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Conﬁ dent Living, a Life Enriching Communities program, is afﬁ liated with the West Ohio Conference of the United Methodist Church and welcomes people of all faiths. We do not discriminate and we provide free assistance in your native language, if needed. Find our complete non-discrimination policy at LEC.org. JANUARY 2020 CONTENTS

71 CSO: Schubert’s The Great, 62 Q&A with Aaron Diehl CONCERTS Jan. 24–25 78 Guest artists: Simone 64 Q&A with Vadym Kholodenko 27 Pops: Harry Potter and Young, conductor; Alban the Prisoner of Azkaban, Gerhardt, cellist Film with Live Orchestra, 80 CSO Chamber Players: DEPARTMENTS Jan. 3–5 Mozart and the Pocket 31 Guest artist: Justin Groove, Jan. 24 Freer, conductor 6 A Letter from the President 35 CSO: Renée Fleming and 8 Your Concert Experience Rachmaninoff, Jan. 10–11 10 Orchestra Roster 50 Guest artists: Renée Fleming, soprano; Behzod 16 Artistic Leadership: Louis Langrée and Abduraimov, pianist 53 John Morris Russell 53 CSO: 125th Anniversary The CSO presents a weekend Celebration, Jan. 18–19 of concerts celebrating its 19 If It Sounds Good, 62 Guest artists: It Is Good! by JMR 125th Anniversary Jan. 18–19. Aaron Diehl, pianist; Vadym Directors & Advisors Kholodenko, pianist; May Starting with a world premiere 82 Festival Chorus; Cincinnati commission by former CSO 85 Financial Support Symphony Youth bassoonist William Winstead, the 91 Opus Subscribers Orchestras; Tal Rosner, program also includes the music video artist of former CSO Music Director 103 Administration Eugène Ysaÿe, Duke Ellington, 104 Coda 50 Daníel Bjarnason (music the CSO Acclaimed premiered in 2015), Scriabin’s 78 soprano Renée Prometheus: The Poem of Fire, The renowned Fleming returns Rhapsody in Blue and Gershwin’s Simone Young to Music Hall featuring Gershwin himself at the returns to the Jan. 10–11 piano (thanks to some technical Music Hall podium to sing two wizardry using Gershwin’s Jan. 24–25 for spectacular original player piano rolls). Louis performances concerts, showcasing her Langrée conducts. of Schubert’s exceptional artistry with the Symphony No. 9, music of Richard Strauss The Great. Also, (Friday and Saturday) and cellist Alban music from Broadway and film FEATURES Gerhardt makes (Saturday). The exciting pianist his CSO debut Behzod Abduraimov makes 12 Celebrating 125 Years, with a Cello Concerto written his CSO debut performing Building on the Three I’s for him by Unsuk Chin. Ravel’s Rachmaninoff’s Piano Concerto 23 CSO 125: The Orchestra’s Pavane pour une infante défunte No. 2. Louis Langrée conducts. First Album opens the program. 25 Spotlight on Renée Fleming

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FANFARE CINCINNATI STAFF: Cincinnati Symphony Orchestra and Cincinnati Pops Vice President of Communications Chris Pinelo Director of Communications Franck Mercurio Digital Communications Manager Lee Snow Communications Assistant RaeNosa Onwumelu Editor/Layout McKibben Publications

All contents © 2019–20. The contents cannot be reproduced in any manner, whole or in part, without written permission from the Cincinnati Symphony Orchestra and Cincinnati Pops. ON THE COVER The Cincinnati Symphony Orchestra was born 125 years ago in January 1895, and this month’s concerts CINCINNATI SYMPHONY ORCHESTRA & and events are a celebration of that milestone CINCINNATI POPS and of those who have built a legacy of Music Hall excellence that will endure long into the 1241 Elm Street future. Cincinnati, OH 45202 Administrative Offices: 513.621.1919 [email protected] CINCINNATI MAGAZINE: Box Office Advertising and Publishing Partners for Fanfare Cincinnati Music Hall 1241 Elm Street Publisher Ivy Bayer Cincinnati, OH 45202 513.381.3300 Production Director & IT Systems Administrator Vu Luong [email protected] Senior Manager, Sponsorship Sales Group Sales Chris Ohmer 513.744.3590 Advertising & Marketing Designer [email protected] Paisley Stone TTY/TDD Senior Account Manager Maggie Wint Goecke Use TTY/TDD Relay Service 7-1-1 Senior Outside Account Representative cincinnatisymphony.org | cincinnatipops.org Laura Bowling Account Representatives Tony Bannon, Paige Bucheit, Eric Kappa, Julie Poyer, Leslie Sikes Operations Director Missy Beiting Event Manager Sloane Scheuer RECYCLE FANFARE CINCINNATI Business Coordinator You are welcome to take this copy of Erica Birkle Fanfare Cincinnati home with you as a Advertising and Business Offices souvenir of your concert experience. Carew Tower Alternatively, please share Fanfare 441 Vine Street, Suite 200 Cincinnati, OH 45202 Cincinnati with a friend or leave it with 513.421.4300 an usher for recycling. Thank you! Subscriptions: 1.800.846.4333 cincinnatimagazine.com

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A LETTER FROM THE PRESIDENT—Jonathan Martin

Dear Friends, leading ensembles in the United States, poised to move forward in a rapidly changing world. What’s in a birthday or an- Through these changes, the constant has been niversary? Why do we often you and the uncounted hundreds of thousands gather with those who are who sat in these seats before you. Our com- close to us to celebrate munity’s collective decision to create, build and these occasions? sustain a strong orchestra has been built one For us as individuals, they choice at a time, by them, and by you. often serve as milestones, a So as we gather with you this month to cel- time to celebrate and refl ect ebrate the history and legacy of the CSO, we do on one’s life so far, and to so with gratitude. Gratitude that our orchestra look forward. Such is the happens to be in Cincinnati, Ohio—a city fi lled case for the Cincinnati Symphony Orchestra, with people who valued, and value, what we do born 125 years ago this month. in service to our community. Since 1895, our community has grown, Thank you for being with us in Music Hall and evolved and reshaped itself through prosperity on our journey forward. and recession, confl ict, even upheaval. The CSO has evolved as well. From those modest begin- Sincerely, nings, your Orchestra now stands as one of the

Xavier University Classical Piano Series

Barry Douglas Wed, Feb 12, 2020 • 8pm Gallagher Student Center Theater

Stephen Hough Thurs, Apr 23, 2020 • 8pm Memorial Hall OTR

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(513) 831-1711 • www.CincyNature.org [email protected] Your Drinks are allowed in the PRE-CONCERT TALKS auditorium for all Pops Get behind the music with free, performances, and beer informal talks one hour prior to Concert and wine are allowed in the most CSO concerts. auditorium for CSO concerts. cincinnatisymphony.org/talks Pre-order your drinks for Experience intermission at any bar. CONCESSIONS Enjoy these options available Come early to enjoy Music+, at all bar locations: Molly a curated variety of events to Wellmann-crafted cocktails, PLEASE NOTE make your concert experience Findlay Market snack trays, Latecomers and audience even more fun. From artist gourmet chocolates and members who exit the talks to wine tastings to foyer rotating specials. auditorium during a art, we offer new and different performance will be re-seated ways to connect to the music. Pre-order drinks for at the discretion of house intermission at any bar. cincinnatisymphony.org/ management. musicplus Visit the premium wine bar in Photography: Non-flash the Lindner Grand Foyer and Security: All Music Hall guests photography is encouraged check out our Hart + Cru wine will pass through safety during moments of applause. tasting series. screening areas. Oversized Tag us at #cincysymphony and bags, luggage or backpacks #cincinnatipops. Audio and MERCHANDISE will not be permitted into the video recording are prohibited Located near the escalators, the venue. All other bags will be during performances. Bravo Shop features CSO and inspected upon entry. Pops merchandise, guest artist Things that make noise: All For the full list of restricted items and locally crafted goods. noise-emitting devices should items, please visit bravoshop.org be placed on silent when cincinnatiarts.org/ entering the auditorium. plan-your-visit/ safety-procedures

8 | FANFARE CINCINNATI | cincinnatisymphony.org RESTROOMS Sensory-friendly packs, large- Cincinnati Pops. History and Accessible restrooms are print programs, and assistive tour information: located on every level of listening devices can be cincinnatisymphony.org/ the building. Family/unisex checked out at Guest Services music hall restrooms can be found on in the Lindner Grand Foyer. the North Orchestra level and Lollipops and Classical Roots MUSIC FOR ALL at the Box Office entrance. performances are American We believe that great music Ushers are available to assist Sign Language interpreted is for everyone, regardless of audience members in locating for the Deaf and Hard of your budget. We offer a variety the nearest facility. Hearing. Call the Box Office of ways to experience your at 513.381.3300 for more Orchestra at accessible prices. PARKING information. Pre-paid parking is offered cincinnatisymphony.org/ through the Box Office at musicforall LOST AND FOUND 513.381.3300. Spaces are Located at Guest Services offered to subscribers in NON-HARASSMENT POLICY in the Lindner Grand Foyer. advance and to single ticket The CSO has a zero-tolerance For inquiries, call the buyers the week of the policy for harassment of any Cincinnati Arts Association at performance. kind, including but not limited 513.744.3344. to race, national origin, sex, Valet is offered curbside on gender identity or expression, Elm Street or by advance MUSIC HALL TOURS age, disability, religion and reservations. Pre-paid parking Welcome to Music Hall, a citizenship. If you ever feel and valet subject to availability. National Historic Landmark uncomfortable or unsafe, and home to the Cincinnati We encourage the use of please immediately notify Symphony Orchestra and Rideshare and public transit. Music Hall staff or security personnel so that we can take cincinnatisymphony.org/ appropriate action. parking

GUEST DROP-OFF LANE A drop-off lane is located CONTACT INFORMATION on Elm Street in front of Box Office: 513.381.3300 Music Hall. Volunteer Access Hours: M–F 10:00AM–5:00PM Ambassadors are stationed Sat 10:00AM–2:00PM there to assist guests with Email: [email protected] mobility challenges. Website: cincinnatisymphony.org ACCESSIBILITY Mail: Cincinnati Symphony Orchestra and Cincinnati Pops All floors of Music Hall Music Hall are ADA-accessible. For 1241 Elm Street information about wheelchair Cincinnati, OH 45202 and companion seating options, visit or call the Box Office at 513.381.3300.

cincinnatisymphony.org | FANFARE CINCINNATI | 9 LOUIS LANGRÉE, CSO Music Director Louise Dieterle Nippert & Louis Nippert Chair Paavo Järvi, Music Director Laureate JOHN MORRIS RUSSELL, Pops Conductor Louise Dieterle Nippert & Louis Nippert Chair Damon Gupton, Pops Principal Guest Conductor

François López-Ferrer, Assistant Conductor, CSO Wilbur Lin, Assistant Conductor, Pops

FIRST VIOLINS CELLOS CLARINETS TIMPANI Stefani Matsuo Ilya Finkelshteyn Christopher Pell Patrick Schleker Concertmaster Principal Principal Principal Anna Sinton Taft Chair Irene & John J. Emery Chair Emma Margaret & Irving D. Matthew & Peg Woodside Chair Charles Morey Daniel Culnan* Goldman Chair Richard Jensen* Acting Associate Concertmaster Ona Hixson Dater Chair Ixi Chen Morleen & Jack Rouse Chair Tom & Dee Stegman Chair Norman Johns** Vicky & Rick Reynolds Chair Philip Marten Karl & Roberta Schlachter in Honor of William A. Friedlander PERCUSSION First Assistant Concertmaster Family Chair Benjamin Freimuth*† David Fishlock James M. Ewell Chair++ Matthew Lad§ Robert E. & Fay Boeh Chair++ Principal Eric Bates Marvin Kolodzik Chair Susan S. & William A. Second Assistant Concertmaster Susan Marshall-Petersen BASS CLARINET Friedlander Chair Serge Shababian Chair Laura Kimble McLellan Chair++ Ronald Aufmann Michael Culligan* Kathryn Woolley Hiro Matsuo Richard Jensen Nicholas Tsimaras– Theodore Nelson BASSOONS Morleen & Jack Rouse Chair Peter G. Courlas Chair++ Marc Wolﬂey+ Kenneth & Norita Aplin and Christopher Sales Anna Reider Stanley Ragle Chair Principal Dianne & J. David Rosenberg Chair KEYBOARDS Alan Rafferty Emalee Schavel Chair++ Mauricio Aguiar§ Ruth F. Rosevear Chair Hugh Michie Michael Chertock James P. Thornton Chair Minyoung Baik‡ Charles Snavely Martin Garcia* James Braid Peter G. Courlas– Julie Spangler+ Marc Bohlke Chair given Nicholas Tsimaras Chair++ James P. Thornton Chair CONTRABASSOON by Katrin & Manfred Bohlke Michelle Edgar Dugan BASSES Jennifer Monroe GUITAR/BANJO Elizabeth Furuta† Owen Lee Timothy Berens+ FRENCH HORNS Rebecca Kruger Fryxell Principal CSO/CCM DIVERSITY Gerald Itzkoff Mary Alice Heekin Burke Chair++ Elizabeth Freimuth Jean Ten Have Chair James Lambert* Principal FELLOWS~ Lois Reid Johnson Matthew Zory, Jr.**+ Mary M. & Charles F. Yeiser Chair Magdiell Antequera Anne G. & Robert W. Dorsey Trish & Rick Bryan Chair Thomas Sherwood* Chirinos, violin Chair++ Wayne Anderson§ Ellen A. & Richard C. Berghamer Jordan Curry, violin Sylvia Mitchell Boris Astaﬁev Chair Yan Izquierdo, violin Molly Norcross** Jo Ann & Paul Ward Chair Ronald Bozicevich Arman Nasrinpay, violin Sweeney Family Chair in Luo-Jia Wu Rick Vizachero Alexis Shambley, violin memory of Donald C. Sweeney Cristian Diaz, viola Lisa Conway SECOND VIOLINS Denielle Wilson, cello HARP Susanne & Philip O. Geier, Jr. Chair Gabriel Pegis Camellia Aftahi, bass Gillian Benet Sella Duane Dugger Principal Michael Martin, bass Principal Mary & Joseph S. Stern, Jr. Chair Al Levinson Chair Cynthia & Frank Stewart Chair Charles Bell Yang Liu* ORCHESTRA PERSONNEL Austin Larson† Harold B. & Betty Justice Chair FLUTES Paul Pietrowski, Director Scott Mozlin** Randolph Bowman Rachel Kilgore, Assistant Manager Henry Meyer Chair TRUMPETS Principal Kun Dong Robert Sullivan LIBRARIANS Charles Frederic Goss Chair Principal Cheryl Benedict Haley Bangs Mary Judge Drake Crittenden Ash§ Rawson Chair Principal Jane & David Ellis Chair Steven Pride Evin Blomberg Austin Brown*† Lois Klein Jolson Chair Rachel Charbel Otto M. Budig Family Christina Eaton* Foundation Chair++ Elizabeth Dunning Ida Ringling North Chair PICCOLO Chika Kinderman Christopher Kiradjieff Assistant Librarian Joan Voorhees Hyesun Park Douglas Lindsay* Patricia Gross Linnemann Chair Paul Patterson Jackie & Roy Sweeney STAGE MANAGERS Family Chair Charles Gausmann Chair++ Phillip T. Sheridan, OBOES Stacey Woolley Technical Director Brenda & Ralph Taylor Chair++ Dwight Parry TROMBONES Ralph LaRocco, Jr., Principal Cristian Ganicenco Stage Manager/Audio VIOLAS Josephine I. & David J. Joseph, Jr. Principal Brian P. Schott, Chair Dorothy & John Hermanies Christian Colberg Stage Manager/Lighting Richard Johnson Chair Principal Todd Dignan-Cummins, Donald & Margaret Robinson Joseph Rodriguez** Stage Manager/Carpenter Louise D. & Louis Nippert Chair Chair++ Paul Frankenfeld* Lon Bussell* Grace M. Allen Chair BASS TROMBONE § Begins the alphabetical listing of Peter Norton players who participate in a system Julian Wilkison** ENGLISH HORN Rebecca Barnes§ of rotated seating within the string Christopher Philpotts section. Christopher Fischer TUBA Principal * Associate Principal Stephen Fryxell Christopher Olka Alberta & Dr. Maurice Marsh ** Assistant Principal Melinda & Irwin Simon Chair Principal Chair++ † One-year appointment Caterina Longhi Ashley & Barbara Ford Chair ‡ Leave of absence Denisse Rodriguez-Rivera + Cincinnati Pops rhythm section Joanne Wojtowicz ++ CSO endowment only ~ Funded by the Andrew W. Mellon Foundation

10 | FANFARE CINCINNATI | cincinnatisymphony.org hoW do you imagine your life after your career?

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Twin Towers, a Life Enriching Communities campus, is afﬁ liated with the West Ohio Conference of the United Methodist Church and welcomes people of all faiths. We do not discriminate and we provide free assistance in your native language, if needed. Find our complete non-discrimination policy at LEC.org. FEATURE: 125th Anniversary The Cincinnati Symphony Orchestra: Celebrating 125 Years and Building on the Three I’s by FRANCK MERCURIO

Inspiration. Innovation. Inclusion. and for its future—are pre- But the nascence of the CSO The three “I’s.” sented in the commemorative didn’t happen in a vacuum. Throughout its history, the “CSO 125” insert located inside Throughout the 1800s, many Cincinnati Symphony Orches- this issue of Fanfare. But how new Cincinnatians brought tra (CSO) has expressed these were these fundamental values classical music traditions to three foundational values in dif- expressed in the past? Who our city as they emigrated from ferent ways and, today, aspires promoted them? And why are Europe. Cincinnati’s choral to promote them even further they still important to this iconic tradition led to the founding of as the Orchestra celebrates its Cincinnati arts institution? the May Festival in 1873 and the 125th year. These principles are construction of Music Hall a few the legacy of previous genera- INSPIRATION years later. By the 1890s, the tions who made the CSO what Music, like all the arts, inspires city’s music scene was thriving, it is now in the 21st century. us. And in 1891, a love of music and Cincinnati was ready for a “The CSO’s newly articulated and a desire to bring the best permanent orchestra. vision is to be the most rel- performers in the world to our The CSO’s ﬁrst concert took evant orchestra in America,” community inspired 15 Cincin- place on January 17, 1895, at wrote CSO President Jonathan nati women to form the Ladies Pike’s Opera House under Martin in an essay for the Sep- Musical Club. Together, they the baton of Frank Van der tember 2019 issue of Fanfare raised $10,000 to present the Stucken. In the years that fol- Cincinnati. “And building on a Boston Symphony Orchestra lowed, the Orchestra and its foundation of increasing artistic in Cincinnati. Four years later, conductors collaborated with excellence, we identiﬁed three these same women—joined many composers and guest values fundamental to this vi- by 13 additional women and artists—from Richard Strauss sion: to be inspiring, innovative five men—incorporated the to Camille Saint-Saëns, Sergei and inclusive.” Cincinnati Symphony Associa- Rachmaninoff to Enrico Ca- The details of what the “three tion Company. (This was three ruso—inspiring audiences and I’s” mean for the CSO today— decades before women won supporters along the way. the right to vote!)

The Cincinnati Symphony Orchestra on stage at the Emery Auditorium with Ernst Kunwald, Music Director 1912–1917. Seeking to create a lasting legacy, patrons such as Cora Dow (1868–1915)—the renowned pharmacist and owner of the Dow pharmacy chain—donated the equivalent (in today’s cur- rency) of $16 million to the CSO. Her act of generosity, as well as the generosity of many others, ensured that generations of Cincinnatians could enjoy—and be inspired by—Cincinnati’s hometown orchestra.

INNOVATION Louis Langrée, the CSO’s Music Director since 2013, leads the Orchestra in concert at By definition, the classics are Music Hall. timeless, and orchestras make their reputations by how they Armory in Madison, using just CSO has also innovated artisti- interpret and perform works a single microphone. Led by cally. The 1920s saw collabora- from the classical canon. But CSO Music Director Eugène tions by the Orchestra with music is also constantly evolv- Ysaÿe, the broadcast could be musical innovators such as Igor ing, and over the years the CSO heard as far away as New York, Stravinsky, Béla Bartók and has innovated, both artistically and newspapers reported that George Gershwin. Gershwin and technically. even President Warren Hard- made his CSO debut in 1927 as An early example combining ing, an Ohioan, tuned in to hear a guest pianist performing his technical and artistic innova- the Orchestra play. Today, the own composition, Rhapsody tion took place on a concert Orchestra continues to reach in Blue. He later returned to tour of the East Coast in 1917 millions of listeners across the Cincinnati in 1929, bringing his (which included a performance country, and around the world, taxi horns and overseeing the at New York’s Carnegie Hall). through national radio broad- second-ever public perfor- Under the baton of Music Di- casts and online streaming—the mance of An American in Paris rector Ernst Kunwald, the CSO next innovation in this field. at the Emery Theatre. Almost recorded its first album at In addition to embracing nine decades later, in 2017, the the Columbia Gramophone technical advancements, the CSO and Louis Langrée were in- Company Studios in New strumental in the creation York City. A giant horn of the new critical edition captured the sound of THE CINCINNATI POPS of An American in Paris, the musicians playing the official restoration of “Waltz of the Hours” The Cincinnati Pops Orchestra, led by Gershwin’s score back from Delibes’ Coppélia Conductor John Morris Russell, grew from to the original manu- ballet in addition to other Cincinnati’s love of great orchestral music, script. Not only did the works. Only two other and the ensemble performs a diverse array Orchestra give the world American orchestras had of musical styles, from Broadway, jazz, pop, premiere of the new edi- made recordings at that bluegrass, folk and works from movie scores tion—at La Seine Musicale time: the Chicago Sym- and the Great American Songbook. in Paris in 2017—they phony Orchestra and the also recorded two ver- Founded in 1977 under the direction of New York Philharmonic. sions of it for their latest Erich Kunzel, the Pops is an offshoot of the (Read more about the recording, Transatlantic, Cincinnati Symphony Orchestra (CSO) and CSO’s recording history which was nominated for includes the same world-class musicians. Over in RaeNosa Onwumelu’s a Grammy® Award in the the years, the Pops have appeared on national article “The Orchestra’s category “Best Orchestral telecasts, performed around the world— First Album” in this issue Performance” in 2019. including at the 2008 Summer Olympics in of Fanfare.) This is not the first time Beijing—and recorded 96 different albums, A few years later, the CSO has premiered sold to millions of listeners. in November 1921, the a work that became an CSO became the first Conductor Russell succeeded the late important addition to the orchestra to broadcast Kunzel in 2011. He currently leads the Pops orchestral canon: in 1942, live over the airwaves. at Cincinnati’s historic Music Hall during the the CSO gave the world Wisconsin’s 9XM car- subscription season and also the annual premiere of Aaron Co- ried a performance by Independence Day concert at the PNC Pavilion pland’s Lincoln Portrait, the ensemble from the at Riverbend Music Center. with guest conductor University of Wisconsin Andre Kostelanetz on >>

cincinnatisymphony.org | FANFARE CINCINNATI | 13 125th Anniversary Celebration, cont. the podium. Other examples include the Ameri- and inspired by African-American culture. can premiere of Richard Strauss’ An Alpine During the 1937 May Festival, the Orchestra Symphony (in 1916) and the world premiere of under the baton of CSO and May Festival Mu- Respighi’s orchestration of Bach’s Prelude and sic Director Eugene Goossens gave the world Fugue in D-minor (in 1930). Recently, the CSO premiere of Robert Nathaniel Dett’s oratorio, was honored to present the world premiere of The Ordering of Moses, at Music Hall. NBC radio the fi nal work by Pulitzer Prize-winning com- broadcast the performance live over the air- poser Christopher Rouse, his Symphony No. 6, waves to a national audience, but the broadcast which was commissioned by the CSO for its was abruptly stopped midway following racially 125th anniversary. motivated complaints about Dett, a Canadian- American of African ancestry. INCLUSION But as American society gradually became Orchestras have generally not made diversity less segregated, attitudes began to evolve. and inclusion priorities. But that perception— Composer William Grant Still, often referred and reality—changed over the years and con- to as “the Dean” of African-American compos- tinues to evolve today. The CSO was founded ers, won the CSO’s 1944 Jubilee Prize for Best by prominent Cincinnatians for their own enjoy- Overture—to celebrate the Orchestra’s 50th an- ment, and for the enjoyment of those who had niversary—with a work called Festive Overture. the leisure time and disposable income to attend The CSO gave the world premiere at the Jubilee performances. The programming in the early concert in January 1945. years refl ected this exclusivity by presenting In 1952, CSO Music Director Thor Johnson mostly classic works of high European culture invited celebrated contralto Marian Anderson written by and for—with few exceptions—white to perform with the Orchestra for the fi rst time, people of a certain socio-economic status. and she returned to Cincinnati in 1954 for an But things slowly started to change in the encore performance. These concerts took place 1930s, 40s, and 50s as the CSO began to incor- after Anderson had been barred, in 1939, from porate music composed by African Americans performing to an integrated audience at DAR

14 | FANFARE CINCINNATI | cincinnatisymphony.org Constitution Hall in D.C. With the backing of be truly inclusive, refl ecting the demographics Eleanor Roosevelt, Anderson gave her famous of the city both onstage and in the audience. recital to an audience of 75,000 on the Wash- As the women’s liberation movement also ington Mall and millions of people nationally gained momentum over the last half-century, over the airwaves. the glass ceiling shattered one pane at a time in By the 1960s, African-American artists per- the orchestral world. Sarah Caldwell became the formed regularly with the CSO. Jazz great Duke fi rst woman to guest conduct the CSO in 1977, Ellington guest conducted a Popular Concert and later, in 2002, Sarah Ioannides became the in 1966 and subsequently recorded an album Orchestra’s fi rst female Assistant Conductor. of orchestral works with Erich Kunzel and the Today, women conductors are more frequently CSO in 1970. The recording included orchestral seen on the podium—from Simone Young to Eun versions of Ellington works that are now jazz Sun Kim to Xian Zhang—and in 2019 the CSO standards: New World A-Comin’, Harlem, and announced the Orchestra’s fi rst female concert- The Golden Broom and the Green Apple. master, Stefani Matsuo, who provides leadership Furthering this growing legacy of inclusion, for the entire ensemble. Partnering with the CSO senior management, along with African- University of Cincinnati’s College-Conservatory American Board members Dr. Lee Etta Powell of Music (CCM), the CSO created the Diversity and Earnest James, formed the “Outreach Fellowship in 2016 to mentor orchestral musi- Committee” in 1989. One year later, the commit- cians from African-American, Latinx, and Native tee was formalized and renamed the Multicul- American backgrounds. Through this initiative, tural Awareness Council (MAC). MAC’s mission the CSO and CCM are working with the Andrew was—and is—to foster diverse music programs, W. Mellon Foundation, to remove barriers and educational and community partnerships, and ensure that every voice is heard. scholarships for talented, underrepresented Looking toward the future, the CSO will con- student musicians. tinue to rely on the “three I’s” to be “the most This season, MAC celebrates its 30th anniver- relevant orchestra in America.” The foundational sary—in conjunction with the Orchestra’s 125th values of inspiration, innovation and inclusion anniversary—through a series of CSO concerts form a legacy that will guide the CSO—its con- featuring diverse guest conductors, guest artists ductors, composers, musicians, staff , supporters and musical programming. The shared goal is to and audiences—through its next 125 years to achieve artistic excellence.

cincinnatisymphony.org | FANFARE CINCINNATI | 15 ARTISTIC LEADERSHIP—Louis Langrée, Music Director

The French conductor Louis Langrée has been National Symphony Orchestra Music Director of the Cincinnati Symphony Or- and Montreal Symphony. chestra (CSO) since 2013. The 2019–20 season Langrée has conducted marks the 125th Anniversary of the Orchestra, the Berliner Philharmoniker, which will be celebrated with special events Wiener Philharmoniker and throughout the season. In recent seasons Lan- London Philharmonic. He has grée has toured with the Orchestra to Asia and worked with many other or- Europe, including appearances with the Hong chestras around the world, in- Kong Arts Festival, Edinburgh International cluding the Orchestre de Paris; Festival, BBC Proms (London), and La Seine Orchestre de la Suisse Roman- Musicale (Paris). de; the Santa Cecilia (Rome), Langrée’s recordings with the CSO feature Budapest Festival, São Paulo Copland’s A Lincoln Portrait (narrated by Dr. and NHK orchestras; and Deutsche Kammerphil- Maya Angelou) and world premieres of works harmonie Bremen, Freiburger Barockorchester by Sebastian Currier, Thierry Escaich, David Lang and the Orchestra of the Age of Enlightenment. and Zhou Tian (Grammy nominated). His latest Festival appearances have included the Wiener CSO recording, released in August 2019, features Festwochen, Salzburg Mozartwoche and Whitsun works by Gershwin, Varèse and Stravinsky. His and Glyndebourne Festival Opera. He has also recordings have received several awards from conducted at La Scala, Bayerische Staatsoper Gramophone and Midem Classical. He is a Che- (Munich), Royal Opera House Covent Garden, valier des Arts et des Lettres and Chevalier de la Opéra-Bastille, Lyric Opera of Chicago, Dresden Légion d’Honneur. Langrée is also Music Director Staatsoper and the Netherlands Opera (Am- of the Mostly Mozart Festival at Lincoln Center sterdam). Langrée has conducted several world in New York, a position he has held since 2002. premieres, including works by Daníel Bjarnason, Recent conducting projects include debuts Magnus Lindberg and Caroline Shaw. with the Czech Philharmonic (Prague Spring He has held positions as Music Director of the Festival), Orchestre National de France and the Orchestre de Picardie (1993–98) and Orchestre Konzerthaus Berlin Orchestra. Langrée’s return Philharmonique Royal de Liège (2001–06) and engagements include performances with the Wie- was Chief Conductor of the Camerata Salzburg ner Symphoniker, and Leipzig Gewandhaus and (2011–16). Langrée was also Music Director of Philadelphia orchestras. During the 2019–20 sea- Opéra National de Lyon (1998–2000) and Glyn- son, he debuts with the New York Philharmonic, debourne Touring Opera (1998–2003).

16 | FANFARE CINCINNATI | cincinnatisymphony.org

ARTISTIC LEADERSHIP—John Morris Russell, Conductor

In his ninth year as con- American Soundscapes video series, which has ductor of the Cincinnati been viewed over one million times around the Pops Orchestra, John globe. JMR is also instrumental in the continuing Morris Russell continues development of Classical Roots, which he helped to redeﬁ ne the American create for the CSO nearly two decades ago, orchestral experience and continues to lead concerts on the Lollipops With the Cincinnati Family Series that he ﬁ rst conducted in 1995 as Pops, JMR leads sold- Assistant Conductor of the CSO and Pops. out performances at JMR’s recent collaborations include Aretha Music Hall and concerts Franklin, Emanuel Ax, Amy Grant and Vince Gill, throughout the region, Garrick Ohlsson, Rhiannon Giddens, Brian Stokes as well as domestic and Mitchell, Steve Martin, Cho-Liang Lin, Sutton international tours, cul- Foster, George Takei, Megan Hilty, Ranky-Tanky, tivating the reputation Edie Brickell, Steep Canyon Rangers, Over the of Greater Cincinnati as Rhine, Brian Wilson and Leslie Odom, Jr. As a one of the world’s lead- guest conductor, he has worked with prominent ing cultural centers. His visionary leadership orchestras throughout North America, including of The Pops created the American Originals the Los Angeles Philharmonic, The Cleveland Project, which has garnered critical and popular Orchestra and the New York Philharmonic. JMR acclaim in two landmark concert productions also serves as Music Director of the Hilton Head and subsequent recordings: American Originals Symphony Orchestra, Principal Pops Conductor (the music of Stephen Foster) and American of the Buff alo Philharmonic Orchestra, and is Originals 1918 (a tribute to the beginnings of Conductor Laureate of the Windsor (Ontario) the jazz age). The third concert production of Symphony Orchestra. the project, King Records and the Cincinnati Last summer JMR conducted Cincinnati Sound with legendary pianist Paul Shaff er, will Opera’s world premiere of Scott Davenport be premiered by The Pops in March 2020. Richards’ Blind Injustice, based on the book JMR has contributed six albums to the recorded by Mark Godsey. Later this season he debuts legacy of the Cincinnati Pops, including the latest, with the Pittsburgh Symphony Orchestra and Voyage, which debuted at No. 6 on Billboard’s the National Arts Centre Chamber Orchestra in Classical Chart in August 2019. In 2016 JMR, The Ottawa, Canada. Pops and CET Public Television began their online

18 | FANFARE CINCINNATI | cincinnatisymphony.org IF IT SOUNDS GOOD, IT IS GOOD! by JOHN MORRIS RUSSELL

t was an overcast and chilly afternoon in speech in my front pocket, ready to go! Our Ithe middle of November when I got a text recording is being considered in category #82, message from the long-time producer of “Best Classical Compendium,” a collection of our Pops recordings, Elaine Martone: “Call me.” various pieces for any kind of “classical” en- Martone had just been notified that our resemble. American Originals: 1918 was nominated cording of American Originals: 1918 had been for this category because it has a wide range of nominated for “Best Classical Compendium” for composers and presents the nascent styles of the 2020 Grammy Awards, to be held January blues, country and jazz, which African-American 26 in Los Angeles. The Pops has been nominated and immigrant composers used to create the five times for a Grammy, and won its first award new sound of American music. for “Best Engineered Sound Recording” in 1997 It seems pretty incredible that the diversity for Copland: Music of America. of styles that are currently celebrated in most It’s a BIG deal to be nominated, especially of the 84 categories of the Grammys springs for our Pops, because there is no dedicated from the musicians and composers from a category exclusively for us. Sure, there are century ago, who we recognize and celebrate categories for Jazz, R&B, Latin, Rap, World, on our recording. And for all of you who were Gospel, etc., etc.,…but Pops has to squeeze in THERE during our live recording in the fall of with “classical” and “symphonic” categories 2017, you’ll be with us too! and often gets brushed aside, despite the fact The evening telecast on CBS begins at 8 pm that our Cincinnati Pops has sold more record- with the popular awards and performances ings than just about any orchestral ensemble for television audiences, and our Cincinnati in the world. contingent will be there cheering in the stands. That said, we’ll be front and center during Win or lose, it’s a pretty awesome experience the Grammy Premiere Ceremony, which will be rubbing elbows with the incredible artists, pro- broadcast live on the Internet at 3:30 pm EST on ducers and engineers of every musical genre, Sunday, January 26, and I’ll have my all together in one place. There is such a sense of mutual respect and admiration among everyone—all of whom believe, like me, that if it sounds good it IS good. Later this season, in March, we resume our “American Originals” project with The Cincinnati Sound and the recording legacy of King Records and Herzog Studios, as we continue to explore and celebrate the music of America with the greatest pops orchestra on the planet. We’ll see you there (and on your TV, January 26…I’ll be the guy in the red jacket!).

Cheers,

cincinnatisymphony.org | FANFARE CINCINNATI | 19 LETTER FROM THE PRESIDENT IN MUSIC HALL... Peter E. Koenig, President Happy New Year! I am thrilled to 10 YEARS OF THE MIGHTY WURLITZER welcome Mindy Rosen as This year marks the ten-year anniversary Friends of Music Hall’s inaugural of this organ being placed in our care and Executive Director. Mindy comes to us installed in Music Hall Ballroom. with a wealth of experience in community engagement and fundraising for urban cities and non-profits. You can read more about Mindy on the next page. As we embark on exciting projects in 2020, I invite you to join us by going to www.friendsofmusichall.org!

VOLUNTEER HIGHLIGHT Don Siekmann began this concert series, and we Ray Grothaus, Volunteer are grateful for Linda Siekmann’s continued support. Ray Grothaus is a Cincinnati West Photo: Seventh graders from School for Creative Sider. He works full time and has a and Performing Arts. passion for local history which includes two published books and thousands of photographs of Cincinnati sites. Ray volunteers with Friends of Music Hall doing research and creating training programs for our Program Guides. He is also a great photographer! Since he’s just a tad outgoing, Ray is an asset as a tour guide as well. This past October, we celebrated another successful concert – Spooky Tunes with the Spine Tingling Mighty Wurlitzer. Photo: Acclaimed organist Trent BOARD MEMBER HIGHLIGHT Sims at the keyboard of the Mighty Wurlitzer. Thea Tjepkema, Board Member Thea Tjepkema serves as a preservationist, archivist, and historian on the Friends of Music Hall board. She helps identify restoration projects, manages archives, and develops new tours and talks. Her historical insights about Music Hall can be enjoyed at FriendsOfMusicHall.org/blog. She earned Ron Wehmeier, theatre organ expert who restored her B.F.A. in historic preservation from the the Mighty Wurlitzer organ, continues to care Savannah College of Art and Design and meticulously for the organ. Photo: Holly Brians an M.A. in arts administration from the Ragusa, Friends of Music Hall Wurlitzer event University of Akron. chair with Ron Wehmeier. PHOTO BY JASON BOHRER

OUR MISSION is to preserve, OUR VISION is to perpetuate Music Hall as the improve, promote and educate premier cultural center of the region and an about Cincinnati Music Hall. Historic Landmark of International signiﬁcance.

Under One Roof: The African-American Experience in Music Hall Saturday, February 29, 2020 2:00-3:00pm Public Library of Cincinnati & Hamilton County 800 Vine Street Cincinnati, OH 45202 Presented by Thea Tjepkema

ROSEN HIRED AS OUR FIRST EXECUTIVE DIRECTOR Respected business executive Mindy Rosen has joined the Friends of Music Hall as its first- ever executive director. Rosen spent 12 years with Downtown Cincinnati Inc., recently as its interim president and previously as executive vice president handling marketing and communications. A graduate of Miami University with an M.B.A. from the University BECOME A FRIEND OF of Cincinnati, in the past she oversaw MUSIC HALL TODAY! membership services and fundraising for 1878 CIRCLE $50 downtown service organizations in Los BLACK BRICK CIRCLE $100 Angeles and Denver. A downtown resident WURLITZER CIRCLE $250 and avid arts goer, she is a civic leader known for accomplished communications, strategic HANNAFORD CIRCLE $500 community partnerships, successful volunteer SPRINGER CIRCLE $1,000 engagement, and effective event management. ROSE WINDOW CIRCLE $5,000 Board president Peter E. Koenig said, “Rosen CORBETT CIRCLE $10,000+ will take the Friends of Music Hall to the Go to friendsofmusichall.org next level, enabling us to fulfill our mission to preserve and enhance Music Hall.”

The Orchestra’s First Album

by RAENOSA ONWUMELU

On Saturday, January 13, 1917, the Cincinnati Symphony Orchestra (CSO) and conductor Ernst Kunwald, the third music director in the Orches- tra’s 125-year history, headed to New York to record their fi rst commercial album inside of Columbia Gramophone Company’s Studio. The setup was far from glamorous. They had a few sound engineers, but no individual microphone set-ups for instruments, such as those used in 2019’s Music Hall recording of Gershwin’s An American in Paris. Only half of the CSO’s current 90-member orchestra would have fi t inside of the small Gramophone studio, where a single large horn recorded the entire group. Nevertheless, in May, The Triumphal The Cincinnati Symphony Orchestra and Music Director Ernst Kunwald in the Columbia Gramophone Studio, New York, recording Entry of Bojaren (Halvorsen) and Waltz of the music for their first album. Hours from Coppélia (Delibes) became the fi rst 12-inch record released from the three-day CSO and RCA Victor until the late 1950s, before land- winter recordings, selling for $1.50 each (which ing an exclusive contract with Decca Records. is about $21 today). In 1978, the Orchestra signed with Telarc and Columbia Records described the CSO’s recorded The 1812 Overture, which became one exclusive release of The Triumphal Entry of of the most in-demand classical recordings ever. the Bojaren as, “A splendid introduction to Conducted by Pops founder Erich Kunzel, The the powers of the Cincinnati Orchestra” and 1812 Overture became the highest selling album Delibes’ “Waltz” as, “The orchestra’s greatest in Telarc history, with more than 800,000 copies achievement.” sold since its release. The CSO continued to re- In July 1917, the CSO released another record cord with Telarc until 2011, after which it started from the January recordings (the Barcarolle its own label, Cincinnati Symphony Orchestra from Off enbach’s The Tales of Hoff mann with Media, later renamed Fanfare Cincinnati. Strauss’s On the Beautiful Blue Danube) and The Cincinnati Symphony Orchestra and the began an historic collaboration, which, over Cincinnati Pops have released more than 15 al- the next two years, produced approximately bums collectively since the label’s inception, and 30 acoustic 80 rpm albums. more than 275 albums collectively in the organi- The ensemble was the third orchestra to zation’s 125-year history. Fanfare Cincinnati has record for Columbia, preceded by the Philhar- also released albums for the Cincinnati Opera, monic Symphony of New York and the Chicago May Festival Chorus and Vocal Arts Ensemble. Symphony Orchestra. Prior to these recordings, This past November, the Recording Academy music companies preferred vocal recordings nominated two CSO recordings for Grammys: over symphony orchestra recordings because Transatlantic, the CSO’s latest release, for Best labels considered the former more profi table. Orchestral Performance and the Pops’ American New technical improvements in the acoustical Originals: 1918 for Best Classical Compendium. recording process enabled record companies The record business has transformed greatly to produce music that had been generally since the CSO’s fi rst album was made in 1917, avoided—that of symphonic recordings. but the ensemble’s commitment to recording The CSO went on to record with several labels, timeless music will further the Orchestra’s including Camden Records, Remington Records legacy well beyond its 125th year.

cincinnatisymphony.org | FANFARE CINCINNATI | 23

FANFARE SPOTLIGHT Renée Fleming and Her Love Aff air with the Music of Strauss

by JACOB MARTIN

Whether it’s belting out a jazz standard, singing the National Anthem at the Super Bowl, or center stage at The Metropolitan Opera, “America’s Go-To Diva” (NPR, 2018) has used her peerless musicality and marvelous acting talents to achieve the near-impossible for a classical musician: becoming a household name. Soprano Renée Fleming has delighted audiences all over the world with her interpretation of roles like the Countess Almaviva in Mozart’s Le Nozze di Figaro and Desdemona in Verdi’s Otello. But having sung composers from Handel to Berg, this incredibly versatile artist has long been associated with one composer in particular: Richard Strauss. In celebration of the CSO’s 125th anniversary this month, the Orchestra has invited the musical superstar to grace Cincinnati audiences with some of Strauss’s most rapturous music. “Strauss obviously loved sopranos. I mean...he was married to one,” says Ms. Fleming, pointing out that two of Strauss’s most beloved songs, Morgen and Cäcilie, were given to his wife as a wedding gift. She goes on to say, “[Strauss’s soprano music] has tremendous humanity; he Photo: Andrew Eccles for Decca really understood women.” Fleming has spe- cialized in these great female roles for some play Norma Jeane Baker of Troy, by the poet time, distinguishing herself as the Countess in Anne Carson. Both the quasi-operatic Piazza Strauss’s Capriccio, as well as the title roles in and the “spoken and sung” Norma Jeane employ Daphne, Arabella and Ariadne auf Naxos. classical singing to diff erent ends, a fact that But one Strauss heroine in particular, the appeals to Fleming. “I love fi nding interesting Marschallin in Der Rosenkavalier, had been her ways of making classical singing accessible to signature role for over 20 years. “She can take the rest of the world,” she explains. a tremendous amount of variety in how she’s The accessibility of classical music is important played,” Fleming explains. “She can be depres- to Fleming, who has become an advocate for the sive, she can be manic depressive, she can be arts throughout the United States. She serves as a woman who’s simply bored.” For Fleming, artistic advisor to the Kennedy Center, spear- approaching a character like this is not about heading a major research and public awareness simplifying them for an audience; instead, “it’s project focused on the intersection of music, adding depth; it’s about adding more complex- neuroscience and health, and has presented ity to them, at least on the level of understand- symposiums all over the world on this subject in ing, on the level of portrayal.” the past two years. She will bring her Music and But after two decades playing the captivating the Mind presentation to Music Hall on January 8. Marschallin all over the world, Fleming retired this On January 10 and 11, this American treasure particular role in 2017, singing her last fully staged returns to Music Hall in programs that include Marschallin at The Metropolitan Opera. While she Richard Strauss’s Four Last Songs as well as his still sings and tours extensively, with more opera Liebeshymnus, Morgen and Cäcilie, plus well- roles on the horizon, she has lately branched out, known tunes from musicals and fi lm. This will drawing on her natural acting ability to explore be the fi rst time Fleming will be singing with complex characters in other genres. the CSO since her acclaimed Cincinnati debut In 2019, she revived the character of Margaret in 2012, and her fi rst time in Music Hall since its Johnson in the musical The Light on the Piazza extensive renovation. and starred opposite Ben Whishaw in the new cincinnatisymphony.org | FANFARE CINCINNATI | 25 Celebrating the arts and the joy they bring to life every day.

PNC is proud to be the Pops Series Sponsor and to support the Cincinnati Symphony Orchestra and Cincinnati Pops. Thank you for mastering the art of making Greater Cincinnati a more beautiful place.

CON PDF 0618-0106 SPECIAL POPS PROGRAM | 2019–2020 SEASON

FRI JAN 3, 7 pm | SAT JAN 4, 7 pm | SUN JAN 5, 2 pm Music Hall

JUSTIN FREER, conductor MAY FESTIVAL CHORUS, Robert Porco, director

HARRY POTTER AND THE PRISONER OF AZKABAN™ Directed by Alfonso Cuaron Produced by David Heyman, Chris Columbus and Mark Radcliffe Written by Steve Kloves Based on Harry Potter and the Prisoner of Azkaban by J.K. Rowling

Starring: Daniel Radcliffe Rupert Grint Emma Watson Robbie Coltrane Michael Gambon Richard Griffiths Gary Oldman Alan Rickman Fiona Shaw Maggie Smith Timothy Spall David Thewlis Emma Thompson Julie Walters

Music by John Williams Cinematography by Michael Seresin Edited by Steven Weisberg Produced by Heyday Films, 1492 Pictures Distributed by Warner Bros. Pictures

CineConcerts Staff Justin Freer, President/Founder/Producer Brady Beaubien, Co-Founder/Producer Managing Director, Jeffery Sells Head of Publicity and Communications, Andrew Alderete Director of Visual Media, Mike Ranger Special Projects Director, Ma’ayan Kaplan Senior Marketing Manager, Brittany Fonseca Senior Social Media Manager, Si Peng Project Manager, Gabe Cheng Worldwide Representation: WME Entertainment

continued…

cincinnatisymphony.org | FANFARE CINCINNATI | 27 CLASSES BEGIN SOON!

uc.edu/ce/olli 513-556-9186 In East Walnut Hills, Amberley, College Hill, and other locations. Music Preparation: JoAnn Kane Music Service Music Editing: Ed Kalnins Playback Operation and Synthesizer Production: iMusicImage Sound Remixing: Justin Moshkevich, Igloo Music Studios Merchandise by Firebrand About Warner Bros. Consumer Products Warner Bros. Consumer Products, a Warner Bros. Entertainment Company, is one of the leading licensing and retail merchandising organizations in the world.

HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. WIZARDING WORLD trademark and logo © & TM Warner Bros. Entertainment Inc. Publishing Rights © JKR. (s20)

The Cincinnati Pops Orchestra is grateful to Pops Series Sponsor PNC and Pops Artist Sponsor Lincoln of Cincinnati. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts. Accessibility shuttle services provided by Croswell VIP Motorcoaches.

WVXU is the Media Partner for these concerts. The Cincinnati Pops in-orchestra Steinway piano, courtesy of The Jacob G. Schmidlapp Trust, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

$15 Kids’ Tickets MAY 1–3

Enjoy lush orchestral scores from DreamWorks favorites such as Shrek, Madagascar, Kung Fu Panda and How to Train Your Dragon, complete with ﬁlm clips on the big screen.

cincinnatisymphony.org | FANFARE CINCINNATI | 29

ARTISTS: Jan 3–5

JOHN WILLIAMS, composer In January 1980, Williams was named 19th In a career spanning music director of the Boston Pops Orchestra, more than five decades, succeeding the legendary Arthur Fiedler. He John Williams has be- currently holds the title of Boston Pops Laure- come one of America’s ate Conductor, which he assumed following most accomplished his retirement in December 1993 after 14 highly and successful com- successful seasons. He also holds the title of posers for film and for Artist-in-Residence at Tanglewood. Williams the concert stage, and has composed numerous works for the concert he remains one of our stage, among them two symphonies and con- nation’s most distin- certos commissioned by several of the world’s guished and contribu- leading orchestras, including a cello concerto tive musical voices. He for the Boston Symphony Orchestra, a bassoon has composed the mu- concerto for the New York Philharmonic, a sic and served as music trumpet concerto for The Cleveland Orchestra, John Williams director for more than and a horn concerto for the Chicago Symphony 100 films, including all eight Star Wars films, the Orchestra. In 2009, Williams composed and first three Harry Potter films, Superman, JFK, arranged Air and Simple Gifts especially for the Born on the Fourth of July, Memoirs of a Geisha, first inaugural ceremony of President Barack Far and Away, The Accidental Tourist, Home Obama, and in September 2009, the Boston Alone and The Book Thief. His 45-year artistic Symphony premiered a new concerto for harp partnership with director Steven Spielberg has and orchestra titled On Willows and Birches. resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, JUSTIN FREER, conductor E.T. The Extra-Terrestrial, Jaws, Jurassic Park, American composer/ Close Encounters of the Third Kind, the Indiana conductor Justin Freer Jones films, Munich, Saving Private Ryan, The was born and raised in Adventures of Tintin, War Horse, Lincoln, The Huntington Beach, CA. BFG and The Post. His contributions to televi- He has established him- sion music include scores for more than 200 self as one of the West television films for the groundbreaking early Coast’s most exciting anthology series Alcoa Theatre, Kraft Television musical voices and is Theatre, Chrysler Theatre and Playhouse 90, a highly sought-after as well as themes for NBC Nightly News (“The conductor and producer Mission”), NBC’s Meet the Press, and the PBS of film music concerts arts showcase Great Performances. He also around the world. Freer composed themes for the 1984, 1988 and 1996 began his formal studies Justin Freer Summer Olympic Games and the 2002 Winter on trumpet, but quickly Olympic Games. He has received five Academy turned to piano and composition, composing his Awards and 51 Oscar nominations, making him first work at age 11 and giving his professional the Academy’s most nominated living person conducting debut at 16. and the second-most nominated person in the Continually composing for various different history of the Oscars. He has received seven mediums, he has written music for world- British Academy Awards (BAFTA), 24 Gram- renowned trumpeters Doc Severinsen and Jens mys, four Golden Globes, five Emmys, and Lindemann and continues to be in demand as a numerous gold and platinum records. In 2003, composer and conductor for everything from he received the Olympic Order (the IOC’s high- orchestral literature to chamber music around est honor) for his contributions to the Olympic the world. movement. He received the prestigious Ken- He has served as composer for several inde- nedy Center Honors in December of 2004. In pendent films and has written motion picture 2009, Williams was inducted into the American advertising music for some of 20th Century Fox Academy of Arts & Sciences, and he received Studios’ biggest campaigns, including Avatar, the National Medal of Arts, the highest award The Day the Earth Stood Still and Aliens in the given to artists by the U.S. Government. In 2016, Attic. As a conductor, Freer has appeared with he received the 44th Life Achievement Award some of the most well-known orchestras in from the American Film Institute—the first time the world, including the Chicago Symphony in their history that this honor was bestowed Orchestra, Cleveland Orchestra, London Phil- upon a composer. cincinnatisymphony.org | FANFARE CINCINNATI | 31 ARTISTS: JAN 3–5 harmonic, Los Angeles Philharmonic, New York BRADY BEAUBIEN Philharmonic and Philadelphia Orchestra. He is A Stanford graduate and also one of the only conductors to ever have All-American athlete, conducted in both the ancient Colosseum and Brady Beaubien studied Circus Maximus in Rome. cognitive neuroscience Renowned wind conductor and Oxford Round before founding Inter- Table Scholar Dr. Rikard Hansen has noted that, lace Media, an award- “In totality, Freer’s exploration in musical sound winning motion graphics evokes moments of highly charged drama, company. As a premier alarming strife and serene refl ection.” CG animation studio Freer has been recognized with numerous and creative agency for grants and awards from organizations includ- feature films, Interlace ing ASCAP, BMI, the Society of Composers and has defined the global Lyricists, and the Henry Mancini Estate. He is the campaigns of over 100 Founder and President of CineConcerts, a com- Brady Beaubien major Hollywood movies, pany dedicated to the preservation and concert including the Avatar, X-Men, Rio, Ice Age and presentation of fi lm, curating and conducting Die Hard franchises. hundreds of full-length music score perfor- In 2013 Beaubien co-founded CineConcerts, a mances live with fi lm for such wide-ranging titles company dedicated to reinventing the experi- as Rudy, Gladiator, The Godfather, Breakfast at ence of theatrical presentation and orchestral Tiff any’s, It’s A Wonderful Life, and the entire music. He currently produces CineConcerts’ Harry Potter Film Franchise. titles full repertoire of film concert experi- Justin Freer earned both his B.A. and M.A. de- ences, including Gladiator Live, The Godfather grees in Music Composition from UCLA, where Live, DreamWorks Animation in Concert, It’s his principal composition teachers included a Wonderful Life in Concert, Star Trek: The Paul Chihara and Ian Krouse. In addition, he was Ultimate Voyage, and the Harry Potter Film mentored by legendary composer/conductor Concert Series. Jerry Goldsmith.

CINECONCERTS CineConcerts is one of the leading produc- ers of live music experiences performed with visual media, and is continuously redeﬁ ning live entertainment. Founded by Producer/ Conductor Justin Freer and Producer/Writer Brady Beaubien, CineConcerts has engaged over 1.3 million people worldwide in concert PETER presentations in over 900 performances in 48 countries, working with some of the best AND orchestras and venues in the world, including the Chicago Symphony Orchestra, Cleveland THE Orchestra, London Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Phila- WOLF delphia Orchestra, Philharmonia Orchestra and many more. Recent and current live concert MAR 24 experiences include Rudy in Concert, The Harry Sensory Friendly Potter Film Concert Series, Gladiator Live, The !$!./( Godfather Live, It’s a Wonderful Life in Concert, TUE pm DreamWorks Animation in Concert, Star Trek: The Ultimate Voyage 50th Anniversary Concert MAR 28 Tour, Breakfast at Tiff any’s in Concert, and A SAT 10:30 am Christmas Dream Live. CineConcerts is on Twit- ter, Facebook and Instagram.

32 | FANFARE CINCINNATI | cincinnatisymphony.org ARTISTS: JAN 3–5

Beaubien has helped lead the company’s val Chorus—with choral preparation by Robert vision of new genres and its creative presenta- Porco—and Cincinnati Symphony Orchestra as tions of cherished ﬁlm and television content, anchors, hosts an international array of guest including writing Star Trek: The Ultimate Voy- artists and presents two spectacular weekends age, a live concert experience that celebrates of dynamic programming. 50 years of iconic material. Through creative The May Festival Chorus is joined in these strategy and collaboration, he works to ensure performances by members of the May Festival that CineConcerts inspires a return to communal Youth Chorus, a select ensemble of singers in entertainment and continues to offer modern grades 8–12 from across greater Cincinnati and audiences and the world’s youth a chance to re- Northern Kentucky. connect with concert halls and local orchestras. Beaubien is also accomplished in the world MAY FESTIVAL CHORUS MEMBERS of design, with his projects including Matsuhisa Sopranos Jennifer Moak Paris at the Le Royal Monceau-Raffles and The Kathryn Zajac Albertson Molly Scruta Citrus on Hollywood’s Melrose Avenue, an ar- Tracy Bailey Karen Scott-Vosseberg chitectural addition to the local cityscape that Renee Cifuentes Melissa Haas Tenors represents a commitment to the metropolitan Sarah Grogan Tony Beck and interconnected providence of Los Angeles. Mary Wynn Haupt Scott Nesbit Carolyn Hill Jeff Nielsen At The Citrus, advanced materials and technol- Hye Jung Jun Larry Reiring ogy merge with wood, concrete and glass in Sarah McMillan David Skiff an organic and modernist design. Additionally, Rosa Mejia Jeffrey Stivers Marissa Miller Gary Wendt Beaubien partnered with award-winning sushi Tera Pierce Max Yoder chef Nobu Matsuhisa to design his new restau- Kristi Reed Basses rant concept—Umeda—and bring it to its current Altos Scott Brody home in the picturesque building. Erika Emody Rex Man Carla Horn John McKibben Beth Huntley Daniel Parsley THE MAY FESTIVAL CHORUS Megan Lawson Jim Racster Teri McKibben Josh Wallace The May Festival Chorus is endowed by the Betsy & Alex C. Young Chair Robert Porco, Director of Choruses MAY FESTIVAL YOUTH CHORUS MEMBERS Matthew Swanson, Associate Director Sopranos Tenors of Choruses, May Festival Youth Chorus Keylaia Bonner Dominic Brink Director Callie Burdette Jakob Paytes Emma Dalton Stephen Stricker Heather MacPhail, Accompanist Annalyn Gauger Joseph Taff, May Festival Conducting Fellow Katie Kear Basses Kathryn Zajac Albertson, Chorus Manager Maya Parikh Parker Lindmark Olivia Wetzel Danny McDowell Joe Basel, Chorus Librarian Danny Mylott Altos Jack Shires Read more: mayfestival.com Jessica Fleming Abby Guinigundo The May Festival Chorus has earned acclaim Andie Lindemann Jen Siler locally, nationally and internationally for its Laurynn Smith musicality, vast range of repertoire and sheer power of sound. The Chorus of 130 profession- ally trained singers is the core artistic element of the Cincinnati May Festival as well as the official chorus of the Cincinnati Symphony Orchestra and Cincinnati Pops. Throughout each season the chorus members collectively devote more than 40,000 hours in rehearsals and performances. Founded in 1873, the May Festival is the oldest, and one of the most prestigious, choral festivals in the Western Hemisphere. The annual Festival, now under the artistic leadership of Principal Conductor Juanjo Mena, boasts the May Festi-

cincinnatisymphony.org | FANFARE CINCINNATI | 33

NINTH SUBSCRIPTION PROGRAM | 125th ANNIVERSARY SEASON

2019–2020 SEASON FRI JAN 10, 8 pm Music Hall

LOUIS LANGRÉE conductor RENÉE FLEMING soprano BEHZOD ABDURAIMOV pianist

BOULANGER D’un matin du printemps (“Of a Spring Morning”) (1893–1918)

RACHMANINOFF Concerto No. 2 in C Minor for Piano and Orchestra, Op. 18 (1873–1943) Moderato Adagio sostenuto Allegro scherzando

INTERMISSION

HOLMÈS La Nuit et l’Amour (“Night and Love”) (1847–1903) from Ludus pro Patria (“Patriotic Games”)

R. STRAUSS Vier Letzte Lieder (“Four Last Songs”) (1864–1949) Frühling (“Spring”): Allegretto September: Andante Beim Schlafengehen (“Going to Sleep”) Im Abendrot (“In the Twilight”): Andante

This performance will end at approximately 9:30 pm.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group and Presenting Sponsor Messer Construction Company. The appearance of Renée Fleming has been made possible by the Harold C. Schott Foundation, Francie & Tom Hiltz, Trustees. These concerts are endowed by Martha Anness, Priscilla Haffner & Sally Skidmore in loving memory of their mother, LaVaughn Scholl Garrison, a long-time patron Harold C. Schott of the Symphony. Foundation/Francie & The Cincinnati Symphony Orchestra is grateful for the support of the Tom Hiltz, Trustees Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts. Accessibility shuttle services provided by Croswell VIP Motorcoaches. Pre-Concert Talks are endowed by Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. Listen to this program on 90.9 WGUC March 15, 2020 at 8pm and online at cincinnatisymphony.org March 16–22.

cincinnatisymphony.org | FANFARE CINCINNATI | 35 ou have a passion to follow. Y You have a world to explore. You have a legacy to build for future generations. And at Fifth Third Private Bank, we’re here to help write your story. When you partner with us, we’ll provide you with a dedicated, local advisor, backed by a team of ﬁnancial professionals and digital solutions. Together, we can achieve even more.

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49’+ ~20 4:54 4:38 3:16 3:23 2:54 TBD for Fleming selections

Fifth Third Private Bank is a division of Fifth Third Bank, National Association. Member FDIC. Fifth Third Private Bank is a division of Fifth Third Bank, National Association. Member FDIC. 125TH ANNIVERSARY GALA

SAT JAN 11, 7 pm | Music Hall

LOUIS LANGRÉE conductor RENÉE FLEMING soprano BEHZOD ABDURAIMOV pianist

BOULANGER D’un matin du printemps (“Of a Spring Morning”) (1893–1918)

R. STRAUSS Liebeshymnus (“Hymn of Love”), Op. 32, No. 3 (1864–1949) Cäcilie (“Cecily”), Op. 27, No. 2 Morgen (“Morning”), Op. 27, No. 4

RACHMANINOFF Concerto No. 2 in C Minor for Piano and Orchestra, Op. 18 (1873–1943) Moderato Adagio sostenuto Allegro scherzando

FLOTOW “The Last Rose of Summer” from Martha (as featured in the film Three Billboards Outside Ebbing, Missouri) HARRY WARREN “You’ll Never Know” (as featured in the film arr. Alexandre Desplat The Shape of Water)

KANDER & EBB “Love and Love Alone”/“Winter” from The Visit MAURY YESTON “Unusual Way” from Nine RODGERS & “You’ll Never Walk Alone” from Carousel HAMMERSTEIN

There will be no intermission this evening. This performance will end at approximately 8:30 pm.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group, CSO Timeless Presenting Sponsor Fifth Third Bank, and this weekend’s Presenting Sponsor Messer Construction. The appearance of Renée Fleming has been made possible by the Harold C. Schott Foundation/Francie & Tom Hiltz, Trustees. These concerts are endowed by Martha Anness, Priscilla Haffner & Sally Harold C. Schott Skidmore in loving memory of their mother, LaVaughn Scholl Garrison, a Foundation/Francie & long-time patron of the Symphony. Tom Hiltz, Trustees The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts. Accessibility shuttle services provided by Croswell VIP Motorcoaches. Pre-Concert Talks are endowed by Melody Sawyer Richardson.

INSIGHTS AN INTRODUCTION TO THE PROGRAM Augusta Holmès and Lili Boulanger are two of from Music Director the most gifted women composers in French Louis Langrée musical history. Both received much recognition and significant performances, but their paths to Renée Fleming is one of the greatest those successes were shaped by the times in which they were born. Holmès was born in Paris singers of our time, and it will be a special in 1847 and lived when women were forbidden treat for us all to hear her sing Strauss professional training at the Paris Conservatoire, Lieder, as well as selections from the rarely given significant awards, and thought to American Songbook, for our Anniversary be capable of writing only songs and small salon pieces. She was so successful in forging a career Gala weekend. We also welcome Behzod through grit, self-assurance and fearless promo- Abduraimov for his debut performance tion that her music was sometimes disparaged with the CSO. In its 125-year history, as inappropriately “virile” and “masculine.” Lili the CSO has hosted many renowned Boulanger, born almost 50 years later, was encouraged by her musical family and admitted composer/performers, including Sergei to the Conservatoire at age 19. Rachmaninoff who, in 1910, played his “The art of music has here interred a precious second piano concerto with the CSO. It treasure, yet far fairer hopes,” read the epitaph is fitting, then, to bring this piece to life that Franz Grillparzer wrote for the tombstone when his friend Franz Schubert died at age 31. during our anniversary season alongside The same could be said of Lili Boulanger, one pieces by Strauss (who conducted some of the most gifted of early-20th-century French of his Lieder, accompanying his wife, the composers, who passed away at 24. Boulanger soprano Pauline de Ahna, in Cincinnati) showed musical talent when she was hardly out of infancy, was thoroughly grounded in the and two pieces by oft-forgotten female art by her musical family, started composing French composers. Lili Boulanger, sister as a teenager, gained admission to the Paris of Nadia, was a prodigy who died much Conservatoire at 19, and was the first woman too early at the age of 24. At age 19, Lili to win the coveted Prix de Rome, even though she was hampered throughout her short life by was the first female winner of the Prix de poor health. Rome in 1913. Augusta Holmès was a pupil Sergei Rachmaninoff may have been Rus- of César Franck, and her compositions sia’s most prodigiously gifted musician. He caught the attention of Franz Liszt and established himself as both a composer and a virtuoso pianist before he graduated from the Camille Saint-Saëns. Moscow Conservatory, where his name was placed on the honor roll and he was given the highest grades the school had ever awarded. He soon thereafter developed an international conducting career, in 1918 he was tendered— and refused—offers to become Music Director of both the Cincinnati and Boston Symphony Orchestras. After establishing his reputation as a composer with several masterful tone poems, Richard Strauss turned to writing operas in 1900. He had a remarkable ability in writing for the soprano voice and not only entrusted it with some of his most beautiful music but also made women the central character in several of his operas—Salome, Elektra, Ariadne, Helen, Arabella, Daphne. It is fitting that the last music

38 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 10–11 he wrote, the Four Last Songs, was also his final couple’s son, Ernest, won the Prix de Rome in tribute to the voice type he loved so deeply. 1835, became a successful opera composer in —Dr. Richard E. Rodda Paris and teacher of singing at the Conserva- toire, and was awarded the Légion d’Honneur LILI BOULANGER in 1870. In 1877, he married Raïssa Mychetsky, D’un matin du printemps (“Of a Spring one of his most talented students, when he was Morning”) 60 and she 19. Among the family’s friends and regular visitors were Charles Gounod, Gabriel Born: August 21, 1893, Paris Fauré, Jules Massenet and Camille Saint-Saëns. Died: March 15, 1918, Mézy-par-Meulan Work composed: 1918 It was into this privileged musical environment Premiere: June 3, 1919 in Paris that Nadia was born in 1887; Marie-Juliette Olga Instrumentation: 2 flutes, piccolo, 2 oboes, (Lili) came along six years later. English horn, 2 clarinets, bass clarinet, 2 bassoons, Lili’s musical talent was evident from her contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, castanets, cymbal with timpani stick, small earliest years. She could reliably carry a tune drum, snare drum, suspended cymbals, tambour de by two, and three years later began tagging Basque, triangle, harp, celeste, strings along with Nadia to sit in on her older sister’s CSO notable performances: These classes at the Conservatoire. Lili studied harp, performances are the work’s CSO subscription piano, cello and violin with some of the city’s premiere. best teachers during the following years, but Duration: approx. 5 minutes steady bouts of ill health, precipitated by a near- An Extraordinary Musical Family fatal attack of pneumonia when she was three, “Though Lili Boulanger died in 1918 at the age precluded the physical exertions necessary to of 24,” wrote musicologist David Noakes, “hers master any of those instruments. She turned was a creative life of more than mere promise; instead to composition, and began serious it was a life, at least, of partial fulfillment.” The study of that discipline in 1909 with Georges name of Boulanger was indelibly inscribed into Caussade and Paul Vidal. Three years later, she the annals of music by Nadia Boulanger, the was formally admitted to the Conservatoire, but 20th-century’s most influential teacher and illness prevented her from participating in the mentor of composers. Despite her seismic im- Prix de Rome competitions that year. A stay at a pact on modern music, Nadia never considered sanitarium on the English Channel restored her herself a composer (“not bad, but useless” is health sufficiently enough for her to win the Prix how she dismissed her original works), and in 1913 with her cantata Faust et Hélène, the first firmly held that the family’s creative talent had woman to earn that coveted honor. That same been inherited by her younger sister, Lili. And year, she also received the Prix Lepaulle and the considerable talent there was to inherit. The Prix Yvonne de Gouy d’Arsy. Her arrival at the girls’ paternal grandfather, Frédéric, taught Villa Medici in Rome was delayed by illness until cello at the Paris Conservatoire; his wife was the March 1914, and even then, weakened by the trip well-known soprano Marie-Julie Boulanger. The and the activity of the preceding year, she was confined to her room for nearly a month and could not resume work until late in the spring. Sound Bites Lili was granted special permission for a visit home in July, and she had to remain in France During this weekend’s concerts, listen for the when World War I broke out the following bright and festive mood of Boulanger’s “Of a month. She organized an extensive program Spring Morning,” the dazzling virtuosity (and of letter-writing, communication and support one of the best-loved melodies in the entire among the Conservatoire students who had been mobilized and their families and friends orchestral literature) of Rachmaninoff’s Piano during the following year, and did not return to Concerto No. 2, the lush tones of Holmès’ Rome until early 1916. There she set to work on orchestral interlude “Night and Love” (Jan. 10), an operatic version of Maeterlinck’s La Princesse and, from Ms. Fleming, the music of Richard Maleine, with whose lonely heroine she identified. She worked on this and other projects as Strauss: the magnificent Four Last Songs—a much as she could, but her health was in steady metaphorical treatment of the approach decline during the ensuing months. In February of death (Jan. 10)—and three love songs 1917, she went to convalesce at Arcachon, on sensitively set to romantic poetry (Jan. 11). the Atlantic coast near Bordeaux, but she did

cincinnatisymphony.org | FANFARE CINCINNATI | 39 PROGRAM NOTES: JAN 10–11 not improve and was taken to Paris in July for its expression by the full range of natural gifts, emergency surgery. The procedure brought from grace, color, charm and subtlety to winged only little and temporary relief. She next went lyricism and obvious power, easy and profound. to the family summer home at Gargenville for Such virtues, so rarely brought together for the several months, and returned to Paris in De- benefit of one single creative temperament, are cember, but soon had to leave for Mézy, west to be found in her works.” of the city, when the capital was subjected to The complementary works D’un Matin de heavy German bombardment early in 1918. She Printemps (“Of a Spring Morning”) and D’un died in Mézy on March 15th. Soir triste (“Of a Sad Evening”) of 1918 were the last scores Lili Boulanger wrote with her own A Short Life, A Lasting Legacy hand; her Pie Jesu, probably envisioned as part Despite her early death and the debilitating of a complete Requiem Mass, was dictated to state of her health, Lili Boulanger completed a her sister. The manuscripts’ labored notation substantial number of compositions in which she betrays the deteriorating condition of Lili’s demonstrated a highly developed creative per- health; Nadia had to add the finishing details sonality imbued with the pastel Impressionism of dynamics and articulations. The composer so characteristic of turn-of-the-20th-century conceived each piece in three versions: one France: 18 works for chorus, many accompanied for orchestra, another for piano trio, and a by orchestra (notably settings of three Psalms); third for violin (or flute) and piano (D’un Matin two cantatas; some 20 songs; a half-dozen de Printemps), and cello and piano (D’un Soir orchestral scores, including a Poème sympho- triste). The two compositions share a common nique; and pieces for organ, piano, violin and idea for their thematic material, but exhibit the flute. The opera La Princesse Maleine remained contrasting moods implied by their titles—D’un unfinished at her death. In a review of a per- Soir triste is mournful and painted in somber formance of her music in 1921, Louis Vuillemin tones, while D’un Matin de Printemps is bright wrote, “Lili Boulanger brought to music a keen and festive. and prodigiously human sensibility, served in

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40 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 10–11

SERGEI RACHMANINOFF my days were spent on a couch sighing over Concerto No. 2 in C Minor for Piano and my ruined life. My only occupation consisted in Orchestra, Op. 18 giving a few piano lessons to keep myself alive.

Born: April 1, 1873, Oneg (near Novgorod), Russia For more than a year, Rachmaninoff’s condition Died: March 28, 1943, Beverly Hills, California persisted. He began his daily visits to Dr. Dahl in

Work composed: 1900–1901 January 1900. Premiere: Premiered on October 14, 1901 in Moscow, conducted by Alexander Siloti with the My relatives had informed Dr. Dahl that he composer as soloist. must by all means cure me of my apathetic

Instrumentation: solo piano, 2 flutes, 2 oboes, condition and bring about such results that 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, I would again be able to compose. Dahl had 3 trombones, tuba, timpani, bass drum, crash cymbals, strings inquired what kind of composition was desired of me, and he was informed “a concerto for CSO notable performances: 30 previous subscription weekends | Premiere: January pianoforte.” In consequence, I heard repeated, 1910, Leopold Stokowski conducting; Sergei day after day, the same hypnotic formula, as I Rachmaninoff, pianist | Most recent: November 2011, lay half somnolent in an armchair in Dr. Dahl’s Mei-Ann Chen conducting; Terrence Wilson, pianist consulting room: “You will start to compose | Among other notable performances of the work, a concerto—You will work with the greatest Cincinnati Pops founder Erich Kunzel led the CSO of ease—The composition will be of excellent and pianist Van Cliburn at then-Riverfront Stadium quality.” Always it was the same, without July 5, 1971; Arthur Fiedler (of Boston Pops fame) interruption.... Although it may seem impossible led the Orchestra and pianist Leonard Pennario at Nippert Stadium in August 1967; and Louis Langrée to believe, this treatment really helped me. I led the CSO and Evgeny Kissin in a May 2016 started to compose again at the beginning of “special” concert. Also among the many renowned the summer.” pianists who have performed the concerto with the CSO are Arthur Rubinstein, Jean-Yves Thibaudet, In gratitude, he dedicated the new Concerto Lang Lang and André Watts. to Dr. Dahl. Duration: approx. 35 minutes Dazzling Virtuosity Drawing Success Out of Failure The C Minor Concerto begins with eight bell- When he was old and as mellow as he would tone chords from the solo piano that herald the ever get, Rachmaninoff wrote these words surging main theme, announced by the strings. about his early years: “Although I had to fight A climax is achieved before a sudden drop in for recognition, as most younger men must, intensity makes way for the arching second although I have experienced all the troubles and theme, initiated by the soloist. The develop- sorrow which precede success, and although ment, concerned largely with the first theme, I know how important it is for an artist to be is propelled by a martial rhythm that continues spared such troubles, I realize, when I look back with undiminished energy into the recapitulation. on my early life, that it was enjoyable, in spite The second theme returns in the horn before the of all its vexations and bitterness.” The great- martial mood is re-established to close the move- est “bitterness” of Rachmaninoff’s career was ment. The Adagio is a long-limbed nocturne with the total failure of the Symphony No. 1 at its a running commentary of sweeping figurations premiere in 1897, a traumatic disappointment from the piano. The finale resumes the marching that thrust him into such a mental depression rhythmic motion of the first movement with its that he suffered a complete nervous collapse. introduction and bold main theme. Standing in An aunt of Rachmaninoff, Varvara Satina, bold relief to this vigorous music is the lyrical had recently been successfully treated for an second theme, one of the best-loved melodies emotional disturbance by a certain Dr. Nicholas in the entire orchestral literature, a grand inspira- Dahl, a Moscow physician who was familiar with tion in the ripest Romantic tradition. (Years ago, the latest psychiatric discoveries in France and this melody was lifted from the Concerto by the Vienna, and it was arranged that Rachmaninoff tunesmiths of Tin Pan Alley and fitted with suf- should visit him. Years later, in his memoirs, the ficiently maudlin phrases to become the popular composer recalled the malady and the treatment: hit “Full Moon and Empty Arms.”) These two [Following the performance of the First themes, the martial and the romantic, alternate Symphony,] something within me snapped. A for the remainder of the movement. The coda paralyzing apathy possessed me. I did nothing rises through a finely crafted line of mounting at all and found no pleasure in anything. Half tension to bring the work to an electrifying close.

cincinnatisymphony.org | FANFARE CINCINNATI | 41 “…just about everything one wants from a quartet, most notably precision, warmth and… electricity…” —New York Times PHOTO: MARCO BORGGREVE MARCO PHOTO:

The St. Lawrence String Quartet Tuesday, January 28, 7:30 p.m.

“Another Pavel Haas Quartet disc, another triumph.” —Gramophone PHOTO: MARCO BORGGREVE MARCO PHOTO: “…renown[ed] as a pianist of scrupulous musicianship and elegance.” —Anthony Tommasini New York Times, 2015 Pavel Haas Quartet Murray Perahia Thursday, March 12, 7:30 p.m. Tuesday, March 17, 7:30 p.m.

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All concerts at Memorial Hall, 1225 Elm Street.

Season Sponsor: The George & Margaret McLane Foundation Season Co-Sponsor: The Art of the Piano Foundation PROGRAM NOTES: JAN 10–11

AUGUSTA HOLMÈS her interest in music so decisively that the girl La Nuit et l’Amour (“Night and Love”) once stabbed herself with a small dagger. from Ludus pro Patria (“Patriotic It was not until her mother died, when Augusta Games”) was eleven (by which time her father was ready to give in to his head-strong daughter), that Born: December 16, 1847, Paris Died: January 28, 1903, Paris she began piano and voice lessons and serious Work composed: 1888 music study. Within two years, she was an ac- Premiere: Premiered at the Société des Concerts complished pianist and singer and had begun du Conservatoire in Paris on March 4, 1888, to compose (and, in her spare time, paint and conducted by Jules Auguste Garcin write poetry in the four languages she spoke). Instrumentation: 2 fl utes, piccolo, 2 oboes, 2 clarinets, 4 bassoons, 4 horns, 2 trumpets, timpani, She became a French citizen in 1871 (and added 2 harps, organ, strings an accent grave to her family name), was wel- CSO notable performances: This performance comed into Parisian artistic circles, had her fi rst is the work’s CSO subscription premiere. public performances in 1873, began studying Duration: approx. 6 minutes with César Franck in 1875, and devoted herself “Women Have No Idea of Obstacles, and largely to the most ambitious musical genres in Their Willpower Breaks All Barriers” defi ance of the prevailing notion that “lady com- Augusta Holmès, born in Paris in 1847, was a posers” should confi ne themselves to songs and woman of the Victorian Age, though hardly rep- salon pieces—her fi rst major work was the 1875 resentative of that era’s (not fully justifi ed) prim opera Héro et Leandre, followed by two others, and proper image of femininity: her birth may all to her own librettos (La Montaigne Noire was have occurred out of wedlock; she never mar- produced at the Paris Opéra in 1895), a dozen ried, but had fi ve children by another woman’s large-scale secular cantatas, four symphonic husband; she defi ed her parents’ express wishes poems, many songs, choruses and piano pieces. by becoming a composer and made a successful In 1869, she met the poet Catulle Mendès, with career through sheer willpower and persistence whom she shared a passion for Wagner, and in a society that forbade women a conservatory traveled with him and his wife the following year education; she served as a nurse in the Franco- to meet the composer at his home near Lucerne. Prussian War; the giant Ode Triomphale she was Soon thereafter, she and Mendès began the 20- commissioned to write for the 1889 Exposition year aff air that yielded their fi ve children. (In a Universalle, staged in Paris in celebration of sort of karmic recompense, Madame Mendès the centenary of the storming of the Bastille, later had a brief aff air with Wagner.) After their required 1,200 performers and many thought it separation, Holmès continued to compose and inappropriately “virile” and “masculine.” Camille teach until her death in 1903 at the age of 55. Saint-Saëns observed, “Women have no idea of Streets in Paris and Versailles, her childhood obstacles, and their willpower breaks all barriers. home, were named in her honor. Mademoiselle Holmès is a woman, an extremist.” Indeed, Augusta Holmès was not a conventional A Work of National Pride 19th-century woman, but she was a pioneer in Ludus pro Patria (“Patriotic Games”) was the last asserting the creative, intellectual and social of four works Holmès composed on nationalistic qualities of her gender. themes during the decade after 1878, perhaps Holmès was born into the family of an Irish her delayed response to the French defeat in military offi cer who had retired to a small town the Franco-Prussian War of 1870–1871: Lutèce in France and a French woman of Scottish-Irish (1878, titled after the ancient Roman name descent; the couple had been married 20 years for Paris), Irlande (“Ireland,” 1882, after her before Augusta came along. Captain Holmes ancestral homeland), Pologne (“Poland,” 1883) was scholarly and his wife was skilled in poetry and Ludus pro patria (1888). Ludus pro Patria, and painting, and they moved to Paris soon a “symphonic ode” for speaker, choruses and after the wedding to participate in the city’s rich orchestra to her own text, was inspired by and cultural life. Among their Parisian friends was the named for a painting by the French artist Pierre poet Alfred de Vigny, who became close enough Puvis de Chavannes. The painting is now in the to the couple that they named him Augusta’s Metropolitan Museum in New York City, whose godfather, and who was, perhaps, even her web site gives this description: biological father. (Augusta did little to dispel Puvis’ evocation of ancient France shows the rumor.) Despite Madame Holmes’ artistic young athletes training with pikes (piques leanings, she forbade her daughter to pursue in French), the traditional weapon of the Picardy region and reputedly the origin of the

cincinnatisymphony.org | FANFARE CINCINNATI | 43 PROGRAM NOTES: JAN 10–11

province’s name. This work is a replica, reduced A Creative Farewell in size, of the central panel of a mural that Puvis Strauss largely withdrew from public life after completed in 1882 and installed in the Musée de 1935 to his villa at Garmisch-Partenkirchen in the Picardie in Amiens. The exhibition and sale of lovely Bavarian Alps. He lived there throughout such “reductions” helped publicize the artist’s World War II, spared the physical ravages of monumental decorative commissions and the conflict, but deeply wounded by the loss of boost his income. many friends and by the bombing of Dresden, Ludus pro Patria was so successful at its Munich and Vienna. In October 1945, under the premiere, at the Société des Concerts du Con- threat of being called before the Denazification servatoire on March 4, 1888, that it had to be Board, he moved to Switzerland, where he lived repeated the following week. for the next four years. He was cleared by the Holmès headed La Nuit e l’Amour (“Night Board in June 1948, but chose to stay in Switzer- and Love”), the work’s instrumental interlude, land for medical treatment that winter, returning with the following verses: “Love! Divine word! to Garmisch in May 1949. Though increasingly Creator of worlds!/Love! Inspiration of fruitful feeble during his Swiss sojourn, his mind was ecstasy!/Love! Conqueror of Conquerors!” clear, and he continued to compose—a Concerto for Oboe, the Duet Concertino for Clarinet, Bas- RICHARD STRAUSS soon and Strings, and the surpassingly beautiful Vier Letzte Lieder (“Four Last Songs”) Four Last Songs. At the end of 1946, Strauss read Eichendorff’s Born: June 11, 1864, Munich poem Im Abendrot, in which an aged couple, Died: September 9, 1949, Garmisch- Partenkirchen having moved together through the world for a Work composed: 1948 lifetime, look at the setting sun and ask, “Is that Premiere: Premiered on May 22, 1950 in London, perhaps death?” The words matched Strauss’ conducted by Wilhelm Furtwängler with Kirsten feelings of those years, and he determined to Flagstad as soloist set the poem for soprano and orchestra. The Instrumentation: solo soprano, 3 flutes (incl. piccolo), piccolo, 2 oboes, English horn, 2 clarinets, first sketches for the song appeared early in bass clarinet, 3 bassoons (incl. contrabassoon), 4 1947, and the piece was completed by May horns, 3 trumpets, 3 trombones, tuba, timpani, harp, 1948. During that time, a friend sent Strauss a celeste, strings volume of poems by Hermann Hesse, and from CSO notable performances: 4 previous subscription weekends | Premiere: February 1964, that collection he chose four verses to form a Max Rudolf conducting; Mary Costa, soprano | Most five-song cycle with the Eichendorff setting. The recent: May 2002, Paavo Järvi conducting; Barbara Hesse pieces were composed between July and Hendricks, soprano | Soprano Eileen Farrell was first September 1948, making them the final works to sing the piece with the CSO, at Carnegie Hall in that Strauss completed. (He never finished the November 1951, but a planned repeat at Music Hall did not occur because the soprano cancelled due last of the Hesse songs.) He died quietly at his to illness. Garmisch home exactly one year later. Duration: approx. 24 minutes Reflections at Life’s Sunset Each of the magnificent Four Last Songs treats metaphorically the approach of death—through images of rebirth in spring, autumn, rest and GLOSSARY OF MUSICAL TERMS sunset—by returning one final time to the Moderato: moderate tempo soprano voice, for which he had written so Adagio sostenuto: slow and sustained much glorious music throughout his career. In these moving compositions, Strauss left what Allegro scherzando: fast and in a light- British musicologist Neville Cardus described hearted manner as “the most consciously and most beautifully Coda: ending section delivered ‘Abschied’ [‘farewell’] in all music.” Development, Recapitulation: Along with As though bringing round full the cycle of his “exposition,” the principal components life’s work, Strauss quoted in the closing pages of sonata form, typical of movements in of Im Abendrot a theme from his tone poem Death and Transfiguration, written six decades symphonic works earlier, in 1889.

44 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 10–11

S SS

(Spr) Text: Hermann Hesse In dämmrigen Grüften In darkling caves Träumte ich lang I dreamed long Von deinen Bäumen und blauen Lüften, of your trees and azure breezes, Von deinem Duft und Vogelgesang. of your scents and birdsong. Nun liegst du erschlossen Now you lie revealed In Gleiss und Zier in glitter and array, Von Licht übergossen bathed in light Wie ein Wunder vor mir. like a miracle before me. Du kennst mich wieder, ou know me again, Du lockest mich zart, you invite me tenderly. Es zittert durch all meine Glieder There quivers through all my limbs Deine selige Gegenwart. your blessed presence.

S Text: Hermann Hesse Der Garten trauert, The garden is mourning, .KOVLQNWLQGLH%OXPHQGHU5HJHQ WKHUDLQVLQNVFRROO\RQWKHÀRZHUV Der Sommer schauert summertime shudders Still seinem Ende entgegen. quietly to its close. Golden tropft Blatt um Blatt Leaf upon golden leaf is dropping Nieder vom hohen Akazienbaum. down from the tall acacia tree. Sommer lächelt erstaunt und matt Summer smiles amazed and ehausted, In den sterbenden Gartentraum. on the dying dream that was this garden. Lange noch bei den Rosen Long by the roses, Bleibt er stehen, sehnt sich nach Ruh. it tarries, yearns for rest, Langsam tut er die grossen, slowly closes its great Müdegewordenen Augen zu. weary eyes.

S (o to Seep) Text: Hermann Hesse Nun der Tag mich müd gemacht, Made tired by the day now, Soll mein sehnliches Verlangen my passionate longing reundlich die gestirnte Nacht shall welcome the starry night Wie ein müdes Kind empfangen. like a tired child. Hände lasst von allem Tun, Hands, leave all work, Stirn vergiss du alles Denken, brow, forget all thought. Alle meine Sinne nun Now all my senses Wollen sich in Schlummer senken. long to sink themselves in slumber. Und die Seele unbewacht And the spirit unguarded Will in freien lügen schweben, longs to soar on free wings, Um im Zauberkreis der Nacht so that, in the magic circle of night, Tief und tausendfach zu leben. it may live deeply, and a thousandfold.

( te t) 7H[W-RVHSK)UHLKHUUYRQ(LFKHQGRU௺ Wir sind durch Not und reude Through want and joy we have gegangen Hand in Hand, walked hand in hand, vom Wandern ruhn wir beide we are both resting from our travels nun überm stillen Land. now, in the quiet countryside. Rings sich die Täler neigen, Around us the valleys fold up, es dunkelt schon die Luft, already the air grows dark, zwei Lerchen nur noch steigen only two larks still soar nachträumend in den Duft. wistfully into the balmy sky. 7ULWWKHUXQGODVVVLHVFKZLUUHQ &RPHKHUHDQGOHWWKHPÀ\DERXW bald ist es Schlafenszeit, soon it is time to sleep. dass wir uns nicht verirren We must not go astray in dieser Einsamkeit. in this solitude. O weiter, stille riede! O spacious, tranquil peace, So tief im Abendrot. so profound in the gloaming Wie sind wir wandermüde— How tired are we of traveling— ist dies etwa der Tod is this perchance death

cincinnatisymphony.org | FANFARE CINCINNATI | 45

PROGRAM NOTES: JAN 10–11

RICHARD STRAUSS genres to opera at the beginning of the 20th Liebeshymnus (“Hymn of Love”), century. Much of his inspiration for song compo- Op. 32, No. 3 sition during his early years came from his wife, Cäcilie (“Cecily”), Op. 27, No. 2 Pauline de Ahna, an excellent soprano who had Morgen (“Morning”), Op. 27, No. 4 performed at Bayreuth and taken part shortly before they were married in the premiere of Songs composed: 1891–1896 Strauss’ ﬁ rst opera, Guntram. Like Schubert, Instrumentation: (combined for all three songs) soprano solo, 3 ﬂ utes, 2 oboes, 2 clarinets, 2 Strauss was not especially discriminating in his bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, selection of the texts for his songs (he was, curi- timpani, harp, strings ously, just the opposite with his opera librettos),

CSO notable performances: The CSO premiere choosing his verses from minor contemporary for all three songs was April 8–9, 1904, Richard Strauss conducting; his wife, Pauline Strauss de poets as frequently as from the more esteemed Ahna, vocalist | The premiere was the only previous classic German writers. His songs correspond- performance of Liebeshymnus at these concerts; ingly vary in quality, a situation for which the Morgen has been performed here 10 other times, composer himself off ered a surprisingly candid most recently by Kathleen Battle in 2010, Paavo explanation: Järvi conducting; Cäcilie has been performed here 3 additional times, most recently in May 1980 by Musical ideas have prepared themselves within Grace Bumbry, Jerzy Semkow conducting. me—God knows why—and a song appears in Duration: approx. 9 minutes the twinkling of an eye when I come across The Culmination of a Romantic Tradition a poem more or less corresponding to the The great tradition of the 19th-century German subject of the imaginary song…. If I fi nd no poem matching the subject that exists in my Lied came to its end with the songs of Richard imaginary mind, however, then the creative Strauss. Though he wrote songs throughout his urge has to be re-channeled to the setting of long life—his fi rst piece, penned at age six, was some other poem which I think lends itself to a Christmas carol; his last was the magnifi cent music. It goes slowly, though. I resort to artifi ce. Four Last Songs—he composed most of his Lieder before he turned from the orchestral The best of Strauss’ songs are imbued with a

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PROGRAM NOTES: JAN 10–11 soaring lyricism, a textural and harmonic rich- John Henry Mackay (1864–1933) was born In ness, and a sensitivity to the text that place them Scotland but spent most of his life in Germany, among the most beautiful and enduring works where he gained notoriety for his anarchistic of their type, the culmination of the most inti- writings and his support of what was then mate musical genre of the legacy of Schubert, known as “homosexual emancipation.” He also Schumann and Brahms. wrote passionate lyrical poetry, and in 1894 The poet and publisher Karl Friedrich Henckell Strauss included two of his verses (Morgen and (1864–1929) became known for espousing so- Auff orderung) in the set of four songs (Op. 27) cialist causes as well as for such tender verses he wrote as a wedding gift for his bride, the as Liebeshymnus (“Hymn of Love”), of which gifted soprano Pauline de Ahna. Also included Strauss made a rapturous setting to include in in the Op. 27 set was a setting of Cäcilie by the his Op. 32 songs of 1896. German poet, drama critic and literary journal publisher Heinrich Hart (1855–1906).

S SS SS (m of oe), p 2, o Text: Karl Friedrich Henckell Heil jenem Tag, der dich geboren, Happy was the day you were born— KHLOLKPGDLFK]XHUVWGLFKVDK KDSS\ZDVWKHGD\,¿UVWVDZ\RX In deiner Augen Glanz verloren Lost in the radiance of your eyes, steh’ ich, ein sel’ger Träumer, da. I stand, a blissful dreamer. Mir scheint der Himmel aufzugehn, Heaven seems to open to me, den ich von ferne nur geahnt, yet I only sense it from afar, und eine Sonne darf ich sehn, and I am permitted to gaze upon the sun, daran die Sehnsucht nur gemahnt. something my yearning only ever imagined. :LHVFK|QPHLQ%LOGLQGLHVHP%OLFNH +RZZRQGHUIXOLWLVWRVHHP\UHÀHFWLRQ in your eyes! In diesem Blick mein Glück wie gross! In your gaze, how great is my happiness! 8QGÀHKHQGUXI¶LFK]XP*HVFKLFNH $QG,FDOOWRP\IDWHLPSORULQJO\ O weile, weile, wandellos! “Oh tarry, remain unchanging!”

(e), p 2, o 2 Text: Heinrich Hart Wenn du es wüsstest, If you only knew Was träumen heisst von brennenden Küssen, what it’s like to dream of burning kisses, Von Wandern und Ruhen mit der Geliebten, of wandering and resting with one’s beloved, Aug in Auge, eye turned to eye, Und kosend und plaudernd, and cuddling and chatting— Wenn du es wüsstest, if you only knew, Du neigtest dein Herz! you would incline your heart [to me]! Wenn du es wüsstest, If you only knew Was bangen heisst in einsamen Nächten, what it’s like to feel dread on lonely nights, Umschauert vom Sturm, da niemand tröstet surrounded by a raging storm, while no one comforts Milden Mundes die kampfmüde Seele, with a mild voice your struggle-weary soul— Wenn du es wüsstest, if you only knew, Du kämest zu mir. you would come to me. Wenn du es wüsstest, If you only knew Was leben heisst, umhaucht von der Gottheit what it’s like to live, surrounded by God’s :HOWVFKDႇHQGHP$WHP ZRUOGFUHDWLQJEUHDWK =XVFKZHEHQHPSRUOLFKWJHWUDJHQ WRÀRDWXSFDUULHGE\WKHOLJKW Zu seligen Höhn, to blessed heights— Wenn du es wüsstest, if you only knew, Du lebtest mit mir! then you would live with me!

(omorro), p 2, o Text: John Henry Mackay Und morgen wird die Sonne wieder scheinen, And tomorrow the sun will shine again, und auf dem Wege, den ich gehen werde, and on the path I will take, wird uns, die Glücklichen, sie wieder einen it will unite us again, we happy ones, inmitten dieser sonnenatmenden Erde… upon this sun-breathing earth… Und zu dem Strand, dem weiten, wogenblauen, And to the shore, the wide shore with blue waves, werden wir still und langsam niedersteigen, we will descend quietly and slowly; stumm werden wir uns in die Augen schauen, we will look mutely into each other’s eyes und auf uns sinkt des Glückes stummes Schweigen. and the silence of happiness will settle upon us.

—Program notes by Dr. Richard E. Rodda

cincinnatisymphony.org | FANFARE CINCINNATI | 49 GUEST ARTISTS: Jan 10–11

RENÉE FLEMING, soprano ence as the fi rst classical artist ever to sing the Previous CSO Performances: Ms. Fleming National Anthem at the Super Bowl. last performed with the CSO in September 2012 In December, Renée brought her acclaimed (season-opening gala concert), her debut with the portrayal of Margaret Johnson in The Light in Orchestra. the Piazza to the Lyric Opera House in Chicago, Read more: reneefl eming.com; also read Fanfare’s Spotlight article on p. 25 after appearances in London and Los Angeles. Last spring, Renée appeared opposite Ben Renée Fleming is Whishaw in Norma Jean Baker of Troy to open one of the most The Shed at New York City’s Hudson Yards. highly acclaimed She earned a Tony Award nomination for her singers of our time. performance in the 2018 Broadway production Winner of four of Carousel. Her new album, Lieder: Brahms, Grammy® awards, Schumann, and Mahler, was released by Decca and recipient of the in June. She was heard on the soundtracks of US National Medal of the 2018 Best Picture Oscar winner The Shape Arts from President of Water and Three Billboards Outside Ebbing, Obama, Renée has Missouri, and she provided Julianne Moore’s sung for momen- singing voice for the fi lm Bel Canto. tous occasions from As Artistic Advisor to the John F. Ken- the Nobel Peace nedy Center for the Performing Arts, Renée Prize ceremony to spearheads a collaboration with the National the Diamond Jubi- Institutes of Health focused on music, health lee Concert for HM and neuroscience. In 2010 she was named the Queen Elizabeth II fi rst-ever creative consultant at Lyric Opera of at Buckingham Pal- Chicago. Her awards include the Fulbright Life- ace. In 2014, Renée time Achievement Medal, Germany’s Cross of brought her voice Renée Fleming, © Andrew Eccles the Order of Merit, Sweden’s Polar Music Prize, to a vast new audi- and France’s Chevalier de la Légion d’Honneur.

50 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: JAN 10–11

BEHZOD ABDURAIMOV, pianist Alte Oper Frankfurt, and further recitals include

Previous CSO Performances: Debut the International Piano Series in London, the Read more: behzodabduraimov.com Meesterpianisten Series at the Concertgebouw Amsterdam, Spivey Hall in Atlanta, and the Mel- Behzod Abduraimov bourne Recital Centre, among others. performs with leading Abduraimov and cellist Truls Mørk have de- orchestras worldwide, veloped a formidable duo, with tours in Europe collaborating with and the U.S. and an upcoming recording. He has prestigious conduc- also established a relationship with the English tors such as Valery Chamber Orchestra, whom he directed from Gergiev, Vladimir Ash- the piano in 2019. In 2019–20 he plays-directs kenazy, Lorenzo Vi- Camerata RCO as part of the 20th anniversary otti, James Gaffi gan, season of the İş Sanat Concert Hall, Istanbul. Jakub Hrůša, Santtu- His 2012 debut CD of Liszt, Saint-Saëns and Matias Rouvali and Prokofi ev (Decca) won the Choc de Classica and Gustavo Dudamel. Diapason Découverte, and his fi rst concerto disc In 2019–20 he re- for the label featured Prokofi ev’s Piano Con- turns to Carnegie Hall certo No. 3 and Tchaikovsky’s Concerto No. 1. for two performances: A fi lm of his BBC Proms debut in 2016, with the Behzod Abduraimov, © Evgeny Eutykhov his second Stern Audi- Mü nchner Philharmoniker under Gergiev, was torium recital and with released as a DVD in 2018. the Münchner Philharmoniker under Gergiev fol- Born in Tashkent, Uzbekistan, in 1990, Abdu- lowing their concerts in Munich. He also serves as raimov began playing the piano at age fi ve as a Artist-in-Residence with the Fundação Calouste pupil of Tamara Popovich at the Uspensky State Gulbenkian. Other season highlights include Central Lyceum, Tashkent. In 2009, he won First Orchestre National de France, Philharmonia Or- Prize at the London International Piano Competi- chestra, Deutsches Symphonie-Orchester Berlin tion. He studied with Stanislav Ioudenitch at the and the Sydney Symphony Orchestra. He will International Center for Music at Park University, make concerto and recital appearances at the Missouri, where he is Artist-in-Residence.

THE ARC IN THE SKY

SUN JAN 12 • 5PM MEMORIAL HALL

SACRED HEART

SUN MAR 29 • 5PM ST. ROSE CHURCH Poetry beyond the horizon. vaecinci.com 1980-2020 513.381.3300 4OTH SEASON

cincinnatisymphony.org | FANFARE CINCINNATI | 51 ArtsWave is creating a more vibrant and connected community through the arts

Learn more about how your gift to ArtsWave creates a Ripple Effect of benefits at ArtsWave.org TENTH SUBSCRIPTION PROGRAM | 125th ANNIVERSARY SEASON

2019–2020 SEASON SAT JAN 18, 8 pm SUN JAN 19, 2 pm Music Hall

LOUIS LANGRÉE conductor AARON DIEHL pianist VADYM KHOLODENKO pianist GEORGE GERSHWIN pianola TAL ROSNER video artist CINCINNATI SYMPHONY YOUTH ORCHESTRA Wilbur Lin, conductor MAY FESTIVAL CHORUS Robert Porco, director

WILLIAM WINSTEAD Passages in Time WORLD PREMIERE, CSO COMMISSION (b. 1942)

YSAŸE Exil!, Op. 25, for High Strings (1858–1931)

ELLINGTON New World A-Comin’ (1899–1974)

GERSHWIN Rhapsody in Blue (1898–1937)

INTERMISSION

DANÍEL BJARNASON Collider (b. 1979)

SCRIABIN Symphony No. 5, Op. 60, Prometheus: Poem of Fire (1872–1915)

These performances will end at approximately 10 pm Saturday and 4 pm Sunday.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group and Presenting Sponsor Taft, Stettinius & Hollister. The Cincinnati Symphony Orchestra is grateful to Irwin and Melinda Simon for their support of the newly commissioned Passages in Time by William Winstead. The apprearance of Aaron Diehl is made possible by the Vicky and Rick Reynolds Fund for Diverse Artists. These concerts are endowed by Martha Anness, Priscilla Haffner & Sally Skidmore in loving memory of their mother, LaVaughn Scholl Garrison, a long-time patron of the Symphony. Yamaha Disklavier CFX concert grand piano provided by Yamaha Corporation of Irwin and America & Yamaha Artist Services New York. Melinda Simon The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts. Accessibility shuttle services provided by Croswell VIP Motorcoaches. Pre-Concert Talks are endowed by Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. Listen to this program on 90.9 WGUC March 22, 2020 at 8pm and online at cincinnatisymphony.org March 23–29.

with the CSO to reimagine the light INSIGHTS symphony with LED technology. Scriabin from Music Director also included a massive piano part to Louis Langrée personify the character Prometheus, blending the genres of symphony and To celebrate our milestone anniversary, I concerto. The Ukrainian pianist Vadym wanted to include pieces for this special Kholodenko makes his CSO debut weekend that celebrate the Orchestra, its portraying the hero and his holy sacrifice. history, and its commitment to new works and innovation. This program features two commissions. The first was commissioned by the Orchestra from one of our own, AN INTRODUCTION TO THE PROGRAM retired Principal Bassoonist Bill Winstead. Our 125th anniversary concert includes two His Passages in Time will feature three pieces that contribute to a retrospective look at generations of Orchestra musicians— the orchestra’s history. Exil! by Eugène Ysaÿe, retired Orchestra members, the Cincinnati the Orchestra’s fourth music director (1918–22), Symphony Youth Orchestra, and current had its premiere here at the May Festival 101 Orchestra members. The second, by years ago. And Duke Ellington recorded his New World A-Comin’ with the Orchestra, conducted Daníel Bjarnason, was commissioned by by Erich Kunzel, in 1970. the CSO in 2014 and premiered here in Yet an anniversary is always an opportunity 2015. Exil! was written by former Music not only to revisit the past but also to turn to- Director Eugène Ysaÿe and contains a ward the future—hence the technological tour lush texture that is highly chromatic and de force of inviting George Gershwin to join the full of sweeping melodies. Duke Ellington orchestra from the Other Side in his landmark and George Gershwin both performed Rhapsody in Blue, and the innovative visuals their own works with the Orchestra. in Scriabin’s Prometheus, rarely seen in the Ellington was the soloist for the CSO’s coloristic splendor that will be on display this 1970 recording of New World A-Comin’, weekend. And, perhaps most importantly: we and we are overjoyed that American present two new works—one a world premiere jazz pianist Aaron Diehl will make his by a recently retired member of the Orchestra, and the other a repeat performance of a recent debut embodying Ellington in these CSO commission, written by a rising interna- performances. Gershwin performed his tional star. The adventure continues! own Rhapsody in Blue with the CSO and —Peter Laki music director Fritz Reiner in 1927. This weekend we will hear the closest musical WILLIAM WINSTEAD experience to that 1927 performance as, Passages in Time through the use of innovative technology, WORLD PREMIERE, CSO COMMISSION Gershwin will return to the Music Hall Born: December 11, 1942, Hopkinsville, KY stage as soloist via his own piano roll Work composed: 2019 “recording”! Premiere: These performances are the work’s Another example of the CSO’s world premiere. Instrumentation: 3 ﬂutes, piccolo, 2 oboes, commitment to innovation will be bringing English horn, 2 clarinets, bass clarinet, alto to life the synesthetic art that is Alexander saxophone, 3 bassoons, contrabassoon, 4 horns, Scriabin’s Prometheus symphony. Scriabin 4 trumpets, 3 trombones, tuba, timpani, chimes, 2 crotale, 2 crash cymbals, glockenspiel, high hat, intended the work to be an immersive snare drum, suspended cymbals, tam-tam, tenor story-telling experience through light drum, 3 triangles, water gong, wood block, 2 harps, and sound, and he wrote a part in the celeste, organ, strings, second orchestra (Cincinnati Symphony Youth Orchestras [CSYO]) score for an instrument he called “Luce.” Duration: approx. 10 minutes This device was created specifically to help illuminate the atmosphere and the In the Composer’s Words message of Prometheus. We are thrilled For a recently retired member of the Cincinnati that video artist Tal Rosner has partnered Symphony Orchestra, it is an extraordinary

54 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 18–19

honor to have been ing gestures and fanfares, the glorious Future asked to compose mu- approaches—now embracing the musicians of sic for the opening of the Cincinnati Symphony Youth Orchestras the orchestra’s 125th (CSYO) in an antiphonal spiral of unfolding anniversary concert. flourishing dialogue. Maestro Langrée chal- Nonetheless, in a concurrent celebration lenged me to produce of my own personal time with the Cincinnati a composition which Symphony Orchestra, Passages in Time honors celebrates the CSO’s the memory of William H. Loring, the man who glorious Past, Present succeeded in making my musical career happy and Future. For one and productive for a virtual lifetime. composer that might —William Winstead be just a short fanfare; for me, a significant About William Winstead William Winstead, Photo: Ixi Chen and meaningful task. William Winstead’s illustrious 32-year career The ceremonial beginning of Passages in as Principal Bassoonist of the Cincinnati Sym- Time relives the grand harmonic and melodic phony Orchestra began in 1986, and he was style of a past century, including conversations appointed Professor of Music at the Cincinnati with a familiar personality of theaters of the era, College-Conservatory of Music in 1989. A na- the majestic pipe organ. Irresistibly, the focus tive of western Kentucky, Winstead began his turns toward the Present as an intimate ency- musical training at the piano at three years clopedic examination of the make-up of today’s of age and was already composing music at ensemble begins in kaleidoscopic spotlights of five. As a teenager he attended the formidable mood, style and color. All the while, juxtaposed Curtis Institute of Music in Philadelphia, pursu- echoes of past harmonies and rhythms enhance ing the study of his favorite instrument with present ones. Nearly every facet of the roster is renowned bassoonist Sol Schoenbach. Mean- visited, and eventually, with the return of sweep- while Winstead continued his study of the piano, eventually coaching and accompanying in the private vocal studios of Metropolitan Opera Sound Bites lyric baritone Martial Singher. Even a stint at conducting opera followed before he turned During these concerts, a celebration of the to the serious study of composition in New Orchestra’s 125th Anniversary, listen for the York City with Ben Weber and at West Virginia ceremonial mood of Winstead’s Passages University with Thomas Canning. in Time (a world premiere commission from For 25 years afterward, Winstead built a career as a college professor—teaching bassoon, piano, the former Orchestra member), the intense music theory and composition—first at West chromaticism of former CSO Music Director Virginia University, then at Indiana-Purdue Uni- Eugène Ysaÿe’s Exil!, the dazzling expression versity, Florida State University, and Oberlin Con- of hoped-for freedom in Ellington’s New servatory of Music. During this time he served as a member of the National Endowment of the Arts World A-Comin’ (Ellington performed the (NEA) Music Advisory Panel for Solo Recitalist work here in 1966), the sounds of George Grants and appeared at summer music festivals Gershwin himself performing (on piano roll) including Spoleto, Italy’s Festival of Two Worlds, his Rhapsody in Blue (Gershwin performed at the Aspen Music Festival, the Sarasota Music Festival, the Marlboro Music Festal, and most the work here—in person—in 1927), the musical recently at Domaine Forget de Charlevoix in equivalent of particle collision in Bjarnason’s Quebec. Having presented masterclasses at such Collider (the CSO commissioned and prestigious institutions as the Juilliard School, premiered the work in 2015), and the joyful, Curtis Institute of Music, Manhattan School of Music, Oberlin Conservatory, Interlochen Arts even erotic, aspects of existence depicted Academy and Beijing Conservatory, his varied musically by a large orchestral force, as well appearances have even included performances as visually, courtesy of a “color organ” in as a harpist, a pianist, and as a countertenor. Scriabin’s Prometheus: Poem of Fire, a CSO Before joining the Cincinnati Symphony Orchestra, Winstead’s concurrent career as subscription premiere. a composer had also been filled with notable

cincinnatisymphony.org | FANFARE CINCINNATI | 55 PROGRAM NOTES: JAN 18–19 accomplishments. The Moon Singer, a narrated EUGÈNE YSAŸE work for children, was premiered by the Phila- Exil!, Op. 25, for High Strings delphia Orchestra in 1972 and his Symphony Born: July 16, 1858, Liège, Belgium No. 1, “Appalost,” for soprano, tenor, chorus Died: May 12, 1931, Brussels, Belgium and orchestra was premiered by the Pittsburgh Work composed: 1918 Symphony Orchestra in 1975. In 1976 he received Premiere: May 9, 1918 (May Festival), Cincinnati, a grant from the National Endowment for the Eugène Ysaÿe conducting the Cincinnati Symphony Orchestra at Music Hall Arts for a Bicentennial work (The Secret of ’76 Instrumentation: strings for narrator and orchestra), and his Symphony CSO notable performances: 2 previous No. 1, “Appalost” had been supported by a grant subscription weekends, both led by Eugène Ysaÿe from the West Virginia Arts and Humanities | Subscription premiere: December 1918 (May Council in 1974. Winstead’s Concerto for Bas- Festival premiere May 1918) | Most recent: March 1922 | Ysaÿe also led the Orchestra in several tour soon, “Wakulla,” was an award winner in the performances of the work 1919–1922; the work was George Eastman Prize Competition of 1983 and featured in the fi rst-ever radio broadcast of live was given its premiere by the noted bassoonist, orchestral music Nov. 2, 1921, when Ysaÿe led the David van Hoesen, with the Musica Nova En- CSO at the Armory on the campus of the University semble at the Eastman School of Music in 1985. of Wisconsin—Madison. Ysaÿe also led Exil! at a special October 1919 concert in honor of the visiting A collaboration with his mentor Sol Schoen- Royal Majesties King Albert and Queen Elizabeth of bach has resulted in the publishing of several vol- Belgium. umes of solo bassoon music (Theodore Presser Duration: approx. 8 minutes Publishing Co.). Most recently, his newer works for solo bassoon and the Four Impromptus for Eugène Ysaÿe became the Cincinnati Symphony Oboe and Piano have been published by TrevCo Orchestra’s music director in 1918, the last year Music Publishers, North America’s premier of World War I. Having fl ed his native Belgium publisher of music for double reed instruments. when the Germans invaded the neutral country The very fi rst commercial recording of one of in 1914, Ysaÿe had spent the intervening years in Winstead’s compositions, Piano Sonata No. 1, London and arrived in the United States for his “Lorad,” is scheduled for release in July of 2020. American conducting debut with the CSO on

56 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 18–19

April 5, 1918. The concert was so well received DUKE (EDWARD KENNEDY) ELLINGTON that he immediately received an appointment as New World A-Comin’ music director, which gave him a chance to re- Born: April 29, 1899, Washington, D.C. orient his career away from war-torn Belgium. Died: May 24, 1974, New York Previously recognized as one of the greatest Work composed: 1943 violinists of his time (perhaps the greatest), Premiere: December 11, 1943, Carnegie Hall, Ysaÿe had been forced to give up his legendary New York Instrumentation: solo career due to health problems and devoted solo piano, 2 flutes, 2 oboes, English horn, 3 clarinets, bass clarinet, 2 bassoons, his energies to composing, conducting and 4 horns, 4 trumpets, 3 trombones, tuba, drum set, teaching during the remaining years of his life. Fender bass, timpani, bass drum, crash cymbals, Even though the Cincinnati years represented a snare drum, suspended cymbals, vibraphone, harp, new start for Ysaÿe, it is hardly surprising if he felt strings CSO notable performances: as an exile in America. If that were not enough, his These are the first CSO subscription performances of New World younger brother, Théo, a gifted composer, died A-Comin’; however, the work has appeared on on March 24, 1918, less than two weeks before several special concerts and Pops performances: his Cincinnati debut. (One of Théo’s works was Duke Ellington himself, along with his Trio performed by the CSO soon afterward.) All this (Ellington, piano; John Lamb, upright bass; Sam may explain why Exil!, introduced during Ysaÿe’s Woodyard, drum set), performed the work’s Music Hall premiere in April 1966; Ellington returned to first May Festival, turned out to be such a tragic perform and record the work with the Orchestra work. (Ysaÿe’s son and biographer Antoine fur- in April 1970, Erich Kunzel conducting. CSO pianist ther revealed that the 60-year-old composer also Michael Chertock was soloist when Erich Kunzel had what was referred to as “a seemingly hope- led performances at Riverbend in June 1997 and at less attachment to one of his violin students,” Carnegie Hall in 1999. Duration: approx. 12 minutes further complicating his life at this moment….) Ysaÿe, whose father Nicolas—also a violinist Another “Rhapsody in Blue” and conductor—had spent several months in In a way, New World A-Comin’ might be seen Cincinnati half a century earlier, led the Or- as Duke Ellington’s answer to Rhapsody in Blue chestra on several successful domestic tours, as a one-movement piano concerto in jazz style and presided over the CSO’s first live radio (Ellington’s only work using this format). But, 19 broadcast in 1921. years after the Rhapsody, such a work no longer counted as an “experiment.” It was first per- What to Listen For formed during a completely sold-out all-Ellington The program book for the 1918 premiere con- concert at Carnegie Hall on December 11, 1943, tained the following notes about Exil!: and was enthusiastically received. The piece also had a social message reflected in its title, taken The title “Exil” must be taken in its broadest and from a then-recent book by Roi Ottley (1906–60), most poetical meaning. The composer has tried to render the sufferings of a soul torn from its in which the African-American journalist and sister soul—exiled; to depict its anguish and its writer offered a sociography of Harlem, ending lament, its grief and its distress, reaching their with a clear call for racial justice and equality. As climax in a paroxysm of despair. musicologist David Schiff has written in a 2013 study of Ellington’s work: “In borrowing Ottley’s The end is the submission to fate amidst the title, Ellington aligned himself unmistakably with gloom and sadness of solitude. the book’s militant stance.” The work is rather unique in its scoring for an Originally written for piano solo to the accom- ensemble of violins and violas, without cellos or paniment of Ellington’s own band, New World double basses. Each section (first violins, second A-Comin’ will be heard today in an arrangement violins and violas) is divided into two groups, for full symphony orchestra prepared by master resulting in a saturated texture in which Ysaÿe’s arranger and longtime Ellington associate Luther intensely chromatic harmonies come into sharp Henderson. The arrangement was premiered at relief. The chromaticism (use of half-steps) is Philadelphia’s Robin Hood Dell on July 25, 1949. all-pervasive, causing the tonality to change The piano part, which Ellington apparently never in almost every measure of this brief, moving wrote down, was transcribed from recordings by elegy. The “submission to fate” mentioned in jazz pianist and composer John Nyerges. the 1918 program note is an even slower, and tonally more stable section where the word Exil! What to Listen For is repeated in Ysaÿe’s manuscript, underlined The dazzling piano solos and orchestral pas- with a thick stroke of the pen. sages are strung together loosely like beads on

cincinnatisymphony.org | FANFARE CINCINNATI | 57 PROGRAM NOTES: JAN 18–19 a chain. As David Schiff pointed out, the work’s several times throughout the Orchestra’s history on “…sequence of events...is itself a representation “special” concerts (including April 1947, when Paul of freedom, as much of a musical topic as the Whiteman led the Paul Whiteman Orchestra and pianist Earl Wild in the work), Pops concerts, tours, character of the individual themes. Over and etc. (CSO pianist Michael Chertock was soloist for over again, the solo piano defi es expectation several, including New Year’s Eve 2010), including at and redraws the map: how better to enact a lib- Carnegie Hall (March 1988, Erich Kunzel conducting; erated state? In achieving this synthesis of form William Tritt, pianist); in Taipei and Tokyo (November and content Ellington gave musical expression 1990, Erich Kunzel conducting; William Tritt and Annie Chang, pianists; Taipei also in 1997; Tokyo also to Ottley’s ideas of political liberation.” in 1998); 2009 Japan tour, Paavo Järvi conducting; Krystian Zimerman, pianist. Erich Kunzel led the GEORGE GERSHWIN Orchestra and pianist Eugene List in a recording of Rhapsody in Blue the work in 1983; Erich Kunzel recorded the original “jazz band” version in 1988 with the Cincinnati Pops; Born: September 26, 1898, Brooklyn, New York William Tritt was pianist for a 1998 recording. Died: July 11, 1937, Los Angeles, CA Duration: approx. 16 minutes Work composed: 1924, orch. by Ferde Grofé Premiere: February 12, 1924, New York, Paul “…and then all hell broke loose…” Whiteman conducting the Palais Royal Orchestra “When the Rhapsody ended, there were sev- Instrumentation: solo piano, 2 fl utes, 2 oboes, eral seconds of silence and then all hell broke 2 clarinets, bass clarinet, 2 alto saxophones, tenor loose,” writes Charles Schwartz in his Gershwin saxophone, 2 bassoons, 3 horns, 3 trumpets, 3 trombones, tuba, banjo, timpani, bass drum, crash biography, describing the fi rst performance cymbals, glockenspiel, snare drum, suspended of Rhapsody in Blue. The work was heard at cymbals, tam-tam, triangle, strings the end of a long concert given by the famous CSO notable performances: 9 previous bandleader Paul Whiteman and labeled, some- subscription weekends, although this performance what ambitiously, an “Experiment in Modern with Gershwin’s own performance on Piano Roll is a CSO premiere | Premiere: March 1927, Fritz Reiner Music.” In reality, all Whiteman had in mind was conducting; George Gershwin, pianist | Most recent: to have popular tunes arranged for a classical March 2017, Louis Langrée conducting; Alexander orchestra to enhance the respectability of jazz Gavrylyuk, pianist (also on tour to China and Hong among a high-brow audience. Kong, March 2017) | Rhapsody in Blue has appeared

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It was for this concert that Whiteman had com- gallery and seeing some paintings by James missioned the Rhapsody from Gershwin. He in- McNeill Whistler—with titles such as “Nocturne vited musicians like Jascha Heifetz, Fritz Kreisler, in Black and Gold” and “Arrangement in Gray Sergei Rachmaninoff and Leopold Stokowski to and Black”—Ira thought, “why not a musical come and witness the great “experiment,” which, Rhapsody in Blue?” however, rapidly began to degenerate into quite a boring aff air—until, that is, the 27-year-old What to Listen For George Gershwin came on stage. Although notated precisely in score, the Rhapso- Schwartz writes: dy contains a quasi-improvisatory quality in the loose and unpredictable way its various sections Whiteman gave a downbeat and [Ross] follow one another; a sense of order is restored Gorman began his clarinet solo. At the sound of the clarinet, with its opening “wail,” the at the end when two of the main themes return. audience became as if transﬁ xed. Jolted by Elements of jazz and Western classical music are the exuberant, unexpected beginning, they combined in a way that many composers, both were rooted in their seats, their ennui and American and European, have sought to emulate, restlessness disappearing as if by magic.... though few can be said to have succeeded as well It was unmistakably clear as the Rhapsody as Gershwin. The extraordinary success of this continued that it was generating a vitality and work catapulted Gershwin, already a noted pres- cohesiveness that are only too infrequently ence on Tin Pan Alley and Broadway, to fame as Rhapsody encountered in creative works. The a composer of serious music. The Rhapsody is a seemed to have something pertinent to say landmark composition, one of the ﬁ rst American and was saying it forcefully and directly, with concert pieces to become truly popular both at personality and conviction. home and abroad. The work had originally been titled simply Gershwin himself stressed the distinctive “American Rhapsody.” According to another American quality of his work: Gershwin biographer, Edward Jablonski, the In the Rhapsody I tried to express our manner title Rhapsody in Blue came from Gershwin’s of living, the tempo of our modern life with brother and collaborator, Ira. After visiting a

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its speed and chaos and vitality. I didn’t try to subscription concert: March 2015 (world premiere, paint defi nitive descriptive pictures in sound....I MusicNOW concert), Louis Langrée conducting consider the Rhapsody as embodying an Duration: approx. 15 minutes assimilation of feeling rather than presenting Daníel Bjarnason was born in Reykjavík, Iceland specifi c scenes of American life in music. in 1979. (Icelandic names usually consist of given For this weekend’s performances, Gershwin’s name and patronymic [father’s name]; people piano roll recording has been digitized and trans- are customarily addressed and referred to by ferred onto a Yamaha Disklavier piano. Since the fi rst name only.) Daníel composed Collider on version originally recorded was a reduction with commission from the Cincinnati Symphony Or- piano accompaniment, with both parts recorded chestra and the MusicNOW Festival in honor of onto the same roll, the accompaniment was Louis Langrée with support from Ann and Harry removed so the orchestra could play it live. Santen and the Iceland Symphony Orchestra. Daníel has seen his music performed by the DANÍEL BJARNASON most prominent orchestras and soloists both Collider in Europe and the United States. A New York Times music critic wrote: “His colorful, restless Born: February 27, 1979, Reykjavík, Iceland score drew me in, with its passages of overlap- Work composed: 2015 Premiere: March 14, 2015, Cincinnati, Louis ping cyclic riff s, slowly heaving instrumental Langrée conducting the Cincinnati Symphony expanses and episodes of darting fragments, Orchestra like some mystical dance.” Instrumentation: 4 fl utes (incl. 2 piccolos), 4 Daníel’s Collider is named after those power- oboes (incl. English horn), 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, ful particle accelerators that are so important 3 trombones, tuba, timpani, bass drum, fl oor tom, in subatomic physics. The musical equivalents glockenspiel, guiro, large tam-tam, marimba, of particle collision are the multifarious in- sandpaper blocks, small gong, snare drum, 2 tersections of long-held notes that give the suspended cymbals, tubular bells, vibraphone, impression of moving along simply by getting water gong, whip, wood block, xylophone, harp, piano, strings louder or softer; insistent repeated-note fi gures CSO notable performances: 1 previous and fast runs constitute further elements that audibly “collide” with one another. And, talk about accelerators: the piece is nothing if not a continuous speeding up from an extremely slow opening to an ecstatic conclusion. Daníel employs a gigantic orchestra, with quadruple woodwinds, six horns and a large percussion battery; he writes intriguing polyphony for the woodwinds and the brass in 12 voices or more, requires various non-traditional techniques (including harmonics) of the strings, and gives prominent roles to the harp, the piano and the percussion. More thinly scored episodes, such as a stunning alternation between the contrabassoon and the piccolo, or a slowly ascending clarinet solo, both on a bed of shimmering orchestral sonorities, enrich the work’s palette of colors as the “collider” progresses toward the completion of its experiment.

ALEXANDER SCRIABIN BEETHOVEN No. 8 Symphony No. 5, Op. 60, Prometheus: + Sō PERCUSSION Poem of Fire APR 3–4 Born: January 7, 1872, Moscow Died: April 14, 1915, Moscow Work composed: 1908–1910 Louis Langrée conductor Premiere: March 2, 1911, Moscow, Serge Sō Percussion Koussevitzky conducting Instrumentation: solo piano, SATB chorus, 3 ﬂ utes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 8 horns,

60 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 18–19

5 trumpets, 3 trombones, tuba, timpani, bass drum, screen. In these performances, the following chimes, crash cymbals, 2 glockenspiels, tam-tam, color scale will be used: triangle, 2 harps, celeste, organ, strings, color organ CSO notable performances: These C – red F# – bright blue performances are the work’s CSO subscription C# – violet G – orange premiere. It was performed once before at Music D – yellow G# – violet purple Hall, during the 1931 May Festival, Eugene Goossens D# – ﬂesh, glint of steel A – green conducting; Daniel Ericourt, pianist. E – sky blue A# – rose Duration: approx. 21 minutes F – deep red B – pearly blue

A Symphony in Color What to Listen (and Watch!) For Prometheus: Poem of Fire is also sometimes re- The color organ plays from the first measure ferred to as Scriabin’s Symphony No. 5, although of Prometheus to the last. At the same time, it doesn’t remotely resemble a symphony—not the sounds of the orchestra seem to repeat any more, by the way, than do Symphonies Prometheus’s creative act by moving from an in- Nos. 3 and 4, better (and more appropriately) choate primordial state to gradual articulation of known as The Divine Poem and The Poem of life’s sorrows, passions and delights. The various Ecstasy. All three “poems” are part of Scriabin’s themes of the work were described by Scriabin monumental attempt to set his mystical visions as “Joy of Life,” “Intense Desire,” “Ego,” etc. to music that was universal in scope and revo- Faubion Bowers began his description of lutionary in sound. Prometheus with the following observation: Prometheus, the Titan (demi-god) of Greek mythology who stole the fire from the gods of The arrangement A, D#, G, C#, F#, B, the so- Olympus to give it to humanity, was no stranger called mystic chord of fourths augmented, diminished and perfect, opens the piece. It is to music even before Scriabin came along. the Ur-chord of many chords in Prometheus. Its Beethoven’s ballet, Schubert’s song, Liszt’s distribution is so wide, releasing such unusual symphonic poem all celebrated the hero’s cour- resonances (G lies at the bottom, which throws age and independent spirit. But none of them the ensuant overtones out of line), that Scriabin identified with him as deeply as did Scriabin, used to defy anyone to repeat it after him by ear. for whom, as biographer Faubion Bowers has pointed out, Prometheus the fire-bearer was The piano solo, which enters soon thereafter, the same as Lucifer, the Judeo-Christian God’s symbolizes Prometheus himself, the fierce fallen angel, whose name means “light-bearer.” individual with uncommon gifts and aspira- It is typical of Scriabin’s contradiction-ridden tions as the mysterious blue of the introduc- personality that on another occasion, he likened tion gives way to the color of steel. The music Prometheus to Christ—after all, they were both subsequently explores the joyful, even erotic divine and human, and had to suffer in punish- aspects of existence. A solo violin gives the ment for their good deeds. piano a “feminine” response. The excitement The myth of Prometheus, then, took on a cos- keeps rising and reaches its peak; the color red mic significance for Scriabin who, as a follower becomes predominant on the screen. Near the of the theosophical movement, was obsessed end, the wordless chorus enters “with a dazzling with the idea of reaching out to Infinity and burst of sound” (Scriabin’s performance instruc- uniting with the Universe. These ideas, which tion), with their vowels carefully matched to the had also been at the root of The Divine Poem color organ. (Scriabin was familiar with Arthur and The Poem of Ecstasy, attained the highest Rimbaud’s famous sonnet in which the French point of their development in Prometheus: Poem poet assigned different colors to each vowel in of Fire, which turned out to be the last major the alphabet; Scriabin’s associations, however, orchestral work Scriabin was able to complete. were different from Rimbaud’s.) The composer’s extreme ambitions were Out of the chromatic maze—and we shouldn’t matched by the size of the performing forces: forget that the musical term “chromatic” comes in addition to the large orchestra, Prometheus from the Greek word for color—a pure and radi- calls for a concerto-sized piano solo, a mixed ant F-sharp-major sonority emerges unexpect- chorus, and—extraordinarily—a “color organ.” edly, to conclude the piece as the color organ The latter was a device built for Scriabin by returns to the bright blue light of the beginning. an electrical engineer named Alexander Mozer The visual effects for these performances according to the composer’s specifications. were specifically designed by video artist and Depressing one of the color organ’s keys caused filmmaker Tal Rosner. the corresponding color to be projected on a —Program Notes by Peter Laki

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AARON DIEHL, pianist Diehl has collaborated with living masters

Previous CSO Performances: Debut ranging from jazz greats Wynton Marsalis and Read more: aarondiehl.com Benny Golson to 20th-century classical titan Philip Glass. He has established himself as one A 33-year-old clas- of the preeminent interpreters of the Great sically trained pia- American Songbook in his working trio and as nist and composer, musical director and arranger for the remark- Aaron Diehl has able vocalist Cecile Mclorin Salvant. made an indelible The New York Times jazz critics have extolled mark on the jazz Diehl’s “melodic precision, harmonic erudition, world over the last and elegant restraint,” while the same paper’s 15 years. While classical critics have noted, “Mr. Diehl play[s] showing a rare af- magniﬁcently.” ﬁnity for early jazz A graduate of Juilliard, Diehl was named the and mid-20th cen- 2011 Cole Porter Fellow by American Pianists tury “third-stream” Association, in 2014 he became the youngest music, his latest ever Monterey Jazz Festival Commission Artist, evolution comes as and he has released two critically acclaimed he begins to tackle Aaron Diehl, © Maria Jarzyna albums on the Mack Avenue Records label. modern classical He was the Music Director for Jazz at Lincoln works, having performed George Gershwin’s Center’s 2014–15 New Orleans Songbook series piano and orchestra works with the NY Philhar- and in 2017 participated in Jazz in July’s “The monic, Cleveland Orchestra, LA Philharmonic Art of Tatum,” honoring one of his primary piano and Minnesota Orchestra. idols, Art Tatum.

Q&A with Aaron Diehl

Fanfare Cincinnati asked Aaron there are elements in, say, control column or stick, Diehl about jazz vs. classical a work like Duke Ellington’s rudder pedals, throttles, etc. and his performance this New World A-Comin’ that Conversely, aircraft systems— weekend of Ellington’s New reflect the essence of classical the complex interdependent World A-Comin’: music performance practice. functions of an airplane such Essentially this piece is as avionics, fuel, hydraulics— We know that jazz is your through-composed, although can vary drastically even first love, but you are also there can be some variations between two airplanes made an accomplished classical and embellishment in note by the same manufacturer. In pianist. How is practicing for choices. It’s more of a “How do short, apart from similarities in a classical concert different I interpret it” piece, rather than using the same 12 notes, using than preparing for a jazz having a set of chord changes some of the same instruments, concert? to improvise over and asking and employing some similar “what do I want to play over harmonic functions used in There is an interview with this harmonic progression?” the Common Practice Period, pianist Keith Jarrett that I read these are very independent recently where he describes What elements of classical idioms—equally difficult to the performance practice of master at the highest level. classical music versus jazz and jazz are alike? Do those and how they utilize different elements make classical easier for you to perform? For more of our Q&A “circuitry.” He’s entirely with Aaron Diehl, please vis- correct—the “how” something I’m into airplanes, so I’ll use it cincinnatisymphony.org/ is played versus the “what.” an aviation analogy for this. QandA. Although I don’t necessarily Whether a small Cessna or perform heavy repertoire jumbo jet, all airplanes have from the European tradition, the same basic mechanisms—a

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When he isn’t on tour or recording, Diehl en- ist in Partnership for a period of three years. joys spending time in the sky. A licensed pilot, Previous awards include First Prize at the 2011 one of his favorite planes to ﬂ y is the Beechcraft Schubert Piano Competition in Dortmund, First Bonanza. Prize at the 2010 Sendai Piano Competition, and the Grand Prix at the Maria Callas Competition VADYM KHOLODENKO, pianist in Athens. Previous CSO Performances: Debut In North America, Kholodenko has performed Read more: vadymkholodenko.com with the Philadelphia Orchestra, Atlanta Sym- Vadym Kholoden- phony, Indianapolis Symphony, Rochester ko is fast building a Philharmonic and San Diego Symphony. His reputation as one 2017 London debut with the Royal Philharmonic of the most musi- Orchestra resulted in an immediate re-invitation, cally dynamic and while elsewhere in Europe he has recently technically gifted worked with the BBC Scottish Symphony young pianists. Orchestra, Staatskapelle Weimar, Orchestre Winner of the 2013 National Bordeaux Aquitane, Orchestre Phil- Cliburn Competi- harmonique de Luxembourg, Norwegian Radio tion, Kholodenko Orchestra, Prague Symphony Orchestra, RTVE captivated audi- Symphony Orchestra in Madrid, and Orquesta ences and critics Nacional de España. He has given solo recitals alike with the Fort at Radio France in Paris, London’s Wigmore Worth Symphony Hall, LSO St. Luke’s, Liszt Academy Budapest, Orchestra imme- Lucerne Festival and at the SWR Schwetzignen Vadym Kholodenko, © Ira Polyarnaya diately appointing Festspiele and Chopin Festival in Warsaw. him their ﬁ rst Art- Kholodenko is a regular visitor to Japan and has performed with the Japan Philharmonic

cincinnatisymphony.org | FANFARE CINCINNATI | 63 GUEST ARTISTS: JAN 18–19 and Tokyo Metropolitan Symphony Orchestra TAL ROSNER, video artist and last summer toured the country with the Previous CSO Performances: Debut Prague Radio Symphony Orchestra. He has Read more: talrosner.com performed with the Malaysian Philharmonic and Video designer and Sydney Symphony Orchestra and has given director Tal Ros- recitals throughout Japan as well as in Beijing ner works closely and Singapore. with musicians and Kholodenko’s recordings for Harmonia Mundi theatre makers, so far include the Grieg, Saint-Saëns and Pro- combining multiple koﬁev Piano Concertos, with his latest solo disc layers of sound and of works by Scriabin winning a prestigious Dia- visuals to create vid- pason d’Or de l’année. Future recording plans eo installations and include works by Prokoﬁev and Tchaikovsky. live performances. Vadym Kholodenko was born in 1986 in Kiev, Tal Rosner, © Garry Maclennan Rosner was re- Ukraine. In 2005 he moved to Moscow to study cently commissioned to design and co-direct at the Moscow State Conservatoire under Pro- a new production of Wagner’s Die Walküre for fessor Vera Gornostaeva. Opéra National de Bordeaux, in collaboration

Q&A with Tal Rosner

Fanfare Cincinnati asked Tal you play, the more you believe You have achieved a lot of Rosner about his vision for the you can decipher; however, success within the classical video production he created the experience will prove to music industry as a filmmaker for Prometheus: Poem of Fire: be as challenging on your next and video artist. What does round. From that point on I your success within classical What influences did you pull accepted a certain element music mean for the industry from for your video for our of magic or alchemy in my today, as well as its future? performance of Prometheus: experience of the piece: ever I believe that in an increasingly Poem of Fire? elusive and never the same. visual world like our own, When approaching Scriabin’s Through turbulent we can expect to see more Prometheus, well known for meanderings in space, whether and more infusions of its original conception as an outer—or an interior realm video elements to stage audiovisual piece, I naturally (open to interpretation of performances—be it in began with a detailed analysis course!), I take the audience theatre, opera, dance or of the famously enigmatic on a journey of color and also classical music. As technology “clavier à lumières” color- Creation, where stars are born advances and audiences coded score. Once colors were and universes collide, where diversify, we also develop allocated to every section, fire is the force that keeps more tools to enjoy multiple- and sometimes every bar, I us turning, but could easily channel presentations— continued to develop imagery bring us to our own demise. however, video should only which felt right for the music, With a dash of humor, and exist on stage when necessary mostly as the tool in my hands a few secret codes, I follow and when it can add a (in this case: a video screen) the threads left for me by the dimension to the reading of allows me to explore more omnipresent composer as if the piece. It shouldn’t compete than color alone, but also they were launch pads. with any of the existing art- shapes and forms, movement Associations, contemplations, forms, but only complement and animation. dream-like states…all are at them or contextualize them in Repeatedly listening to play in this truly monolithic a new light. various recordings of piece of art, to which I humbly Prometheus, I found the piece add another angle, graphic and For more of our Q&A to be extremely complex and personal to me. Implementing with Tal Rosner, please vis- deceptively simple at the same order in chaos, or vice versa, in it cincinnatisymphony.org/ time. Like a memory game or a a wild cosmic dance. QandA. jigsaw puzzle where the more

64 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: JAN 18–19 with Julia Burbach. The opera will be restaged in its 7,000-square-foot exterior projection wall Reykjavik with The Icelandic Opera in May 2020. ever since. He also designed a new adaptation of Astrid Theatre and dance credits include: Everyman Lindgren’s Brothers Lionheart for The Royal (dir. Rufus Norris) and Husbands and Sons (dir. Danish Playhouse in Copenhagen (dir. Thomas Marianne Elliott) at the National Theatre; You Bendixen), which premiered in November, For Me For You (dir. Richard Twyman) and X and his new video interpretation of Scriabin’s (dir. Vicky Featherstone) at the Royal Court; The Prometheus: The Poem of Fire, premiered at Most Incredible Thing (Pet Shop Boys, dir. Javier this weekend’s concerts, was commissioned by de Frutos) for Charlotte Ballet; and Les Enfants the Cincinnati Symphony Orchestra to mark its Terribles (Philip Glass, dir. Javier de Frutos) at 125th anniversary. the Royal Ballet. Rosner’s other recent work include videos In the commercial arena, he has directed for Steve Reich’s Tehillim (Psalms), commis- and designed the video content for Louis sioned by the Barbican Centre (2017); for Olga Vuitton’s traveling exhibit Time Capsule and Neuwirth’s Disenchanted Island, commissioned LVX in Beverly Hills; The Pet Shop Boys’ Super by IRCAM and Centre Pompidou (2017); and Tour (worldwide); and the Rolling Stones’ No for Lament, a co-creation with composer Chris- Filter European Tour (produced by Treatment topher Mayo, commissioned by Nuit Blanche Studio). Toronto (2018). Rosner won the BAFTA for Best Title Se- Chronograph (2011), his site-speciﬁ c digital quence (2008) for the Channel 4 television art mural in collaboration with fellow artist series Skins. He was born in Jerusalem and now Casey Reas, inaugurated the New World Sym- lives and works in London. phony building in Miami Beach, designed by Frank Gehry, and has been screened daily on

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MAY FESTIVAL YOUTH CHORUS 66 | FANFARE CINCINNATI | cincinnatisymphony.org 513.744.3229 • mayfestival.com auditions by appointment GUEST ARTISTS: JAN 18–19

CINCINNATI SYMPHONY YOUTH CINCINNATI SYMPHONY YOUTH ORCHESTRAS ORCHESTRAS (CSYO) (CSYO) The following represent a select number of students Wilbur Lin, Conductor from the CSYO Philharmonic who are performing this Read more: cincinnatisymphony.org/education- weekend: and-community Violin I Flute A vital part of Cincinnati’s musical culture since Andrew Yang Isabella Thoroughman Christina Nam Hanna Everding its beginning in 1964, the Cincinnati Symphony Lucy Lu Youth Orchestras (CSYO) are the city’s premier Kathryn Guo Piccolo program for talented young orchestral musi- Evelyn Astafi ev-Holmes Olivia Dorer Linya Guo cians. The CSYO is dedicated to the cultivation Carter Fogg Oboe of talent and provides outstanding instrumental Christopher Sarah Perry students the opportunity to perform repertoire Vonderschmidt Normandy Leach that might otherwise be unavailable to them. Violin II Clarinet Under the auspices of the Cincinnati Symphony Maxwell Fairman Simon Bakos Orchestra, CSYO members gain an appreciation Jenny Armor Anna List Elsa Zhou for the arts and learn the value of excellence and Nathaniel Dorsey Bassoon discipline which they retain throughout their Arun Kamath Christian Haghverdi lives. Students attend CSO concerts at Music Jieunn Woo Trey Hicks Olivia Wang Hall, study with CSO musicians in sectionals Horn held several times throughout the season, and Viola Nick Elin perform their own concerts, often with peer Sean Huggins Shawnta Hunter Loxea Hipsky soloists. Students graduate to become profes- Mirai Nawa Nilli Tayidi Robert Bay sional symphony musicians, professionals in Kunal Arora many other fi elds, and advocates for the arts. Olivia Puntenney Trumpet Theresa Orth The CSYO was founded in 1964 as the Cincin- Harmon Byerly Demaris Wade nati Youth Orchestra by Max Rudolf, who was Cello Music Director of the Cincinnati Symphony Meagan Hipsky Trombone Daniel Dorsey Orchestra, and by area music educators who Madison Smith Meg Yuan Devin Karrick recognized the importance of providing tal- Lily Shiomitsu ented young musicians with the opportunity Claire Siekmann Tuba Brendan Flanagan for serious training and extensive orchestral Bass experience. The fi rst conductor of the CSYO Zach Wuorinen was CSO Concertmaster Sigmund Eff ron, who Sarah Wells Luke Black was convinced that “it was vitally important to Luke Faessler the community and to these youngsters that they meet other young people with the same interests” and that they have “an opportunity to THE MAY FESTIVAL CHORUS play in a symphonic group which devotes itself The May Festival Chorus is endowed by the to the works of the great masters.” Sigmund Betsy & Alex C. Young Chair Eff ron guided the CSYO until 1970 when he was Robert Porco, Director of Choruses followed by a series of distinguished conduc- Matthew Swanson, Associate Director tors, including Keith Lockhart. of Choruses The Cincinnati Symphony Youth Orchestras Heather MacPhail, Accompanist program is made up of approximately 200 musi- Joseph Taff , May Festival Conducting Fellow cians from high schools in southwestern Ohio, Kathryn Zajac Albertson, Chorus Manager northern Kentucky, and southeastern Indiana. Joe Basel, Chorus Librarian This season is the 55th for the CSYO Philhar- Read more: mayfestival.com monic and the ninth for the Concert Orchestra. Recently appointed Assistant Conductor of The May Festival Chorus has earned acclaim the Cincinnati Symphony Orchestra, Wilbur Lin locally, nationally and internationally for its is in his fi rst season as assistant conductor of musicality, vast range of repertoire and sheer the Cincinnati Pops Orchestra and conductor of power of sound. The Chorus of 130 profession- the Cincinnati Symphony Youth Orchestras, in ally trained singers is the core artistic element addition to continuing his work as the artistic of the Cincinnati May Festival as well as the director of the summer seasons of the Chamber official chorus of the Cincinnati Symphony Philharmonic Taipei. Orchestra and Cincinnati Pops. Throughout

cincinnatisymphony.org | FANFARE CINCINNATI | 67 GUEST ARTISTS: JAN 18–19 each season the chorus members collectively Chorus most recently returned to New York City devote more than 40,000 hours in rehearsals in May of 2014 for the Spring for Music Festival and performances. at Carnegie Hall, with James Conlon and the Founded in 1873, the May Festival is the oldest, Cincinnati Symphony Orchestra. and one of the most prestigious, choral festivals The May Festival Chorus has further strength- in the Western Hemisphere. The annual Festival, ened its national presence through numerous now under the artistic leadership of Principal PBS broadcasts of live concerts and several Conductor Juanjo Mena, boasts the May Festi- award-winning recordings, many in collabora- val Chorus—with choral preparation by Robert tion with the CSO and Pops. In 2001 the Chorus Porco—and Cincinnati Symphony Orchestra as recorded Christmas with the May Festival Cho- anchors, hosts an international array of guest rus, a popular a cappella holiday disc. Its 2004 artists and presents two spectacular weekends Telarc release, the world premiere recording of dynamic programming. James Conlon, who of Franz Liszt’s St. Stanislaus featuring James in 2016 brought to a close an unprecedented Conlon and the CSO, was awarded the 30th 37-year tenure as May Festival Music Director, International F. Liszt Record Grand Prix by the was named Music Director Laureate upon his Liszt Society of Budapest. The Chorus is also retirement. Many important choral works have featured on the 2012 Cincinnati Pops release, received their World and American premieres Home for the Holidays. at the May Festival, including Johann Sebastian The May Festival Chorus has garnered two Bach’s Magniﬁ cat, Gustav Mahler’s Symphony awards in recognition of its continuing artistic No. 3, Benjamin Britten’s Gloriana, Gian Carlo excellence and performances throughout the Menotti’s The Death of the Bishop of Brindisi and state. In 2011 the Chorus received the Spirit of Robert Nathaniel Dett’s The Ordering of Moses. Cincinnati USA Erich Kunzel Queen City Advo- Beyond Cincinnati, the May Festival Chorus cate Award from Cincinnati USA Convention and has performed with great success at numer- Visitors Bureau. In 1998 the Chorus earned the ous venues across the country, including four Irma Lazarus Award from the Ohio Arts Council’s celebrated appearances at Carnegie Hall. The annual Governor’s Awards for the Arts.

68 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: JAN 18–19

MAY FESTIVAL CHORUS Sopranos Kristi C. Reed Karen Scott-Vosseberg Basses Mary Aulicino Beth Roberts Molly Scruta Richard Arnest Tracy Bailey Maria Daniela Ruiz Patricia Somers Tony Barkley A. Maris Bernard Justine Alexandra Samuel Sarah Stoutamire Andrew L. Bowers Laurel Boisclair Ellsworth Julia H. Schieve Megan Weaver Scott Brody Dawn Bruestle Yvon F. Shore Linda Wiley Douglas J. Bruestle Renee Cifuentes Christine Wolterman Monica Wilson Christopher Canarie Kathy Dietrich Steven L. Dauterman Jennifer Dobson Altos Tenors Steve France Rachel Dummermuth Lindsey Appelquist Avery Bargasse Joshua Goines Kathy Falcon Alaina Diane Arwood Jim Baxter Rob Heilman Anita Marie Greer Katherine Michael Bohanan Tony Beck Paul Kostoff Sarah Grogan Jina Choi Keith Dale David Kravets Melissa Haas Erika Emody Douglas Easterling Jim Laskey Gaynelle Hardwick Jean Graves Tyler Johnson Rex Man Dana Harms Sally Vickery Harper Kevin Leahy John McKibben Mary Wynn Haupt Carla Horn Robert Lomax John Murton Lauren Steiger Hess Beth Huntley Braden Mechley Daniel Parsley Carolyn Hill Spence B. Ingerson Gabriel Monteﬁ ore Justin Peter Ruth Hill Karolyn L. Johnsen H. Scott Nesbitt James V. Racster Hyejung Jun Alexandra Kesman Jeff rey Nielsen Stephen Sanders Lisa Koressel Andrea Kiehl Scott C. Osgood Samuel M. Stover Judith C. LaChance Soyeon Kim Jason Ramler Joseph Taff Hilary Landwehr Jenifer Klostermeier Larry Reiring Marc Tuel Sarah McMillan Julie Laskey Adam Shoaff Joshua Wallace Rosa Mejia Megan Lawson David W. Skiff Mark Weaver Marissa Miller Elaine P. Lustig Jeff rey Stivers Joe White Alison Peeno Kathy Mank Matthew Swanson Zohar Perla Teri McKibben Shane Thomas Jr. Lauren Peter Violet Midla Gary Wendt Tera Pierce Jennifer Moak Max Yoder Mary Beth Poulimenos Amy M. Perry Barry Zaslow

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[email protected] / fortwashington.com/insights / 513.361.7929 ELEVENTH SUBSCRIPTION PROGRAM | 125th ANNIVERSARY SEASON

2019–2020 SEASON FRI JAN 24, 11 am SAT JAN 25, 8 pm Music Hall

SIMONE YOUNG conductor ALBAN GERHARDT cellist

RAVEL Pavane pour une infante défunte (“Pavane for a Dead Princess”) (1875–1937)

UNSUK CHIN Cello Concerto (b. 1961)

INTERMISSION

SCHUBERT Symphony No. 9 in C Major, D. 944, The Great (1797–1828) Andante. Allegro ma non troppo. Più moto Andante con moto Scherzo. Allegro vivace Allegro vivace

These performances will end at approximately 1 pm Friday and 10 pm Saturday.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group and Encore Sponsor Chemed Corporation. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and for the thousands of people who give generously to the ArtsWave Community Campaign. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts. Accessibility shuttle services provided by Croswell VIP Motorcoaches. Pre-Concert Talks are endowed by Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. Listen to this program on 90.9 WGUC March 29, 2020 at 8pm and online at cincinnatisymphony.org March 30–April 5.

MAURICE RAVEL INSIGHTS Pavane pour une infante défunte from Music Director (“Pavane for a Dead Princess”) Louis Langrée Born: March 7, 1875, Ciboure, France Died: December 28, 1937, Paris Work composed: 1899/1910 We are delighted to welcome back Premiere: February 27, 1911, Manchester, the great Simone Young to conduct England, Henry Wood conducting Instrumentation: 2 ﬂutes, oboe, 2 clarinets, 2 this weekend’s concerts, and we are bassoons, 2 horns, harp, strings delighted that she will be leading us CSO notable performances: 7 previous subscription weekends | Premiere: March 1928 through a program that represents the (Emery Auditorium), Fritz Reiner conducting | Most foundations of CSO tradition—mixing recent: March 2013, Juanjo Mena conducting | Paavo Järvi and the CSO recorded the work in 2004. contemporary work and a milestone Duration: approx. 6 minutes of the orchestral repertoire. Unsuk Chin’s Cello Concerto has been lauded Originally composed for piano in 1899, when Ravel was still a student at the Paris Conser- as the most important concerto for vatoire, he orchestrated the Pavane for a Dead cello to have been written since 1970. Princess eleven years later. The work was dedi- Alban Gerhardt, for whom the piece cated to a princess who was very much alive: was written and dedicated, and who Princess Edmond de Polignac (1865–1943), one of the most prominent arts patrons in Paris. premiered the concerto in 2009, makes The birth name of this American-born princess his debut with the Orchestra. Schubert’s was Winnaretta Singer, an heiress to the Singer The Great Symphony is a part of the sewing-machine fortune. Ravel was a frequent origin story of the CSO. Among many guest in her elegant salon, as were many other prominent composers of the time, from Igor other performances, it was played at the Stravinsky to Manuel de Falla. first two May Festival seasons in 1873 and 1875 and recorded by the Orchestra A Student Work to be Proud Of in 1995 under the direction of Thomas Composers sometimes belittle their most popular works, especially if their success over- Schippers. shadows efforts considered more substantial. Pavane for a Dead Such was the case of Ravel’s Princess (Pavane pour une infante défunte), which the composer described as having a “rather poor form.” He came to deplore the “excessive inﬂuence of [Emmanuel] Chabrier” in the work.

What to Listen For In spite of Ravel’s disparaging remarks about the Pavane, the work has something special that many composers have striven for but few have achieved: perfect calmness without tedium, and utter simplicity without banality. “Pavane” is the name of a Renaissance dance form close to Ravel’s heart (he used it again in the Mother Goose Suite), but the piece itself seems to have little to do with the 16th-century Pavane beyond its slow tempo. (Ravel cautioned against performing the work too slowly; as he once observed, “it is the Princess who is dead, not the Pavane.”) PROGRAM NOTES: JAN 24–25

UNSUK CHIN acknowledges the Hungarian composer as her Cello Concerto most important influence. Her commentators emphasize her unique sense of musical color Born: July 14, 1961, Seoul, South Korea and her “organicist” approach to composition, Work composed: 2006–2008, rev. 2013 Premiere: August 13, 2009, Ilan Volkov based on the gradual development and expan- conducting the BBC Scottish Symphony Orchestra, sion of a few basic musical elements. Alban Gerhardt, cellist Instrumentation: solo cello, 3 flutes (incl. alto What to Listen For flute, 2 piccolos), 3 oboes (incl. English horn), 3 clarinets (incl. E-flat clarinet), 3 bassoons (incl. The first of the concerto’s four movements contrabassoon), 4 horns, 4 trumpets, 4 trombones, evokes a traditional Korean musical form—an tuba, timpani, bass drum, bongo drums, claves, exception for Chin who rarely makes allusions crotale, 3 crash cymbals, glass chimes, glockenspiel, to the traditions of her homeland in her music. 6 gongs, 2 guiros, 4 maracas, marimba, 6 metal But this time, she decided to give the first move- blocks, 8 pop bottles, sandbox, sandpaper, shocallo, 8 snare drums, 6 suspended cymbals, 3 tam-tams, ment the title “Aniri” (“descriptive speech”), a 2 tambour de Basque, temple bell, temple blocks, kind of musical storytelling in which the singer tenor drum, thunder sheet, 5 tom-toms, 9 triangles, is accompanied by a drum. Aniri is one of the tubular bells, vibraphone, whip, 2 wood blocks, musical styles used in the course of the theatri- xylophone, 2 harps, celeste, piano, strings cal narrative performance known as Pansori. CSO notable performances: These performances are the work’s CSO premiere In Chin’s concerto, the soloist represents the Duration: approx. 30 minutes singer and the drum is replaced by a full orchestra—complete with an extensive percussion The cello’s technical and expressive possibilities battery—as a complex dialog unfolds between are virtually unlimited. The instrument can play them. No traditional musical elements are used; almost as high as a violin, yet its sonorous low C the similarity lies merely in the intensity of the string produces a timbre in a class all by itself. It exchange between the performers. As Chin’s can play long melodic lines and rapid passages Korean student Sangwon Lee has shown in with equal ease.While in the high register it soars a dissertation devoted to the concerto, the easily above the orchestra, the low strings are connection lies in the alternation of tension easily drowned out by the other instruments if and relaxation, as well as in the improvisative the composer is not careful. freedom of the solo part. At the end of the For this reason, cello concertos present a movement the soloist bursts in with a cadenza special challenge for any composer. Unsuk to be played “as fast as possible,” its explosive Chin’s work has been declared the greatest fortissimo soon fading into near-silence. in the genre since the concertos of Witold The brief second movement—a scherzo Lutosławski and Henri Dutilleux, both from 1970. of sorts—is driven by the agitated figures of The Korean-born, Berlin-based Chin studied the solo cello against scurrying strings and with György Ligeti in Hamburg, and to this day eerie percussion sounds. Eventually, the cello launches into an expansive melody, interrupted by a return of the fast-moving material (again Sound Bites “as fast as possible”). During today’s concert, listen for the serene, More mysteries await in the slow third movement, where the strings play otherworldly processional character of Ravel’s Pavane for harmonics and the winds add breath noises to a Dead Princess , the theatrical storytelling their musical notes. Here the cello truly begins style of Chin’s Korean homeland in her Cello to sing, reaching the highest pitches it can Concerto (the soloist represents the singer, possibly play. A brief moment where the low notes of the cello provide support to the high the orchestra the drum—complete with an harmonics of the orchestral strings is followed extensive percussion battery), and Schubert’s by a dramatic turn of events with powerful cello stirring “Great” Symphony No. 9, in which chords dissolving into the breathtaking conclu- opening, triumphant horn calls signal a work sion: the cello climbs into the stratosphere again while the solo contrabassoon descends ever of great rhythmic vitality that ends with a lower, threatening to disappear underground finale of surging triplets and a snippet of a at the end. theme that bears a striking resemblance to In an interview, Chin described the concerto Beethoven’s “Ode to Joy” theme. as some kind of “psychological warfare” between the soloist and the orchestra, in which

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www.CETconnect.org PROGRAM NOTES: JAN 24–25 the cello ultimately wins. It is certainly in the As an orchestral composer, Schubert reached last movement that this confl ict comes to a the summit of his art in the gigantic Symphony head. Violent orchestral attacks, separated by in C, but the work was not performed during long rests, are set against soloistic counterat- his lifetime. Ten years after Schubert’s death, tacks. Yet the ending is once again lyrical, as Robert Schumann visited Vienna and met if to show that the “story” represented in the Schubert’s brother Ferdinand, who showed fi rst movement could not be silenced and gets him the large number of unpublished works the last word. the deceased composer had left behind. At Schumann’s suggestion, Ferdinand sent a copy FRANZ SCHUBERT of the symphony to Mendelssohn in Leipzig, who Symphony No. 9 in C Major, D. 944, performed it with the Gewandhaus Orchestra The Great shortly afterward. After a repeat performance, Schumann wrote a glowing review—a literary Born: January 31, 1797, Vienna masterpiece in its own right—that established Died: November 19, 1828, Vienna Work composed: 1825 the work’s status as a classic. Premiere: March 21, 1839, Leipzig, Felix Mendelssohn conducting the Gewandhaus A Hard Road to the Great Symphony Orchestra Schubert began working on his fi rst symphony Instrumentation: 2 fl utes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, in 1811, at the age of 14; this fragment (in D ma- timpani, strings jor, D. 2B) is only 30 measures long. Between CSO notable performances: 32 previous 1813 and 1818, he completed six symphonies in subscription weekends | Premiere: January 1896 an idiom rather close to Haydn’s and Mozart’s (Pike Opera House), Frank Van der Stucken symphonic style. Yet he grew increasingly conducting | Most recent: March 2013, Juanjo Mena conducting | Paavo Järvi led the Orchestra in the dissatisfi ed with this style and began to think work during the 2008 European tour. Thomas about symphonic composition on a grander Schippers and the Orchestra recorded the work in scale. He wanted to articulate his response to 1978 (re-released in 1995). Duration: approx. 53 minutes

cincinnatisymphony.org | FANFARE CINCINNATI | 75 PROGRAM NOTES: JAN 24–25

Beethoven’s symphonies as well as express his transition into the Allegro ma non troppo main own musical personality. section. We hear a lively first theme in C major Apparently, Schubert did not find it easy to in the strings (punctuated by the woodwinds), realize his more advanced ideas right away. He followed by a lyrical second melody played by began a symphony in D major in 1818, another oboes and bassoons, not in G major as the rules one (also in D major) in 1820, and a third one would have it but in the more poignant key of E (in E major) in 1821: all three were left in various minor. Then, just as G major has been reached stages of incompleteness. and, according to classical The B-minor masterpiece of formal expectations, it would 1822 is therefore not the only The Finale is a real be time for the exposition to “unfinished” symphony from touchstone of the string end, the music takes a sudden this period of Schubert’s life. detour into the extremely In 1824, he composed his players’ stamina and distant A-flat minor and the Grand Duo for piano duet, rhythmic precision. It trombones play a new theme D. 812, which also may have perpetuum that is one of the movement’s been planned as a symphony is a virtual high points. (It is also one of or is a piano reduction of one. mobile that lasts more the earliest solo passages for (Joseph Joachim orches- than 10 minutes in a single trombones in a symphony.) trated this work in 1855, and The development section it has occasionally been per- celebration of joy and is relatively short, and the formed by orchestras since happiness. recapitulation mirrors the that time.) All these attempts exposition rather closely. at writing a grand symphony The extended coda ends with finally bore fruit in the “Great C-major” sympho- the return of the theme from the Andante, as a ny. (During the last months of his life, Schubert triumphant hymn played by the entire orchestra. had plans for another symphony, of which only The second-movement Andante con moto, sketches survive. From these sketches, Peter in A minor, opens with one of Schubert’s great Gülke and Brian Newbould have each prepared “wandering” melodies, played by the solo oboe. performing editions of a “Symphony No. 10,” and After it has been repeated several times, a sec- Luciano Berio used the same material to create ond, more soothing melody emerges in the key his orchestral work Rendering.) of F major, as if a second character had entered For many years, it was thought that the “Great the stage. This section begins pianissimo, rises C-major” dated from the final year of Schubert’s to a powerful fortissimo, and then becomes life. At the same time, scholars knew all along soft again. that Schubert had completed a symphony in The opening melody now returns with the tiny 1825 during his stay in the towns of Gmunden addition of a soft fanfare rhythm played in turn and Gastein, but they assumed that this sym- by the first trumpet and the first horn. This detail phony was lost. In the late 1970s, musicologist is so small that it may almost be overlooked at Robert Winter proved that there was no missing first. Yet, as so often in Schubert, small details work: the “Great C-major” actually is the sym- may have mighty consequences. Out of this phony written at Gmunden and Gastein in 1825. little fanfare motif grows one of the most sear- This re-dating is important because it shows ing climaxes in the entire symphonic literature, that Schubert reached his highest maturity as culminating in a dissonant diminished-seventh a symphonic composer earlier than previously chord played with maximum intensity by the believed. Thus, it was the “Great C-major” that entire orchestra and followed by sudden silence. the composer presented to the Austrian Phil- It is some time before the music “recovers” from harmonic Society in October 1826. However, this shock; the string pizzicatos (plucked notes) the work was roundly rejected because of its and the beautifully entwined melodic lines of the unusual length and its technical difficulty. cellos and the first oboe “clear the air,” leading back to the second, and eventually to the first, What to Listen For theme of the movement. The first movement opens with an Andante The Scherzo is expanded into a short sonata introduction that is more substantial than most form, with a distinct second theme, develop- slow introductions. Its theme, first announced ment, and recapitulation. Its tone is close to by two unaccompanied horns, undergoes con- many of Schubert’s German Dances, but the siderable transformations before the gradual extremely refined orchestration and the inno-

76 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 24–25 vative sequence of modulations make it quite unique. The Trio is a splendid Viennese waltz whose sophistication is hidden behind the GLOSSARY OF MUSICAL TERMS façade of an engaging melody. As always, the Trio is followed by a full repeat of the Scherzo. Allegro: fast, a fast movement The Finale is a real touchstone of the string Andante: moderately slow, at a walking players’ stamina and rhythmic precision. It is a tempo virtual perpetuum mobile that lasts more than

10 minutes in a single celebration of joy and Coda: ending section happiness. The lively triplet notes of the fi rst Con moto: with motion theme recede into the accompaniment as the Development, Exposition, Recapitulation: second theme begins, and they remain present The principal components of sonata form, throughout, except when they are replaced by an equally taxing dotted-note fi gure. The typical of movements in symphonic works development section introduces a new theme Fortissimo: very loud in the clarinets that bears a striking resemblance Ma non troppo: but not too much to the “Ode to Joy” theme from Beethoven’s Pavane: a slow, processional dance Ninth, which was premiered in Vienna the year before Schubert wrote this symphony. The new Pianissimo: very soft theme gives rise to a stirring development in Più moto: more motion which the trombones again play a leading role. Scherzo: fast, light-hearted piece The recapitulation contains many new tonal ad- Vivace: lively ventures; even after the main tonality has been confi rmed, it is called into question several more times—particularly in the Coda, which begins mysteriously and ends with resounding fanfares. —Program Notes by Peter Laki

HANDEL IN ROME MAR 13–14

Jonathan Cohen conductor Thomas Dunford lute Joélle Harvey soprano

cincinnatisymphony.org | FANFARE CINCINNATI | 77 GUEST ARTISTS: Jan 24–25

SIMONE YOUNG, conductor State Opera with A Midsummer Night´s Dream. Previous CSO Performances: Young made Elsewhere, she leads performances of Lear at her CSO debut in October 2015, with concerts Teatro Real Madrid, Fidelio at Berlin State Opera featuring choral works by Brahms and Liszt’s Dante and Salome at Oper Zürich. Equally in demand on Symphony the concert podium, she appears with orchestras Read more: simoneyoung.com in Paris, Madrid, New York, San Francisco, Min- Simone Young is con- nesota, Tokyo, Monte Carlo, Leipzig, Helsinki, sidered one of the most Barcelona, Manchester, Lausanne and Australia. important conductors of In addition to complete recordings of Hin- our time. After complet- demith’s Mathis der Maler and Wagner’s Ring ing her musical studies with the Hamburg State Opera, the Oehms in her native Sydney, Classics label has released Young’s recordings Young launched her in- with the Hamburg Philharmonic of the complete ternational career on the Bruckner symphonies (original versions), as well podium in Germany. She as the complete symphonies of Brahms, Mahler’s has since appeared with 6th and 7th symphonies, and Schmidt’s The Book nearly all of the most with the Seven Seals. Her performance of the important opera houses rediscovery of Halevy’s La Juive at the Vienna and symphony orches- State Opera has also been released on CD, while tras around the world. DVDs have been released of her Bavarian State Among her titled posi- Opera performances of Pﬁ tzner’s Palenstrina Simone Young, © Bertold Fabricius tions, Young was most and her Hamburg performances of Poulenc’s recently Artistic Director of the Hamburg State Dialogues des Carmélites and Reimann’s Lear. Opera and Chief Music Director of the Hamburg Along with honorary doctorates from the Uni- Philharmonic (2005–15). versities of Sydney and Melbourne, Young counts Young is currently Principal Guest Conductor the Brahms Prize of Schleswig-Holstein and the of the Orchestre de Chambre de Lausanne and Goethe Medal among her numerous awards and maintains a busy conducting schedule in the accolades. In addition, she is a Chevalier des Arts 2019–20 season, which sees her return to Vienna et des Lettres in France, a Member of the Order

78 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: JAN 24–25

of Australia, and a Professor at the Academy of New York Philharmonic Orchestra. The upcom- Music and Theatre in Hamburg. ing season takes Gerhardt to Asia on several occasions, to perform with Yomiuri Nippon ALBAN GERHARDT, cello Symphony Orchestra, The Macao Orchestra,

Previous CSO Performances: Debut National Symphony Orchestra of Taiwan and Read more: albangerhardt.com Hong Kong Sinfonietta. In Europe he premieres a new chamber concerto by Julian Anderson in Alban Gerhardt has, Paris with the Orchestre National de France and for more than 25 years, performs with the Swedish Radio Orchestra, made a unique impact London Philharmonic Orchestra and City of on audiences worldwide Birmingham Symphony Orchestra. with his intense musical- Following early competition success, Ger- ity, compelling stage hardt’s international career was launched by his presence and insatiable debut with Berliner Philharmoniker and Semyon artistic curiosity. His gift Bychkov in 1991. Notable orchestra collabora- for shedding fresh light tions since include the Royal Concertgebouw, on familiar scores, along Philharmonia Orchestra, Cleveland Orchestra, with his appetite for in- Philadelphia Orchestra, Chicago Symphony vestigating new reper- Orchestra and Tonhalle-Orchester Zürich, under toire from centuries past conductors such as Kurt Masur, Michael Tilson- and present, truly set him Thomas, Esa-Pekka Salonen, Vladimir Jurowski, apart from his peers. Alban Gerhardt, © Kaupo Kikkas Kirill Petrenko and Andris Nelsons. Having recently pre- Gerhardt has won several awards, and his miered a new cello concerto by Brett Dean recording of Unsuk Chin’s Cello Concerto with the Sydney Symphony and Berliner Phil- (Deutsche Grammophon), won the BBC Music harmoniker, Alban Gerhardt gives the ﬁ rst U.S. Magazine Award and was shortlisted for a Gram- performance with the Minnesota Orchestra and ophone Award in 2015. He records extensively Osmo Vänskä. Other symphonic engagements for harmonia mundi, most recently releasing a in North America include concerts with the disc of all of Bach’s solo Cello Suites.

RACHMANINOFF + PROKOFIEV APR 17–18

Xian Zhang conductor Sergio Tiempo piano

cincinnatisymphony.org | FANFARE CINCINNATI | 79 SECOND CHAMBER PLAYERS CONCERT

Chamber 31st Season, 2019–2020 Players FRI JAN 24, 7:30 pm Wilks Studio, Music Hall

BEETHOVEN Trio for Clarinet, Cello and Piano, Op. 11 (1770–1827) Christopher Pell, clarinet Hiro Matsuo, cello Daniel Culnan, piano

INTERMISSION

GENE KOSHINSKI Pocket Grooves for Bassoon and Percussion (b. 1980) Joropo Samai Choro Christopher Sales, bassoon Michael Culligan, percussion

MOZART Quintet in E-flat Major for Piano and Winds, K. 452 (1756–1791) Largo—Allegro moderato Larghetto Rondo: Allegretto Lon Bussell, oboe Martin Garcia, bassoon Lisa Conway, French horn Julie Spangler, piano Christopher Pell, clarinet

YOU’RE INVITED to greet the musicians after the concert. The CSO Chamber Players series has been endowed in perpetuity by the ELEANORA C.U. ALMS TRUST, Fifth Third Bank, Trustee. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

LUDWIG van BEETHOVEN works. (Like the Op. 16 Quintet, the Trio recalls Trio for Clarinet, Cello and Piano, Op. 11 a popular chamber work of Mozart’s—the “Keg- Beethoven’s Op. 11 Trio for clarinet, cello and elstatt” Trio for clarinet, viola and piano.) Haydn piano dates from the composer’s early years in and Mozart catalyzed the evolution of chamber Vienna, where he had traveled in 1792 to study music in the 18th century from parlor meringue with Haydn. This period produced numerous to a sophisticated dialogue between distinct early masterpieces that established Beethoven’s voices. The Trio reﬂects a similar aesthetic value, reputation among the Viennese culturati. Be- its conversational nature moreover enhanced tween 1795 and 1800, he completed the Op. 1 by the contrasting timbres of clarinet, cello and Piano Trios; 13 piano sonatas, including the iconic piano. (The impetus for scoring the Trio for what “Pathétique”; the Op. 18 String Quartets; and the was, at the time, a peculiar combination of instru- First Symphony, among other important works. ments remains unclear. Beethoven likely intended The Op. 11 Trio is one of several chamber works it for the Bohemian clarinet virtuoso Joseph Beer. with winds that Beethoven also wrote during this At the urging of his publisher, Beethoven later time. Though not aiming for the same weight prepared a version for the standard—and more as the more major opuses of this period, these salable— trio ensemble of violin, cello and piano.) works nevertheless betray as skilled a hand as Beethoven’s exploitation of the Trio’s spec- penned the seminal Op. 18. trum of timbral possibilities injects the Allegro The Trio reveals Beethoven still beholden to the con brio with a vitality arguably lost in the ar- Classical style inherited from Haydn and Mozart, rangement with violin. Following the opening which he would extend with his audacious later declamation, stated in emphatic octaves by the

80 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: JAN 24 full ensemble, the first theme group unfolds over piece to Get It!, another work for bassoon and a spirited exchange among all three instruments. percussion by the same composer, in the same The clarinet comes to the fore to croon the vein. Campbell asked for the same compositional sweet second theme above a restless staccato approach here—a challenging work for the bas- accompaniment in the cello. A witty, syncopated soon that stems from the “popular” music idiom exchange, indebted perhaps to Haydn, signals and is accessible to a wide range of audiences. the conclusion of the exposition. The develop- The three movements in Pocket Grooves may ment section is compact but dense. Beginning be performed in any order and may be com- quietly in the unexpected tonality of D-flat major, bined with Get It! to create a four-movement it proceeds to traverse broad harmonic terrain suite. In this case, all pieces should be consid- before a brilliant scale in the piano heralds the ered movements of Pocket Grooves. return to the home key. —Gene Koshinski The Adagio begins with one of Beethoven’s most inspired cello solos and is soon given over WOLFGANG AMADEUS MOZART to a tender operatic duet between the cello and Quintet in E-flat Major for Piano and clarinet. The rhetorical quality of each voice’s Winds, K. 452 melodic ideas further heightens the sense of After the 1784 premiere of Mozart’s Piano Quintet their dramatic identity. The final movement is in E-flat, K. 452, the composer reported to his an affable set of nine variations on the aria “Pria father that the piece had “received the most ch’io l’impegno” (“Before I begin, I must eat”) remarkable applause; I myself consider it to be from Joseph Weigl’s opera L’Amor Marinaro. the best work I have ever composed. It is written Largely forgotten today, Weigl was the com- for one oboe, one clarinet, one horn, one bassoon, poser of more than 30 operas in the late 18th and the pianoforte. How I wish you could have and early 19th centuries; Beethoven’s selection heard it! And how beautifully it was performed! of a Weigl theme for these variations attests to To tell the truth I was really worn out in the end their popularity in their day. after playing so much—and it is greatly to my Beethoven dedicated the Op. 11 Trio to the credit that my listeners never got tired.” Mozart’s Countess Maria Wilhelmine von Thun, a prominent novel Quintet had managed to impress even arts patron who had supported Gluck, Haydn and himself, but he never wrote another work like it. Mozart, and whom Mozart had considered “the Mozart composed his Piano Quintet during most charming and most lovable lady I have ever March of 1784, which was one of the most intense met.” Thun’s son-in-law was the Austrian court periods of concerto composition he ever under- official Prince Karl Lichnowsky, Beethoven’s most took. He completed six concertos that year, and important patron during his early Vienna period. two more in early 1785. In fact, in Köchel’s chrono- The Countess’s weakness for Beethoven’s music is logical catalogue of Mozart’s compositions, the recorded by a Lichnowsky acquaintance who ob- Quintet is immediately preceded by three piano served Thun “on her knees in front of Beethoven concertos—No. 14 in E at (K. 449), No. 15 in B at who reclined on the sofa, begging him to play (K. 450), and No. 16 in D (K. 451)—and is followed something, which he refused to do.” Despite the by another concerto, No. 17 in G (K. 453). These young virtuoso’s nonchalance on this occasion, five new compositions were completed in a single the Countess’s enthusiasm was eventually reward- three-month span. It’s no surprise then that the ed with a delectable Trio whose lightheartedness Quintet, with its almost unique instrumentation, belies its sophisticated craftsmanship. is in the concertante style—it is essentially a piano —Patrick Castillo concerto without a string section. The concerto connection was emphasized when the Quintet GENE KOSHINSKI was premiered alongside two of the new concer- Pocket Grooves for Bassoon and tos at a Vienna concert on April 1, 1784. Percussion Apart from a single set of divertimentos for Pocket Grooves is designed with “small” in mind. piano trio written in 1776, Mozart had written The pieces are short and require small hand-held no keyboard-based chamber works before the instruments for the percussionist while they also Quintet. But within a few years after the Quin- focus on simple harmony and simple melody. tet he had produced two piano quartets and a While these pieces present incredible challenges further six piano trios. for the bassoonist, they are aesthetically light in The Quintet is a wonderful example of Mo- nature and designed to celebrate three different zart’s keyboard-based chamber works, but it traditional styles of music in the world (Joropo also brings to a culmination his wind ensemble from Venezuela, Samai from the Middle East, pieces, which include the divertimentos and more and Choro from Brazil). especially the serenades (K. 361, 375, 388). Pocket Grooves was written for bassoonist —Lon Bussell Jefferson Campbell as a request for a companion

cincinnatisymphony.org | FANFARE CINCINNATI | 81 DIRECTORS & ADVISORS

BOARD OF DIRECTORS (as of September 1, 2019)

Officers Directors Melanie Healey Elizabeth Reitz Mullenix Robert W. McDonald, Chair Lars C. Anderson Patti Heldman Marilyn J. Osborn Francie S. Hiltz, Randi S. Bellner Joseph W. Hirschhorn* Thanh T. Pham Immediate Past Chair Michael P. Bergan Brad Hunkler Aftab Pureval Christopher C. Cole, Secretary Louis D. Bilionis Sandra F. W. Joffe Thomas H. Quinn, Jr. Dianne Dunkelman, Rebecca J. Bolce Lisa D. Kelly James B. Reynolds* Vice-Chair of Volunteerism Kate C. Brown Patrick G. Kirk, M.D. Stanley E. Romanstein, PhD Thomas Charles Garber, Ralph P. Brown DVM Florence Koetters Jack Rouse Vice-Chair of Institutional Trish Bryan* Peter E. Landgren Lisa M. Sampson Advancement Craig Buchholz John Lanni Ann H. Santen Susan McPartlin, Treasurer Otto M. Budig, Jr.* Spencer Liles* Digi France Schueler and Vice-Chair of Finance Melanie M. Chavez Edyth B. Lindner* Edgar L. Smith, Jr. Dennis L. Schoff, Vice-Chair Michael L. Cioffi Will Lindner Stephanie Smith of Leadership Development Kelly M. Dehan Mark Luegering Theodore W. Striker, M.D. Sheila J. Williams, Alberto J. Espay, M.D. Timothy J. Maloney Robert Sullivan Vice-Chair of Community Shaun Ethier Bernard L. McKay Daphney C. Thomas Engagement Mrs. Charles Fleischmann III* Gerron L. McKnight Pamela F. Thompson Susan S. Friedlander* James P. Minutolo David R. Valz L. Timothy Giglio Laura Mitchell Daniel Wachter Joseph W. Hagin John A. Moore Randolph L. Wadsworth, Jr.* Lawrence Hamby Jennifer J. Morales Charla B. Weiss Delores Hargrove-Young Anne Mulder Stacey G. Woolley *Director Emeritus

WELCOME TO THIS MONTH’S GROUPS! (as of Nov. 25, 2019)

Pops Jan. 3–5: Harry Potter and the CSO Jan. 10–11: Fleming + Rachmaninoff Prisoner of Azkaban Family & Friends of Holly Qian Cincy Geek Meet Seasons Retirement Community Family & Friends of: Carolyn Annear CSO Jan. 18–19: 125th Anniversary Theresa Bambach Celebration Kara Davenport Taft Stettinius & Hollister Ken & Melodie Dunn Teresa Geiser CSO Jan. 24–25: Schubert’s The Great Paul & Mary Hemmer Barrington of Oakley John Holubeck The Kenwood by Senior Star Michael & Courtney Jones The Knolls of Oxford Susan Knight Maple Knoll Village Greg & Cynthia Olson Milford High School Sarah Saylors Otterbein Retirement Community Jennifer Sena Seasons Retirement Community Judi Sturwold Twin Lakes at Montgomery Susan Watson

CONCERTS ARE MORE FUN WITH FRIENDS! • Groups of 10+ save 25% on most concerts and seniors and students save even more! • Curate your own event with a private reception, guided tour or meet and greet— the possibilities are endless. Contact CSO Group Sales: 513.744.4023 or cincinnatisymphony.org/groups

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CCM ON STAGE Vivid Virtuosity

THE ARIEL QUARTET WELCOME TO CCM, Presenting the Midwestern premiere of Christopher Theofanidis’ Clarinet Quintet with guest artist Alexander Fiterstein MAESTRO LANGRÉE! JAN. 21, 2020 FEB. 15, 2020 The CCM Philharmonia performs Opera Production Sponsor under the esteemed direction of GENEVIEVE SMITH Louis Langrée in a program featuring Debussy’s Prélude à L’après-midi d’un faune, Ravel’s Piano Concerto and Berlioz’s Symphonie Fantastique. PARTENOPE Music by George Frideric Handel Libretto by Silvio Stampiglia FEB. 20-23, 2020

View the full performance calendar and purchase tickets online at ccmonstage. universitytickets.com

The Ariel Quartet’s 2019-20 CCM concert series is made possible by the generous contributions of an anonymous donor, The Estate of Mr. William A. Friedlander, Mrs. William A. Friedlander, Dr. Randolph L. Wadsworth, Judith Schonbach Landgren and Peter Landgren, Mr. & Mrs. Harry H. Santen, Elizabeth C. B. & Paul G. Sittenfeld, Mr. & Mrs. Thomas E. Stegman, Dr. & Mrs. Theodore W. Striker and Mrs. Harry M. Hoﬀheimer. 2019–20 FINANCIAL SUPPORT

THANK YOU, CORPORATE CONTRIBUTORS The regional business community is integral to the Orchestra’s vibrant performances, community engagement work, and education activities. We are proud to partner with the following corporate sponsors and business donors:

SERIES SPONSORS PLATINUM BATON CIRCLE ($50,000+) CONCERTMASTER’S CIRCLE ($5,000–$9,999) ArtsWave Kelly Dehan and The Dehan Family Louise Dieterle Nippert Musical Arts Fund The LaBlond Foundation of Makino of the Green Acres Foundation Pyro-Technical Investigations, Inc. Ohio Arts Council Thompson Hine LLP PNC Bank MUSICIANS CIRCLE ($2,500–$4,999) Western & Southern Financial Group Edward Jay Wohlgemuth Cincinnati USA Convention & Visitors Bureau CSO Season Hixson Architecture, Engineering Interiors GOLD BATON CIRCLE ($25,000–$49,999) LPK ArtWorks National Endowment BUSINESS PARTNERS (up to $2,499) for the Arts American Red Cross, Greater Pops Series Coney Island Cincinnati-Dayton Region Croswell VIP Motorcoaches Arthur J. Gallagher & Co. The Cincinnati Symphony Club Aunty’s Homemade Foods Macy’s, Inc. BelFlex Staffi ng Network United Dairy Farmers & Homemade Buddy Roger’s Music Brand Ice Cream Cavalier Distributing Company Dan Beard Council, Boy Scouts Of America Pops Artist CONDUCTOR’S CIRCLE ($10,000–$24,999) The David J. Joseph Company David L. Martin Bartlett Wealth Management Diversiﬁ ed Facility Solutions CCI Design / Tom & Molly Garber Dr. and Mrs. Alvin Crawford CFM International d.e. Foxx & Associates Chemed Corporation Integrity Development Corporex Companies, LLC Joyce and Howard Thompson Lollipops Series Frost Brown Todd LLC Kathleen M. Grote Graeter’s Ice Cream Mayers Electric Company, Inc. HORAN Megen Construction Edward Jay Wohlgemuth ILSCO Corporation/Bardes Fund Mr. Harold Brown Johnson Investment Counsel MSA Architects CSO Proof Kroger Company Perﬁ do Weiskopf Wagstaff and Goettel Messer Construction Company Susan Friedlander Ohio National Financial Services The Dental Care Plus Group PricewaterhouseCoopers LLP The Nelson Stark Company The Procter & Gamble Company The Perfect Brew Taft, Stettinius, and Hollister LLP Thomas J. Dyer Company U.S. Bank Private Wealth Management The Voice of Your Customer World Pac Paper, LLC Wegman Company CSO Proof Artist Join this distinguished sponsor group! Contact Kiaya Lynn at 513.744.3239 or [email protected] to learn how you can become a CSO or Pops sponsor. This list is updated quarterly. Every eff ort is made to Student Access Partner list corporate sponsors accurately. Please contact Kiaya if you see an error or omission.

JANUARY CONCERT SPONSORS Featured Sponsor On behalf of the CSO, musicians and staff , thank you to The Cincinnati Symphony Club for its dedicated support for more than 95 years! Harold C. Schott Foundation/Francie & Motivated by the ideals on which the Tom Hiltz, Trustees group was founded in 1923, the members of The Cincinnati Symphony Club generously share their time, treasure and talents to beneﬁ t youth music education initiatives and the Orchestra’s season. The more than 250 members of this organization raise funds and support these programs through their Audrey Dick Scholarship Fund, as a CSO sponsor, and through their sponsorship of the Lollipops Family Concerts. Learn more about this dynamic group of women at one of its Irwin and monthly member meetings or at the annual April Aff air event Melinda Simon featuring a fashion show, boutique shopping and luncheon. To get involved or learn more, contact Rosalee Campbell at [email protected].

cincinnatisymphony.org | FANFARE CINCINNATI | 85 FINANCIAL SUPPORT

2019 ARTSWAVE PARTNERS

ArtsWave provides signiﬁcant annual support to the Orchestra. The CSO and Pops thanks all who generously participate in the Community Campaign. A special note of gratitude to the employees at the following companies for achieving support at the $100,000+ level (*in-kind support).

P&G Enquirer Media Fifth Third Bank and the Fifth Third Foundation U.S. Bank GE Ohio National Financial Services Cincinnati Bell PNC Macy’s Duke Energy The Kroger Co. Cincinnati Reds Western & Southern Financial Group Worldpay Cincinnati Children’s Hospital Medical Center Deloitte Great American Insurance Group Cincinnati Business Courier The Cincinnati Insurance Companies The E.W. Scripps Company and the Scripps Howard Foundation

PERMANENT ENDOWMENTS Endowments provide stability for the Orchestra, help us attract and retain world-class musicians, and allow us to concentrate on fulﬁlling our core mission to seek and share inspiration. We extend our deep gratitude to the donors who have provided permanent endowments to enrich lives today and in perpetuity. For more information about endowment gifts, contact Mary McFadden Lawson at 513.744.3272.

ENDOWED CHAIRS Tom & Dee Stegman Chair+ Educational Concerts Grace M. Allen Chair Mary and Joseph S. Stern, Jr. Chair+ Rosemary & Frank Bloom * The Kenneth & Norita Aplin and Stanley Cynthia & Frank Stewart Chair Cincinnati Financial Corporation & Ragle Chair for Cello The Jackie and Roy Sweeney Family Chair The Cincinnati Insurance Companies Ellen A. & Richard C. Berghamer Chair The Sweeney Family Chair in memory of The Margaret Embshoff Educational Fund Robert E. & Fay Boeh Chair Donald C. Sweeney Kate Foreman Young Peoples Fund The Marc Bohlke Chair Anna Sinton Taft Chair George & Anne Heldman+ Given by Katrin and Manfred Bohlke Brenda & Ralph Taylor Chair Macy’s Foundation Otto M. Budig Family Foundation Chair James P. Thornton Chair Vicky & Rick Reynolds*+ Trish & Rick Bryan Chair Nicholas Tsimaras-Peter G. Courlas Chair William R. Schott Family** Mary Alice Heekin Burke Chair Jo Ann & Paul Ward Chair Western-Southern Foundation, Inc. Peter G. Courlas-Nicholas Tsimaras Chair Matthew & Peg Woodside Chair Anonymous (3)+ Ona Hixson Dater Chair Mary M. & Charles F. Yeiser Chair The Anne G. and Robert W. Dorsey OTHER NAMED FUNDS Chair for Violin+ ENDOWED PERFORMANCES Ruth Meacham Bell Memorial Fund Jane & David Ellis Chair & PROJECTS Frank & Mary Bergstein Fund for Musical Irene & John J. Emery Chair Eleanora C. U. Alms Trust, Fifth Third Bank, Trustee Excellence+ James M. Ewell Chair Rosemary and Frank Bloom Endowment Fund*+ Jean K. Bloch Music Library Fund Ashley and Barbara Ford Chair for Principal Tuba Cincinnati Bell Foundation Inc. Cora Dow Endowment Fund Susan S. & William A. Friedlander Chair+ Mr. & Mrs. Val Cook Corbett Educational Endowment** Charles Gausmann Chair Nancy & Steve Donovan* Belmon U. Duvall Fund Susanne and Philip O. Geier, Jr. Chair+ Sue and Bill Friedlander Endowment Fund*+ Ewell Fund for Riverbend Maintenance Emma Margaret & Irving D. Goldman Chair Mrs. Charles Wm Anness*, Linda & Harry Fath Endowment Fund Charles Frederic Goss Chair Mrs. Frederick D. Haffner, Ford Foundation Fund David G. Hakes & Kevin D. Brady Chair Mrs. Gerald Skidmore and the Natalie Wurlitzer & William Ernest Griess Dorothy & John Hermanies Chair La Vaughn Scholl Garrison Fund Cello Fund Josephine I. & David J. Joseph, Jr. Chair Fred L. & Katherine H. Groll Fund for Fred L. & Katherine H. Groll Trust Lois Klein Jolson Chair Musical Excellence Music Director Fund for Excellence Harold B. & Betty Justice Chair Fred L. & Katherine H. Groll Fund for Great Artists The Mary Ellyn Hutton Fund for Excellence Marvin Kolodzik Chair+ Fred L. & Katherine H. Groll Trust Pianist Fund in Music Education Al Levinson Chair The Carol Ann and Ralph V. Haile, Jr./ Josephine I. & David J. Joseph, Jr. Patricia Gross Linnemann Chair+ U.S. Bank Foundation Endowment Fund Scholarship Fund Jean Ten Have Chair Anne Heldman Endowment Fund** Richard & Jean Jubelirer & Family Fund* Alberta & Dr. Maurice Marsh Chair Mr. and Mrs. Lorrence T. Kellar+ Elma Margaret Lapp Trust Laura Kimble McLellan Chair Lawrence A. & Anne J. Leser* Jésus López-Cobos Fund for Excellence The Henry Meyer Chair Mr. & Mrs. Carl H. Lindner** Mellon Foundation Fund Louise Dieterle Nippert & Louis Nippert Chairs PNC Financial Services Group Nina Browne Parker Trust Ida Ringling North Chair The Procter & Gamble Fund Dorothy Robb Perin & Harold F. Poe Trust Rawson Chair Vicky & Rick Reynolds Fund for Diverse Artists+ Rieveschl Fund The Vicky and Rick Reynolds Chair Melody Sawyer Richardson* Thomas Schippers Fund in Honor of William A. Friedlander+ Rosemary and Mark Schlachter Endowment Fund*+ Martha, Max & Alfred M. Stern Ticket Fund Donald & Margaret Robinson Chair The Harold C. Schott Foundation, Mr. & Mrs. John R. Strauss Student Ticket Fund Dianne & J. David Rosenberg Chair+ Francie and Tom Hiltz Endowment Fund+ Anna Sinton & Charles P. Taft Fund Ruth F. Rosevear Chair Peggy Selonick Fund for Great Artists Lucien Wulsin Fund The Morleen & Jack Rouse Dee and Tom Stegman Endowment Fund*+ Wurlitzer Season Ticket Fund Associate Principal Timpani Chair+ Mr. & Mrs. Joseph S. Stern, Jr. Fund CSO Pooled Income Fund Emalee Schavel Chair for Great Artists CSO Musicians Emergency Fund Karl & Roberta Schlachter Family Chair U. S. Bank Foundation* Serge Shababian Chair Sallie and Randolph Wadsworth Endowment Fund+ *Denotes support for Annual Music Program Fund **Denotes support for the 2nd Century Campaign Melinda & Irwin Simon Chair+ +Denotes support for the Fund for Musical Excellence

86 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT

HONOR ROLL OF CONTRIBUTORS The Cincinnati Symphony Orchestra and Cincinnati Pops Orchestra are grateful to the following individuals and organizations that support our efforts. We extend our heartfelt thanks to each and every one and pay tribute to them here. You can join our circle of supporters online at cincinnatisymphony.org/give or by contacting the Philanthropy Department at 513.744.3271.

PLATINUM BATON Moe and Jack Rouse § Tom and Jan Hardy § The Lewis and Marjorie Daniel Ann and Harry Santen § Mr. and Mrs. Bruce Healey Foundation CIRCLE The Ladislas & Vilma Segoe Mr. and Mrs. Fred Heldman Stephen J. Daush Gifts of $50,000 and above Family Foundation Mr. and Mrs. Joseph W. K.M. Davis The Louise Dieterle Nippert The Louise Taft Semple Foundation Hirschhorn § Bedouin and Randall Dennison Musical Arts Fund Mrs. Harry M. Hoffheimer Dennis W. and Cathy Dern Mr. and Mrs. Frederick E. Bryan, III § Dr. and Mrs. Lionel King Mr. Albert C. Dierckes, Jr. CCI Design, Molly and Tom Garber SILVER BATON CIRCLE Gifts of $15,000–$24,999 Patrick Kirk and Mary Vondrak Mrs. Charles M. Drackett Sheila and Christopher C. Cole Mr. John Lanni Mrs. Diana T. Dwight The Corbett Foundation Mary Bergstein Rosemary H. and Frank Mrs. Anne I. Lawrence Mr. Shaun Ethier and Susan Friedlander § Whitney and Phillip Long Empower Media Marketing Dr. Lesley Gilbertson and Bloom Special Fund*§ Dr. and Mrs. John and Mark and Tia Luegering Mr. and Mrs. James T. Fitzgerald Dr. William Hurford Mr. and Mrs. Timothy Maloney Marlena and Walter Frank George L. and Anne P. Suzanne Bossert § Edward Castleberry Rhoda Mayerson Dr. and Mrs. Harry F. Fry Heldman Fund* § G. Franklin and Carolyn Baker Miller Ms. Jane Garvey Dr. and Mrs. Stephen Joffe Robert and Debra Chavez Michael L. Cioffi The Oliver Family Foundation L. Timothy Giglio Mr. Mace C. Justice § The Daniel & Susan Pfau Mrs. Michael H. Giuliani Florence Koetters Dr. and Mrs. Carl G. Fischer Ashley and Bobbie Ford § Foundation Clifford J. Goosmann and League of American Orchestras Terry and Marvin Quin Andrea M. Wilson § Edyth B. Lindner Marvin P. Kolodzik § Mrs. Erich Kunzel Mr. and Mrs. Thomas H. Quinn, Jr. Mr. and Mrs. Lawrence Hamby The H.B., E.W., and F.R. Luther Melody Sawyer Richardson § Mr. and Mrs. John B. Hansen Charitable Foundation, Mr. and Mrs. Robert W. McDonald Mrs. Susan M. McPartlin Ms. Lisa Sampson Mr. and Mrs. Brian E. Heekin Fifth Third Bank and Mr. Dennis Schoff and Mr. and Mrs. Bradley G. Hughes Narley L. Haley, Co-Trustees G. Franklin and Carolyn Baker Miller Mr. and Mrs. Joe Orndorff Ms. Nina Sorensen Mr. Marshall C. Hunt, Jr. The Andrew W. Mellon Foundation Mr. Rick J. Staudigel and Drs. Marcia Kaplan and Dr. John & Louise Mulford Fund Joseph A. and Susan E. Pichler Fund* Ms. Kelly M. Dehan Michael Privitera § for the CSO Dr. Jean and Mrs. Anne Steichen Mr. and Mrs. Lorrence T. Kellar Marilyn J. and Jack D. Osborn § Mark S. and Rosemary K. Schlachter § Dr. and Mrs. Peter J. Stern Mr. and Mrs. Richard Kovarsky Vicky and Rick Reynolds Mrs. Anne Drackett Thomas Michael and Marilyn Kremzar Dianne and J. David Rosenberg Theodore W. and Carol B. Striker Sutphin Family Foundation Pamela and Paul Thompson Peter E. Landgren and Harold C. Schott Foundation, Tomcinoh Fund* Judith Schonbach Landgren Francie and Tom Hiltz, Trustees Dale and Joyce Uetrecht Gary and Diane West § Mr. and Mrs. Paul H. Ward § Mr. Will Lindner The Marge & Charles J. Schott Charla Weiss, Ph.D. Mrs. Robert Lippert Foundation Mrs. James W. Wilson, Jr. Wodecroft Foundation Emory P. Zimmer Mr. and Mrs. AJ and Laura Macht Irwin and Melinda Simon Insurance Agency Mandare Foundation Tom and Dee Stegman Mr. and Mrs. James M. Zimmerman § Elizabeth and Brian Mannion Jackie and Roy Sweeney CONCERTMASTER’S David L. Martin Family Fund* Mr. Jonathan Martin and Mr. Randolph L. Wadsworth, Jr. § CONDUCTOR’S CIRCLE Cincinnati Symphony Orchestra Ginger and David W. Warner CIRCLE Gifts of $5,000–$9,999 Mr. Bernard McKay Gifts of $10,000–$14,999 Dr. Charles Abbottsmith Miami University College of GOLD BATON CIRCLE Ms. Jessica Adelman and Dr. Norita Aplin and Creative Arts Gifts of $25,000–$49,999 The Kroger Co. Stanley Ragle § Mr. James A. Miller Friends from Beavercreek Mr. and Mrs. Lars C. Anderson, Sr. Thomas P. Atkins Linda and James Miller Rebecca J. Bolce and Martha G. Anness § In Memory of William T. Mr. and Mrs. James Minutolo Keith S. Wood Mr. Randi Bellner and U.S. Bank Bahlman, Jr. § George and Sarah Morrison III Charles H. Dater Foundation The Bergan Family Kathleen and Michael Ball Mr. and Mrs. David W. Motch Mrs. Charles Fleischmann Mr. Gregory D. Buckley and Dava Lynn Biehl § The Willard & Jean Mulford Karlee L. Hilliard § Ms. Susan Berry-Buckley Louis D. Bilionis and Ann Hubbard Charitable Fund Louise H. and David S. Ingalls Ms. Melanie M. Chavez Mr. William P. Blair III Dr. E. Don Nelson and Julia Foundation, Inc. Crosset Family Fund Robert L. Bogenschutz Sawyer-Nelson The Jewish Foundation of Cincinnati Mrs. Thomas E. Davidson § Mr. and Mrs. Joseph Brinkmeyer § Mr. Scott Nelson and The Patricia Kisker Foundation Dianne Dunkelman Mr. and Mrs. Larry Brueshaber Dr. Susan Kindel Lazarow Schwartz Family Fund* Dr. and Mrs. Alberto Espay The Otto M. Budig Arlene Palmer Calvin and Patricia Linnemann Mrs. Philip O. Geier § Family Foundation Dr. Manisha Patel and George and Margaret Rebecca Gibbs and Anne Mulder Peter G. Courlas § Dr. Michael Curran McLane Foundation Priscilla Garrison Haffner § Dr. and Mrs. Alvin Crawford Ms. Thienthanh Pham Mr. Joseph Hagin Jodelle S. Crosset § David and Jenny Powell

Pianist Javier Perianes and guest conductor Gustavo Gimeno Barbara and Kim McCracken at the backstage with guests of Western & Southern following the Thomas Schippers Legacy Society Oct. 26 CSO concert. Recognition Dinner on Nov. 12.

cincinnatisymphony.org | FANFARE CINCINNATI | 87 FINANCIAL SUPPORT

David Hoyt and Alayne Wegner attend the Private Encore Matthew and Diana Wallace at the Nov. 9 Private Encore with Gil Shaham held on Nov. 9. with Gil Shaham.

The Margaret McWilliams Mr. and Mrs. Stephen Hicks Steve and Katie Wolnitzek Elizabeth Lilly* Rentschler Fund* Drs. Robert C. Hodges and Anonymous (4) Dr. and Mrs. Lynn Y. Lin Ellen Rieveschl § Anthony A. McIntire Paula and Nick Link Elizabeth and Karl Ronn § Ruth C. Holthaus SYMPHONY CIRCLE Drs. Douglas Linz and Ann Nancy and Ed Rosenthal Mr. and Mrs. Stephen Hone Gifts of $1,500–$2,999 Middaugh Martha and Lee Schimberg In Memory of Benjamin C. William Albertson Mrs. Marianne Locke The Louis and Melba Hubbard § Jeff and Keiko Alexander § Mr. and Mrs. Clement H. Luken, Jr. Schott Foundation Mr. and Mrs. Geoffrey Keenan William P. Anderson Foundation Sherie Lynch Marek Mike and Digi Schueler Dr. Robert W. Keith and Robert and Beth Baer James A. Markley, Jr. David and Abby Schwartz Ms. Kathleen Thornton David and Elaine Billmire Mr. and Mrs. Dean Matz Sue and Glenn Showers § Don and Kathy King Dabby Blatt Dr. Janet P. McDaniel Elizabeth C. B. and Patrick Kirk and Mary Vondrak Martha Bolognini Mark McKillip and Amira Beer Paul G. Sittenfeld § Jeff and Mary Ann Knoop Dr. and Mrs. William Bramlage Becky Miars Mr. and Mrs. Gerald Skidmore § Mr. Eric Landrum Peter and Kate Brown John and Roberta Michelman Jack J. Smith, Jr. Charitable Trust Richard and Susan Lauf Dr. Ralph P. Brown Ms. Sue Miller Michael and Donnalyn Smith Mrs. Jean E. Lemon § Rachelle Bruno and Stephen Mr. and Mrs. John A. Moore and Brett Stover § Thomas and Adele Lippert Bondurant Moore Air Sarah Thorburn Merlanne Louney Chris and Tom Buchert Regeana and Al Morgan Mr. and Mrs. David R. Valz Jacqueline M. Mack and Bill and Pat Case Ms. Mary Lou Motl Christopher and Nancy Virgulak Dr. Edward B. Silberstein Amy and Robert Catanzaro Mr. and Mrs. Norman Neal Mr. and Mrs. Daniel Wachter Mr. and Mrs. Julian A. Magnus Dr. Alan Chambers Mrs. John L. Noelcke Nancy C. Wagner § Chris and Bev Maloney Catharine W. Chapman § Mr. and Mrs. Eric Oliver Patricia M. Wagner § Alan Margulies and Gale Snoddy Lois Cohen § Mr. and Mrs. Robert S. Olson Mr. and Mrs. Robert Welch Mr. and Mrs. Donald Marshall Jack and Janice Cook § Mrs. George Perbix Donna A. Welsch Lynn and Glen Mayﬁeld Randy K. and Nancy R. Cooper Mr. and Mrs. Robert T. Pike Cathy S. Willis Eleanor S. McCombe Mr. and Mrs. George Daumeyer Anne M. Pohl § Andrea K. Wiot Barbara and Kim McCracken § Mr. and Mrs. James Dealy Sherri and Mike Prentiss Anonymous (3) Ms. Amy McDiffett George Deepe and Kris Orsborn Mr. Aftab Pureval Stephanie McNeill Nancy and Steve Donovan Marilyn Reichert ARTIST’S CIRCLE Mary Ann Meanwell Mrs. Jack E. Drake Beverly and Dan Reigle Gifts of $3,000–$4,999 Mrs. Patricia Misrach Mrs. Shirley Duff Diane and Alex Resly Mr. and Mrs. Richard N. Adams Mr. and Mrs. David E. Moccia § Mr. and Mrs. John G. Earls § Charles Scott Riley III Foundation Drs. Frank and Mary Albers Jennifer Morales and Ben Glassman Mr. Jimmy C. Edwards Nancy and Raymond Rolwing Ms. Laura E. Atkinson David and Beth Muskopf Jean K. Eichert Dean Stanley Romanstein Gerard and Susan Baillely Phyllis Myers and Danny Gray Mrs. Joyce Elkus Ross Charitable Trust Robert and Janet Banks Dr. and Mrs. Richard Park § The Thomas J. Emery Memorial Marianne Rowe § Judy A. Bean Poul D. and JoAnne Pedersen Mr. Laughton Fine Ann Ruchhoft Glenn and Donna Boutilier Alice Perlman Gail F. Forberg Dr. and Mrs. Michael Scheffler Thomas A. Braun, III § Alice and David Phillips Richard Freshwater § Mr. and Mrs. William C. Stephen and Diedra Burns Mark and Kim Pomeroy Carol S. Friel Schmidter, III Linda Busken and Michael and Katherine Rademacher Frank and Tara Gardner Rennie and David Siebenhar Andrew M. Jergens § Marjorie and Louis Rauh Orpha Ann Gatch Foundation Dr. and Mrs. Robert Sefton Smith Janet and Bruce Byrnes James W. Rauth § Dr. and Mrs. Ralph A. Giannella Ms. Stephanie Smith Dr. Daniel Cajacob Mrs. Robert S. Read Mrs. Jay N. Gibbs Harold and Faye Sosna Miss Norma L. Clark § Sandra Rivers John B. Goering Richard and Lois Sprigg Susan and Burton Closson Mr. and Mrs. Marcus Rose Dr. and Mrs. Glenn S. Gollobin Howard and Nancy Starnbach David and Nina Clyne James Rubenstein and Drew Gores and George Warrington Ms. Ruth M. Stechschulte Dr. Thomas and Geneva Cook Bernadette Unger Dr. and Mrs. James M. Greenberg Bill and Lee Steenken Sally and Rick Coomes James and Mary Russell Esther B. Grubbs § Mr. and Mrs. Richard Stradling, Jr. Robin Cotton and Cindi Fitton Mr. Kyle Schlotman and Dr. Janet C. Haartz and Dr. Alan and Shelley Tarshis Mr. and Mrs. John Cover Connetic Ventures Kenneth V. Smith Kathy Teipen Jim and Elizabeth Dodd Mr. and Mrs. Peter A. Schmid Ms. Delores Hargrove-Young Rich and Nancy Tereba Jon and Susan Doucleff § Elizabeth Schulenberg Ms. Elizabeth A. Harty Nydia C. Tranter § Patricia Dudsic Rev. Dr. David V. Schwab William and Joanne Harvey Mr. and Mrs. James L. Wainscott Dr. and Mrs. Stewart B. Dunsker Vivian and Jim Schwab Donald and Susan Henson Dr. and Mrs. Matthew and David and Kari Ellis Fund* Sandra and David Seiwert Mr. Curtis Hinshaw Diana Wallace Ann A. Ellison Doug and Laura Skidmore Bruce and Linda Hoffman M. L. Wells Hardy and Barbara Eshbaugh William A. and Jane Smith Ms. Susan K. Hopp Virginia Wilhelm Catherine Lepley Feig Elizabeth A. Stone David J. Hoyt Rev. Anne Warrington Wilson Mrs. Nancy Finke Ms. Margaret M. Story Mr. and Mrs. Michael C. Hughes Robert and Judy Wilson Mrs. Jacqueline S. Francis Mrs. Sally Sundermann Mr. Gordon Hullar Wright Brothers, Inc. Yan Fridman Ralph C. Taylor § Mr. Bradley Hunkler Carol and Don Wuebbling Mrs. James R. Gardner Susan and John Tew Mr. Thaddeus Jaroszewicz David and Sharon Youmans Naomi Gerwin Mr. and Mrs. Ronald Tinklenberg Karolyn Johnsen Andi Levenson Young and Mrs. Jocelyn Glass Janet Todd Barbara M. Johnson Scott Young Thomas W. Gougeon Robert and Audrey Varley Holly H. Keeler Mr. and Mrs. Robert L. Zierolf Lesha and Samuel Greengus Dr. Barbara R. Voelkel Dr. John Kerman and Molly Kerman Ms. Nancy Zimpher Kathleen M. Grote § Mrs. Ronald F. Walker Bill and Penny Kincaid Anonymous (7) Dr. and Mrs. Jack Hahn Dr. and Mrs. Galen R. Warren Carol Louise Kruse Dr. Donald and Laura Harrison Jim and George Ann Wesner Mrs. John H. Kuhn § CONCERTO CLUB Mr. and Mrs. Robert R. Heidenreich Jo Ann Wieghaus Charles and Jean Lauterbach Gifts of $500–$1,499 Dr. James and Ms. Susan Herman Sheila Williams and Bruce Smith Mary Mc and Kevin Lawson Mrs. Christine O. Adams Ms. Janet Hickman Ronna and James Willis Mr. and Mrs. Philip B. Leege Mrs. Robert Adams Mr. Peter F. Levin § Romola N. Allen § 88 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT

Lisa Allgood Mr. Walter Feige Mrs. Mary Long Mr. and Mrs. Phil Spiewak Mr. and Mrs. James Allison Ms. Barbara A. Feldmann Al and Mary Lopez Marian P. Stapleton Mr. and Mrs. Rob Altenau Don L. Fernandez Mr. Jeff Lowrance John Steele, Sr. Dolores and Paul Anderson Mr. and Mrs. Alexander Filemonov David and Katja Lundgren Jerry and Melinda Stenger Mr. Paul Anderson Mr. and Mrs. Garth Finch Timothy and Jill Lynch Christopher and Meghan Stevens Mr. and Mrs. Albert Andrews Richard and Elizabeth Findlay Edmund D. Lyon Laurence G. Stillpass Dr. Victor and Dolores Angel Mrs. Mary Fisher Edgar J. & Elaine J. Mack Fund Mr. Jason V. Stitt Nancy J. Apfel Mrs. Stona J. Fitch Marshall and Nancy Macks Stephanie and Joseph Stitt Apke/Premium Cleaning Alan Flaherty and Patti Myers § Jerry Malsh and Ann Segal Mrs. Donald C. Stouffer Judy Aronoff and Ms. Nancy B. Forbriger Mrs. Morita Marmo Patricia Strunk § Marshall Ruchman Mr. and Mrs. William Fotsch Andrew and Jean Martin Mr. and Mrs. Robert J. Sullivan Mr. David H. Axt and In Memory of Eugene and Ms. Cynthia Mason Mr. and Mrs. Andrew E. Sweeny, Jr. Ms. Susan L. Wilkinson Cavell Frey Tim and Trish McDonald Mr. and Mrs. William R. Talbot, Jr. Dr. Diane S. Babcock § Mr. and Mrs. Joseph Fricke Robert and Heather McGrath Mr. Fred Tegarden Jerry and Martha Bain Mr. and Mrs. James Fryman Karin McLennan Tom and Sue Terwilliger Mr. and Mrs. Carroll R. Baker Marjorie Fryxell Charles and JoAnn Mead Carol Thaman Joe and Patricia Baker Linda P. Fulton § Mr. Clifford Mentrup George and Pamela Thomas Jack and Diane Baldwin Ms. Bianca Gallagher Taylor Metcalfe Mr. and Mrs. Alexander Thomson William and Barbara Banks Justin R. Garabedian Dr. and Mrs. Richard A. Meyer Cliff and Diane Thornsburg Peggy Barrett § Drusilla Garms Michael V. and Marcia L. Middleton Greg Tiao and Lisa Kuan Mrs. Polly M. Bassett Kathleen Gibboney Terence G. Milligan Marcia and Bob Togneri Michael and Amy Battoclette David J. Gilner Sonia R. Milrod Neil Tollas and Janet Moore Ms. Shirley Bear Louis and Deborah Ginocchio Dr. Stanley R. Milstein § Torey and Tom Torre Ms. Mariana Belvedere Dr. and Mrs. Charles J. Glueck Ms. Laura Mitchell Dr. and Mrs. Haig G. Tozbikian Lois G. Benjamin Mr. and Mrs. Jim Goldschmidt Norbert Mollmann Ms. Barb Trauth Fred Berger Steven and Shelley Goldstein Mr. Steven Monder Paul and Diana Trenkamp Dr. Allen W. Bernard Ms. Arlene Golembiewski Charlie Moorman Dr. Ilse van der Bent Barbara and Milton Berner Mrs. Jack Gottschalk John and Irene Morrison Dr. Judith Vermillion Dr. David and Cheryl Bernstein Carol Grasha and Christopher Knoop Ms. Kate Mountjoy Vincent Lighting Systems Glenda and Malcolm Bernstein Robert and Cynthia Gray Mr. and Mrs. William Mullins Mr. Stephen Vogel Ms. Marianna Bettman Dr. Bryan Griffin Dr. and Mrs. Charles M. Myer III Ms. Barbara Wagner Mr. Eric Beutel Dr. Alice E. Grimes Kathy and Rochelle Nardiello Mary and Jack Wagner § Mr. and Mrs. Rodd Bixler Mr. and Mrs. James Grimes Mr. William Naumann Mike and Diane Wagner Randal and Peter Bloch Mary Grooms Mrs. David A. Nelson Michael L. Walton, Esq. Dr. and Mrs. Jeffrey Bloomer William and Amy Hahnel Jim and Sharon Nichols Sarella Walton Ava Jo Bohl Ham and Ellie Hamilton Mr. and Mrs. John Niehaus Carole and Ed Warfel Mr. and Mrs. Kenneth Borisch Roberta Handwerger Ms. Jane Nocito Herman & Margaret Wasserman Marilyn and John Braun James and Sally Harper Jane Oberschmidt § Music Fund* Robert and Joan Broersma Deborah Hauger, MD Mrs. Janet K. Osborn Dr. and Mrs. Warren A. Webster Mr. and Mrs. Don H. Brown Kenneth and Rachel Heberling Nan L. Oscherwitz Mrs. William N. Weed Mr. and Mrs. Harold Brown Mr. and Mrs. Albert E. Heekin Mr. and Mrs. John T. Osterman Ted and Mary Ann Weiss Mr. and Mrs. Robert S. Brown Irmgard and Horst Hehmann Marilyn Z. Ott Mr. Louis Weisser Jacklyn and Gary Bryson Janet Heiden John A. Pape Maryhelen West Mr. and Mrs. William R. Burleigh Mrs. Betty H. Heldman § Mr. and Mrs. R. Joseph Parker Barbara Weyand Donald L. and Kathleen Field Burns Howard D. and Mary W. Helms John and Francie Pepper Mr. Donald White Daniel A. Burr Dr. Bernard Hertzman Mr. Stephen Peterson Ms. Elizabeth White Jack and Marti Butz Ms. Leslie M. Hoggatt Mr. Mark Phillips Mr. Dean Windgassen and John and Terri Byczkowski Mr. and Mrs. Sam R. Hollingsworth Sandy Pike § Ms. Susan Stanton Windgassen § Ms. Deborah Campbell § Richard and Marcia Holmes Ann and Marty Pinales Harvey and Susan Wittenberg Anna K. Carey Stanley A. Hooker, III Ms. Marta Pisarka Mrs. Ann Wolford Shannon and Lee Carter Karen and David Huelsman Mr. Larry R. Plum Don and Karen Wolnik Denise and Martin Chambers Mr. Bradley Hunkler Chris and Janice Plummer Women’s Philharmonic Advocacy Mike and Shirly Chaney Mr. Doug Ignatius and Ms. Martha Ragland Mr. Stacey Woolley Gordon Christenson Mr. Bruce Preston Paul and Ruth Ann Ravenna Mrs. Richard Wurzelbacher Bob and Tisha Clary Mr. Michael Ilyinsky Mr. and Mrs. Brian T. Rhame Mr. John M. Yacher James Clasper and Cheryl Albrecht Mr. and Mrs. Paul Isaacs Dr. Robert Rhoad and Dr. and Mrs. Marvyn H. Youkilis Alfred Cohen and Ann Dr. Maralyn M. Itzkowitz Kitsa Tassian Rhoad Mrs. Darleen Young Pappenheimer Mrs. Charles H. Jackson, Jr. Becky and Ted Richards Mr. and Mrs. Dan Zavon Carol C. Cole § Mr. Neal Jacobs Ms. Gwen Robinson Moritz and Barbara Ziegler Dr. and Mrs. John M. Collins Marcia Jelus Dr. Toni Robinson-Smith and Irene A. Zigoris Dr. George I. Colombel Mr. Dale Jenkins Mr. Edgar L. Smith, Jr. Mr. Richard K. Zinicola and Fred Colucci Ms. Sylvia Johnson Mr. and Mrs. Ian Rodway Linda R. Holthaus Dr. Pearl J. Compaan Lois and Kenneth Jostworth Ms. Jeanne C. Rolfes John and Mary Ann Zorio Dr. Margaret Conradi Dr. Jerald Kay John and Meredith Roos Anonymous (22) Jean and Gene Conway Mr. and Mrs. William J. Keating Mr. Brendan Rosa and Albert B. Cord Charitable Joan Keller Ms. Catherine Calko GIFTS IN-KIND Foundation Robert J. Kempton, Ph.D. Dr. and Mrs. Gary Roselle Croswell Bus Lines, Inc. Dennis and Patricia Coyne Robert A. and Marian K. Kennedy Amy and John Rosenberg D’Addario Foundation Marjorie Craft Charitable Trust Mr. and Mrs. G. Roger Ross Mrs. Charles Fleischmann III Mr. Kevin Crowley Dr. and Mrs. Richard Kerstine The Saenger Family Foundation Funky’s Catering Mr. and Mrs. Brendon Cull Mr. and Mrs. Dave Kitzmiller Mrs. Richard B. Salzer PPS Group Susan and John Cummings John and Lynn Klahm Mr. and Mrs. Kazuya Sato Queen City Club Mr. and Mrs. Charles E. Curran, III § Frank B. Knapke, Jr. David and Judy Savage Ann and Harry Santen Lynne Curtiss Marie and Sam Kocoshis Mr. Christian J. Schaefer Dr. and Mrs. Daniel Spraul Jacqueline Cutshall Anne B. Koehler Jane and Wayne Schleutker Mr. Rick J. Staudigel and Mr. Joseph and Mrs. Lori Dattilo Pamela Koester-Hackmann Jeffrey S. Schloemer and Ms. Kelly M. Dehan Loren and Polly DeFilippo Diane Kolleck Marcia A. Banker Torey and Tom Torre Stephen and Cynthia DeHoff Paul and Carita Kollman George Palmer Schober Troika/Mission Group Robert B. Dick, Ph.D. Mr. Frank P. Kromer Glenda C. Schorr Fund* Mr. Matt Wagenlander Ms. Rhonda Dickerscheid Mr. and Mrs. Bruce A. Krone Mr. and Mrs. Richard Schorr Nancy C. Wagner Ms. Marianne Doll Kathleen B. and Michael C. Carol J. Schroeder § Patricia M. Wagner Jean and Rick Donaldson Krug Fund* James Schubert Mr. Guy Wolf and Julie Dorenbusch Patricia Lambeck Mr. Shawn Scott Ms. Jane Misiewicz Mrs. John Doviak Everett and Barbara Landen Martha S. Seaman § List as of November 22, 2019 Meredith and Chuck Downton Mrs. Joseph A. Lane Peter Seidel Tom and Leslie Ducey Evelyn and Fred Lang Mrs. Lawrence Shapiro * Denotes a fund of The Greater Tom and Dale Due Karen Larsen Drs. Mick and Nancy Shaughnessy Cincinnati Foundation Freeman Durham and Mr. and Mrs. John C. Layne Alfred and Carol Shikany § Denotes members of The Thomas Dean Clevenger Mr. Alvin R. Lee Ms. Joycee Simendinger Schippers Legacy Society. Individuals Mr. and Mrs. James Eigel Donna Levi Jonathan and Diana Sisk who have made a planned gift to Larry and Barbara Elleman Levin Family Foundation Ms. Martha Slager the Cincinnati Symphony Orchestra Ms. Ruth Engel Mr. Brian Lewis Arthur J. Slavin and Pops Orchestra are eligible for Barbara Esposito-Ilacqua Mr. and Mrs. Lance A. Lewis Mark Smith membership in the Society. For more Barry and Judy Evans Dr. Susie and Henry Limouze Stephen and Lyle Smith information, please contact Kate Ms. Sarah Evans Mr. Arthur Lindsay Susan and David Smith Farinacci at 513.744.3202. Dr. and Mrs. William J. Faulkner Mr. and Mrs. James A. Link Mrs. John A. Spiess cincinnatisymphony.org | FANFARE CINCINNATI | 89 FINANCIAL SUPPORT

THE THOMAS SCHIPPERS LEGACY SOCIETY

Thomas Schippers was Music Director from 1970 to 1977. He left not only wonderful musical memories, but also a ﬁ nancial legacy with a personal bequest to the Orchestra. The Thomas Schippers Legacy Society recognizes those who contribute to the Orchestra with a planned gift. We thank these members for their foresight and generosity. For more information on leaving your own legacy, contact Mary McFadden Lawson at 513.744.3272.

William Hackman Melody Sawyer Richardson Dr. Robert & Jill Strub Priscilla Garrison Haff ner Ellen Rieveschl Patricia M. Strunk Vincent C. Hand & Elizabeth & Karl Ronn Ralph & Brenda* Taylor Ann E. Hagerman Moe & Jack Rouse Conrad F. Thiede Mr. & Mrs. James R. Adams Tom & Jan Hardy Marianne Rowe Minda F. Thompson Jeff & Keiko Alexander William L. Harmon Solveiga Rush Carrie & Peter Throm Mrs. Robert H. Allen Bill Harnish & John Harnish Ann & Harry Santen Dr. & Mrs. Thomas Todd Paul R. Anderson Dr. & Mrs. Morton L. Harshman Rosemary & Mark Schlachter Nydia Tranter Mrs. Charles William Anness Mary J. Healy Carol J. Schroeder Dick & Jane Tuten Dr. Norita Aplin & Stanley Ragle Frank G. Heitker Mrs. William R. Seaman Mr. & Mrs. Robert Varley Carole J. Arend Anne P. Heldman Dr. Brian Sebastian Mr. & Mrs. James K. Votaw Donald C. Auberger, Jr. Betty & John* Heldman Mrs. Mildred J. Selonick Mr. & Mrs.* Randolph Wadsworth, Jr. Dr. Diane Schwemlein Babcock Ms. Roberta Hermesch Mrs. Robert B. Shott Jack K. & Mary V. Wagner Mr.* & Mrs. William T. Bahlman, Jr. Karlee L. Hilliard Sue & Glenn Showers Nancy C. Wagner Henrietta Barlag Mr. & Mrs. Joseph W. Hirschhorn Betsy & Paul Sittenfeld Patricia M. Wagner Peggy Barrett Daniel J. Hoff heimer Sarah Garrison Skidmore Mr. & Mrs. Paul Ward Jane* & Ed Bavaria Kenneth L. Holford Adrienne A. Smith Jo Anne & Fred Warren Dava Lynn Biehl George R. Hood David & Sonja* Snyder Anne M. Werner Walter Blair Mr. & Mrs. Terence L. Horan Roberta L. Sontag Gary & Diane West Lucille* & Dutro Blocksom Mrs. Benjamin C. Hubbard Marie Speziale Charles A. Wilkinson Rosemary & Frank Bloom Susan & Tom Hughes Mr. & Mrs. Christopher L. Sprenkle Sarah E. Wilkinson Ms. Jean Boeschlin Isabelle F. Hugo Michael M. Spresser Susan Stanton Windgassen Dr. John & Suzanne Bossert Carolyn R. Hunt Barry & Sharlyn Stare Mrs. Barbara Witte McCracken Mollie H. Bowers-Hollon Julia M. F. B. Jackson Cynthia Starr Mrs. Joan R. Wood Ronald Bozicevich Michael & Kathleen Janson Dee & Tom Stegman Alison & Jim Zimmerman Thomas A. Braun, III Andrew MacAoidh Jergens Barry Steinberg Anonymous (22) David L. Martin Nancy M. Steman Joseph Brinkmeyer * Deceased Mr. & Mrs. Frederick Bryan, III Jean C. Jett John & Helen Stevenson Harold & Dorothy Byers Frank Jordan Mary & Bob Stewart New Schippers members are in bold Deborah Campbell & Margaret H. Jung Brett Stover Eunice M. Wolf Mace C. Justice Myra Chabut Karen Kapella Catharine W. Chapman Dr. & Mrs.* Steven Katkin Jean & Matthew* Chimsky Rachel Kirley & Joseph Jaquette Mrs. Jackson L. Clagett III Carolyn Koehl Norma L. Clark Marvin Kolodzik Lois & Phil* Cohen Randolph & Patricia Krumm Leland M.* & Carol C. Cole Theresa M. Kuhn Grace A. Cook Owen & CiCi Lee Jack & Janice Cook Steve Lee NEWS Mr. & Mrs. Charles Cordes Mrs. Jean E. Lemon Peter G. Courlas & Nick Tsimaras* Mr. Peter F. Levin Jodelle S. Crosset George & Barbara Lott 91.7 88.5 Mr. & Mrs. Charles E. Curran III Mr.* & Mrs. Ronald Lyons WVXU WMUB Amy & Scott Darrah Marilyn J. Maag Meredith & Will Darrah, children Margot Marples Caroline H. Davidson Allen* & Judy Martin Harrison R.T. Davis David L. Martin Amy & Trey Devey David Mason Robert W. Dorsey Laura Kimble McLellan Jon & Susan Doucleff Dr. Stanley R. Milstein Mr. & Mrs. John Earls Mrs. William K. Minor Linda & Harry Fath Mr. & Mrs. D.E. Moccia Alan Flaherty Mrs. Arthur E. Motch, Jr. Mrs. Richard A. Forberg Kristin & Stephen Mullin Ashley & Barbara Ford Christopher & Susan Muth Guy & Marilyn Frederick Patti Myers Rich Freshwater & Family Susan & Kenneth Newmark Susan Friedlander Dr. & Mrs. Theodore Nicholas Mr. Nicholas L. Fry Patricia Grignet Nott Linda P. Fulton Jane Oberschmidt H. Jane Gavin Marja-Liisa Ogden Mrs. Philip O. Geier Julie & Dick* Okenfuss Kenneth A. Goode Jack & Marilyn Osborn Cliff ord J. Goosmann & Dr. & Mrs. Richard E. Park Andrea M. Wilson Sandy Pike Mrs. Madeleine H. Gordon Mrs. Harold F. Poe J. Frederick & Cynthia Gossman Anne M. Pohl Kathy Grote Irene & Daniel Randolph Esther B. Grubbs, Marci Bein, James W. Rauth Mindi Hamby Barbara S. Reckseit

90 | FANFARE CINCINNATI | cincinnatisymphony.org We APPLAUD Our Loyal CSO and Pops Subscribers We thank every subscriber whose investment in the Cincinnati Symphony Orchestra and Cincinnati Pops makes these concerts possible. We would not be on stage without you! Thank you especially to the following subscribers whose loyalty and support has extended 10–50 years or more. * Opus List as of November 19, 2019

50, 25 *If we have inadvertently left your name off this subscribers-only list or if we need to make corrections, please call us at 513.744.3329 or email us at & 10 [email protected].

Patrons who Dr. and Mrs. Edward Hake Mr. and Mrs. Frederick R. Schneider Mr. and Ms. Reuel Ash Dr. and Mrs. T. R. Halberstadt Mrs. William Schwerin Ms. Laura E. Atkinson have subscribed for Ham and Ellie Hamilton Peter Seidel Mr. and Mrs. Philippe Audax Mrs. Margaret E. Hammelrath Dr. and Mrs. Rees W. Sheppard Mary Lou Aufmann 50 years or more: Mr. and Mrs. Irving Harris Jacqueline M. Mack and Ms. Suzanne Augspurger Charlotte Hattenbach Dr. Edward B. Silberstein Mrs. Connie Ault Mr. and Mrs. Richard N. Adams Mrs. Joan D. Hauser John and Janet Simpkinson Susan Wilkinson and David Axt Dr. J. Wesley and Maureen Alexander Mr. and Mrs. James L. Haven Mr. and Mrs. Kenneth Skirtz Mr. and Mrs. Gerald R. Ayer Mr. Gordon Allen Mr. and Mrs. Stanley Hedeen Mr. and Mrs. David Lee Smith Dr. Cindy J. Bachurski Nancy J. Apfel Anne P. Heldman Mr. and Mrs. John Spiess Mr. John F. Baer Mrs. Marvin Aronoff Mrs. Betty H. Heldman Mrs. Henry R. Stefanik Beth and Bob Baer Mr. and Mrs. Thomas B. Avril Ed and Jean Hengelbrok Tom and Dee Stegman Mr. and Mrs. Carroll R. Baker Kathy and Ken Baier Dr. and Mrs. Roger Higley Mr. and Mrs. Laurence G. Stillpass Mr. and Mrs. Jack W. Baldwin Christine Beran Mr. and Mrs. Joseph W. Hirschhorn Mrs. Lowella M. Stoerker Mr. and Mrs. Michael E. Ball Mr. and Mrs. Alan D. Berenson Mrs. Florette B. Hoffheimer Elizabeth A. Stone Mr. and Mrs. Franchot Ballinger Dr. and Mrs. Alfred J. Berger Minette Hoffheimer Mrs. Joan C. Stouffer Mr. and Mrs. Joseph T. Balmos Mary Bergstein Mrs. Benjamin C. Hubbard Dr. & Mrs. Theodore W. Striker Ms. Henrietta Barlag Glenda and Malcolm Bernstein Mrs. Carol H. Huether Mr. Thomas L. Tallentire Mr. and Mrs. Michael L. Barnard Hon. Marianna Brown Bettman Mrs. Oscar Nelson Mrs. Thomas E. Tanke Mr. and Mrs. Chris Barnes Rosemary H. and Frank Bloom Mr. and Mrs. Marshall C. Hunt, Jr. Mrs. George Tassian Mr. John Barnes Rev. Richard W. Bollman, S.J. Becker Jackson Family Mr. and Mrs. James Thomas Diane Barth Bill and Mary Bonansinga Rev. & Mrs. Andrew Mr. Norman J. Thomas Mr. David L. Basinger Eleanor A. Botts MacAoidh Jergens Mr. and Mrs. J. Dwight Thompson Mrs. Polly M. Bassett Byron and Wilhelmina Branson Ruth and Frederick Joffe Cliff and Diane Thornsburg Mrs. Cathy J. Basu Mrs. Abraham S. Braude James and Marlene Johnson Dr. and Mrs. Samuel P. Todd, Jr. Mr. M. Bates and Ms. L. Bowen Marilyn and John Braun Lois and Dick Jolson Mrs. Henry P. Trounstine Michael A. Battersby Mr. and Mrs. R. Richard Broxon Mr. Mace C. Justice E. Dieter and Ilse van der Bent Michael and Amy Battoclette Mr. and Mrs. William M. Bryan Mr. & Mrs. Lorrence T. Kellar Mr. and Mrs. Milton L. VanSchoik Ms. Shirley Bear Donald L. and Kathleen Field Burns Alex and Joan Keller Jack and Mary Wagner Mr. and Mrs. Michael C. Becker Jim and Nina Campbell Dr. and Mrs. Earl Kisker Paul and Jo Ann Ward Mr. and Mrs. Herbert J. Beigel Mrs. Jackson Clagett, III Paul and Carita Kollman Carole and Ed Warfel Ms. Cecilia Belew Carol C. Cole Mrs. William G. Konold Maryhelen West Dr. and Mrs Thomas E. Bell Mr. David S. Collins and Ms. Harriett Krumpelman Beverly P. Williams Ms. Peggy Bell-Lohr Ms. Sandra M. Gans Susan Laffoon Dr. and Mrs. James B. Willis Mr. John A. Belperio Dr. C. J. and Carolyn Condorodis The Lazarus Family Susan G. Stanton Mr. and Mrs. Ralph Berens Dr. Margaret Conradi Mr. and Mrs. H. Spencer Liles Louise Wolf Ms. Doris Bergen Charles and Patricia Cordes Mrs. Linda Linker Mr. Bill Berger and Ms. Janet Landen Peter G. Courlas Mrs. Stanley Lucas Mr. and Mrs. Alfred Berghausen III Mrs. Jacqueline L. Cutshall Dr. and Mrs. Joseph T. Luttmer Patrons who have Mr. Robert D. Bergstein Sally H. Dessauer Edmund D. Lyon Ms. Eileen D. Berke Jahnett M. Dickman Phyllis R. MacMillan subscribed for Mr. and Mrs. William Berlier Mr. and Mrs. Albert C. Dierckes, Jr. Mr. and Mrs. Stuart Mahlin Rev. Milton T. Berner Mrs. Rupert A. Doan Dr. and Mrs. Alan Manzler 25 to 49 years: Mrs. Karen M. Berno Mrs. Mel B. Dreyfoos Mr. Howard Mayers Mr. and Mrs. Hal Bernstein Mr. and Mrs. C. Thomas Dupuis Eleanor S. McCombe Nancy Bertaux and Kaleel Skeirik Barbara Witte Ms. Carol A. Abbott Mr. and Mrs. John D. Bever Richard and Deirdre Dyson Barbara Aberlin Mr. and Mrs. Kenneth F. Eick Mr. and Mrs. John S. McCullough Mr. and Mrs. David R. Biddle John and Stephanie McNeill Mrs. Christine O. Adams Mr. and Mrs. Steven A. Biedenbach Mr. and Mrs. Richard L. Enghouser Mr. David Adams Mary and Frank Fellerhoff Ted and Barb Mechley Mr. and Mrs. Douglas Bierer Mrs. Edward P. Merkes Mr. and Mrs. Greg Adams Dr. David A. Billmire Mr. and Mrs. James T. Fitzgerald Mr. and Mrs. James R. Adams Dr. David Flaspohler and Mr. and Mrs. G. Franklin Miller Mr. and Mrs. Charles Birkenhauer Ms. Lynn Miller Mrs. Robert Adams Glen W. and Linda C. Bischof Dr. Cynthia Crown Mrs. Patricia Adams Mrs. Charles Fleischmann Mr. and Mrs. David Moccia Mr. and Mrs. Thomas B. Bishop Mrs. Murray S. Monroe Mrs. Patricia Adams Dabby Blatt Gail F. Forberg Ms. Sandra D. Adams Mr. and Mrs. Ashley L. Ford Mrs. Evangeline Morse Dr. Stuart Blersch Mr. and Mrs. David W. Motch Mr. and Mrs. Donald R. Adick Mr. and Mrs. Peter M. Bloch Mrs. Marion D. Francis Richard and Mary Aft Mikki and Walter Frank Mrs. Mary Lou Mueller Ms. Mary Lou Blount Michael and Linda Myers Mrs. Anne Aiken Mr. and Mrs. Donald R. Blum David and Mo Freytag Dr. and Mrs. Khosrow Alamin Susan Friedlander Janet J. Nailor Ms. Beverly Bodin Dorothy and Lowell Orr, Jr. Mr. and Mrs. Thomas Albers Ms. Traci L. Boeing Mr. and Mrs. Fred Friedman Mr. and Mrs. John G. Anderson Carol S. Friel Marilyn Z. Ott Mrs. Martha Petrie Bolognini Richard and S. Diane Park Ms. Lynn R. Anderson Mrs. and Mr. Anna V. Bonham-White Mrs. Nancy Gard Mr. and Mrs. Mark Anderson Mr. and Mrs. James K. Gehring Margaret Guentert Mr. and Mrs. Laurence Bonhaus Alice and Burton Perlman Paul and Dolores Anderson Mrs. Joyce R. Borkin Mrs. Philip O. Geier R. Bruce and Patricia A. Anderson Mrs. William R. Geiler, Jr. Mrs. Charles F. Pope, Jr. Mr. and Mrs. Gilbert Born Mrs. Stewart Proctor Theresa M. Anderson Mr. Neil K Bortz Mr. and Mrs. Michael H. Giuliani Mr. and Mrs. Andrew S. Andrea Dr. and Mrs. Charles J. Glueck Mr. Joseph W. Raterman Mr. and Mrs. Gaetano T. Bosco Mrs. Bernard S. Reckseit Ms. Christine M. Andrew Dr. and Mrs. John E. Bossert Sharon L. Goodcase Mr. and Mrs. Nicholas J. Androne Clifford J. Goosmann & Mr. and Mrs. Edwin Rice Ms. Mimi Boswell Mr. and Mrs. Joseph H. Rohling Mrs. Martha G. Anness Glenn and Donna Boutilier Andrea M. Wilson Mr. and Mrs. Bart Anson Lynne Meyers-Gordon, M.F.A. Nancy and Ed Rosenthal Dr. and Mrs. Kevin E. Bove Solveiga Rush Mr. Jimmy E. Antia and Bruce Bowdon & Robin Bratt Esther Grubbs and Karen Dennis Ms. Pheruza P. Tarapore William P. Hackman Joyce Salinger Mr. and Mrs. Tom Bowers Lee and Martha Schimberg Mr. Juan M. Arredondo Ms. and Mr. Cynthia G. Bowling Priscilla Garrison Haffner Dr. and Mrs. Ronald M. Arundell Mary and Phil Hagner Henk and Mary Jane Schipper Ms. Dorothy D. Boylan

cincinnatisymphony.org | FANFARE CINCINNATI | 91 SATURDAYS 6:30PM ON CET SUNDAYS 8:30PM ON CET ARTS

Join Barbara Kellar as she showcases performing artists and cultural leaders from the Greater Cincinnati community.

Emmy Award Winner www.CETconnect.org RRegionl - Innttervview/Discuussiiono Programm OPUS CLUBS

Mr. and Mrs. Charles R. Boylan Drs. David and Nina Clyne Mr. and Mrs. Lynn Ebersole Mr. and Mrs. Louis A. Ginocchio, Jr. Ann Boylan Mr. and Mrs. James Coates Mrs. J. Kay Eby Dr. and Mrs. Daniel H. Gist Mr. and Mrs. George R. Bradley III Mr. and Mrs. Michael Coff ey Dave and Kathy Eby Ms. Kathleen D. Giuseffi Dr. and Mrs. William Bramlage Mr. and Mrs. Harvey Cohen Mr. John Eddingﬁ eld Mr. and Mrs. Edward J. Givens Mr. Hugh J. Brandt and Dr. and Mrs. John S. Cohen Mr. David G. Edmundson Mrs. Jocelyn Glass Ms. Nancy A. Tehan Marc & Julie Colegrove Mr. and Mrs. Charles D. Edwards Dr. and Mrs. Seymour I. Glick Thomas A. Braun, III Ms. Nancy J. Colegrove Mr. & Mrs. Geoff rey & Cathy Egbers Mr. and Mrs. Daniel W. Glier Mr. and Mrs. Tom Breen Mr. and Mrs. Ed R. Collins Mrs. Joseph Eggleston Dr. Jerome Glinka and Ms. Mary Breighner Mrs. Lucille F. Collins Mr. John Ellmore Dr. Kathleen Blieszner Mr. and Mrs. Mark Breitenstein Mr. Marvin R. 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Mr. and Mrs. Gary A. Smith Virginia Tafel Mr. and Mrs. Christopher F. Virgulak Franklin H. White J. K. and Vicki Smith Mr. and Mrs. Thomas Tami Mr. and Mrs. Paul R. Vollbracht Mr. George White and Mrs. Dot Dervin Ms. Michele A. Smith Ms. Reiko Tanaka Ms. Molly A. Vollmer Dr. and Mrs. Stephen P. Whitlatch Dr. Jennifer S. Smith Mr. Ralph C. Taylor, Jr. Dr. and Mrs. Charles R. Voluse Mr. Robert W. Whitman Dr. Marsha J. Smith Mr. Alexander W. Teass William and Lois VonStrohe Mr. and Mrs. Daniel Whittenburg Mr. Richard K. Smith Kathy Teipen Ms. Gabriele G. Vosmeier Janice T. Wieland Mr. and Mrs. Robert Smith Mr. and Mrs. John A. Tensing Mr. and Mrs. James K. Votaw Mr. and Mrs. Garth Wiley Gene and Sharon Smith Mr. and Mrs. Richard W. Tepe Mr. and Mrs. Randolph L. Wadsworth Jr.Mr. and Mrs. Robert H. Wilhelm Ms. Nedra Sneed Susan and John Tew Mr. and Mrs. Richard E. Wagner, Jr. Heanon and Constance Wilkins Mr. and Mrs. Gary H. Snouff er Mr. Michael Ramundo and Mr. and Mrs. Conard Wagner Shirley Gershuny-Korelitz Eugene and Peggy Somoza Ms. Beverly Thomas Mr. and Mrs. J. Michael Wagner Mr. and Mrs. George E. Williams Ms. Patricia A. Songer James L. Thompson John and Ann Wagner Mr. and Mrs. James A. Williams Mr. and Mrs. Andrew P. Speno Dr. and Mrs. Thomas S. Thompson Nancy Wagner and Patricia Wagner Dr. Jeff rey C. Williams Dr. and Mrs. Harold B. Spitz W. Patrick and PenelopeThompson Mr. and Mrs. James A. Waldfogle Ms. Catherine S. Willis Ms. Paula A. Spitzmiller Sarah and Neil Thorburn Ms. Judy K. Waldron Mr. and Mrs. Robert Willis Mr. and Mrs. Richard R. Sprigg Arlene A. Thorwarth Mrs. Brenda Walker Mrs. James W. Wilson, Jr. Ms. and Mr. Brenda C. Stanley Mr. and Mrs. Joe Thrailkill Robert and Joan Wallace Mr. and Mrs. Stephen D. Winslow Mr. and Mrs. Barry E. Stare Mr. and Mrs. William P. Thurman Mr. and Mrs. Chris Wallhausser Mr. and Mrs. John W. Wintz Mrs. Cynthia M. Starr Mr. and Mrs. Tom Tierney Dr. and Dr. Mark Wallingford Ms. Donna S. Wirth Mr. and Mrs. Thomas A. Steele Mrs. Helga Tillinghast Mr. and Mrs. Denis F. Walsh Ms. Barbara J. Witte Ms. Rose Ann Steff en Mr. and Mr.s Robert Timon Ms. Lesly Sue H. Walters Miss Elizabeth Wohlgemuth Mrs. Trista K. Stegman Ms. Ruth B. Titschinger Mr. Michael L. Walton Mr. and Mrs. Craig V. Wolf Dr. Jean and Mrs. Anne Steichen Mr. and Mrs. Stuart Tobin Ms. Sarella M. Walton Mrs. Ann Wolford Mr. and Mrs. Jacob K. Stein Dr. and Mrs. Thomas U. Todd Dr. Robert J. Warden Gary and Cindy Mr. and Mrs. Charles J. Stenken Mr. Michael R. Toensmeyer Mr. and Mrs. Howard P. Warner Mr. and Mrs. Donald Wolnik Ms. Marjorie A. Stephenson Mr. and Mrs. Robert C. Togneri Claude and Camilla Warren Steve and Katie Wolnitzek Mr. Richard Sternberg Gloria and Peter Toot Frederick and Jo Anne Warren Ms. Regina M. Wolterman Mr. and Mrs. Joseph E. Stevens Mr. and Mrs. Ed Topmiller Dr. and Mrs. Galen R. Warren Mr. and Mrs. Charles Wood Mr. and Mrs. Francis H. Stewart Dr. and Mrs. Haig G. Tozbikian Mr. and Mrs. Chad Warwick Mr. and Mrs. David H. Wood Miss Judy Stockmeier and Paul and Diana Trenkamp Mr. and Mrs. Richard Wayman Mr. Tom Woodruff Mr. Raymond Dick Mr. and Mrs. Fred C. Tritschler, Jr. Mr. and Mrs. Mark Weadick Dr. and Mrs. Mark Workman Mr. and Mrs. Gary E. Stoelting Ms. Debbie Bogenschutz and Dr. and Mrs. Barry W. Webb Mr. and Mrs. William A. Wortman Mr. Victor Shaff er Mr. Harold Tucker Mr. and Mrs. Terry N. Webb Charles Wright Mr. Brett A. Stover Mr. and Ms. Robert H. Turner, Jr. Dr. and Mrs. Warren A. Webster Mr. and Mrs. Darren K. Wright Dr. Joseph Stratman Mr. and Ms. Cliff ord J. Turrell Mr. and Mrs. David Wedig Ms. Barbara L. Wuest Mr. Ronald H. Straub and Dale & Joyce Uetrecht Mrs. William N. Weed Mr. and Mrs. Jerry Wuestefeld Ms. Karen M. Nagel Ms. Phyllis Uff man Mr. Gerald Weigle, Jr. Ms. Susan Mineer-Wulsin Edmund Strauss, M.D. Ms. Mary M. Uhlenbrock Mrs. Richard Weimann Mr. and Mrs. Wayne C. Wykoff Mrs. Gerri Strauss Mr. and Mrs. Alan J. Ullman Dr. and Mrs. Daniel L. Weinstein William and Ellen Wyler Mrs. Sue Strothers Unique Musical Products Mr. and Mrs. Richard Weis Mr. and Mrs. Robert L. Wylly Mrs. Patricia Strunk Mr. Robert Lindner, Sr. Dr. and Mrs. Albert Weisbrot John M. Yacher Ms. Judith A. Stubenrauch Mr. and Mrs. Leon H. Van Derzee Ms. Anne M. Werner Dr. and Mrs. Marvyn H. Youkilis Mr. and Mrs. Robert Sugerman Ms. Valerie R. Van Iden DeeDee and Gary West Mr. and Mrs. David C. Youmans Mr. and Mrs. Neal R. Sundermann Mr. and Mrs. Johnnie W. Vance Mr. and Mrs. John David West Mr. Jim Young Dr. and Mrs. Suranyi Mr. and Mrs. David VanSice Mr. John H. Westenkirchner Mr. Richard Young Mr. Frank Sutthoff Mr. and Mrs. Robert A. Varley Ms. Rosanne Wetzel Carol J. Yungbluth Mr. and Mrs. Andrew E. Sweeny, Jr. Mr. and Mrs. Richard C. Veid Mr. and Mrs. Howard Wetzler Mr. and Mrs. Jeff rey M. Zalla Ms. Judy Sylva Mrs. Mary Ellen H. Villalobos Miss Carolyn L. White Mr. and Mrs. James Zarnowiecki

Laughter is in your future!

REGIONAL PREMIERE COMEDY JAN 18–FEB 15

SEASON PRESENTING SPONSOR SEASON FUNDER OPERATING SUPPORT 513.421.3555 ENSEMBLECINCINNATI.ORG

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Mr. and Mrs. John E. Zeller Mr. and Mrs. Terry Baum Mr. Stephen Bondurant Mr. and Mrs. Jack M. Cook Dr. Frank Zemlan Mr. Karl J. Bauman Mr. and Mrs. Maurice E. Bubb Mr. and Mrs. Raymond Cool Ms. Anita L. Ziegelmeyer Mr. Lawrence Bauman Mr. Gregory D. Buckley Mr. and Mrs. William V. Coombs Mr. and Mrs. Robert R. Ziek, Jr. Mr. and Mrs. James R. Baxter Dr. William L. Budde Mr. Randal Cooper Mr. and Mrs. Robert L. Zierolf Mr. and Mrs. Joseph Baxter Mrs. and Dr. Lora Budke Mr. and Mrs. Thomas M. Copanas Mrs. Irene Zigoris Ms. Judy A. Bean Mr. and Mrs. Robert W. Buhrlage Mr. Bradley S. Corey Donald and Karen Zimmerman Mr. and Mrs. Robert E. Beck Ms. Lynn Y. Bullard Mrs. Deborah Corotis Ms. Sue Zimmerman Mr. and Mrs. Daniel Beebe Dr. Andrew Burger Mr. and Mrs. John Corson Ms. Judith P. Zinsser Mr. and Mrs. Wayne Beimesch Ms. Susan Buring Mr. and Mrs. James F. Cory, Jr. John and Jean Zoller Mr. and Mrs. Michael L. Bell Mr. and Mrs. Fred Burnett Ms. Virginia Cover Ms. Mary L. Zubelik Mr. William Benagh Mr. and Mrs. Stephen R. Burns Mrs. Linda L. Covert Ms. Joyce M. Benge Mr. and Mrs. Bonnie & Kerry Burte Ms. Mary Covert Mr. and Mrs. Gerald E. Bennett Mr. and Ms. John Busam Mr. and Mrs. Jay Cranley Patrons who have Mr. and Mrs. Jay Bennett Mr. Lawrence P. Bush Mrs. Martha Crawford Mr. William S. Bentley Dr. E. A. Busse Mr. T. J. Crawford subscribed Mr. Michael Bergan Mr. and Ms. William P. Butler Dr. and Ms. Joseph V. Cresci Mr. and Mrs. Paul Berge Mrs. Bruce L. Byrnes Ms. Cynthia Crews for 10 to 24 years: Ms. Amy Berger Mr. Alan B. Cady Mr. Timothy Crowley Dr. Allen W. Bernard Mrs. Geraldine S. Cahall Mrs. Karen Crumley Mr. Larry Bernard Mr. and Mrs. Cary R. Cain Mr. and Mrs. Brendon Cull Mr. Peter Aamodt Dr. and Mrs. David I. Bernstein Mr. Jon Calderas and Ms. Phyllis A. Cummins Terri and Tom Abare Mr. Michael Berry and Dr. Corinne Lehmann Mr. and Mrs. Steve Cummins Mr. and Mrs. David M. Acker Mrs. Melanie Garner Mrs. Judith P. 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Carey, IV Mr. Richard Davis Mrs. Joyce Alpiner Ms. Gloria M. Bissler Mr. Jeff erson Carey Mr. and Mrs. John A. Davis Mr. and Mrs. Sherman J. Alter Mr. and Mrs. Rodd Bixler Mr. William Carey Constance Deckebach Dr. Francisco Alvarez-Leefmans Ms. Barbara C. Carr and Mr. and Mrs. Paul Carlson Mr. James Decker and Mr. and Mrs. Robert F. Ambach Mr. Bren Blaine Ms. Susan Carlson and Ms. Karolyn Schalk Mr. and Mrs. Bob Anderson Mr. and Mrs. Kenneth J. Blakeley Mr. Philip Berne Mrs. Ronda Deel Mr. and Mrs. Gene K. Anderson Mr. Giff ord Blaylock and Mr. and Mrs. Lars B. Carlsson Mr. Mark E. Dehler and Mr. and Mrs. Peter J. Anderson Ms. Anne Reed Mr. Thomas Carothers Mr. David M. Moeller Mr. and Mrs. John Andrea II Mr. Andrzej J. Bloch Mr. and Mrs. George Carr Mr. and Mrs. Stephen DeHoff Mr. and Mrs. Frank Andress Ann Blocksom Mr. and Mrs. John Carrithers Mr. and Mrs. Alan P. DeJarnette Dr. and Mrs. Victor D. Angel Dr. Jeff rey B. Bloomer Mr. and Mrs. Robert E. Carroll Mr. James K. 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Dickson Ms. Cathleen Arnold Mrs. Jayne Bonzella Ms. Coletta Hughes Ms. Bonita Diehl Mr. and Mrs. E. Thomas Arnold Mrs. Jeanne Booher Mr. and Mrs. Michael V. Chaney Ms. Mary C. Diersing Ms. Joan M. Arnold Mr. Philip Borack Mr. and Mrs. Wayne Chapman Mrs. Beth Dieter Mr. and Ms. Thomas S. Arntsen II Mr. and Mrs. Robert E. Borgmann Mr. Robert Chastang Mr. and Mrs. Fred Dikeman Brent and Kim Arter Mr. Andrew Botschner and Ms. Melanie M. Chavez Ms. Jane A. Diles Dr. Paule S. Asch Ms. Mindy Muenich Mr. and Mrs. Kenneth L. Cheever Mr. and Mrs. Edward Diller Mr. Andrew J. Asimus Mr. and Mrs. Gregory M. Bouman Ms. Christine Cho and Ms. Linda J. Diller Mr. and Mrs. James Aspenwall Ms. Joan Bovard Mr. Randall Smith Mr. and Mrs. Robert Dinerman Mr. Thomas P. Atkins Mr. and Mrs. Marvin Bracy Mr. David P. Cho Rev. and Mrs. Donald G. Dixon Mr. Steve Averdick Ms. Linda F. Brainard Ms. K. Ann Choe Mr. and Mrs. James R. Dodd Ms. Patricia Baas Mr. and Mrs. Frank Brauer Mr. Harold Schuck and Ms. Laura Doerger-Roberts Diane S. Babcock, MD Ms. Gaile Brennan Mrs. Angela Chong Mr. and Mrs. Bill Doll Ms. Jackie Bach Mr. and Mrs. Donald Bretl Ms. Cynthia Chua Mrs. Jean Z. Donaldson Mr. and Mrs. Tom Bach Dr. and Mrs. James H. Brewer Sunjoo and Andrew Chun Ms. Mary Beth Donica Mrs. Mary M. Baer Mr. and Ms. Tony Brewer Dr. Eugene Chung and Mr. and Mrs. Roger Doughty Mr. and Mrs. Bill Bagley Ms. Elizabeth Brice Dr. Kim Miller Mr. and Mrs. Jack Douglass III Mr. and Mrs. Todd Bailey Ms. Joyce M. Bricking Mr. Christopher R. Church Ms. Kimberly A. Douthit Mr. Gerard Baillely Mr. and Mrs. Doug Briggs Mr. Dominic Ciafardini Ms. Kathleen Dove Ms. Margaret E. Baird Ms. Arlene J. Brill Mr. Michael L. Cioffi Ms. Kathryn Drinkhouse Mrs. Beverly Baker Ms. Sheryl Bringman Ms. Kate M. Clarisey Mr. Claude Drouet Mr. Joseph Baker Mrs. Melinda Brisker Mr. and Mrs. Barry C. Clark Dr. and Mrs. Neil Dubin Mr. Mark and Ms. Coral Baker Ms. Maria Britto Mr. Charles Clark Ms. Carol Dubois Mr. and Mrs. Frank W. Baker Mr. and Mrs. Stephen L. Broaddus Mr. James W. Clasper and Mrs. Shirley Duff Mr. and Mrs. Michael D. Ball Ms. Mary Brodbeck Ms. Cheryl C. Albrecht Mr. Edward Duhr Ms. Teresa Bamberger Mr. and Mrs. Jim Bronstrup Ms. Janet K. Cleary Mr. Igor Dumbadze Mr. and Mrs. Robert O. Banks Mr. and Mrs. Raymond A. Bross Ms. S. DeAnne Cleghorn Mr. and Mrs. David L. Dunevant Mr. Nick Banschbach Mr. and Ms. Lynn Brothers Ms. Susan Cline Ms. Amy Dunlea Ms. Evelyn Banzhaf and Mrs. Barbara Brown Mr. Edward Cloughessy and Mrs. Ann Dunlevy Mr. Larry McCord Ms. Marinell Brown Ms. Beverly Kinney Ms. Margaret Dunphy Mr. and Mrs. Dale Bardes Mr. and Mrs. Robert S. Brown Mr. Mel Cohen Dr. and Mrs. Stewart B. Dunsker Ms. Donna S. Barker Ms. Sheila J. Brown Mr. Anthony Cole Mr. M. Freeman Durham and David and Anita Barnes Ms. Shirley Brown Sheila and Christopher Cole Mr. Dean Clevenger Mr. Jeff Barnes Mrs. Kelly J. Brown Ms. Ricki L. Collins Mr. Craig Duston Mr. Gordon Barnhart Mr. and Mrs. Thomas J. Broxterman Mr. F. W. Colucci Ms. Susan Dvorak Mr. and Mrs. Robert Barnhorn Mr. and Mrs. William C. Broxterman Mr. Michael Combs Mr. Reginald Dyck Ms. Peggy Barrett Mr. and Mrs. Ralph F. Brueggemann Mrs. Kaitlin Connelly Mr. Cliff ord Dziech Ms. Sallie Barringer Mr. and Mrs. Paul Bruening Sister Kathryn Ann Connelly Mr. and Mrs. Michael D. Eagen Mr. and Mrs. Thomas E. Barton Mr. and Mrs. Douglas J. Bruestle Mr. and Mrs. Thomas Conroy Mr. and Mrs. Donald L. Earnhart Ms. Nancy R. Bassarab Ms. Suzanne M. Brungs Mr. Muslim Contractor Mr. Charles K. Eckert Ms. Mary Ellen Baude Mrs. Hermine Brunner Ms. Lois Conyers Mrs. Margaret Eckman Ms. Glenda Bauer Ms. Rachelle Bruno and Ms. Barbara Cook Sister Margaret Efkeman

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Mr. and Mrs. Harold A. Eichell Ms. Mary Finn Ms. Jane Garvey and Ms. Judith A. Graves Mrs. Gretchen Eifrig Mr. and Mrs. Harold Fischer Mr. John Lanier Mr. and Mrs. Joseph Gray Mr. and Mrs. James C. Eigel Mrs. Mary Kay Fischer Ms. Penny A. Gates Mr. and Mrs. Gary L. Grebe Mr. John Eilerman Dr. and Mrs. Thomas Fischer Mr. Joseph Gaudio Mrs. Carolyn Green Mr. and Mrs. Wayne T. Eilerman Ed and Rita M. Fisher Mr. and Mrs. Duane Gauger Ms. Claudia Green Mrs. Mary Eisenzimmer Mr. Roger Fisher Ms. Roberta Gecks Carol Green Ms. Mary Lou Elchynski Ms. Martha Fithen Mr. Terry Geisen Dr. and Mrs. James M. Greenberg Mr. and Mrs. C. D. Elifrits Mr. and Mrs. Robert R. Fitzpatrick, Jr. Mr. Roger A. Gellenbeck Ms. June Greensmith Mr. and Mrs. Lawrence R. Elleman Ms. Susan Flach Mr. and Mrs. John B. Geller Dr. Dawn I. Greenwald Mr. and Mrs. Donald Ellis Mr. and Mrs. Russell D. Flick Mr. and Mrs. Jerry Genellie, Jr. Ms. Anita Marie Greer Ms. Ann A. Ellison Mr. Larry R. Flinner Ms. Karen George Mr. Ronald F. Greife Dr. and Mrs. Steven J. Englender Mr. and Mrs. Donald E. Flischel Ms. Annette v. Georgin Mr. and Mrs. Mark Greiner Mr. Erwin F. Erhardt, III Mr. and Mrs. Sean P. Foley Sister Mary Aloyse Gerhardstein Mrs. William M. Greulich Mr. Gary L. Ernst Mrs. Eva Foose Mrs. Jean Gerhardt Mr. and Ms. Steven Grieser Mr. and Mrs. John W. Ernst Ms. Judy Foreman Mr. Doug Gerrard Mr. and Mrs. William Griesser Mr. Richard Ernst Ms. Susan Foster Mr. and Ms. Keith Gerritz Mr. Douglas Griggs Mr. and Mrs. Robert Ernst Mr. Byron Fowler Mr. and Ms. Robert Gerwin Ms. Joan Griggs Mr. W. Hardy Eshbaugh Dr. Alan Frager Mr. Phil Giardina Mr. Larry A. Griggs Ms. Donna Esposito Ms. Barbara France Mr. Franklin Gibboney Mr. Donald E. Grigsby Ms. Jan W. Evans Dr. and Mrs. Herbert B. Francis Ms. Kathryn S. Gibbons Mr. and Mrs. Leo Grote Ms. Rosie M. Evans Mr. and Mrs. John J. Frank, Jr. Mrs. Jean L. Gibbs Mr. and Mrs. Jon Grove Lois A. Evensen Dr. Judith Frankel Mr. Greg Gibson Dr. and Mrs. John E. Grover Mrs. Minnie L. Everett Dr. and Mrs. Sanford Franklin Mr. and Mrs. Cliff ord Giese Mr. Randall M. Gudvangen Mr. Paul and Dr. Tsila Evers Dr. and Mrs. Robert Franz Mr. L. Timothy Giglio Mrs. Andi Guess Mrs. Martha Ewalt Mr. and Mrs. John Freeman Mr. Wes Gimbert Dr. and Mrs. Steve Gunderson Mrs. Marjorie L. Eynon Mr. Gregory S. French and Mr. and Mrs. Charles Ginn Ms. Rita Guriel Mr. Robert Faelten Mrs. Dianne Gebhardt-French Ms. Tracey Glancy Mr. and Mrs. Bill Guy Ms. Beth Fahrenbruck Mr. David Frey Mr. and Mrs. Paul M. Glandorf Mr. and Mrs. Gregory Guynan Mr. and Mrs. Anthony J. Fairhead Ms. Mary Fricke Mr. and Mrs. Haynes Goddard Ms. Becky Haake Ms. Janet Fairweather Mr. Donald W. Fritz Mr. Paul Godfrey Mrs. Leo A. Haas Dr. and Mrs. Horacio Falciglia Mr. Gerald Froehlich Ms. Edna M. Godsey Mr. Daniel Hadley Mrs. and Mr. Barbara Fallis Mr. Ronald Frommel Dr. Richard Goetz Mr. and Mrs. Rick Hagee Dr. William Fant and Mr. Arthur Ftacnik Mr. and Mrs. Jim Goldschmidt Dr. and Mrs. Jack A. Hahn Ms. Jessie Leek Ms. Karen Fuchs Ms. Arlene Golembiewski Mr. and Mrs. Rolf Hahne Mr. and Mrs. James Farber Mr. Kelly Fulmer Dr. and Mrs. Glenn S. Gollobin Mr. and Mrs. Russell Hall Dr. and Mrs. William J. Faulkner Ms. SueAnn Fynewever Mr. and Mrs. Jerome P. Gonnella Mr. and Mrs. David E. Haller Mr. Charles Faust Mr. and Mrs. Morris Gales, Jr. Mr. and Mrs. Cecil Good Mr. Wade A. Halsey Mr. and Mrs. Barry Feist Mr. Charles Ganelin Mr. George H. Warrington and Mrs. Elizabeth Hamilton Ms. Barbara A. Feldmann Mrs. Carol Gangwer Ms. H. Drewry Gores Mr. and Mrs. Michael Hamilton Ms. Carol H. Fencl Mr. and Mrs. Thomas Gard Mr. and Mrs. John S. Gorman Mr. and Mrs. Eric Hammer Ms. Christine M. Ferguson Mr. and Mrs. James R. Gardner Ms. Kay Grace Mr. and Mrs. James Hammond Ms. Maureen A. Ferrell Mr. Jeff rey Garﬁ eld and Mr. Glenn J. Graf Mr. Vincent C. Hand Mr. Robert Ferrell Ms. Suzanne Pliskin Mr. and Mrs. Larry A. Graham Ms. Dolores Hard Mr. Andy Ferro Mr. and Mrs. Joe Gargiulo Mr. Tom W. Graler Ms. Lynn Harden Mr. and Mrs. Robert Fielman Ms. Mary Carol Garnatz Mr. and Mrs. Rick Granick Mr. and Ms. William Harding Mr. and Mrs. Alexander Filimonov Ms. Christine Garrett Ms. Cynthia Grant Mr. and Mrs. Tom Hardy Mrs. Mary Ann Finn Mr. and Mrs. Thomas G. Grau Mr. and Mrs. Tom E. Hardy

2019-20 Season

March 15 & 16, 2020 Miami String Quartet with Eric Kim Benny Kim,violin Scott Lee,viola Cathy Meng Robinson,violin Keith Robinson,cello with special guest, Eric Kim, cello

The critically acclaimed Miami String Quartet performs with special guest cellist, *VMG0MQ8LMWZMFVERXTVSKVEQJIEXYVIW[SVOWF]2EVXMRĽ2IRHIPWWSLRERH,PE^YRSZưW romantic and melodious Quintet for Strings. Venues in Avondale & Loveland

Single & Student 513.381.6868 get close to the music Tickets Available LintonMusic.org

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Mr. William Hardy Mr. Roy E. Hibdon Dr. G. Edward Hughes Mr. and Mrs. Tom Jordan Mrs. Dolores Harley Ms. Nancy M. Hickey Mr. and Mrs. Thomas R. Hughes Mr. and Mrs. William Jostworth Mr. Timothy P. Harmon Mr. and Mrs. Frederick T. Hicks Mr. Marc Hult Mr. and Mrs. Martin Joyce Mr. and Mrs. Steven Harper Mr. and Mrs. Michael L. Hicks Mr. and Mrs. Richard Humason Mr. Robert P. Judd Mr. David Harpring Ms. Sue Higgins Mr. and Mrs. Mel Humes Ms. Stephanie Judkins Ms. Betty J. Harris Mrs. Carrie Hill Mr. and Mrs. J. Edward Hunter Janet Juengling Mr. Charles D. Harris, Jr. Mr. and Mrs. Russell W. Hill Dr. William Hurford Ms. Margaret H. Jung Mr. Dale Harris and Mr. and Mrs. William C. Hill Mr. and Mrs. Thomas Hurley Mr. and Mrs. George Junker II Mr. Alexander Watson Mr. and Mrs. Robert Hiltz Mr. Robert Hyland Mrs. Phyllis F. Kadle Mr. and Mrs. Kenneth O. Mr. and Mrs. Gregory Hilycord Mr. Doug Ignatius Mr. Roger Kalkbrenner Harshbarger Mr. and Mrs. Gregory R. Himmler Ms. Mary Anne Ignatius Mr. and Mrs. Carl Kalota Mr. and Mrs. John Hart Ms. Janice Hisle Ms. Diane B. Imes Ms. Alison Kamine Mr. and Mrs. William Hartmann Mr. Richard Hodapp Ms. Judith Imhoff Ms. Dorothy Kampman Mr. Patrick M. Hartnett Ms. Mary Lou Hoff ar Mr. and Mrs. Albert Indermill Rabbi and Mrs. Lewis Kamrass Dr. Mariana Belvedere & Mr. and Mrs. Jon Hoff heimer Ms. Spencer B. Ingerson Mr. and Mrs. Joseph Kane Mr. Samer Hasan Bruce and Linda Hoff man Ms. Sue T. Ingraham Mr. Albert Kanters Mr. and Mrs. Kenneth Hastings Ms. Edita Hoff man Mr. Frank Irsch Mrs. Mary Kaplan Mr. Andrew C Hauck III Ms. Rose Mary Hoff man Mr. Masahiko Ito and Mr. and Mrs. Joe Katz Mr. and Mrs. Cornelius W. Hauck Mr. and Mrs. Richard Hoge Ms. Charlene Luken Ito Drs. Jerald and Rena Kay Mr. and Mrs. Bud Haupt Mr. and Mrs. John P. Holland Dr. and Mr. Linda Jackson Ms. Susan A. Kay Mr. and Mrs. Tom A. Haverkos Mr. and Mrs. Roberto Hollander Ms. Sharon C. Jackson Mr. and Mrs. Herbert M. Keil Mr. Gene Hawkins and Ms Kathleen Hollo Ms. Susan Jackson Dr. Robert W. Keith and Mrs. Margaret Tuxford-Hawkins Mr. and Mrs. Timothy A. Holmen Mrs. Catherine B. Jacob Ms. Kathleen Thornton Mr. and Mrs. James P. Healy Mr. Gary Holstine Mr. and Ms. Jon H. Jacobs Mr. and Mrs. Michael A. Kelley Mr. and Mrs. Tom Healy Ms. Melanie Holten Mr. Mark Jeanmougin Ms. Rebecca Kelley Mr. Thomas E. Heff ernan III Mr. and Mrs. Gregg B. Holthus Mr. John M. Jeep and Dr. and Mrs. Robert B. Kenney Mr. and Mrs. Ron Heginbotham Dr. Elizabeth Holtzapple Mrs. Lynda Hoff man-Jeep Ms. Mary L. Kercherval-Short Mr. and Mrs. John Hehman Mr. and Mrs. David Holwadel Ms. Susan Jelinek Mr. John Kerman Ms. Helen Heideman Mr. and Mrs. Robert F. Holzwarth Ms. Laura Jenkins Ms. Lois A. Kessling Mr. and Mrs. Scott Heile Mr. and Mrs. Stephen Hone Mrs. Ruthanna Jeter Mrs. Ghada Khalife Ms. Geri Held Ms. Joan Honeck Mr. John G. Johannemann and Mr. Jean-Luc Kiehm Mr. and Mrs. Richard Hellmann Mr. and Mrs. George R. Hood Ms. Mitzie O’Neill Ms. Susan S. Kies Mr. and Mrs. Paul W. Hemmer, Jr. Mr. and Mrs. Lewis Hooker Ms. Barbara M. Johnson Ms. Susan Kight Mr. and Mrs. Daniel Henke Dr. William H. Newell and Ms. Debra Johnson Mr. and Mrs. Kenneth L. Kihm Dr. Michael Henrickson, MD Susan Hopp Mr. and Mrs. Gary Q. Johnson Mr. Charles Killian Mrs. Patricia A. Hensler Mrs. Carlida H. Hopper Mr. Martin Johnson Mr. and Mrs. Russell Kincaid Mr. and Mrs. Donald L. Henson Mr. David J. Horne Mr. and Mrs. Paul H. Johnson Ms. Mary Kindel and Ms. Ann Fabe Dr. and Mrs. James P. Herman Mr. and Ms. Don Hotz Mr. and Mrs. Robert Johnson Mr. and Mrs. Donald W. King Mr. and Mrs. Robert Herring Mr. and Mrs. William Housh III Mrs. Walter P. Johnston Ms. Patricia King Ms. Jean Hershman Ms. Pamela A. Houston Mr. and Mrs. Robert Johnston Mr. and Mrs. Edward Kinney Mr. and Mrs. Todd Herzog Mr. and Ms. Robert H. Howard Mrs. Leah Jonas Ms. Kristin M. Carlson Dr. and Mrs. David D. Hess Ms. Judith Howell Mr. and Mrs. Mark Jonas Mr. and Dr. David and Ms. Mary Hester Mr. Henry Huber Mr. and Mrs. Daniel Jones Charlotte Kirkendall Mr. and Mrs. Phillip G. Hester Mr. and Mrs. Henry Huber Mrs. Lois M. Jones Mr. Ray Kissinger Ms. Shirley A. Heyob Dr. and Mrs. David A. Huelsman Mrs. Martha Jones Dr. and Mrs. Paul Klatte Ms. Nancy Hibbard Mr. and Mrs. Bradley G. Hughes Ms. Mary Sue Jones Mr. and Mrs. Paul Kleemeier Mr. and Mrs. Rick Hibbard Mr. and Mrs. Douglas Hughes Mr. and Mrs. Steven Joos Mr. and Mrs. Joel Klekamp

2019-20 Season music for growing minds January – May

Winter Concerts High-Low, Fast-Slow, Let’s Go! Opposites attract when it comes to making music! We’ll have lots of fun listening to the ǱYXIWXVMRKFEWWTMERSERHHVYQW[LMPIXLI] WLS[YWLS[MXưWHSRI[MXLQYWMGEPSTTSWMXIW (ER]SYWTSXEPPXLIHMǯIVIRGIW$

Spring Concerts MUSIC WITH MADCAP: The Story of the Gingerbread Man Brings families together for a 8LITMERSZMSPMRZMSPEERHGIPPSNSMR2EHGET musical encounter that provides 5YTTIXWXSXIPPXLIWXSV]SJ8LI,MRKIVFVIEH a friendly, educational, and fun 2ERXLVSYKLXLIQYWMGSJ'VELQW)SRưX introduction to classical music. QMWWXLIQYWMGWXSV]XIPPMRKERH[EVQ Saturday mornings thoughtout ERHJY^^]JYR the region! Tickets just $6 or $20 for four! Free cookies +EQMP]ERRYEPTEWWIWRS[EZEMPEFPI provided by: For a complete listing of dates & locations GEORGE L. & ANNE P. HELDMAN FUND visit LintonMusic.org/pbj or call 513.381.6868 OF THE GREATER CINCINNATI FOUNDATION

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OFFICE OF THE Tiff any Cooper Katelyn Conway Angela Brock PRESIDENT Community Engagement and Individual Giving Manager Marketing and Sales Coordinator Jonathan Martin Diversity Manager President Kate Farinacci Amy E. Catanzaro Ian Saunders Director of Special Campaigns Director of Sales Andrea Maisonpierre Classical Roots Coordinator and Legacy Giving Executive Assistant to the Heather Brown President Becky Spiewak Hannah Johnson Subscription Marketing Manager Education Programs Manager Director of Events Michelle Lewandowski ARTISTIC Carol Dary Dunevant Teresa N. Ahrenholz Group Sales Manager ADMINISTRATION & Instructional Programs Manager Philanthropy Assistant PRODUCTION Rebecca Villarreal Robert McGrath COMMUNICATIONS Penny Hamilton Subscription Coordinator Philanthropy Assistant Vice President & General Manager Christopher Pinelo Danielle Batchelder Vice President of Communications Zan Burkhardt FINANCE Box Offi ce Manager Production Assistant Franck Mercurio Richard Freshwater PATRON SERVICES Director of Communications Vice President & Heather L. Stengle Supervisors Chief Financial Offi cer Director of Operations Lee Snow Nicolas Bizub Digital Communications Manager Thomas Khoury Alex Magg Kyle Lamb Director of Information Technology Jessica Smithorn Production Manager RaeNosa Onwumelu CSO & May Festival Communications Assistant Khannah Stanback Representatives Systems Support Manager Erica Almquist Carlos Javier PHILANTHROPY Pops Production Manager Carly Barnes Mary McFadden Lawson Kyle Wynk Christina Bilz Director of Human Resources Nate Bachhuber Vice President of Philanthropy Emily Damelio Director of Artistic Planning Raquel Grant Kiaya Lynn Megan Inderbitzin-Tsai and Administration, Cincinnati Payroll Administrator Daniel Harrison Symphony Orchestra and Corporate Relations Manager Nils Illokken May Festival Ashley Coff ey Judy Prinz Jacob Martin Receptionist Spencer Zembrodt Marissa Goodman Foundation and Grants Manager Assistant Artistic Administrator Sarah Maguire Melissa Scott MUSIC & EVENT Director of Data Systems Tyler Secor Volunteer Manager MANAGEMENT INC. CSO Administrative Assistant Leslie Hoggatt, CFRE Sharon D. Grayton Michael Smith to the Music Director Director of Individual Giving and Data Services Manager CEO of MEMI Ahmad Mayes Donor Services Tara Williams Matthew Dunne Director of Education & Catherine Hann, CFRE Data Entry Analyst General Manager Community Engagement Leadership Giving Manager Kathleen Curry Amy Dahlhoff Data Entry Clerk Concessions Manager & Special Events Coordinator Kristina Pfeiff er Director of Finance—CSO Ryan Jaspers Event/Operations Manager Elizabeth Engwall Accounting Manager James Kirby Assistant Operations Manager Monica Putnick Director of Finance—MEMI Lane Kolkmeyer Assistant Marketing Manager MUSIC Ashley Kuhn Accounting Clerk Michele Ferrara Corporate Sales Manager 90.9 WGUC Faith Baker Accounting Clerk Rosemarie Moehring Marketing Manager Sean Bussell Accounting Clerk Alexander Pirro Social Media Manager MARKETING & SALES Sherri Prentiss Ed Morrell Vice President of Marketing General Manager M. Todd Bezold Jennifer Schoonover Director of Marketing Premium Seat Program Manager Corinne Wiseman Kelly Benhase Creative Content Manager Director of Ticketing Stephen Howson John Geiger Marketing Communication & Box Offi ce Manager Taft Theatre Web Manager Holly Tierney Jon Dellinger Box Offi ce Manager Copywriter/Marketing Manager Riverbend/PNC Pavilion Steve Kinney Kristin Woehl Graphic Designer Box Offi ce Manager Rose Music Center Claudia Almanza Graphic Designer Monty Wolf Plant Operations Manager Amber Ostaszewski Director of Audience Engagement Rick McCarty Marketing Director Kaitlyn Driesen Audience Engagement Manager Laura Bock Marketing Manager

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he Cincinnati Symphony Orchestra has a heard everywhere on the radio remain impor- Tprofound recording history dating back tant, and our own Fanfare Cincinnati label, to the CSO’s ﬁrst album in 1917. launched in 2010, provides the necessary From more recent decades, many music fans platform. adore the CSO’s 1812 Overture recording from This year’s Grammys will be awarded on 1978. It was a landmark in American classical January 26, and the Orchestra has two nomi- music recordings and remains the best-selling nations. Transatlantic featuring Louis Langrée Telarc record of all time. That album ushered in conducting the CSO is nominated for “Best decades of CSO and Cincinnati Pops albums on Orchestral Performance.” American Originals: the Cleveland-based label, resulting in over 10 1918 featuring John Morris Russell leading the million units sold around the world. Cincinnati Pops Orchestra and collaborators The last ten years have seen enormous chang- Rhiannon Giddens, Steep Canyon Rangers and es to how we consume recorded music, and Pokey LaFarge is nominated for “Best Classical the Orchestra has evolved with the times, of- Compendium.” fering down- In addition, the producer of the Vocal Arts loads and Ensemble’s Canticle—released on our Fanfare streaming au- Cincinnati label—is also nominated for “Pro- dio and video ducer of the Year, Classical.” performances. All of this represents the culmination of Commercial tremendous work, artistry and a commitment recordings of- to having our music heard around the globe. fered through Congratulations to all of the artists, produc- online music ers and engineers involved, and thanks to our services and supporters for making these global initiatives possible.

UP NEXT FEBRUARY 1

1. POPS | GERSHWIN RHAPSODY IN BLUE JAN 31–FEB 3, 2020

2. CSO | PLAY OF LIGHT FEB 7–8, 2020 2 3. POPS | LEDISI JAN 31–FEB 3, 2020

4. CSO | BEETHOVEN AKADEMIE FEB 29–MAR 1, 2020

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