively.” fascinating figure. After all, her predicament This example illustrates the multi-layered stemmed mostly from what one would texture of Voices of Light, in which the interpret today as auditory hallucinations. very sounds of the words in the various She claimed to hear the voice of God languages function as musical elements directing her on what to do, and for that as well. In order to create a mystical voice she was charged with heresy, but the sound for the character of Joan of Arc, her singing of the church bells was for her a daily voice is a composite of the soprano and pleasure as she lived her life in that humble alto range, so that her audible presence French village. is as mysterious as her visual presence @ James Melo

18 NATIONAL PHILHARMONIC HOLIDAY SINGIN’ POPS

FRIDAY, DECEMBER 6, 2019, 7:30PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor HOLIDAY SINGIN’ POPS

Ali Ewoldt, Phantom of the Opera Hilary Morrow, Birdland Jazz Club Kevin Rose, international vocalist Addalie Burns, tap dancer Luke Frazier, conductor National Philharmonic Chorale

Selections to include: Holiday Overture Santa Baby/Let Me Entertain You—medley of Eartha Kitt & Gypsy Merry Christmas Darling Mele Kelikimaka What Child Is This Grown Up Christmas Wish I’ll be Home for Christmas Rudolph River/Not a Day Goes By—medley of Stephen Sondheim & Joni Mitchell Last Christmas No Place Like Home for the Holidays What Are You Doing New Year’s The Christmas Song Cool Yule Have Yourself a Merry Little Christmas O Holy Night The Snow-Elgar Holiday Sing Along—led by soloists and choir

All Kids, All Free, All The Time is sponsored in part by Mrs. Patricia Haywood Moore and Dr. Roscoe M. Moore, Jr. and Dieneke Johnson.

The Music Center at Strathmore Marriott Concert Stage

NATIONAL PHILHARMONIC 19 ARTIST BIOGRAPHIES

Luke Frazier, conductor has also recently joined the board of the NY Festival of Song and is an Artistic Luke Frazier is changing Advisor for the Capitol Conversation and what it means to be the Performing Arts Series in Washington, DC. maestro of a cutting- Frazier is thrilled to have worked with an edge orchestra. He is arsenal of incredible artists, most of whom an innately musical he calls friend. This list includes such conductor, a sensitive luminaries as Chita Rivera, Harry Connick Jr., and brilliant pianist and a visionary for Patti LaBelle, Joshua Bell, Jessie Mueller, presenting music we know and love Renée Fleming, Darren Criss, Vanessa with a fun, energetic and unique twist. Williams, Liz Callaway, Brian Stokes Washingtonian Magazine named him Mitchell, Betty Who, Laura Osnes, Wynton one of their “Top 40 Under 40,” and most Marsalis, Eric Owens, Marilyn Maye, Liza recently named five of Washington, DC’s Minnelli, Rita Moreno, Lindsay Mendez, “Men on the Move” by Modern Luxury. Michael Feinstein, Kathy Najimy, Paige Pulitzer Prize-winning composer and Davis, Arturo Sandoval, and Norm Lewis, musical theatre legend, Marvin Hamlisch among many others. is quoted as calling Frazier “…so talented, and sensitive to every nuance.” Ali Ewoldt, vocalist and actress, Phantom As founder and Music Director of the of the Opera American Pops Orchestra (APO), Frazier has set the bar high for popular orchestral Ali Ewoldt recently programming. His past seasons have completed more than brought Broadway, television and even two years as Christine Olympic stars to the stage alongside Daaé in The Phantom APO to dazzle his newfound audience of of the Opera on Broadway. Her other young, first-time attendees and longtime credits include Cosette in Les Miserables orchestra patrons alike. Each show is (Broadway, National Tour); The King and I built from the ground up with original (Broadway, Tour, Lyric Opera of Chicago); arrangements and innovative staging, all Maria in West Side Story (National Tour, brought to life by a cast of stars, acclaimed International Tour, PCLO, The Muny); and upcoming, to deliver what every Luisa in The Fantasticks (off-Broadway); audience wants to experience—a night and Philia in A Funny Thing Happened on they won’t forget! the Way to the Forum. Concert/symphony work includes Feinstein’s/54 Below, Alice Frazier doesn’t spend all his time Tully Hall, the Town Hall, Canyon Ranch, conducting APO. He has earned his NY Pops at Carnegie Hall, American Pops stripes conducting across the country Orchestra, Houston Symphony and Boston and abroad. He has conducted at Pops with Maestro Keith Lockhart. Ali’s internationally acclaimed venues including TV/Film credits include The Michael J. Lincoln Center, Carnegie Hall, the White Fox Show, Yield, and the short film Mia. House, Kravis Center, the Kennedy She has a BA in psychology from Yale Center and more. He is an avid proponent University. www.aliewoldt.com of the preservation and celebration of the American Songbook, as evidenced by his orchestral programming, his iTunes playlist, and his yearly tours to underserved schools in Appalachia. He

20 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Hilary Morrow, Kevin Rose, musical theatre international vocalist performer and soloist Washington, DC-based Hilary Morrow is an vocalist Kevin Rose most acclaimed musical theatre recently toured in 2018 performer and soloist. with Royal Caribbean She regularly sings at Cruise Lines in more than famed jazz club, Birdland in New York City, 20 countries with his show Feelin’ Good. including a recent sold-out performance In 2017, Kevin performed in the U.S. tour in the new Birdland Theatre. She has of Dido and Aeneas with the Mark Morris performed alongside such luminaries as Dance Group, and was also invited to Brian Stokes Mitchell, Norm Lewis, Renee bring his cabaret series If Not Now, When? Fleming, Tommy Tune, Laura Osnes, to the historic Metropolitan Room. He has Liz Callaway, Jeremy Jordan, Lindsey performed throughout New York City in Mendez, Ashley Brown and many more. venues such as Carnegie Hall, the Town She is the only singer to have appeared Hall, Laurie Beechman Theatre, in every season with the American Pops Dimenna Center for Classical Music, Orchestra with recent credits including: Merkin Concert Hall, and 92nd St. Y. the Old Lady in An Old Lady Who Favorite regional credits include the pre- Swallowed a Fly, Bianca in the tour of A Broadway production of Frank Wildhorn’s Very Silly Vaudeville and Detective Fix Bonnie and Clyde (Asolo Rep.); The Life in Around the World in 80 Days. Recent of Galileo (Asolo Rep.); Joseph and the credits include Love, Factually with The Amazing…(Encore Musical Theater Co.), Second City at The John F. Kennedy Forever Plaid (Encore Musical Theater Center; King Cymbeline/Queen in Imogen: Co.), and Songs for a New World (New Shakespeare’s Cymbeline Reimagined with American theater). Kevin can be seen Pointless Theatre Company; and Mother headlining the DC Transit Band, a in Alexander and the Terrible, Horrible, No successful entertainment band that plays Good, Very Bad Day at Adventure Theatre. all over the DMV. She sings jazz and musical theatre for galas, private events and her own Addalie Burns, amusement. See what she’s doing next: tap dancer www.hilarymorrow.com & Instagram @hcmorrow Addalie Burns is an eight year old dancer from Sacramento, California. Addalie has danced for four years but started tap dancing at the age of five. She studies dance at Hawkins School of Performing Arts in Folsom, California. Addalie loves Shirley Temple and her goal is to tap dance on Broadway and own her own dance studio with an animal shelter in the lobby.

NATIONAL PHILHARMONIC 21 HANDEL’S MESSIAH

SATURDAY, DECEMBER 21, 2019, 8PM SUNDAY, DECEMBER 22, 2019, 3PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor Stan Engebretson, National Philharmonic Chorale Artistic Director HANDEL’S MESSIAH

Esther Heideman, soprano Magdalena Wór, mezzo-soprano Matthew Loyal Smith, tenor Kevin Deas, bass National Philharmonic Chorale Stan Engebretson, conductor

Messiah George Frideric Handel (1685-1759)

PART I

Sinfonia Recitative (tenor) Comfort ye, my people, saith your God Aria (tenor) Every valley shall be exalted Chorus And the glory of the Lord shall be revealed Recitative (bass) Thus saith the Lord of Hosts Aria (alto) But who may abide the day of His coming? Chorus And He shall purify the sons of Levi Recitative (alto) Behold, a virgin shall conceive Aria (alto) O thou that tellest good tidings to Zion Chorus O thou that tellest good tidings to Zion, arise Recitative (bass) For behold, darkness shall cover the earth Aria (bass) The people that walked in darkness Chorus For unto us a child is born Pastoral Symphony Recitative (soprano) There were shepherds abiding in the field Recitative (soprano) And lo, the angel of the Lord came upon them Recitative (soprano) And the angel said unto them: Fear not, for behold Chorus Glory to God in the highest Aria (soprano) Rejoice greatly, O daughter of Zion Recitative (soprano) Then shall the eyes of the blind be opened Aria (alto and soprano) He shall feed His flock like a shepherd Chorus His yoke is easy, and His burthen is light

INTERMISSION

22 NATIONAL PHILHARMONIC HANDEL’S MESSIAH

PART II

Chorus Behold the lamb of God Aria (alto) He was despised and rejected of men Chorus Surely He hath borne our griefs Chorus All we like sheep have gone astray Recitative (tenor) All they that see Him laugh Him to scorn Chorus He trusted in God that He would deliver Him Recitative (tenor) Thy rebuke hath broken His heart Aria (tenor) Behold and see if there be any sorrow Recitative (tenor) He was cut off out of the land of the living Aria (tenor) But Thou didst not leave His soul in hell Aria (bass) Why do the nations so furiously rage together Chorus Let us break their bonds asunder Recitative (tenor) He that dwelleth in heaven shall laugh them to scorn Aria (tenor) Thou shalt break them with a rod of iron Chorus Hallelujah!

PART III

Aria (soprano) I know that my redeemer liveth Chorus Since by man came death Recitative (bass) Behold, I tell you a mystery Aria (bass) The trumpet shall sound Chorus Worthy is the Lamb that was slain Chorus Amen

All Kids, All Free, All The Time is sponsored in part by Mrs. Patricia Haywood Moore and Dr. Roscoe M. Moore Jr. and Dieneke Johnson.

The Music Center at Strathmore Marriott Concert Stage

NATIONAL PHILHARMONIC 23 ARTIST BIOGRAPHIES

Stan Engebretson, Ms. Heideman has performed with major conductor orchestras throughout the world, such as the New York Philharmonic, Baltimore (For Stan Engebretson’s Symphony, Chicago Symphony Orchestra, biography, please see St. Louis Symphony, Atlanta Symphony, page 15.) St. Paul Chamber Orchestra, Boston Baroque, Amsterdam Symphony Photo credit Fan Tjong Wong credit Fan Photo Orchestra, Aspen Music Festival, Orquestra del Gran Teatre del Liceu, Kevin Deas, bass Daejeon Philharmonic Orchestra, the U.S. Naval Academy, and the Rotterdam American bass Kevin Philharmonic Orchestra. Deas is especially celebrated for his Esther made her Metropolitan Opera riveting portrayal of the debut singing Pamina in Mozart’s title role in Porgy and Die Zauberflöte. In addition to performing Bess with the New York the traditional concert repertoire, Ms. Philharmonic, National Symphony, Heideman has featured prominently St. Paul Chamber Orchestra, Philadelphia in premieres by some of today’s most Orchestra, San Francisco, Atlanta, respected contemporary composers, San Diego, Utah, Houston, Baltimore including Stephen Paulus, Libby Larsen, and Montreal Symphonies and at the Wolfgang Rihm and Daniel Schnyder. Ravinia and Saratoga Festivals. His recent recordings include Die Meistersinger with Upcoming performances include Handel’s the Chicago Symphony under the late Messiah at Carnegie Hall, Lucas Foss Sir Georg Solti and Varèse’s Ecuatorial Time Cycle with the Aspen Music Festival, with the ASKO Ensemble under Ricardo Beethoven’s Missa Solemnis with the Chailly, both on Decca/London. Other National Philharmonic, Brahms Requiem releases include Bach’s B minor Mass and with Music Worcester. Handel’s Acis & Galatea on Vox Classics and Dave Brubeck’s To Hope! with the Matthew Loyal Smith, Cathedral Choral Society on the tenor Telarc label. (For Matthew Loyal Esther Heideman, Smith’s biography, please soprano see page 16.) A winner of the Metropolitan Opera National Council Auditions, Esther Heideman impresses audiences around the world with her dynamic stage presence and her beautiful, angelic voice. Esther has even been described as having Stradivarius vocal cords.

24 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Magdalena Wór, Carmen for Lyric Opera of Virgina, Messiah mezzo-soprano with Atlanta Symphony Orchestra, was soloist for Janáček’s Glagolitic Mass “…and Magdalena Wor with Cathedral Chorale Society of the almost stole the show as Washington National Cathedral and a well-defined and well- for Bach Magnificat with the National sung Suzuki.” proclaimed Philharmonic, and gave recitals at the Anne Midgette of The Polish and Hungarian Embassies in Washington Post following Magdalena’s Washington, D.C. role debut of Suzuki with Virginia Opera. Ms. Wór is a First Place Winner of the Ms. Wór has performed as a soloist Heinz Rehfuss Vocal Competition, a with the Seattle Symphony for their Metropolitan Opera Competition National performances of Messiah. She sang Finalist, an alumna of the San Francisco Maddalena in Opera Birmingham’s Opera’s Merola Summer Opera Program Rigoletto and Bach B Minor Mass and and Domingo-Cafritz Young Artist Messiah with the National Philharmonic. Program at the Washington National Magdalena has also sung Alexander Opera. Magdelana is originally from Nevsky and Suzuki in Opera Birmingham’s Poland and has lived in the United States Madame Butterfly. Magdalena has sung since 1991.

NATIONAL PHILHARMONIC 25 PROGRAM NOTES

Messiah because she refused to follow his instructions and, in a fit of rage, grabbed George Frideric Handel her by the waist and threatened to throw (born February 23, 1685 in Halle, Germany; her out of the window. This explosive died April 14, 1759 in London, England) side of his personality, however, was balanced by his open-hearted generosity On April 10, 1742, the following note to charities, orphans, retired musicians, appeared in the Dublin News-Letter: and the ill. “Yesterday morning, at the Musick Hall, there was a public rehearsal of the At the time of the composition of Messiah, Messiah, Mr. Handel’s new sacred oratorio, Handel was in the midst of a major career which in the opinion of the best judges, far change. For most of his life, he had surpasses anything of that nature, which been known primarily as an outstanding has been performed in this or any other composer of Italian operas, which he Kingdom. The elegant entertainment was produced at a seemingly unstoppable conducted in the most regular manner, rate. He was also a savvy businessman, and to the entire satisfaction of the most well attuned to the expectations of his crowded and polite assembly.” audience and his patrons. The opera season of 1740-41, however, was extremely The announcement, coming immediately disappointing, well below the kind of after a highly successful concert season economic and artistic success with which that Handel had just completed in Handel had grown accustomed. The failure Dublin, raised high expectations for the of that particular opera season was not premiere of the new oratorio, which took an isolated event, but an indication that place on April 13, 1742. Advertisements his many years of undiminished success went out requesting that gentlemen as an opera composer and producer attended without their swords, and were drawing to a close. It was then that ladies without hoops in their dresses, he turned to the composition of English in order to maximize the capacity of the oratorios, which had the advantage of concert hall, so that at the premiere 700 not requiring elaborate sets, costumes, or people crowded in the Musick Hall. The international opera stars. Among Handel’s performance was a resounding success. closest friends was the Shakespearean Handel not only directed from the scholar Charles Jennens (1700-1773), keyboard, but also played a selection of who had been a devoted champion of his own concertos for organ between the Handel’s music since 1725. At the time of different sections of Messiah. The Dublin the disappointing opera season of Journal summarized its review of the 1740-41, Handel had already produced a performance by stating that “the sublime, few successful English oratorios, and these the grand, and the tender, adapted to early ventures may have given Jennens the most elevated, majestic and moving the impetus to propose a new subject. words, conspired to transport and charm In a July, 1741 letter to his friend Edward the ravished heart and ear.” Holdsworth, Jennens commented that he hoped to persuade Handel to “set another The man who composed the Messiah was, Scripture collection” that he had made by all accounts, a very difficult person. for him, and he predicted that, if Handel Handel was subject to violent outbursts lavished all his skills upon this new and often engaged in quite unreasonable project, it would surpass everything he behaviors. In one such tantrum, during had done before, because the subject rehearsals with the renowned soprano itself excelled all the others. This was the Francesca Cuzzoni, Handel lost patience libretto for Messiah.

26 NATIONAL PHILHARMONIC PROGRAM NOTES

Jennens’s libretto is rather unusual, approximately a quarter of a million, which consisting of references and allusions means that Handel would have to write to the figure of Jesus Christ culled from an average of 15 notes per minute, for several sections of the Bible (only one 10 hours straight every day. The London of which was taken directly from the premiere of Messiah took place at Covent Gospels), and from the version of the Garden on March 23, 1743, almost a full Psalms in the Book of Common Prayer. year after the Dublin premiere. Legend has This approach produced a libretto in which it that, during the “Hallelujah” chorus, there is no particular narrative center, as if King George II was so moved that he stood everything were being told from an oblique up, even though there is no evidence that and mediated perspective. The unusual he was ever present at that or any other nature of the libretto inevitably influenced performance of the oratorio. Since then, Handel’s musical conception. nevertheless, a tradition was established (mentioned for the first time in 1756) of Unlike most of Handel’s oratorios, standing during this portion of the oratorio. Messiah does not have well-defined Handel gave a total of 36 performances characters. A cursory glance at its many of Messiah from 1742 to 1759, the year of arias, recitatives, choruses, and duets is his death. His fondness for Messiah is also enough to show that Handel conceived attested by the fact that, eight days before the musical structure of Messiah as an he died, frail and blind, he insisted upon ongoing reflection on the story of the attending its performance at the Theatre birth, death, and resurrection of Jesus Royal in Covent Garden. Christ. In fact, direct characterization is consistently avoided in Messiah. The Among the most extravagant performances singers do not assume dramatic roles, of Messiah on record was the one at the as happens in most of Handel’s other Crystal Palace in London in 1857 as part of oratorios. Also, the chorus achieves an a Handel festival, which included a chorus importance that remains unique among of 2000 singers and an orchestra of 500 works of this genre. Handel wrote Messiah instrumentalists. Performances of Messiah for modest vocal and instrumental forces calling for large vocal and instrumental (the choir for the premiere consisted of forces have continued to this day, as has 26 boys and 5 men from the combined the tradition of performing Messiah as choirs of St. Patrick’s and Christ Church a staple of the Christmas holidays. The cathedrals), and the tradition of big version of Messiah that Leonard Bernstein Messiahs, with large choirs and orchestras, recorded in 1956 with the New York is a late development. Overall, the music Philharmonic and the Westminster Choir of Messiah is characterized by a carefully documents his extensive revision and balanced orchestration, in which Handel rearrangement of the work, an approach opted for restraint instead of rhetorical that was rather controversial (and remains prowess. He uses instruments judiciously, so), but which fits within a long tradition of such as the beautifully delayed use of different “versions” of Messiah. The work the trumpets to create a highly effective has been re-orchestrated and re-arranged contrast as they color the “Hallelujah” several times by many composers chorus and the final chorus, “Worthy is (including Mozart), and Bernstein’s rather the Lamb.” personal version stems from that tradition.

Handel composed Messiah at breakneck @ James Melo speed, in 24 days between August 22 and September 14, 1741. Statistics have placed the total number of notes in the oratorio at

NATIONAL PHILHARMONIC 27 TEXT AND TRANSLATIONS

George Frideric Handel’s Messiah

PART ONE

OVERTURE

Recitative (Tenor) Chorus Comfort ye, comfort ye my people, And he shall purify the sons of Levi, that saith your God. Speak ye comfortably they may offer unto the Lord an offering to Jerusalem, and cry unto her, that her in righteousness. warfare is accomplished, that her iniquity is pardoned. The voice of him that crieth in Recitative (Mezzo-Soprano) the wilderness, Prepare ye the way of the Behold, a virgin shall conceive, and bear Lord, make straight in the desert a highway a son, and shall call his name Immanuel, for our God. “God-with-us.”

Air (Tenor) Air (Mezzo-Soprano) and Chorus Every valley shall be exalted, and every O thou that tellest good tidings to Zion, mountain and hill made low: the crooked get thee up into the high mountain; O thou straight, and the rough places plain. that tellest good tidings to Jerusalem, lift up they voice with strength; lift it up, be Chorus not afraid; say unto the cities of Judah, And the glory of the Lord shall be revealed, Behold your God! Arise, shine; for thy light and all flesh shall see it together: for the is come, and the glory of the Lord is risen mouth of the Lord hath spoken it. upon thee.

Recitative (Bass) Recitative (Bass) Thus saith the Lord of hosts; Yet once, a For, behold, darkness shall cover the little while, and I will shake the heavens, earth,and gross darkness the people: but and the earth, the sea, and the dry land; the Lord shall arise upon thee, and His And I will shake all nations, and the desire glory shall be seen upon thee. And the of all nations shall come: The Lord whom Gentiles shall come to thy light, and kings ye seek, shall suddenly come to his temple, to the brightness of thy rising. even the messenger of the covenant, whom ye delight in: behold, he shall come, Air (Bass) saith the Lord of hosts. The people that walked in darkness have seen a great light: and they that dwell in Air (Bass) the land of the shadow of death, upon But who may abide the day of his coming? them hath the light shined. And who shall stand when he appeareth? For He is like a refiner’s fire. Chorus For unto us a child is born, unto us a son is given: and the government shall be upon his shoulder: and his name shall be called Wonderful, Counselor, The Mighty God, The Everlasting Father, The Prince of Peace.

28 NATIONAL PHILHARMONIC TEXT AND TRANSLATIONS

PIFA (“PASTORAL SYMPHONY”)

Recitative (Soprano) Air (Soprano) There were shepherds abiding in the field, Rejoice greatly, O daughter of Zion; shout, keeping watch over their flock at night. O daughter of Jerusalem: behold, thy King cometh unto thee: he is the righteous Arioso (Soprano) Saviour. And he shall speak peace unto And, lo, the angel of the Lord came the heathen. upon them, and the glory of the Lord shone round about them: and they were Recitative (Mezzo-soprano) sore afraid. Then shall the eyes of the blind be opened, and the ears of the deaf unstopped. Then Recitative (Soprano) shall the lame man leap as an hart, and the And the angel said unto them, Fear not: for, tongue of the dumb shall sing. behold, I bring you good tidings of great joy, which shall be to all people. For unto Air (Mezzo-soprano and Soprano) you is born this day in the city of David a He shall feed his flock like a shepherd: and Saviour, which is Christ the Lord. he shall gather the lambs with his arm, and carry them in his bosom, and gently lead Arioso (Soprano) those that are with young. Come unto Him, And suddenly there was with the angel all ye that labour and are heavy laden, and a multitude of the heavenly host praising He will give you rest. Take His yoke upon God, and saying, you, and learn of Him, for He is meek and lowly of heart: and ye shall find rest unto Chorus your souls. Glory to God in the highest, and peace on earth, good will towards men. Chorus His yoke is easy, and His burthen is light.

NATIONAL PHILHARMONIC 29 TEXT AND TRANSLATIONS

INTERMISSION

PART TWO

Chorus Air (Tenor) Behold the Lamb of God, that taketh away Behold, and see if there be any sorrow like the sin of the world. unto His sorrow!

Air (Mezzo-soprano) Recitative (Tenor) He was despised and rejected of men, a He was cut off out of the land of the living; man of sorrows, and acquainted with grief. for the transgressions of Thy people was He gave his back to the smiters, and His He stricken. cheeks to them that plucked off the hair. He hid not His face from shame and spitting. Air (Tenor) But Thou didst not leave His soul in hell; Chorus nor didst Thou suffer Thy Holy One to Surely, He hath borne our griefs and see corruption. carried our sorrows; He was wounded for our transgressions, He was bruised for our Air (Bass) iniquities; the chastisement of our peace Why do the nations so furiously rage was upon Him. together, and why do the people imagine a vain thing? The kings of the earth rise Chorus up, and the rulers take counsel together And with His stripes we are healed. against the Lord, and against His anointed.

Chorus Chorus All we like sheep have gone astray. We Let us break their bonds asunder and cast have turned everyone to his own way. And away their yokes from us. the Lord hath laid on Him the iniquity of us all. Recitative (Tenor) He that dwelleth in heaven shall laugh Recitative (Tenor) them to scorn; the Lord shall have them All they that see Him laugh Him to scorn. in derision. They shoot out their lips, and shake their heads, saying: Air (Tenor) Thou shalt break them with a rod of iron; Chorus thou shalt dash them in pieces like a He trusted in God that He would deliver potter’s vessel. Him, let Him deliver Him, if He delight in Him. Chorus Hallelujah! For the Lord God Omnipotent Recitative (Tenor) reigneth. Hallelujah! The Kingdom of this Thy rebuke hath broken His heart; He is full world is become the Kingdom of our Lord of heaviness. He looked for some to have and of his Christ, and He shall reign forever pity on Him, but there was no man, neither and ever. King of Kings and Lord of Lords. found He any to comfort Him.

30 NATIONAL PHILHARMONIC TEXT AND TRANSLATIONS

PART THREE

Air (Soprano) Air (Bass) I know that my Redeemer liveth and that The trumpet shall sound and the dead shall He shall stand at the latter day upon the be raised, incorruptible. earth. And tho’ worms destroy this body, yet in my flesh shall I see God. For now is Chorus Christ risen from the dead, the first fruits of Worthy is the Lamb that was slain, and them that sleep. hath redeemed us to God by His blood, to receive power and riches and wisdom Chorus and strength and honour and glory and Since by man came death, by man came blessing. Blessing, and honour, glory, and also the resurrection of the dead. For as in power, be unto him that sitteth upon the Adam all die, even so in Christ shall all be throne, and unto the Lamb for ever and made alive. ever. Amen.

Recitative (Bass) Behold, I tell you a mystery; we shall not all sleep, but we shall all be chang’d in a moment, in the twinkling of an eye at the last trumpet.

NATIONAL PHILHARMONIC 31 JUPITER SYMPHONY

SATURDAY, JANUARY 18, 2020, 8PM SUNDAY, JANUARY 19, 2020, 3PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor JUPITER SYMPHONY

Orli Shaham, piano Piotr Gajewski, conductor

Overture to Il Re Pastore W. A. Mozart (The Shepherd King) (1756-1791)

Piano Concerto No. 20 in D minor W. A. Mozart (with Beethoven cadenzas) Allegro Romanze Rondo: Allegro assai

INTERMISSION

Symphony No. 41 in C Major, (“Jupiter”) W. A. Mozart Allegro vivace Andante cantabile Menuetto: Allegretto Molto allegro

All Kids, All Free, All The Time is sponsored in part by Mrs. Patricia Haywood Moore and Dr. Roscoe M. Moore, Jr. and Dieneke Johnson.

The Music Center at Strathmore Marriott Center Stage

32 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Piotr Gajewski, Hall, Amsterdam’s Concertgebouw, conductor Frankfurt’s Alte Oper, and the Sydney Opera House, and has worked with many (For Piotr Gajewski’s eminent conductors including Sir Neville biography, please see Marriner, Sir Roger Norrington, Christopher page 7.) Hogwood, David Robertson, Wolfgang Sawallisch, Leonard Slatkin, Robert Spano,

Photo credit Jay Mallin credit Jay Photo Hans Graf and Jacques Lacombe among others. In performance she has collaborated Orli Shaham, piano with the pianists Emanuel Ax, Joseph Kalichstein, Jon Kimura Parker and Marc- A consummate musician Andre Hamelin, the cellist Lynn Harrell, recognized for her grace, the violinists Gil Shaham (her brother) and subtlety and brilliance, Orli Phillip Setzer, and the sopranos Christine Shaham has established Brewer and Michelle DeYoung, among an impressive international many others.

Photo credit Steiner Christian Photo reputation as one of today’s most gifted pianists. Hailed by Celebrating the 100th anniversary of Leonard critics on four continents, Ms. Shaham is Bernstein’s birth over the 2017/18 and in demand for her prodigious skills and 2018/19 seasons, Ms. Shaham joined the admired for her interpretations of both Indianapolis Symphony Orchestra, Orlando standard and modern repertoire. The New Philharmonic, China NCPA Orchestra, York Times called her a “brilliant pianist,” Bochumer Symphoniker, Dallas Symphony, The Chicago Tribune recently referred to her and San Diego Symphony for performances as “a first-rate Mozartean” in a performance of Bernstein’s Symphony No. 2 Age of Anxiety. with the Chicago Symphony, and London’s Other concerto highlights of the 2018/19 Guardian said Ms. Shaham’s playing at the season included performances with the Proms was “perfection.” Austin Symphony Orchestra, Milwaukee Symphony Orchestra, and Hawaii Ms. Shaham has performed with the Symphony Orchestra, and John Adams’ Los Angeles Philharmonic and the Atlanta, Grand Pianola Music with the Los Angeles Baltimore, Boston, Chicago, Cleveland, Philharmonic (conducted by the composer). Dallas, Detroit, Houston, Philadelphia, She continues to serve as the Artistic St. Louis, San Francisco, Seattle, Director for Pacific Symphony’s chamber San Diego and Utah symphony orchestras; music series in Costa Mesa, California, a and internationally with the BBC Symphony position she has held since 2007. Orchestra, Bilbao Symphony, Filarmonica della Scala, Israel Philharmonic Orchestra, In addition to her activities on stage, Orchestra della Toscana, Orchestre Ms. Shaham gives frequent master classes National de France, Orchestre National and has served on the jury of numerous de Lyon, Stockholm Philharmonic, Sydney piano competitions, including the Cliburn Symphony Orchestra, and the Taiwan International Junior, New York International, Philharmonic. A frequent guest at summer Sydney International, and Virginia Waring festivals, she has performed at Aspen, International piano competitions. Baby Australian Festival of Chamber Music, Got Bach, the interactive concert series Bravo Vail, Caramoor, La Jolla, Mostly for young children which Ms. Shaham Mozart, Music Academy of the West, launched in 2010 to immediate acclaim, is Ravinia, Spoleto, Sun Valley, Tanglewood, recognized by parents, media and the and Verbier music festivals. music community as a significant force in music education and entertainment Ms. Shaham has given recitals at renowned for pre-schoolers. concert halls such as Carnegie Hall, The Kennedy Center, Chicago’s Symphony

NATIONAL PHILHARMONIC 33 PROGRAM NOTES

Wolfgang Amadeus Mozart for the Prince-Archbishop Colloredo in (born January 27, 1756 in Salzburg, Austria; Salzburg. As part of his job, Mozart was died December 5, 1791 in Vienna, Austria) obligated to compose religious music on demand, a task that he loathed and felt The name of Wolfgang Amadeus Mozart to be extremely limiting. By deciding to has always been associated with very abandon his job (to the great frustration clear notions of musical elegance, and anger of his father) and relocating to formal balance, harmony, and flawless Vienna in 1781, Mozart set the stage for compositional craftsmanship. He is his musical talent to flourish without any rightly considered to be the epitome of restraints. He was then at the very center musical classicism, to which the above of European musical life, happy with the qualities are inextricably associated, but prospects of exploring musical genres that this assessment should not blind us to were essentially off limits to him while he the substrate of passion and heightened worked for the Archbishop in Salzburg. emotion that pervades much of his music. Mozart was a passionate man Overture to Il Re Pastore who loved life in all its manifestations, (The Shepherd King) and who was extremely sensitive to ideas of comfort, good living, and social The opera Il Re Pastore (The Shepherd graces. No wonder he was so adept at King), K.208, dates from Mozart’s time in psychological commentary and was Salzburg. It was performed on 23 April so keenly perceptive of human nature, 1775 at the Residenz-Theater in the palace as is particularly evident in his mature of the Archbishop Colloredo, as part of operas. Opera was one of Mozart’s the festivities to welcome the Archduke favorite genres, and it is no surprise that Maximilian Francis of Austria. Based on a some of the dramatic devices that he subject from Aminta by Torquato Tasso, it perfected in opera eventually influenced is a relatively short opera in only two acts. his approach to purely instrumental music. The overture itself is rather concise, based The concerto for piano and orchestra, a on a three-note theme that is juxtaposed genre that Mozart cultivated throughout to a more lyrical second theme to create his career and which he brought to a dialogue that is often comical and sublime heights of perfection, is a case witty. The brevity of both the opera and in point. The possibilities for dramatic its overture may be attributed to the fact interaction between the soloist and the that Mozart was given very little time to orchestra invite rhetorical and emotional compose the work: he completed all of it gestures that are the common fare of in six weeks. operatic writing. In his symphonies, such techniques may be more elusive, but this Piano Concerto No. 20 in D minor, does not invalidate the fact that Mozart K. 466 was, first and foremost, a vocally oriented composer, just as Beethoven was guided The concerto for piano and orchestra primarily by instrumental techniques. was one of the first genres to which Mozart turned his undivided attention The three genres featured in tonight’s upon settling in Vienna. In addition to the program—opera (overture), piano obvious compositional rewards inherent concerto, and symphony—were all very in such a dramatic genre, there were also much part of Mozart’s professional life in practical considerations: Mozart could use Vienna, where he was free to pursue his the concertos, with himself as the soloist, own interests, free from the constraints as vehicles for promoting his music, and that attended his job as court musician this soon became one of his most reliable

34 NATIONAL PHILHARMONIC PROGRAM NOTES

sources of income. Mozart composed 23 summation of the techniques and scope of original piano concertos, and the Piano the classical symphony, as if Mozart had Concerto No. 20 in D minor is universally decided to create a musical testament of regarded as one of his finest. He wrote his artistry in this genre. The Symphony it for his own performances in the 1785 No. 41 is the longest of all Mozart’s concert season in Vienna, and when it symphony, and one of the longest in the premiered on February 11, 1785, at the classical style. It has a secure place in the Mehlgrube Casino in Vienna. pantheon of the greatest works of Western music, and has elicited sustained analytical The Piano Concerto No. 20 is a work of commentary from many composers, great structural and emotional breadth, theorists, and critics. It is all the more a splendid example of the level of ironic, then, that there is no record that sophistication that the piano concerto the symphony was ever performed during reached in Mozart’s hands. Despite its Mozart’s lifetime. This may seem absurd traditional layout in three movements to us, but up until the late 19th century (a framework that remained standard for the likelihood of major works remaining the solo concerto well into the Romantic unperformed during a composer’s life was period), each of the movements displays very great. There is evidence that Mozart the inexhaustible inventiveness of Mozart’s was involved in a systematic study of musical mind, as he enriches the patterns many compositional techniques, including of the sonata form (first movement) and Baroque counterpoint, at the time he was rondo (second—the “Romanze”—and third composing his last three symphonies. In movements) with a wealth of melodic the case of the Symphony No. 41, this is turns, chromatic inflections, subtle clearly evident in the massive five-voice rhythmic irregularities, and surprising fugato of the last movement, to which harmonic turns. The solo piano is treated there is no parallel in Mozart’s works. with the highest level of virtuosic writing, The sonata form of the first movement display a range of keyboard techniques is relatively traditional (albeit unusually that was unprecedented, even among dramatic in a Beethovenian way), while the Mozart’s own piano concertos up to then. slow movement is a charming recreation No wonder this was one of Beethoven’s of a Baroque sarabande. The minuet is favorite piano concertos by Mozart. He based on a Ländler, a traditional Austrian made it a regular feature of his repertoire dance. According to some sources, the and was inspired to write his own cadenza nickname “Jupiter” was given to the for the concerto. Since then, Beethoven’s symphony by the London impresario cadenza has often been chosen in Johann Peter Salomon, while other performances of this concerto, a fitting attribute it to the English publisher Johann tribute by bringing together the two great Baptist Cramer, who reportedly compared masters of the high classicism the opening chords of the symphony to in Vienna. Jupiter and his thunderbolts.

Symphony No. 41 in C Major, @ James Melo K. 551 (“Jupiter”)

The Symphony No. 41 in C Major is Mozart’s last symphony, the third work in a set of three symphonies that he composed within a very short time of each other, during the summer of 1788. Each one of these symphonies is structured as a

NATIONAL PHILHARMONIC 35 NATIONAL PHILHARMONIC ORCHESTRA

VIOLIN 1: Jennifer Rende BASS CLARINET: Laura Colgate, Tiffany Richardson Carolyn Alvarez-Agria Guest Concertmaster Derek Smith Hanbing Jia, Guest Elizabeth O’Hara Stahr BASSOONS: Concertmaster* Erich Hecksher*, Karen Johnson, CELLOS: Principal Guest Concertmaster Lori Barnet* Rebecca Watson Jody Gatwood, Barbara Brown April Chisholm-Studney CONTRABASSOON: Concertmaster Emeritus Nicholas Cohen Brenda Anna Jihea Choi Eva Cappelletti-Chao Kathryn Hufnagle FRENCH HORNS: Claudia Chudacoff Catherine Mikelson Michael Hall*, Doug Dube Sean Neidlinger Principal Lysiane Gravel-Lacombe* Todd Thiel* Justin Drew Laura Knutsen Fiona Thompson Evan Geiger Regino Madrid Kerry Van Laanen* Amy Horn Sara Matayoshi* Lauren Weaver Mark Wakefield* Matthew Richardson BASS: TRUMPETS: Jennifer Rickard Robert Kurz*, Chris Gekker*, Leslie Silverfine* Principal Principal Kei Sugiyama Shawn Alger Robert Birch*, Christian Tremblay Kelly Ali Robert and Margaret Olga Yanovich* Christopher Chlumsky Hazen Chair VIOLIN 2: Alec Hiller Neil Brown Linda Leanza*, Yoshi Horiguchi Carlton Rowe Principal Laura Ruas Mark Stephenson TROMBONES: Elise Blake David Sciannella*, Kay Budner* Brian Thacker Greg Watkins Principal Lisa Cridge James Armstrong Armine Graham* FLUTES: Jeffrey Cortazzo June Huang David Whiteside*, Patty Hurd Principal TUBA: Laura Knutson David LaVorgna Willie Clark Alexandra Mikhlin Nicolette Oppelt* TIMPANI & PERCUSSION: Laura Miller Tom Maloy*, Joanna Owen PICCOLO: David LaVorgna Principal Jennifer Shannon* Aubrey Adams Ning Ma Shi OBOES: Tony Asero Chaerim Smith Mark Hill*, Curt Duer Cathy Stewart* Principal Robert Jenkins VIOLAS: Katherine Ceasar-Spall * Nobue Matsuoka Julius Wirth, Fatma Daglar Gerald Novak Principal ENGLISH HORN: Bill Richards Judy Silverman* Fatma Daglar HARP: Associate Principal CLARINETS: Rebecca Smith Viola Emeritus Astrid Walschott-Stapp Catherine Amoury Cheryl Hill*, Phyllis Freeman Principal KEYBOARD: Jerome Gordon Carolyn Alvarez-Agria* Theodore Guerrant, Leonora Karasina* Suzanne Gekker Theodore M. Guerrant chair Jim Kelly + Personnel Manager Willian Neil Stephanie Knutsen Jeffrey Watson Mark Pfannschmidt* *=Core Orchestra The musicians employed in this production are members of and represented by Washington, D.C. Federation of Musicians, Local 161-710 of the American Federation of Musicians.

36 NATIONAL PHILHARMONIC NATIONAL PHILHARMONIC CHORALE

SOPRANO ALTO Michael McClellan Juliana Baioni Helen R. Altman Chantal McHale Rosalind Breslow Mary Bentley Duncan McHale Cheryl L. Castner Pascale Brady Wayne Meyer Destiny Clark Carol Bruno Joel C. Miller Anne Claysmith Ellen L. Carleton Tom Nessinger Nancy A. Coleman Carolyn Chuhta Steve Nguyen Marilyn Singleton Dimas Janet Crossen Andrew Sungwoo Park Lisa Edgley Sandra L. Daughton Felix Polendey Meg Flanagan Rachel DuChateau Jason Saffell Sarah B. Forman Sanaa El Atia Dennis Vander Tuig Patrice Garnette Deirdre Feehan Caitlin A. Garry Francesca Frey-Kim BASS Stefanie Gray Mandy Fried Ken Bogen Carole L. Haas Maria A. Friedman Ronald Cappelletti Denise R. Harding Elizabeth Bishop Gemoets Pete Chang Roma Hart Sarah Gilchrist Richard Chitty Lisa Wickman Harter Lois J. Goodstein Mark H. Cobb Kathleen Henry Jacque Grenning Stephen Cook Jessica Holden Glenda Grogan Michael Creeger Jeanne Marie Kavinski Stacey A. Henning Bopper Deyton Rachel Lacoretz Jean Hochron Charles G. Edmonds Joanna Lam Sara Michael Josey Ronald P. Frezzo Laurie Lane Marilyn Katz J. William Gadzuk Lydia Levy Irene M. Kirkpatrick Robert Gerard Carolyn Rodda Lincoln Martha Jacoby Krieger Tom Hart Laila Linden Angel Soriano Lara Filbert Hong Anna Lipowitz Laurie Lee John Iobst Amanda Liverpool-Cummins Melissa J. Lieberman William W. Josey Sharon Majchrzak-Hong Corinne Loertscher Gabriel Kengni Malina Markova Eleanor Lynch Allan K. Kirkpatrick Anaelise Martinez Julie MacCartee Larry Maloney Natasha Maskaly Karen G. Malley John Milberg Kathryn McKinley Meg McCormick Mason Molesky Sara W. Moses Lee Mitchell Leif Neve Allison Moses Misato Miyamasu Devin Osborne Cecilia Munoz Susan E. Murray Dhruv Pai Katherine Nelson-Tracey Sharon Neubauer Alec Petkoff Lisa Nevans Locke Martha Newman Carsten Portner Mary Beth Nolan Patricia Pillsbury Joe Prendergast Gloria Nutzhorn Ann E. Ramsey-Moor Anthony Radich Juliana S. O’Neill Sallie K. Roberts Harry Ransom, Jr. Leila Rao Lisa Rovin Edward Rejuney Stephanie Reuer Nicole Shyong Frank Roys Lisa Romano Deborah F. Silberman Charles Serpan Theresa Roys Carol A. Stern Scott Simon Shanti Satyapal Virginia Van Brunt Jason James Smoker Katherine Schnorrenberg Sarah Wagoner Moore Yale Sosin Clara Seo Wendy J. Weinberg Donald A. Trayer Carolyn J. Sullivan Weeun Wang Maggie Sullivan TENOR Wayne Williams Cathlin Tully Kenneth Bailes Paul Zoccola Ellen van Valkenburgh J.I. Canizares Gillian Vander Tuig Colin Church ACCOMPANIST Susanne Villemarette Ruth W. Faison Theodore M. Guerrant Cindy Williams Edward Grossman Don Jansky CHORALE ARTISTIC Tyler A. Loertscher DIRECTOR Jane Lyle Stan Engebretson Benjamin Martinez Jeff McCasland

NATIONAL PHILHARMONIC 37 NATIONAL PHILHARMONIC BOARD OF DIRECTORS

BOARD OF DIRECTORS Marie Lee BOARD OFFICERS Nancy Abeles Dr. Wayne Meyer Harris Miller, Chair Paul Dudek Harris Miller Julie Pangelinan, Carol Evans Thaddeus Mirecki Vice Chair & Treasurer Ruth Faison Dr. Roscoe M. Moore, Jr. Paul Dudek, Secretary Michele Farquhar Julie Pangelinan Joan Fidler Lisa Richardson Dieneke Johnson Chuck Toner, M.D. Albert Lampert Elzbieta Vande Sande Chair Emeritus Katya Vert-Wong

SUPPORTERS OF THE NATIONAL PHILHARMONIC

As of August 1, 2019 The National Philharmonic takes this opportunity to gratefully acknowledge the following businesses, foundations and individuals that have made the Philharmonic’s ambitious plans possible through their generous contributions. Maestro Circle $100,000+ Sustainer Circle $2,500 to $4,999 President Circle $20,000 to $99,999 Patron Circle $1000 to $2,499 Concertmaster Circle $10,000 to $19,999 Contributor $500 to $999 Principal Circle $7,500 to $9,999 Fellow $250 to $499 Benefactor Circle $5,000 to $7,499 Friend $125 to $249

ORGANIZATIONS SUSTAINER CIRCLE Jim and Carol Trawick Foundation, Inc. MAESTRO CIRCLE Open Society Institute Arts and Humanities Council Henry Luce Foundation of Montgomery County Walbro, Inc Maryland State Arts Council Johnson & Johnson Capital Bank PRESIDENT CIRCLE The Dallas Morse Coors Foundation The Morris and Gwendolyn Cafritz Foundation for the Performing Arts Montgomery County, MD Walboro, Inc Potter Violins Dimick Foundation

CONCERTMASTER CIRCLE PATRON CIRCLE Clark-Winchcole Foundation Community Foundation for Greater Washington Paul M. Angell Family Foundation Charles and Margaret Levin Family Foundation National Endowment for the Arts Nora Roberts Foundation Executive’s Ball BENEFACTOR CIRCLE Strathmore Foundation The Kresge Foundation Metro Washington DC Federation of Musicians A. James & Alice B. Clark Foundation Ameriprise Financial FELLOW Kolar Charitable Foundation of BuckleySandler Brobst Violin Shop Gailes Violin Shop, Inc. Lashof Violins American String Teachers Association, Inc. Music & Arts Center Violin House of Weaver

38 NATIONAL PHILHARMONIC INDIVIDUALS Dr. Oliver Moles Jr. Mr. Thomas Nessinger* MAESTRO CIRCLE Mr. & Mrs. Edward Portner, Jr. Anonymous Mr. & Mrs. Matthew Riddle Ms. Deborah Silberman* PRESIDENT CIRCLE Mr. & Mrs. Carl Tretter Anonymous Ms. Katya Vert-Wong Mr. Edward Brinker & Ms. Jane Liu Dr. Stan Engebretson SUSTAINER CIRCLE Tisha & Piotr Gajewski Anonymous Mr. & Mrs. Douglas Jacobson Fred & Helen R. Altman* Jim Kelly & Mark Baird Mr. Gaspare V. Castellano Mr. Thaddeus Mirecki, Mr. Steven C. Decker & Ms. Deborah W. Davis in memory of Irene Mirecki Ms. Corinne Dougherty Mrs. Patricia Haywood Moore & Mr. & Mrs. David Fulton Dr. Roscoe M. Moore, Jr. Mr. Devin M. Gajewski Ms. Michelle Gajewski CONCERTMASTER CIRCLE Darren & Elizabeth* Gemoets Anonymous Dr. Joseph E. Gootenberg & Anne Claysmith* Dr. Susan Leibenhaut Mr. & Mrs. Paul Dudek RADM & Mrs. Kenneth P. Moritsugu Mr. & Mrs. Richard Fidler David & Lottie Mosher Ed Grossman* & Rochelle Stanfield Mr. & Mrs. William E. Pairo Robert & Margaret Hazen Mr. & Mrs. Jim Richardson Dr. & Mrs. Val G. Hemming Michael & Janet Rowan Ms. Dieneke Johnson Mr. & Mrs. Peter Ryan John & Heather Ketchpaw Rick & Berit Silva Ms. Kathleen Knepper Dr. Charles B. Toner & Dr. Cecile M. Toner Mr. Stephen Langer & Ms. Allison Fultz Mr. & Mrs. Richard F. Larkin PATRON CIRCLE Ms. Marie Lee Anonymous Harris Miller & Deborah Kahn Mr. Kenneth Bailes* Ms. Lori J. Sommerfield Mr. & Mrs. Roger Berliner Mrs. Elzbieta Vande Sande, Ms. Laurie Borman in memory of George Vande Sande, Esq. Pascale Brady* Ms. Theodora Vanderzalm, Mr. Bill Catherwood & Ms. Jean Sperling in honor of Dieneke Johnson Mr. & Mrs. Colin B. Church* Ms. Carla Wheeler & Mr. Jeffrey P. Naimon Ms. Susan Collinson Mr. & Mrs. Gary R. Correll PRINCIPAL CIRCLE Mr. Eric de Waardt Anonymous Dr. Lawrence Deyton* & Dr. Jeff Levi Mr. & Mrs. Todd R. Eskelsen Ms. Marietta Ethier Dr. & Mrs. John V. Evans Mr. Justin Fidler Mrs. Joan M. Levenson Mr. & Mrs. Voytek Fizyta Dr. Maria A. Friedman* BENEFACTOR CIRCLE Mr. & Mrs. John Hagner Anonymous Mr. Kenneth G. Hance Mrs. Ruth B. Berman Dr. Stacey Henning* Ms. Sheila Cohen Jean* & Jim Hochron Mr. Robert Dollison, Mr. & Ms. Gerald Hoefler in memory of Krystyna Dollison Ms. May Ing Ms. Michele Farquhar Ms. Tanjam Jacobson Mr. Bruce Gilchrist & Ms. Sarah Gilchrist* Mr. & Mrs. Donald Jansky* John & Julie Hamre Ms. Martha Jacoby Krieger* Mr. & Mrs. David Hofstad Mr. & Mrs. John R. Larue Kenneth Hurwitz & Susan Weiss Mr. Pardee Lowe Jr. Mr. & Mrs. Albert Lampert Ms. Jane Lyle* Mr. William A. Lascelle & Ms. Blanche Johnson Mr. & Mrs. Kevin MacKenzie Ms. Florentina Mehta Dr. Gail E. Makinen

NATIONAL PHILHARMONIC 39 Mr. Larry Maloney* Mr. John Eklund Dr. Elizabeth Marchut-Michalski Ms. Ruth Faison* Mr. Winton E. Matthews Jr. Mr. Douglas Forrest Ms. Claire Schwartz-Menyuk & Ms. Julia Friend Mr. Curtis Menyuk J. William* & Anita Gadzuk Dr. Wayne Meyer* Ms. Caitlin A. Garry* Mr. & Mrs. Kent Mikkelsen Dr. Robert Gerard* & Ms. Carol Goldberg Ms. Laura W. Miller Mr. & Ms. Bruce Gibbs Dr. Robert Misbin Mr. & Mrs. Richard O. Gilbert Mr. Kevin Montgomery Ms. Gail Goldstein Mr. & Mrs. Raymond Mountain Dr. Renata Greenspan Susan* & Jim Murray Ms. Holly Hamilton Mr. Thomas Murray Dr. & Mrs. John Helmsen Ms. Katherine Nelson-Tracey Mr. & Mrs. William L. Hickman Mr. & Mrs. Lloyd Neve Ms. Jessica Holden* Mr. Leif Neve* Mr. Neil Inglis Dr. & Mrs. Goetz Oertel Ms. Ann R. Johnson Ms. Julie Pangelinan William W. & Sara M. Josey* Paul & Robin Perito Dr. Laura Kafka Evelyn & Pete Philipps Ms. Francesca Kim Dr. Michael Sapko & Ms. Kari Wallace Mr. David E. Kleiner & Ms. Mary Bentley* Ms. Jan Schiavone Dr. Mark A. Knepper & Dr. Cathy D. Knepper Ms. Kathryn Senn Mr. & Mrs. Joseph Kolar Mr. Charles Z. Serpan* Mr. & Mrs. Willard D. Larkin Carol A. Stern* Mr. & Mrs. Michael Madden Ms. Peggy Tevis Mr. Chase Maggiano Mr. Alan Thomas Mr. & Mrs. James Malley Ms. Frances E. Thompson Mr. & Mrs. James Mason P. Turkeltaub Ms. Rachel Mumford Frances Usher Mrs. Jeanne Noel Ms. Ellen van Valkenburgh* Mr. Carsten Oertel Mr. Hruaia Vanlal Dr. & Mrs. Joram Piatigorsky Ms. Sheralyn Watkins Dr. & Mrs. Manuel Porres Mrs. Royce Watson Mr. & Mrs. Edward M. Portner Drs. Jack & Susan Yanovski Mrs. Dorothy Prats Mr. & Mrs. Bernard J. Young Mr. John Roberts Mr. & Mrs. Charles Rothwell CONTRIBUTOR Dr. Hanna Siwiec & Mr. Spencer Meyer Anonymous Mr. Stanley Stoller Ms. Marsha Nye Adler Mr. Michael Sullivan & Ms. Angela Campbell Ms. Ann E. Albertson Mr. Alan Thomas Mr. & Mrs. Joel Alper Ms. Jane Von Maltzahn Mr. & Mrs. Benjamin Audet Ms. Krystyna Wasserman Mr. Fred Bader Ms. Angela Wu Ms. Elisabeth Bahl Mr. David Zelinsky Mr. Steve Baldwin Ms. Rosalind T. Zuses Mr. Robert Barash Drs. John E. & Shirley Bennett FELLOW Mr. & Mrs. Brian Benoit Anonymous Ms. Eileen Binns Mr. Edco Bailey Ms. Sara D. Brown Mr. Paul Bennett & Ms. Carol Herndon Dr. Ronald Cappelletti* Mr. & Mrs. Brian Benoit Ms. Nancy Chesser & Mr. J. Michael Rowe Mr. & Ms. Jeffrey Birnbaum Dr. & Mrs. Gordon M. Cragg Mr. & Mrs. Jerome Breslow* Ms. Sandra Daughton* Mr. & Mrs. Frederick Brown Ms. Ann Dean Ms. Nancy P. Broyhill Ms. Emily Dieker Ms. Maria G. Carmona & Mr. Arl Q. Fitzgerald Ms. Margretta Diemer Mr. Michael Casassa & Mrs. Joan Schmader Ms. Yin-Ying Djuh Mr. Richard Chitty*

40 NATIONAL PHILHARMONIC Dr. Mark Cinnamon & Ms. Doreen Kelly Ms. Sally Oesterling Ms. Janet S. Crossen* Dr. Richard Z. Okreglak & Mr. & Mrs. J. R. Crout Dr. Edwarda Buda-Okreglak Mr. Dean Culler Mrs. Juliana O’Neill Mr. Joel Dorfman Ms. Sima Osdoby & Mr. Arthur Katz Mr. & Mrs. J. Steed Edwards Ms. Dolores Patrizio Ms. Caroline Elton Ms. Victoria J. Perkins Ms. Michelle Fabian Mr. & Mrs. Robert B. Pirie Dr. & Mrs. Mayo Friedlis Mr. Kazimierz Pukownik Ms. Lori Galletto Ms. Maggie Rheinstein Ms. Narendra Ganti Mr. James Reed Mr. Brian Ganz Ms. Sandra Trent Rothwell Mr. & Mrs. William Garry, Ms. Joanne Schmader in honor of Caitlin Garry Ms. Allison Shelby Mr. Bernard Gelb Ms. Lilian Silva Mr. James Gray Mr. Raymond Soukup Mr. & Mrs. Mitch Green Mr. Brian Thiel Mr. Ulf Griesmann & Ms. Gillian Nave Mr. Scott Thompson & Ms. Rebecca Thompson Mr. Plamen Gurov Mr. William Mark Thompson Mrs. Janice Hamer Mr. & Mrs. Dennis Torchia Ms. Shelly Hara Dr. Julia Tossell Mrs. Denise R. Harding* Ms. Virginia W. Van Brunt* Mrs. Roma Hart* Mr. & Mrs. Gerald Vogel Nancy Hauser Mr. & Mrs. John F. Wing Mrs. Rue B. Helsel Ms. Michelle Wong Mr. Kenneth L. Hill Mr. Michael Wu Dr. & Mrs. J. Terrell Hoffeld Terry Zerwick Mr. Nicholas Ialongo Mr. & Mrs. Douglas Jacobson FRIEND Ms. Carla H. Jones Anonymous Mrs. Marilyn Katz* Mr. Daniel Abbott Ms. Sheila Kautt Ms. Kathleen Abernathy Ms. Helen Kavanagh Mr. Fritz Andersen Mr. & Mrs. David Keaton Mr. David Balash Mr. Mark Kindig Mr. & Mrs. Stephen Baldwin Mrs. Elizabeth King Mike & Cecilia Ballentine Mr. & Mrs. Allan Kirkpatrick* Ms. Sharon Bauer Mr. Robert Klayman Mrs. Carol Besozzi The Kranzdorf Family Foundation Ms. Cheryl Beversdorf Ms. Jennifer Letowt Ms. Mary Bliss Ms. Laura Letson Ms. Katherine Bowdring Mr. & Mrs. Harry F. Lincoln Mr. Mark Brennan Ms. Carolyn Lincoln* Dr. Rosalind Breslow Dr. Marcia D. Litwack Ms. Nancy Bridges Ms. Mary Lowcock James K. Queen & Katherine Budner Mr. & Mrs. Jerald C. Maddox Ms. Patricia Bulhack Ms. Mary Malhiot Ms. Sunhee Carpio Ms. Jennifer Manner Ms. Cheryl Castner* Mr. Alphonsus J. Marcelis Ms. Reena Chakraborty Mr. Jim McIntyre Ms. Irene Chi Ms. Laura Mielke Ms. Wendy Cimmet Ms. Lori Minasian Dr. F. Lawrence Clare Mr. Robert Moore Ms. Nerissa Cook Ms. Judith Mroczka Mr. Selden F. Cooper Dr. Stamatios Mylonakis & Mr. William Copper Ms. Maureen O’Connor Ms. Elisabeth Courtner Mr. William Newhouse Mr. Alan T. Crane Dr. Ruth S. Newhouse Ms. Karen Cyr Ms. Clare O’Meara Mr. & Mrs. William D’Antonio

NATIONAL PHILHARMONIC 41 Mr. Mathew Daniels Mr. Sautsen Lam Mr. Kamer Davis David R. & Deborah S. Lambert Charitable Trust Ms. Catherine Dehoney Ms. Luisa Lancetti Ms. Suzanne Donovan Ms. Laurie Lane* Mr. & Mrs. Paul Dragoumis Mr. George Laudato Mr. Andrzej Drozd Mr. & Mrs. Allan Laufer Ms. Jennifer Dubesa Mr. Douglas Leavens and Ms. Judith David Ms. Joyce Dubow BK Lee Ms. Harriet L. Duleep Ms. Elisabeth Lejman-Jaworski, M.D. Ms. Carla V. Durney Mr. Michael Leonesio Ms. Elaine Dynes Mr. Eliot Lieberman & Ms. Melissa Lieberman* Ms. Linda Edwards Ms. Carolyn Lincoln* Mr. Sherman Edwards & Ms. Melinda Salzman Ms. Sarah Livingston Mrs. Nancy A. English Mr. Dean Lohmeyer Ms. Dianne Epperson & Mr. Keith Roberts Mr. Wlodek Lopaczynski Ms. Nancy Fallgren Mr. & Mrs. Peter Lovell Dr. Ingrid Farreras Ms. Eleanor Lynch* Ms. Dianne Favre Ms. Renee Maccoon Mr. Harold Freeman Mrs. Dorothy MacPherson Mr. & Mrs. Ronald Frezzo* Ms. Anne Marie Malecha Ms. Else H. Froberg Mr. & Mrs. Forbes Maner Ms. Wendy Frosh Mr. & Mrs. Warren Manison Dr. John Galotto Mr. Kenneth Manning Ms. Livia N. Gatti Mr. Robert Martin Ms. Katherine Gekker Mrs. Nancy C. May Dr. Daniela S. Gerhard Mr. & Mrs. Robert McGuire Mr. & Mrs. Michael Gold Mr. & Mrs. Duncan McHale* Ms. Barbara Gold Ms. Pamela Melroy Mr. William Gordon & Ms. Linda Currie Mr. & Mrs. Michael Merchlinsky Mr. & Mrs. Barry Gorman Mr. & Mrs. James Mielke Mr. Rolf Grafwallner Ms. Donna Mikelson Ms. Jacqueline Grenning* & Mr. John Mulcahy Mr. & Mrs. Marvin Miller Dr. & Mrs. Richard F. Grimmett Mr. & Mrs. Milton L. Miller Ms. Nancy Grissom Mr. & Mrs. Edward Mills Ms. Eileen M. Guenther Ms. Jackye Milne Mr. & Mrs. Jordan Harding Mr. & Dr. Misato Miyamasu* Ms. Holly Harrison Mrs. M. Elizabeth Moore & Mr. L. Wayne Porter Ms. Lisa W. Harter* Dr. Herbert Morais Mr. Mark Hatzilambrou Mr. Russell Munk Mrs. Jacqueline Havener Ms. Stephanie Murphy Ms. Lisa Helling Ms. Deborah Neipris Mr. Clifford Hendler & Ms. Deborah Neipris Ms. Julianne Nelson Mr. Myron Hoffmann Ms. Janet Nelson Ms. Carla Holt Ms. Barbara Nelson Mr. Smiley Hsu Ms. Martha Newman* Mr. Richard H. Israel, Ph.D., P.A. Ms. Melissa Newman Mr. Benjamin Ivins Ms. Raquel Noriega Mr. & Mrs. Bill Iwig Mr. Charles A O'Conner & Mrs. Susan Plaeger Mr. & Mrs. Harold Jaffe Mr. Lloyd Oliver Beth & Andy Jewell Ms. Paula Pappas Mr. Robert Jordan Mr. & Mrs. Edward Parr Mr. & Mrs. Gerald Kaiz Ms. Sue Petito Ms. Helen Kavanagh Ms. Patricia Pillsbury* Ms. Kari Keaton* Mr. Luke Popovich Dr. & Mrs. Meir Kende Mr. James Porter Ms. Marianna Ketchpaw Mr. Mark Price, Mr. James Kleiler in memory of Dale Collinson Mr. Ron Kline Ms. Alyssa Prorok Mr. & Mrs. Steven Krasnow Ms. Leila Rao* Mrs. Dorothy Schlotthauer Krass Ms. Annette Rauh Mr. Warren La Heist Mr. Daniel Razvi

42 NATIONAL PHILHARMONIC Mr. & Mrs. James M. Render Mr. Chengbiao Tu Ms. Sallie K. Roberts* Mr. Anand Vaishnav Ms. Janet Rochlin Mr. & Mrs. Harold J. Dr. & Mrs. Theodore R. Rosche Vander Molen Ms. Beryl Rothman Mr. & Mrs. Dennis C. Ms. Lisa Rovin* Vander Tuig* Mr. Peter Ryan Mr. Edward Vernon Mr. Steven Sabol Mr. Michael Wajda Mr. Mark Sandstrom Ms. Mary E. Walsh Ms. Katherine Schnorrenberg* Mr. Weeun Wang* Mr. Michael Schrader Ms. Alexandra Warhol Ms. Virginia Schultz Ms. Kate Westra Mr. Werner Schumann Mr. Roy White Mr. & Mrs. David Scott Ms. Elizabeth Whitman Ms Jennifer Shannon Mr. Stephen Whitney Ms. Katherine Sheinkman Mr. Rienhard Wieck Mr. Michael Shrader Mr. Wayne R. Williams* Mr. & Mrs. Jay Silberg Mr. John Wilson Mr. Alexander Stall Mrs. Doris E. Wright The Stempler Family Foundation Mr. Hans Wyss Mr. & Mrs. John R. Stoner Mr. & Mrs. Brad Yoder Mr. Steven Stosny Mr. Enrique Zaldivar Mr. Tom Stroup Mr. Thomas Zellers Ms. Irma Tetzloff Ms. Elizabeth Thom Dr. Maria M. Tomaszewski *Chorale Member Mrs. Carol Trawick

HERITAGE SOCIETY

Mr. Dan Abbott Ms. Joanna Lam Mr. David Abraham Mr. & Mrs. Albert Lampert Mrs. Rachael Abraham Mrs. Margaret Makris Mr. Joel Alper Dr. Robert Misbin Ms. Ruth Berman Mr. Kenneth Oldham, Jr. Ms. Anne Claysmith Mr. W. Larz Pearson Mr. Todd Eskelsen Ms. Lori Sommerfield & Ms. Christine Feinthal Mr. Dennis Dullinger Ms. Wendy Hoffman, Ms. Carol A. Stern in honor of Leslie Silverfine Ms. Elzbieta Vande Sande Ms. Dieneke Johnson Mr. Mark Williams

NATIONAL PHILHARMONIC STAFF

Piotr Gajewski, Deborah Birnbaum, Music Director & Conductor Director of Marketing & PR Stan Engebretson, Kyle Schick, Choral Artistic Director Operations and Production Manager Jim Kelly, Matthew Dannan, President Orchestra Librarian Katie Tukey, Jim Kelly, Director of Development Orchestra Personnel Manager

NATIONAL PHILHARMONIC 43 GENERAL INFORMATION

GENERAL INFORMATION CHILDREN 5301 Tuckerman Lane For ticketed events, all patrons are required North Bethesda, MD 20852-3385 to have a ticket regardless of age. Patrons are www.strathmore.org urged to use their best judgment when bringing Email: [email protected] children to a concert that is intended for adults. Ticket Office Phone:(301) 581-5100 There are some performances that are more Ticket Office Fax:(301) 581-5101 appropriate for children than others. Some Via Maryland Relay Services for MD residents presenters do not allow children under the age at 711 or out of state at 1(800) 735-2258 of six years to non-family concerts. As always, if any person makes a disruption during a TICKET OFFICE HOURS concert, it is appropriate that they step outside Monday, Tuesday, Thursday, to accommodate the comfort and convenience Friday 10 a.m. – 5 p.m. of other concert attendees. Wednesday 10 a.m. – 9 p.m. Saturday 10 a.m. – 2 p.m. PARKING FACILITIES Sixty minutes prior to each performance in the Concert parking is located in the Grosvenor- Music Center through intermission. Strathmore Metro garage off Tuckerman Lane. At the end of each ticketed event in the Music GROUP SALES Center at Strathmore, the exit gates to the For information, call (301) 493-9283 garage will be open for 30 minutes to exit the or email [email protected]. garage. If you leave before, or up to 90 minutes TICKET POLICIES after this 30-minute period, you must show your Tickets may only be exchanged for shows ticket stub to the stanchion video camera at the presented by Strathmore or its resident partner exit gate to exit at no cost. For all nonticketed organizations at the Music Center. Tickets events, Monday-Friday, parking in the garage is for National Philharmonic concerts can be $5.20 and may be paid using a Metro SmarTrip exchanged at any time for any concert, up to card or major credit card. Limited short-term four hours before the performance through the parking also is available at specially marked Strathmore Ticket Office (subject to availability). meters along Tuckerman Lane. To access the Music Center from the Grosvenor – Strathmore If a performance is cancelled or postponed a Metro garage, walk across the glass-enclosed full refund of the ticket price will be available sky bridge located on the fourth level. Valet through the Ticket Office for 30 days after the Parking is $15 per vehicle for all public Concert original scheduled performance date. Hall performances. Valet drop-off and pickup TICKET DONATION is located at the Circle Plaza entry to the Music If you are unable to use your tickets, they may Center at Strathmore at 5301 Tuckerman Lane. be returned for a tax-deductible donation prior PUBLIC TRANSPORTATION to the performance. Donations can be made Strathmore is located immediately adjacent to by mail, fax or in person by 5 p.m. the day of the Grosvenor-Strathmore Metro station on the the performance. Red Line and is served by several Metro and All tickets are prepaid and nonrefundable. Ride-On bus routes. See www.strathmore.org for detailed directions. WILL CALL Patrons must present the credit card used to DROP-OFF purchase tickets or a valid ID to obtain will There is a patron drop-off circle off Tuckerman call tickets. Lane that brings patrons to the Discovery Channel Grand Foyer via elevator. No parking is MISPLACED TICKETS allowed in the circle, cars must be moved to the If you have misplaced your tickets to any Metro garage after dropping off patrons. Both performance at Strathmore, please contact the main entrances have power-assisted doors. Ticket Office for replacements. GIFT CERTIFICATES Gift certificates may be purchased at the Ticket Office.

44 NATIONAL PHILHARMONIC COAT CHECK ASSISTIVE LISTENING Located in the Promenade across from the The Music Center at Strathmore is equipped Ticket Office. As weather requires, the coat with a Radio Frequency Assistive Listening check will be available as a complimentary System for patrons who are hard of hearing. service to our patrons. If you would like to keep Patrons can pick up assistive listening devices your coat or other belongings with you, please at no charge on a first-come, first-served basis place them under your seat. Coats may not be prior to the performance at the coatroom placed over seats or railings. when open, or at the ticket taking location as you enter the Concert Hall with a driver’s ALLEGRO KITCHEN license or other acceptable photo ID. For other The Café in the Promenade of the Music Center accessibility requests, please call (301) 581- at Strathmore, operated by Ridgewells Catering, 5100. features a wide variety of snacks, sandwiches, entrees, beverages and desserts. It is open for ELEVATOR SERVICE lunch and dinner and seats up to 134 patrons. There is elevator service for all levels of the Music Center at Strathmore. FOOD & BEVERAGE The intermission bars offer beverages and EMERGENCY CALLS snacks on all levels before the show and during If there is an urgent need to contact a patron intermission. There are permanent bars on the attending a Music Center concert, please call Orchestra, Promenade and Grand Tier levels. (301) 581-5112 and give the patron’s name and exact seating location, and telephone number LOST AND FOUND for a return call. The patron will be contacted by During a show, please see an usher. All other the ushering staff and the message relayed left times, please call (301) 581-5112. with Head Usher. LOUNGES AND RESTROOMS LATECOMER POLICY Located on all seating levels, except in the Latecomers will be seated at the first Upper Tier. appropriate break in the performance as not to PUBLIC TELEPHONES disturb the performers or audience members. Courtesy telephones for local calls are located The decision as to when patrons will be seated around the corner from the Ticket Office, off is set by the presenting organization for the Circle Plaza entry, and at the Promenade that night. Right Boxes. FIRE NOTICE ACCESSIBLE SEATING The exit sign nearest to your seat is the shortest Accessible seating is available on all levels. route to the street. In the event of fire or other Elevators, ramps, specially designed and emergency, please WALK to that exit. Do not designated seating, designated parking and run. In the case of fire, use the stairs, not many other features make the Music Center the elevators. at Strathmore accessible to patrons with disabilities. For further information or for special seating requests in the Concert Hall, please call the Ticket Office at (301) 581-5112. WARNINGS The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited by law. Violators are subject to removal from the Music Center without a refund, and must surrender the recording media. Smoking is prohibited in the building. Please set to silent, or turn off your cell phones, pagers, PDAs, and beeping watches prior to the beginning of the performance.

NATIONAL PHILHARMONIC 45