table of CONTENTS

Message to our Friends 3

Our dean: Jon Robertson 4

Our music director and conductor: Albert-George Schram 5

Philharmonia Orchestra #1 Saturday, Oct. 11 and Sunday, Oct. 12 7

Philharmonia Orchestra #2 Saturday, Nov. 8 and Sunday, ov. 9 15

Philharmonia Orchestra #3 Saturday, Dec. 6 and Sunday, Dec. 7 23

Philharmonia Orchestra #4 Saturday, Jan. 31 and Sunday, Feb. 1 Concerto winners concert. 29

Philharmonia Orchestra #5 Saturday, Feb. 21 and Sunday, Feb. 22 31

Philharmonia Orchestra #6 Saturday, March 28 and Sunday, March 29 37

About our orchestra 43

Supporting the conservatory 44

Donors 46

Friends of the Conservatory of Music 48

Orchestra list 51 MESSAGE to our friends

Welcome to the 2008-2009 season. The talented students and extraordinary faculty of the Lynn University Conservatory of Music take this opportunity to share with you the beautiful world of music. Through your presence and generosity you, the patrons, continue to pave the road to the artistic success of our young musicians.

This community engagement is in keeping with the Conservatory of Music's mission: to provide high-quality professional performance education for gifted young musicians, and to set a superior standard for music performance worldwide.

This season's program explores a broad variety of musical offerings designed to enrich your artistic spirit and nourish your soul.

As the conservatory expands and excels, your ongoing support, sponsorship and direct contri­ butions ensure our place among the premier conservatories of the world.

Please join us for a magnificent season of great music.

Jon Robertson Dean

MESSAGE 3 DEAN Jon Robertson

Maestro Jon Robertson enjoys a distin­ Thayer Conservatory of Music at guished career as a pianist, conductor Atlantic Union College in Massachusetts. and academician. He was awarded full He became conductor and music direc­ scholarship six consecutive years to The tor of the Kristiansand Symphony Juilliard School of Music, earning a Orchestra in Norway in 1979, a post he Bachelor of Music, Master of Music and held until 1987. Maestro Robertson has Doctor of Musical Arts degree in piano been the conductor and music director performance as a student of Beveridge of the Redlands Symphony Orchestra in Webster. California since 1982.

He has also studied choral conducting As guest conductor, Maestro Robertson with Abraham Kaplan at Juilliard and has conducted orchestras such as the orchestral conducting with Maestro San Francisco Symphony at Stern Herbert Blomstedt, music director, Grove and in Davies Hall and the Gewandhaus Orchestra, Leipzig, Beijing Central Philharmonic in China. Germany. He is a regular guest conductor of the Cairo Symphony Orchestra in Egypt After completing a master's degree at and was the principal guest conductor Juilliard, he was appointed chair of the of the Armenian Philharmonic music department at Oakwood College Orchestra in Yerevan from 1995-98. He in Huntsville, Ala. In 1970, Robertson has also conducted the Bratislava returned to Juilliard as a Ford Chamber Orchestra; at Pianofest Foundation Scholar to complete his Austria at Bad Aussee; and most recent­ Doctor of Musical Arts. ly in South Africa, at the University of In 1972, Robertson became chair of the Stellenbosch International Festival.

4 DEAN CONDUCTOR Albert-George Schram

A native of the Netherlands, Albert­ concerts), the Taegu Symphony George Schram is resident conductor of Orchestra in Korea, and the Orchester the Columbus Symphony Orchestra in der Allgemeinen Musikgesellschaft Ohio and resident conductor of the Luzern in Switzerland. He has made Nashville Symphony in Tennessee. He return appearances to his native is also a frequent guest conductor at the Holland to conduct the Netherlands Charlotte Symphony Orchestra in Radio Orchestra and the Netherlands North Carolina and Tucson Symphony Broadcast Orchestra. Orchestra in Arizona. In the United States, his guest conduct­ He was the resident conductor of the ing appearances have included the sym­ former Florida Philharmonic, concur­ phony orchestras in Dallas, Tucson, rently serving as music director and con­ Oklahoma City, Spokane, Dayton, ductor of the Lubbock Symphony Shreveport and San Antonio, as well as Orchestra from 1994-2000. During his Ballet Metropolitan and the Akron tenure, the orchestra blossomed into University Opera. the premier arts organization in West Schram's studies have been largely in Texas. From 1990 to 1996, Schram the European tradition under the tute­ served as resident conductor of the lage of Franco Ferrara, Rafael Kubelik, Louisville Symphony Orchestra. Three Abraham Kaplan and Neeme Jarvi. He of the orchestra's subscription series has studied at the Conservatory of the enjoyed exceptional growth under his Hague in the Netherlands, the universi­ artistic guidance. ties of Calgary and Victoria, and the Schram's foreign conducting engage­ University of Washington, where he ments have included the KBS received the Doctor of Musical Arts in Symphony Orchestra (live, televised conducting.

...... coNDUCTOR 5

PROGRAM Saturday, Oct. 11, 2008 I Sunday, Oct. 12, 2008*

Giuseppe Verdi (1813-1901) La Forza del Destino

Gustav Mahler ( 1860-1911) Adagietto from Symphony No. 5 in C-sharp minor

Nikolay Rimsky-Korsakov ( 1844-1908) Capriccio Espagnol, Op. 34 Alborada Variazioni Alborada Scena e canto gitano Fandango asturiano

INTERMISSION

Sergei Rachmaninov ( 1873-1943) Piano Concerto No. 3 in D minor, Op. 30 Allegro ma non tanto Intermezzo Finale

Sergei Babayan, piano

' Sunday concerts include a pre-concert lecture at 3 p.m. by Dr. Barbara Barry, head of musicology.

8 PROGRAM Sergei BABAYAN

Acclaimed for the immediacy, sensitivity Philharmonic, the BBC Scottish and depth of his interpretations, Sergei Symphony Orchestra, the Orchestre Babayan's performances reveal an emo­ Nationale de Lille, the New World tional intensity and bold energy, equip­ Symphony and the Detroit and Baltimore ping him to explore a stylistically diverse symphonies. He collaborated with such repertoire. conductors as Michael Christi, Valery Gergiev, Hans Graf, Neeme Jarvi, He is known for his innovative program­ Kazimierz Kord, Theodor Kuchar, David ming, often including modern works by Robertson and Yuri Ternirkanov. composers such as Lutoslawsky, Ligeti and Arvo Part, and extending the bound­ He made several highly praised record­ aries of mainstream repertoire for which ings for EMC, Connoisseur Society and he continues to be acclaimed, excelling in Pro Piano labels. His recordings of Scarlatti, Mozart, Beethoven, Brahms and Ligeti, Messiaen, Mozart, Mendelssohn, Schumann as much as the Russian her­ Ravel, Schubert, Liszt, Vine, Respighi itage of Rachmaninov, Scriabin and and Prokofiev garnered high acclaim, Prokofiev. including a "critic's choice" in the New York Times praising Babayan's "extraor­ A student of such legendary teachers and dinary technique and ability to play musicians as Gornostayeva, Naumov, densely harmonized works with illumi­ Pletnev and Vlasenko in the Moscow nating transparency and a daunting Conservatory, he was not permitted to measure of control." leave the country to compete and study in the West. He was the first pianist from Always in search of the new, Sergei the former USSR who was able to com­ Babayan studied conducting in order to pete without government sponsorship deepen his understanding of the orches­ after the collapse of the system. tra. In this role, he already has performed music of Bach, Haydn, Mozart, Schnittke, Babayan has appeared with many major Part, Vasks, Schedrin and Prokofiev. orchestras throughout the world includ­ ing the Cleveland Orchestra, the Warsaw

BABAYAN 9 PROGRAM NOTES By Dr. Barbara Barry, Head of Musicology

The 2008-09 concert series opens with three works which show contrasted faces of emotion and mood in the orchestral repertory- drama, rhythmic play and introspec­ tion-and a piano concerto in the Romantic style.

La Forza del Destino Guiseppe Verdi (1813-1901)

Verdi's opera La Forza del Destina (The action, leads into an impassioned, for­ Force of Destiny) was composed on a ward-driving melody, then once again libretto by Francesco Maria Piave, based halted by the opening three-fold call. This on Schiller. It was first performed in 1862 time, however, the mood becomes plan­ in St. Petersburg, and later revised by gent. Prefiguring the opera, the overture Verdi who changed the order of various switches from one musical character to numbers in the work and amplified the another and from one tempo to another. final denouement. The revised work was Rather than following a sequence of performed in 1869 at La Scala, Milan, and causal development of the ensuing action, one of the changes Verdi made in the the overture is more like cinematographic 1869 version was to add the overture technique where the camera pans from instead of the short prelude with which one character to another. The overture is the opera had previously started. a colorful depiction of locale, as in the mountainous location, and depicts the The impressive three-fold unison and conflicts of jealousy and the anguish of octave call at the beginning of the over­ the separated lovers. ture, also occurring at the start of the

Adagietto from Symphony No. 5 in C sharp minor Gustav Mahler ( 1860-1911)

The beginning of the 20th century was engaged in writing symphonies which, marked in Gustav Mahler's output by taken together, comprised the one of his most important works, the Sth "Wunderhorn" years. Des Knaben symphony- so important was it, that he Wunderhorn (The Boy's Magic Horn) continually revised it up to his death. was an anthology of folk-like poems by Arnim and Brentano which Mahler set in From the late 1880s, Mahler had been both song cycles and as symphonic

10 movements in his 2nd, 3rd and 4th leaner in style and imbued with the pres­ symphonies. ence of death: its desperate grief, impas­ sioned yearning for the absent one and But Mahler's compositional style in the the solace of tears. "Wunderhorn" years was dislocated by a crisis: on Feb. 24, 1901, Mahler suffered The Adagietto slow movement is one of a severe hemorrhage while on the podi­ the most famous movements in Mahler's um of the Vienna Imperial Opera con­ music. Leonard Bernstein, who had con­ ducting Mozart's last opera Die ducted it in memorable performances, Zauberfliite (The Magic Flute). The specified that it should be played at his attack was so severe that Mahler thought funeral. The movement is in three sec­ he was going to die, but he recovered tions: the opening, scored only for strings during his summer vacation and in the and harp, is a sustained melody of lumi­ fall resumed his customary heavy con­ nous expressive beauty, made more ducting schedule. poignant as both a kind oflove song and leave-taking. The contrasting middle sec­ Nevertheless, despite the recovery, tion is an impassioned yearning, the vio­ Mahler was profoundly affected by his lins reaching up, the harmony more serious brush with death. The three sub­ intense, the texture more tightly written. sequent major works-the 5th sympho­ The tension falls away for the return of ny, the Riickertlieder (songs on poems by the opening section, even simpler than at Riickert) and Kindertotenlieder (songs on the beginning. In an exquisite gesture of the death of children)-were all much farewell, the music subsides into silence.

Capriccio Espagnol, Op. 34 Nikolay Andreyevich Rimsky-Korsakov ( 1844-1908)

Rimsky-Korsakov was one of the mem­ In 1861, Rimsky-Korsakov met Balakirev, bers of a group of Russian composers in one of the group, and through him Victor the later 19th century known as "The Stasov, one of the leading advocates of Five." Although highly diverse in charac­ distinctive Russian style in music, litera­ ter and disposition, they were united in ture and architectural design. Since their adherence to Russian folksong­ Stasov was a friend of Modest with its inflections of traditional scales­ Mussorgsky, who composed the opera and strongly opposed to Russian music Boris Godunov, Rimsky-Korsakov became becoming a satellite of the international acquainted with both Mussorgsky and style of extended tonality. Cui and subsequently with Borodin. The

NOTES 11 first compositional task Balakirev Fantasia on Two Russian Themes, op. 33, assigned to the young Rimsky-Korsakov composed the previous year. The was to write a symphony, so Rimsl:..ry­ Capriccio Espagnol is in five sections in Korsakov studied a range of scores alternating fast and slower tempi: including Beethoven's symphonies and Alborada, Variazioni, Alborada, Scena e Mendelssohn's A Midsummer Night's canto gitano, Fandango asturiano. Dream, in order to develop skills in orchestration that would be used to such The Alborada is a short, rhythmically brilliant effect in his Scheherazade and the incisive piece, followed by the variations Capriccio Espagnol. which open with a lyrical horn melody, taken up by the strings, with touches of When Rimsky-Korsakov obtained a Spanish minor key color in the major key. teaching position at the St. Petersburg A reprise of the Alborada, followed by a Conservatory in 1871, he would have at brass fanfare, leads into the fourth sec­ his disposal a student orchestra that tion, a flamenco-style dance piece, simu­ would enable him to acquire hands-on lating the click of castanets and conjuring experience with unusual orchestral timbres. up the flick of exotic dresses. This in turn The Capriccio Espagnol, op. 34, was writ­ is followed by the brightly scored fifth sec­ ten in 1887 as an orchestral fantasia based tion, which builds with a forward-driving on Spanish themes, following the accelerando into an exciting conclusion.

Piano Concerto No. 3 in D minor, Op. 30 Sergei Vassilievich Rachmaninov (1873-1943)

Although Rachmaninov lived well into The first piano concerto was written in his the 20th century, his style was character­ early period in 1890-91, as were the pre­ ized by the late Romantic tradition of ludes of which the most famous was the soaring melodies, dramatic interpola­ C-sharp minor prelude. He frequently tions and rich harmony. A highly gifted played the prelude as an encore after his pianist, he entered the St. Petersburg concerts with extraordinary popularity. Conservatory at age 10, and when the family moved to Moscow a few years Despite growing fame, his 1st symphony, later, he went to the Moscow originally performed in 1897 with Conservatory, where he studied piano Glazunov conducting, was so badly with Nikolai Zverev and composition received by the critics that Rachmaninov with Arensky and Taniev. Graduating went into a severe depression and did not with the Gold Medal, Rachmaninov's write any substantial works for three career would be developed in both com­ years. However, due to the encourage­ position, which he regarded as his main ment and support by the wealthy indus­ musical direction, and piano performance. trialist Sawa Marmontov, Rachmaninov 12 embarked on his third musical career as life of a professional performer and on an operatic conductor, which enabled the people who had encouraged him as a him to learn the operas of Glinka, young man, notably Tolstoy and Mussorgsky, Tchaikovsky and Gluck. His Tchaikovsky. But the interview ended on piano debut in London was in 1899. In a melancholy note: that while the wide 1903 Rachmaninov and . his wife, world was open to him, the only place Nathalie, returned to Moscow, and he that was closed to him was Russia, his regained his compositional momentum. own country. Due to political unrest in Russia and under intense pressure from conducting and performing, in 1906 they left Moscow to live in Dresden. There, he composed the 3rd piano concerto, which was played in Rachmaninov's first American tour in 1909.

The first movement, Allegro ma non tanto, opens with a reflective piano theme tinted with the intervals of Russian music. It repeats in the orchestra overlaid by extensive figuration in the piano, while the movement's second theme, after an interplay between piano and orchestra, is a Romantic melody of warmth and expressive contour. The second move­ ment, Intermezzo: adagio, sustains the melancholy minor key character of the first movement, opening with a reflective section for wind and brass, then taken up by the strings. The piano writing opens with a lyrical questing solo meditation, opening up into more dramatic interplay between piano and orchestra, but return­ ing to its inward quality. The finale, alla breve, eschews the expected major key fast finale, and instead continues the meditative, plangent quality in a move­ ment of expressive lyricism, which evolves in the coda into a powerful, dra­ matic conclusion for the work.

Many years later, in an interview in 1930, Rachmaninov reflected on the harassed

NOTES }3

PROGRAM Saturday, Nov. 8, 2008 I Sunday, Nov. 9, 2008*

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

Franz Schubert ( 1 797-1828) Symphony No. 8 in B minor, D. 759, "Unfinished" Allegro moderato Andante con moto

INTERMISSION

Emmanuel Chabrier (1841-1894) Espana

Richard Strauss (1864-1949) Till Eulenspiegels lustige Streiche, Op. 28

*Sunday concerts include a pre-con cert lectw·e at 3 p.m. by Dr. Barbara Barry, head of musicology.

}6 PROGRAM PROGRAM NOTES By Dr. Barbara Barry, Head of Musicology

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

Beethoven's only complete opera, The Leonora overture number 3 opens Fidelio, on a "rescue" theme libretto by with an impressive slow introduction in a Joseph von Sonnenleithner, had a trou­ somber minor key, leading, via a build-up, bled history. Its first version, premiered to the main theme in the strings, strongly in November 1805, ran aground with declamatory in character in the major key, only three performances, due to the com­ alternating with full orchestra and percus­ bination of excessive length and Vienna's sion. The central development conveys occupation by the French army. the conflict and drama of the ensuing Although there were some cuts for a sec­ opera: the heroine, Leonora, dressed as a ond version in 1806, Beethoven made young man under the name Fidelio, will more cuts and rewrote parts of the work take a job in the prison where her hus­ for the revision of 1814, the version most band, Florestan, is incarcerated as a politi­ frequently performed. cal dissident, in order to rescue him. The famous trumpet call that will signal In addition to the opera's complicated Florestan' s release in the opera is pre-fig­ history, the work has no fewer than four ured in the overtures, as is their quiet overtures associated with it: Leonora reunion before the triumphant ending. overtures, numbers 1, 2 and 3, and the Fidelio overture. Leonora number 2 was played at the 1805 performances, Leonora number 3 at the 1806 perform­ ances, while the first overture, previously believed to have been played in 1805, has subsequently been discovered as dating from 1807 for a performance of the opera scheduled for Prague. The Fidelio over­ ture was written for the revised version in 1814.

NOTES 17 Symphony No. 8 in B minor, D. 759, "Unfinished" Franz Peter Schubert (1797-1828)

Of the great composers associated with depressed him. On the other hand, he Vienna in the late 18th century and early completed the first great song cycle: Die 19th century- Haydn, Mozart,.Beethoven schone Miillerin (the Fair Maid of the and Schubert- only Schubert was a Mill), the Mass in A-Flat, D. 678, and the native of the city, born in the two completed movements of the Himmelpfortgrund district. His father "Unfinished" symphony, which show was a school teacher, and the family Schubert's symphonic creativity raised to loved music. Schubert's earliest musical a higher level than in any of his prior experiences were the chamber music works in the genre. played in the house. Schubert did not attempt to compete With support from Antonio Salieri, who with Beethoven as a symphonic compos­ had been court composer during er by adopting the heroic or dramatic Mozart's years in Vienna, Schubert was style of Beethoven's celebrated middle admitted to the Imperial Hofkapelle, period symphonies. Instead, Schubert's where he both sung in the choir and symphonies were predominantly lyrical, received a well-rounded education. He looking back to the lighter orchestral tex­ had lessons in piano and violin and stud­ tures of Haydn and Mozart-until the ied orchestral works from the "Unfinished," of which Schubert fully Hofkapelle's well-stocked library by scored the first two movements and Haydn, Mozart and early Beethoven, began on the scherzo. The first move­ which would be invaluable for his own ment is in B minor, a very unusual key for orchestral writing, such as can be seen in an early 19th century symphony. The the influence of Mozart's 40th symphony second movement, Andante con moto, is on his own 5th symphony. Schubert also inE major. started composing songs, piano music and string quartets while at the But was it really unfinished? The fact that Hofkapelle, showing an extraordinary he started the scherzo and broke off after creativity in both instrumental and vocal nine bars indicates that, originally at music. least, he had intended to write more than the two completed movements. The The years 1822-23 included tragedy and work is sometimes performed today with achievement. It was in 1822 that the first the B minor Rosamunde music as finale. painful stages of syphilis manifested, There were a few examples of two move­ necessitating hospital treatment; and ment works as precedents, such as despite all his efforts to secure a position Beethoven's last piano sonata, Op. 111, as an opera composer, Schubert was but not symphonies: if anything, com­ unable to do so, which severely posers were adding movements to

18 unusual symphonies, such as the five cert conditions in Graz, perhaps movements in Beethoven's Pastoral and Schubert sent the score with the hope of Berlioz's Symphonie Fantastique. When at least getting the two movements per­ composers as prolific as Mozart and formed, either singly or possibly together. Schubert left a work unfinished, there were two main reasons: one is that they At the end of the day, it is an open ques­ had got stuck, or more usually, that a pro­ tion whether Schubert intended the work jected performance had been withdrawn to have two movements or more. The or in some other way changed so that the manuscript, in the Gesellschaft der original specifications no longer applied. Musikfreunde in Vienna, is titled "Symphony in B Minor by Franz This may give us some insight into the Schubert, Vienna, 30 October, 1822" "Unfinished" Symphony. In 1823, which may be taken that it is complete in Schubert was proposed as an honorary itself. Possibly, Schubert may have con­ member of the Gesellschaft for sidered a new kind of symphony with two Musikfreunde (Society for the Friends of movements, changed his mind and start­ Music) in Vienna, and elected in the ed the scherzo, then had second thoughts Gesellschaft associations in Linz, and about that as well. Graz in Styria. In a letter dated Sept. 20, 1823, Schubert promised the Graz music Certainly, Schubert's creativity contin­ society a symphony in acknowledgement ued to develop after 1823, as is evidenced ofhis election, and in 1824 sent them the by the splendid Symphony No. 9 in C two movement score of the "Unfinished," major, the "Great." It is likely, though, because he wanted to demonstrate his that after a terrible year of disappoint­ ability in larger forms than songs and ments to his plans for large-scale works, piano music. at least in opera, being constantly frus­ trated, that Schubert wanted the two During the early 19th century, many con­ movements of the B minor symphony to cert societies performed only single be performed in an environment that rec­ movements of symphonies in programs ognized his worth as a composer. Our that today look like a potpourri, with one love and appreciation of these wonderful or two symphonic movements inter­ movements can certainly do that. spersed with arias and virtuoso piano variations from operas (Liszt was to con­ tinue this well-established tradition). The only exception in Graz was Beethoven's symphonies, which were performed complete. Knowing the con- Espana Emmanual Chabrier ( 1841-1894)

Emmanual Chabrier was born in Chabrier favored cross-rhythms and syn­ Auvergne in 1841, and then _his family copations, and these are used to full moved to Paris in 1856. He showed early extent in Espana. Like D ebussy and musical talent on the piano, but his pro­ Ravel, Chabrier was attracted to the bril­ fessional career was as a civil servant in liant rhythms and instrumental colors of the Ministry of the Interior. Chabrier Spanish music, and like Ravel's Bolero, nevertheless continued his musical stud­ Espana is an orchestral showpiece, ies and developed friendships in the although not built on a rolling crescendo 1880s with French poets Verlaine and like Ravel's. Rather, Espana is more a L'Isle Adam, and later with Impressionist series of colorful instrumental variations painter Edouard Manet. showing off the diverse sonorities of the orchestra, based on an incisive Spanish He worked on several opera projects rhythm alternating with a more legato including Gwendoline and Briseis, both melody. The variety of instrumental tim­ influenced by the fever for Wagner's bres and use of rhythmic play in Espana, music in Paris in the 1870s and 1880s. and especially the surprising "wheeze Chabrier worked as a repetiteur for the box" appearance before the final strong Wagner conductor Charles Lamoureux, chords, show Chabrier's skill in writing and it was Lamoureux who gave the first for the orchestra. performances of Espana and sections from Gwendoline in a concert on Nov. 4, 1883, at the Societe des Nouveaux Concerts.

Till Eulenspiegels lustige Streiche, Op. 28 Richard Strauss ( 1864-1949)

Conductor and composer Richard Hans von Bulow. With von Biilow's sud­ Strauss is best known today for his den resignation as director of the operas, including Salome and Der Meiningen Orchestra, Strauss, only 21, Rosenkavalier, and his tone poems such took over conducting, preparing the as Ein Heldenleben, Also Sprach orchestra for the first performance of Zarathustra and Till Eulenspiegel, which Brahms' 4th Symphony, which the com­ was written in 1894-95. poser conducted.

Almost 10 years before, in 1885, a turn­ In the same year, Strauss became increas­ ing point in Strauss's life had been learn­ ingly fascinated by Wagner and by the ing conducting from the great conductor music of Franz Liszt, who had essentially

20 evolved the tone poem or symphonic forms like sonata form or rondo form, poem. Rather than an autonomous Strauss's music is by tum theatrical, orchestral work like the symphony with humorous and bombastic. In the tone self-contained movements and well­ poems, Strauss implemented Liszt's idea established forms, the tone poem was of motivic transformation, the idea of a program music- a much looser-knit and musical idea, often representing a person episodic orchestral work that depicted a in the tone poems, returning in different painting or scene in nature like guises as the work unfolds, different Mendelssohn's Hebrides Overture, or tempo, rhythmic shape or orchestral tim­ depicted the characters, moods and bre, but always recognizable. events in a story, like Strauss's tone poems. Strauss adopted the dictum "New The text used as the basis for Till ideas must seek new forms" which was a Eulenspiegel was the story of a knavish lodestone toward musical topics and fool up to all kinds of tricks, including philosophical ideas that supported the mock religion, flirting with women, and "new music of the future." finally, ending up on the scaffold for his own execution. In a work of vivid depic­ With his reputation as a conductor on the tion, Till Eulenspiegel, Strauss's most pop­ rise, Strauss moved to Weimar, where his ular tone poem, carries all before him as tone poem Don Juan (1888-89) put him he gallops through life's adventures. firmly on the map as a leading composer of the new generation. AB well as con­ ducting extensively, Strauss's major tone poems- Tod und Verkliirung, Till Eulenspiegel, Ein Heldenleben and Also Sprach Zarathustra-were all written by 1898, very much the works of late Romanticism and the products of a high­ ly charged if not hectic imagination, put­ ting Strauss's name on the map as a com­ poser oflavish and flamboyant works.

Richard Strauss is one of the most vivid and theatrical orchestrators of the late 19th century. Using the idea of musical narrative, that the music follows the events, personalities and moods of the story rather than abstract instrumental

NOTES 2} Sixth Annual Family Concert

Presented and sponsored by Bank of America

Lynn University Philharmonia Orchestra Albert-George Schram , music director and conductor

Dec. 14, 2008 at 3 p.m.

Boca Raton Resort & Club Great Hall 501 East Camino Real

Tickets: $25 University Ticket Office: 561-237-9000

All proceeds benefit the Friends of the Conservatory of Music scholarship fund.

Tickets are not tax-deductible.

'tPlease }>in us rfer t~is (Jefi3~trful ~eMa,!J. cele6ratien.

•I •• • • •£ •••

PROGRAM Saturday, Dec. 6, 2008 I Sunday, Dec. 7, 2008*

Wolfgang Amadeus Mozart ( 1756-1791) Sinfonia Concertante in E-flat Major for Violin, Viola and Orchestra, K. 364 A llegro maestoso Andante Presto

Carol Cole, violin Ralph Fielding, viola

INTER M ISSION

Johannes Brahms (1833-1897) Symphony No. 2 in D Major, Op. 73

A llegro non troppo Adagio non troppo Allegretto grazioso ( Quasi A ndantino) Presto ma non assai A llegro con spirito

*no pre-concert lecture

24 PROGRAM Carol COLE

Carol Cole's appearances in the United Philharmonic and The Florida Grand States, Canada, South America, North Opera. She was also a member of The Africa and throughout Europe have Vancouver Symphony, The Radio brought unanimous critical praise for her Orchestra of Torino, La Scala Orchestra musical artistry, flawless technique and of Milan, The Philadelphia Opera and beautiful tone. Philadelphia Chamber Orchestras.

Carol Cole made her debut with the San Cole has recorded for the labels of Francisco Symphony at 13 as winner of Bongiovanni, Harmonia Mundi, recently the San Francisco Young Artists compe­ on Eurartists as a member of the Sagee tition. She won top prizes in the Stresa Trio, and performed on live broadcasts International violin competition and The from Philadelphia, San Francisco, Miami Performers of Connecticut Chamber and Radio Italiano of Turin and Rome. Music Competition at Yale. Cole studied at The Curtis Institute of Equally at home as a soloist, chamber Music with Arnold Steinhardt, and musician and orchestra leader, she has chamber music with members of The performed in the world's most presti­ Budapest, Curtis and Guarneri String gious music festivals, including the Quartets. In the summer she is a per­ Spoleto Festival of Two Worlds in Italy; forming artist and faculty member of The Konzertring in Rottwell, Germany; Indiana University Summer String Jeunessess Musicales in Belgrade, Serbia Academy. She joined the Conservatory & Montenegro; Grand Teton in Jackson of Music faculty in 2006 as professor of Hole, Wyoming; Festival Miami; violin and chamber music. Philadelphia's Mozart on the Square; and the String Seminar at Carnegie Hall. She and her husband, conservatory cello artist-faculty David Cole, present duo Cole has served as concertmaster and concerts and collaborate with top musi­ solo violin of I Solisti Aquilani and as cians performing the vast chamber music associate concertmaster of The Florida literature.

COLE 25 Ralph FIELDING

Ralph Fielding teaches viola at the Lynn cian, including more than a dozen years University Conservatory of Music and as a member of the Los Angeles each summer at the Bowdoin International Philharmonic Orchestra. His orchestral Music Festival. He previously taught at repertoire students have won positions in the University of Southern California, many I CS OM and regional orchestras. the University of California Los Angeles, and Texas Tech University. Fielding spent a three-year term as the elected president of the American Viola He is active as a clinician at music pro­ Society, a 1,000-member nonprofit grams around the country and has given organization (founded in 1971) that master classes at such institutions as publishes a peer-reviewed journal, spon­ Oberlin College, the Cleveland Institute, sors the North American Viola Congress DePaul University, the New England every two years and holds the Primrose Conservatory, the San Francisco Memorial Viola Competition. Conservatory, Rice University and the New World Symphony. He holds a B.A., M.M. and an M.B.A. from Yale University. Prior to his teaching activities, Fielding had a long history as an orchestral musi-

26 FIELDING PROGRAM NOTES By Dr. Barbara Barry, Head of Musicology

Sinfonia Concertante in E-flat Major for Violin, Viola and Orchestra, K. 364 Wolfgang Amadeus Mozart (1756-1791)

Mozart's Sinfonia Concertante is a double the darker viola timbre against the concerto for violin and viola. The double brighter violin sounds. The viola was concerto has a distinguished, if selective Mozart's own string instrument that he history, with examples for two violins by liked to play in string quartets, but it was Vivaldi in his set L'Estro Armonico, Bach's primarily an ensemble instrument in the Double Concerto for Two Violins in D middle of the texture. Unlike the violin, minor, and Mozart's own double concer­ the viola does not have a tradition of to for two pianos in the same key as the being used as a solo as well as a chamber Sinfonia Concertante, E-flat major, but it music instrument. Its solo writing in the is very rare to have two different solo Sinfonia Concertante shows it being used instruments. (There are a few exceptions as an equal partner to the violin, while like Mozart's flute and harp concerto, bringing out the individuality of its dis­ and later, in the 19th century, tinctive darker sonority. Beethoven's triple concerto and Brahms' double concerto for violin and cello.) The work, written in Salzburg between 1779-80, is in three movements as is The title, Sinfonia Concertante, is reveal­ characteristic of the classical concerto. ing, as it does not state concerto or dou­ Both the outer movements in E-flat ble concerto. Originally, a sinfonia meant major show spirited, rhythmically articu­ an instrumental work" sounding together," lated exchanges between the soloists and and together with the term concertante between them set against the orchestra. as "playing in ensemble," underscores the The slow movement, a beautifully con­ integrated nature of the work- that the toured Andante, is surprisingly melan­ violin and viola are both instruments that choly in tone, with an upbeat to the come from the orchestra and play together orchestral opening which is then given with it. first to the solo violin then to the viola, whose tone ideally suits the somber qual­ But concertante has another root that ity of the music. The soloists then play means "playing against," so we find that extended lines against the orchestra, the two solo instruments play against one while the "Presto" finale, with its "Scotch another as well as in concordance. This is snap" solo theme, brings the work to an brought out by the subtle difference of energetic and spirited close.

NOTES 27 Symphony No. 2 in D Major, Op. 73 Johannes Brahms (1833-1897)

By the second half of the 19th century, the second movement, and although he writing a symphony had become a large has been criticized for his heavy orches­ and serious enterprise. Beethoven had tral textures, the charming opening of the expanded the size and dimensions of the third movement, scored for oboes, clar­ symphony and had given it new, dynam­ inets and bassoons with pizzicato cellos, ic characteristics. Inevitably, composers belies this. after Beethoven felt that their works would be compared to his, and would Brahms had learned from Beethoven, in probably suffer in the comparison. This his famous 5th symphony, how the prime inhibited Brahms from completing his motto of the first movement could be the first symphony until he was over 40. means of unifying the whole work by recurring in transformed but recogniza­ Brahms' four symphonies were written in ble form in subsequent movements. In two pairs, the 1st and 2nd in the 1870s, addition to the two main building blocks the 3rd and 4th in the 1880s. Each pair which form the basis of all the other has one work in a minor key, one in a movements and particularly clear at the major. The 1st symphony, completed in beginning of the finale, Brahms also uses 1876, is in C minor, Beethoven's most the interval of the third in the violin first celebrated key, and is a work of brooding theme-D-F#-as the tonal strategy power, but the 2nd, written the following that will connect all the movements of year, contrasts with the 1st, is in D major, the symphony. They are laid out as a and lighter in mood and character. chain of descending thirds-the first movement in D, the second in B, the Written in the four-movement plan used third in G and the finale returning to D. by Haydn, Mozart and Beethoven, Unlike Beethoven, however, Brahms Brahms' 2nd symphony opens with a does not use any of the extreme tempi or three-note motif in the cellos and basses take any of the extraordinary risks so evi­ alone- D-C#-D which is answered by dent in many of Beethoven's great sym­ the violins with a melody which outlines phonies. Rather than Beethoven's the shape of the triad-D-F# and A-D. whiplash scherzos, Brahms writes an These two ideas become the building Allegretto grazioso for the third move­ blocks for the whole first movement, not ment of his 2nd symphony. After his long only as components of the lyrical second incubation of symphonic plans which theme in the cellos, but as the basis of the came to fruition in the 1st symphony, the beautiful violin melody that evolves from 2nd shows a warmer side of Brahms' the first subject and connects it to the writing, while conserving the tradition second theme. All transitional and devel­ and integrity of the symphony as the opment material stems from these two most important large-scale instrumental ideas. Brahms also uses the cellos to open form in the later 19th century.

28 NOTES

PROGRAM Saturday, Feb.21,2009 I Sunday, Feb.22,2009*

Leonard Bernstein ( 1918-1990) Overture to Candide

Wolfgang Amadeus Mozart ( 17 56-1791) Symphony No. 29 in A Major, K. 201 A llegro moderato Andante Menuetto A llegro con spirito

INTERMISSION

Bela Bartok ( 1881-1945) Concerto for Orchestra, Sz 116 Introduz ione Giuoco delle coppie Elegia Intermezzo interrotto Finale

*Su nday concerts include a pre-concert lecture at 3 p.m. by Dr. Barbara Barry, head of musicology.

32 PROGRAM PROGRAM NOTES By Dr. Barbara Barry, Head of Musicology

Overture to Candide . Leonard Bernstein ( 1918-1990) Leonard Bernstein was an American them popular in style. After his success musical icon who made classical music with Fancy Free, Bernstein wrote the film accessible to thousands of people music for On the Waterfront in 1954. through his TV talks and performances. Candide was written in 1956, followed He was a force of passionate musical the next year by the phenomenal success energy- composer, conductor and of West Side Story. pianist-who crossed boundaries between popular and classical music, Candide, a popular opera in two acts, on bringing jazz and Broadway into his com­ a libretto by Richard Wilbur, was based positions. on a lighthearted satire by the 18th cen­ tury French writer Francois Voltaire. The The son ofJewish immigrants, Bernstein music for the opera is a virtuoso mix of studied at Harvard and at The Curtis styles, from oratorio to Broadway, and Institute, and went on to study conduct­ from Death song (a reference to Mahler's ing with Koussevitzky at Tanglewood scordatura-tuned violin in the 4th sym­ m 1940 and '41, and through phony) to love song. Koussevitzky' s help, became assistant conductor to Artur Rodzinsky with the The overture opens with effervescent New York Philharmonic. An extraordi­ rhythm, its swooping figures leading to nary break came in 1943 when Bruno the first theme in E-flat major-forward­ Walter became sick. Bernstein took over driving, fast-paced writing for the strings conducting the orchestra at a few hours' and wind, especially the flute, with short notice in a highly successful concert. brass fanfare played off against the strings. Bernstein's frequent changes of Bernstein was later to become director of time signature and use of syncopation the New York Philharmonic in 1958 and both wrong-foot the listener and increase was guest conductor with other interna­ the high-paced momentum. tional orchestras, including the London Symphony Orchestra, the Vienna The second theme is a more lyrical Philharmonic and the Israel Philharmonic. melody in the strings in alternating duple He was one of the first conductors to and triple meters, but it is soon overtaken champion Mahler. again by the madcap romp through the orchestra, punctuated by percussion. Bernstein's compositions, among them Increasing the tempo and dynamics even the overture from Candide, were often more in the coda, the overture pushes brilliant in orchestration and many of toward an exciting close.

NOTES 33 Symphony No. 29 in A Major, K. 201 Wolfgang Amadeus Mozart ( 17 56-1791)

In music, unlike science, where reputa­ for strings, two oboes and two horns­ tions are made by discovering a new for­ no flutes, trumpets or percussion. mula or theory, it does not matter who has the idea first so much as the inven­ It is in four movements, and both the tiveness and insight with which he uses it. outer movements are related by a similar opening motif of a downward leaping Arnold Schoenberg, who developed 12- octave. Mozart uses a strategy that he tone technique in the 20th century, said would repeat many times in his sym­ that the measure of the great composer phonies including his last symphony, the was his ability to "look into" and realize "Jupiter," of starting quietly, with a the potential of his material. For this rea­ lighter scoring, then repeating the open­ son, Franz Joseph Haydn is justly known ing idea forte for the full orchestra. as "The Father of the Symphony" because, although he may not have invented it, he The background to the opening motif is constantly evolved and transformed it the simplest shape: a third rising by step from modest cassation to full-length then falling, but Mozart ingeniously fills in works in the high Classical style. this background by the distinctive down­ ward leaping octave followed by slurred Mozart, some 25 years younger than eighth-note couplets. By using a three Haydn, was able as a child and young eighth-note upbeat to the couplets, man to assimilate the styles of his con­ Mozart is able to play off upbeat versus temporaries and to develop them with downbeat throughout the first movement. extraordinary ability in his own works. He was fortunate that his father Leopold The second movement, Andante, is in took him from his native Salzburg, a the subdominant key, D major, and is small town in Austria, to many major marked "con sordini" (with mutes) for European musical centers, like Vienna the strings. Most of the melodic material and Munich. is given to the first violins, but the varied repeat of the first also has beautiful lines Between the years 1772-7 4, absorbing of color for the oboes and horns. It is only the characteristics of instrumental and in the coda that Mozart instructs the vocal styles of church music and opera, players to remove the mutes for the one Mozart was highly prolific, composing forte in the movement just before the the five violin concertos, keyboard con­ close. Despite its modest proportions, certos, concert arias and divertimenti. the slow movement is written in sonata form, as is the finale. In the minuet, The A major symphony K. 201 was writ­ Mozart again picks up the playful upbeat, ten in Salzburg in April 1774, and has a this time in dotted rhythm, and at the charm and rhythmic energy characteris­ end of the first and second sections of the tic of Mozart's early maturity. It is scored minuet, the oboe and horn have a 34 humorous capping phrase, as if they, too, ning of the development; the central sec­ insisted on being heard before the end. tion of the movement; the recapitulation, where the opening theme returns in the The finale, picking up the octave leaping last main section; and also announcing motif from the first movement, is in an the last two closing chords. energetic 6/ 8 rhythm, "Allegro con spir­ it," clear-cut and precise in its phrasing, In a work of energy and charm and inven­ propelled forward by a figure of upward tiveness, Mozart demonstrates that rushing strings. These have an important together with Haydn, he is the other part to play in the movement: after a great master of the Classical symphony. bar's silence they announce the begin-

Concerto for Orchestra, Sz 116 Bela Bart6k ( 1881-1945)

Like Bernstein, Bart6k was also a pianist, With the rise of the Nazis in the 1930s, but apart from composing, his other Bart6k finally decided that he would have main, and perhaps more important, musi­ to leave Hungary as his music was reject­ cal interest was ethnomusicology-col­ ed by the regime as non-Aryan and there­ lecting and transcribing Hungarian folk fore could not be published or per­ music. He feared this music would soon formed. He left Hungary for New York, disappear with the encroachment of the although the noise and blare of the city modern world on the rural life of pre­ upset his sensitive temperament. World War II Hungary, and also of neigh­ boring Croatia and Czechoslovakia. The Concerto for Orchestra was com­ Although Bart6k does not quote any posed in America and commissioned by actual folk melodies in his works, they are Sergei Koussevitzky, director of the saturated with the intervals characteristic Boston Symphony Orchestra. Part of of Hungarian folk music- minor seconds, Koussevitzky's legacy was to work with thirds and sevenths, perfect and augment­ young, upcoming conductors at ed fourths, with asymmetrical phrases and Tanglewood, the orchestra's summer changes of time signature. home, but another important part was the Koussevitzky Music Foundation, While Bart6k uses many chromatic notes which commissioned new works. The that are the inflections of Hungarian foundation's first orchestral work was scales, his music is nevertheless tonal in Bart6k's Concerto for Orchestra, first the sense of being centered on a particu­ performed on Dec. 1, 1944. The five­ lar note, and he rejected Schoenberg's movement work is scored for an enlarged atonality. wind section (there are three instru-

NOTES 35 men ts for each of the wind instruments) eerie evocative sonority of soft wind and also percussion to include side drum, flourishes and clusters reminiscent of bass drum, tam-tam, and two harps. Bart6k's "night music," broken by a sud­ den explosion of sound. After an intense The first movement opens with an intro­ climax, the somber opening returns and duction that contains the fundamental dissolves out like ripples on a lake. idea that will affect not only the first movement but also the whole work- an The fourth movement, Intermezzo array of unaccompanied perfect fourths Interrotto, shows Bart6k in another that first ascend from C-sharp in the cel­ scherzo-type movement, the offbeat los and basses and then return to it. This opening set against an asymmetrical viola interval of the perfect fourth also appears melody, but the movement continues in in the first subject, but filled in as a rising cheeky, tongue-in-cheek fashion, while scale figure in the violins, in the tempo the finale is a fast-paced flourish showing Allegro vivace, followed by two ascend­ off energetic writing for both individual ing rhythmic fourths. By contrast with instruments and the whole orchestra. this incisive first subject, the second The Concerto for Orchestra traces a tra­ theme, played dolce and piano by the jectory from the inward to the affirma­ first oboe, is a simple oscillation of two tive, which, as the composer said, gradu­ notes, E- and F-sharp over an open fifth ally progresses from the "sternness of the drone, but when this theme returns in the first movement and the lugubrious recapitulation it incorporates the prime death-song of the third, to the life-asser­ perfect fourth. tion of the last one."

The second movement- Game of Pairs-is a playful game in three-part scherzo form. The side drum opens and closes the first section, followed by a brass chorale and a modified repeat of the first section. Within the framing sec­ tions, instrumental pairs from wind, brass and strings play paired solos, so under­ scoring the work's title of Concerto for Orchestra, members of the orchestra are themselves the soloists as well as part of the orchestral game plan.

Elegia, the Andante non troppo slow movement, opens with the same perfect fourths as at the beginning of the work, which are presented as falling fourths and also ascending fourths which rise through the strings. The movement is an

36 NOTES

PROG.RAM Saturday, March 28, 2009 I Sunday, March 29, 2009*

Richard Wagner (1813 ~ 1883) Prelude to Die Meistersinger von Nurnberg

W.A. Mozart ( 1756-1791) 'Ruhe sanft, mein holdes Leben' from Zaide

Charles-Fran\'.ois Gounod (1818-1893) ~h! Je veux vivre!' from Romeo and Juliette

Nadine Sierra, soprano

Jules Massenet (1842- 1912) Meditation from Thais

Gareth Johnson, violin

Giacomo Puccini ( 1858-1924) 'O mio babbino caro' from Gianni Schicchi 'Un bel di' from Madame Butterfly

Nadine Sierra, soprano

INTERMISSION

Pyotr Il'ych Tchaikovsky (1840-1893)

Symphony No. 5 in E minor, Op. 64 I. Andante-Allegro con anima II. Andante cantabile, con alcuna licenza III. Valse: Allegro moderato IV Finale: Andante maestoso-Allegro vivace

'Sunday concerts include a pre-concert lecture at 3 p.m. by Dr. Barbara Barry, head of musicology.

"~~~~ .. ~.r' PALM BEACH COUNTY . . ~=~~ --'\.9" CULTURAL COUNCIL ATOURIST DEVEl.Ol'MTh'T COUNm M.llm PROJECT ~(()1l1'0'" PROG RAfv1 Du e to liealth reasons, Marvis Martin will not be able to perform this weekend with the Lynn Philharnwnia. • Nadine I .

Nadine Sierra, a 20-year-old soprano from Last month Sierra was one of four winners Fort Lauderdale, is a third-year student at of the prestigious Metropolitan Opera The Mannes College of Music in New National Council Auditions. York City, studying voice with Professor Ruth Falcon. She has sung as the First Spirit in Die Za­ uberflOte with the Palm Beach Opera, and She attended high school at the Alexander Beth in Mark Adamo's Little Women with Dreyfoos School of the Arts in West Palm the International Vocal Arts Institute in Is­ Beach and became a resident young artist rael. with the Palm Beach Opera when she was just 14. At 16 she made her opera debut with the Palm Beach Opera, as the Sand­ man in Hansel and Gretel.

She has trained with the International Vocal Arts Institutes in Puerto Rico, Canada and Israel. In 2007 she won the Marilyn Horne Foundation vocal compe­ tition in Santa Barbara, Cal. She made her recital debut in New York City in Marilyn Horne's "On Wings of Song" recital series that same year.

Her awards and scholarships include first place in the National Foundation for Adva ncement in the Arts in 2006, first place in the junior division of the 2007 Palm Beach Opera vocal competition and second place in the 2008 National Society of Arts and Letters vocal competition.

SIERRA PROGRAM

Saturday1 March 281 2009 I Sunday1 March 291 2009*

Richard Wagner (1813-1883) Prelude to Die Meistersinger von Nurnberg

Giacomo Puccini (1858-1924) 'Un bel di' from Madame Butterfly 'Vissi d'arte' from Tosca

Giuseppe Verdi (1813-1901) 'Pace, pace mio Dio' from La forza del destino

Francesco Cilea (1866-1950) 'Io son l'umile ancella' from Adriana Lecouvreur

Marvis Martin1 soprano

INTERMISSION

Pyotr Il'ych Tchaikovsky ( 1840-1893)

Symphony No. 5 in E minor1 Op. 64 Andante-Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso-Allegro vivace

*Sunday concerts include a pre-concert lecture at 3 p.m. by Dr. Barbara Barry, head of musicology.

This program is supported by ~,,....-. PALM BEACH COUNTY --'\Si" CULTURAL COUNCIL 38 PROGRAM Marvis MARTIN

Internationally celebrated for the exqui­ vals: Edinburgh, Tanglewood, Ravinia, site beauty of her voice, her radiant Mostly Mozart, Blossom, Mann Music artistry and a rare ability to communicate Center, Hollywood Bowl and the with her audiences, Marvis Martin has Festival of Two Worlds (Spoleto). emerged as one of the foremost American sopranos of her generation. She has earned critical praise for her operatic performances with the A frequent guest soloist with major Metropolitan Opera and has sung in orchestras throughout North America, Carnegie Hall's Handel Opera Series, the Martin has appeared with the Chicago Aix-en-Provence Festival and with the Symphony Orchestra, the New York Netherlands and Greater Miami operas. Philharmonic, the Detroit Symphony, Among her awards are first prize, the the Cleveland Orchestra, the Boston Mozart Prize and the Melodie Frarn;:aise Symphony Orchestra, the Philadelphia Prize at the 1980 Concours International Orchestra, the Montreal Symphony and du Chant in Paris; Young Concert Artists the St. Paul Chamber Orchestra. She has Kathleen Ferrier Award; and first place in collaborated with such distinguished Chicago's WGN-Illinois Opera Guild's conductors as Sir Georg Solti, James Auditions of the Air. Martin was selected Levine, Zubin Mehta, Robert Shaw, to join the Metropolitan Opera's distin­ Pinchas Zukerman, James Conlon, guished Young Artist Development Charles Dutoit, Michael Tilson Thomas Program in its premiere season. and Andrew Davis. The recipient of the University of Miami's Martin has been heard extensively Distinguished Alumna award, she was throughout North America and Europe honored to have been invited to sing at as a recital soloist, including appearances the White House for President and Mrs. in New York, Chicago, Vancouver, with Reagan, accompanied by James Levine, a the Ambassador International Series in performance that was seen nationwide on Pasadena (Calif.) and the prestigious PBS's Great Pe1formance Series. Martin's "Une Heure Avec" series in Aix-en­ CD recording of Cantaloube's Songs of the Provence, France. Her summer schedule Auvergne can be heard on the Denon frequently includes engagements with label. the world's most prestigious music festi- . MARTIN 39 PROGRAM NOTES By Dr. Barbara Barry, Head of Musicology

Prelude to Die Meistersinger von Nii.rnberg Richard Wagner (1813-1883)

It is hard, more than 100 years later, to The renowned philosopher Nietzsche fully understand what the writer Bryan was one example of many initially Magee called "Wagner fever" across charmed by Wagner's charisma. For much of Europe but which was particu­ many years Nietzsche did everything larly strong in Paris. Magee describes Wagner needed to promote his career, at women fainting at performances of the expense of Nietzsche's own, but so Wagner's operas, like the hysteria at the powerful was Wagner's influence that, Beatles' concerts, except that here the years later, after Nietzsche had broken music was the serious form of opera and with him, he nevertheless acknowledged the audience not teenagers but adult his feeling for Wagner as being the most members of middle-class society. important in his life.

Wagner, with an enormous drive for Wagner's success was in the achievement power and domination, was by turns of making himself a legend in his own charming and voraciously cruel, and lifetime, and his legacy was a series of brooked neither competition nor opposi­ works that changed the view of opera tion. Herman Levi, one of the most from an entertainment to a consecration. famous Wagner conductors, had an ago­ One of his most important techniques nized choice between Wagner and his was the use of the "Leitmotif' (leading beloved teacher Vincenz Lachner, who motif) to stand for a person, object or astutely recognized Wagner as vicious mood, which recurred during the course and self-seeking despite his talent. Levi of the work. Unlike Wagner's other chose Wagner, and his friendship with operas, Die Meistersinger van Niirnberg is another great composer, Johannes not based on a myth, but is a comic opera Brahms, withered away. set in a specific place, Nuremberg, in the middle of the 16th century-and in The disturbing truth about this enor­ some ways, the opera is the Romantic mously gifted composer who reshaped evocation of the town and its craftsmen. opera into mythic music-dramas was that he achieved his ends of becoming the The prelude opens with a strong, four­ most powerful influence on late 19th square melody in C major for the whole century music by using persuasion, draw­ orchestra, depicting the strength of the ing into his sphere of influence anyone artisan community, and this melody, who could help him and destroying any­ with more elaborate accompaniment, one he saw as a rival, like Meyerbeer. also closes the prelude. Wagner also 40 includes the E major motif of the "Prize of both the prelude and the opera is defi­ Song" and a more yearning melody asso­ nitely tonal, clear in its phrasing and ciated with love. human in the aspirations as well as flaws of its characters. Unlike Wagner's mythic operas, the style

Symphony No. 5 in E minor, Op. 64 Pyotr Il'ych Tchaikovsky ( 1840-1893)

Initially educated at home by both his May 1877 he tried to stabilize his life by mother and a beloved governess, from marrying, but the marriage was short­ the age of 10, Tchaikovsky attended the lived and disastrous. Tchaikovsky tried School ofJurisprudence in St. Petersburg to commit suicide after less than three and completed his course in 1859 with months, and in order to recover his the intention of finding employment in health he moved to Europe. In October the Ministry of Justice. His path, howev­ of the same year, a wealthy widow, er, was not to work for the government, Nadezhda von Meck, who had previous­ but to lead his life in music. ly given Tchaikovsky some small com­ missions for works, now settled a gener­ In 1863 he became a student at the St. ous allowance on him, allowing him the Petersburg Conservatory, founded by financial security to continue composing. Anton Rubinstein, one of the greatest Madame von Meck and Tchaikovsky piano virtuosi and leading figures in 19th developed an intense correspondence, century Russian life. Three years later, but by mutual consent they never met. Tchaikovsky moved to Moscow to take up a position teaching harmony at the Tchaikovsky's fame in large-scale works Moscow Conservatory established by rests primarily on three forms: ballet, Anton's brother, Nikolas Rubinstein, who opera and symphonies, and the three supported and encouraged his works. kinds ofworks are intrinsically connected in the depiction on intense expressive Tchaikovsky was nervous and morbid by states. Of his six symphonies, the last temperament, often going through peri­ three are in minor keys and are one of the ods of depression, his volatile mood important works in each decade from the swings complicated by homosexuality. In 1870s to the 1890s: the 4th in F minor NOTES 4} written in 1877, the 5th in E minor in While the symphony is not depictive of a 1888 and the 6th in B minor story in the way that a tone poem is, ("Pathetique") in 1893. Tchaikovsky evidently felt that the sym­ phony was not merely an ab tract orches­ Although the 5th follows the traditional tral form but a means of conveying four-movement plan, with the.first move­ expressive meaning-the drama, passion ment in E minor and the finale ending in and yearning in his operas and ballets­ E major-a plan Beethoven had used in but here conveyed and shaped through his 5th symphony-there are some dis­ symphonic form. As he writes to Sergei tinctive and unusual aspects to Taneyev: Tchaikovsky's 5th. The first is the use of the motto theme that opens the work, in a "I should not wish symphonic works to haunting, hollow low register of the clar­ come from my pen that express nothing, inet in A, and it returns in each move­ and which consist of empty playing with ment, reminiscent of Berlioz's use of the chords, rhythm and modulations .. . ''idee fixe" in his Symphonie Fantastique, Ought not a symphony- that is, the except that Tchaikovsky's work does not most lyrical of musical forms-express refer to an external story. The motto everything for which there are no words, enters twice, fortissimo, in the second but which the soul wishes to express and movement, at strategic places before the which requires to be expressed?" return of the movement's main idea, more subtle in the coda of the third move­ Tchaikovsky's last three symphonies do ment played on a monotone by the clar­ not involve a literal program, like Romeo inets and bassoons, and stongly declama­ and Juliet, but rather the thematic materi­ tory at the beginning of the finale, in al, and its keys are evocative of emotional E major. Another unusual feature is states. It is of particular interest in this Tchaikovsky's use of keys: instead of the respect that while Tchaikovsky was com­ classical relationship of the dominant, posing the 5th symphony in the summer subdominant relationships are in evi­ of 1888, he was also working on the fan­ dence: the use of A minor as part of the tasy overture Hamlet. The famous idea of harmonization of the opening motto, and "fate knocking at the door" for the open­ the use of A major for the third move­ ing motif of Beethoven's 5th and its con­ ment (Valse) is a large-scale subdorni­ ceptual design of struggle/ resolution was nant for a movement which more usually the basis not only of Tchaikovsky's 4th would be in the key of the work. Another symphony, but also continued to res­ unusual tonal feature in the work is the onate in his mind while composing the use of D major, for example in the first 5th. In this stirring work, Tchaikovsky movement for the extended second sub­ transforms the "states of the soul" into an ject area. Tchaikovsky initially modulates emotional journey through music. to the minor dominant, B minor, but soon moves to D major, its relative major, for the brighter second subject theme.

42 NOTES About our LYNN UNIVERSITY Philharmonia Orchestra

The Lynn University Philharmonia sets As an integral part of the education of the standard for conservatory level sym­ the conservatory's graduate and under­ phonic training. Now in its 16th season graduate music sh1dents, the Philharmonia as a full symphony, the Philharmonia offers superior training through the continues to present high-quality con­ preparation and performance of orches­ certs with a wide range of repertoire. tral repertoire and a minimum of six public performances per year. It has pre­ The Philharmonia is directed by Albert­ sented several new works throughout its George Schram, who is also resident history, and has always been enthusiasti­ conductor of the Columbus and cally received by the public and the press. Nashville Symphonies. Music directors of the Philharmonia have included Markand Thakar and The Philharmonia was first formed in Arthur Weisberg and many guest con­ 1991 as the Harid String Orchestra. It ductors including Jon Robertson, David became a full symphony orchestra in Lockington, Zeev Dorman and Joseph 1993. In 1999 Lynn University took Silverstein, among others. over the operations of the music divi­ sion of the Harid Conservatory, form­ ing the Lynn University Conservatory of Music.

ABOUT THE ORCHESTRA 43 SUPPORT the Conservatory of Mus ic­ Become a Friend

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44 By becoming a Friend, you provide Leadership Society donors are invited to financial support through endowed exclusive events throughout the year, scholarships for talented and deserving receive pre-release copies of the Lynn students; or, you can designate your Magazine and other university publica­ donation to be used where the need is tions, and are recognized at appropriate greatest. Because of your gifts, students Lynn University events for the impact who study at Lynn will have opportuni­ their leadership gifts have made. ties to become noted performers, com­ posers and educators. MATCHING GIFTS

Besides enjoying outstanding music, the Through employer-sponsored matching Friends of the Conservatory of Music gift programs, you may increase the also have the pleasure of associating with power of your contribution. Some others who share their enthusiasm for the employers match gifts from both current conservatory and its mission. The and retired employees. Contact your Friends present the annual Gingerbread human resources department for the Holiday Concert, gather through the required forms and submit them with year for meetings and host an annual tea. your gift. Musical programs are provided by the faculty and students for these special ESTATE GIFT events. An estate gift will provide for the conser­ THE LEADERSHIP SOCIETY vatory in perpetuity. Your estate gift may OF LYNN UNIVERSITY be made as a gift of appreciated stock, real estate, bequests and/ or planned gifts. With an annual gift of $2,500 or more during the fiscal year July 1 to June 30, Your contribution to the conservatory you will be recognized in the Leadership is tax-deductible. For additional infor­ Society. This premier annual giving soci­ mation, please call Lisa Miller, director ety honors donors who recognize the sig­ of annual programs, at 561-237-7745. nificant role leadership gifts play in sus­ taining the excellence of conservatory programs.

SUPPORTING 45 DONORS to the Conservatory of Music July 1, 2007-JLlne 30, 2008

Lynn University gratefully acknowledges the contributions of the following donors to the Conservatory of Music.

COMPOSER ( $100,000 AND ABOVE)* CONCERTO ($1,000-$2,499) Mr. and Mrs. Melvin Lechner Mr. and Mrs. Joel L. Altman Mr. and Mrs. Harold Tappe! Mr. and Mrs. Burton August Mrs. A. Billie Feher MAESTRO ($10,000-$99,999)* Mr. and Mrs. Milton Gralla Mr. and Mrs. Douglas Cohen Ms. Helen Kirschner Mr. and Mrs. I. Scott Cohen Mrs. Sara Jo Kobacker Mr. and Mrs. Stuart Cohen Mr. and Mrs. Richard N. Kull Mrs. Ruth Coleman Mr. and Mrs. Raymond H. Marks Dr. Ruben Preid e Ms. Beatrice Mayer Ms.Judith L. Nelson and VIRTUOSO ($5,000-$9,999)* Mr. Daniel M. Varalli Mr. and Mrs. Arthur Adler Mr. and Mrs. William E. Satterfield Mr. Fred Kirschner Mr. and Mrs. William J. Scaggs Ms. Deborah Koplik Martin &Jody Grass Charitable Mrs. Madelyn Savarick Foundation Mr. and Mrs. Gilbert Stamler Boca West Country Club SONATA ( $500-$999) Mr. and Mrs. Howard Hirsch SYMPHONY ($2,500-$4,999)* Mr. and Mrs. Allen Jacobson Mr. and Mrs. Maurice S. Bucksbaum Mr. and Mrs. Philip G. Kupperman Mr. John]. Gallo, J r. Mr. and Mrs. Martin Mann Mr. and Mrs. Howard Gleckman Mr. and Mrs. Leonard R. Meyers Mr. and Mrs. Arthur E. Landgren Mr. and Mrs. Boris Rueger Dr. and Mrs. Arthur L. Roth Dr. Virginia Salus Cascade Lakes Cultural Arts Club Mr. and Mrs. Michael Sneider Mr. and Mrs. Charles A. Steinberg Mr. and Mrs. Louis Steiner Mr. and Mrs. H. Marvin Stockel Gifts listed were received from July 1, 2007 Ms. Phyllis Tarlow and Mr. Sandy Bodner through June 30, 2008.

*Donors of $2,500 and above are also recognized as Leadersh ip Society of Lyn n University benefactors. This list was prepared by the Office of Development and Alumni Affairs. Every effort was made to ensure the accuracy of the listings. Ifyo u have any comments, questions or corrections, please contact the gift administrator at 561-237-7875. 46 O VERTURE ( $100-$499) Mr. and Mrs. Herbert Molder Anonymous Mr. and Mrs. Jerome Naftol Mrs. Gerry Bald Mrs. Susan Philbrick Eldon H. Bernstein Ph.D. Dr. and Mrs. Leonard Posner Mr. and Mrs. Lawrence H. Berni Mrs. Mildred R. Rosenberg Drs. Bernard and Joan Chodorkciff Mrs. Lenore G. Ross Mr. and Mrs. Thomas Clydesdale Mr. and Mrs. Aaron Sabghir Ms. Donna Ditchik Arnold Mr. and Mrs. David Sachs Mr. and Mrs. Robert Donadio Mr. and Mrs. Robert Scott Mr. and Mrs. Edgar Eaton Ms. Joyce B. Shelfo Mrs. Marie C. Eckhouse Mr. and Mrs. Bernard Shinder Mrs. Harriett Eckstein Mr. and Mrs. Alvin A. Simon Mr. and Mrs.Jack Fishkin Mr. and Mrs. Arthur Skidmore Ms. Adele Fitch Mr. and Mrs. Abraham]. Small Mr. and Mrs. Samuel Goldstein Mr. and Mrs. Lev.'is Stone Ms.Jane Hart Mrs.Joanne Studer Mr. and Mrs. Irving James Mr. and Mrs. Mark B. Swillinger Mr. and Mrs. Isaac L. Kaplan Mr. Murray Wachter Ms. Cynthia R. Karp Dr. and Mrs. Howard Weiss Mr. and Mrs. Melvn Kofsky Dr. and Mrs. Paul Wohlgemuth Mrs. Carol A Mandel Mr. and Mrs. Harold Shabelman Dr. Lisa A. Miller Peak Claims Service Inc.

DONORS 47 DONORS to the Friends of the Conservatory of Music July 1, 2007-June 30, 2008

Lynn University gratefully acknowledges the contributions of the following donors.

LIFE MEMBERS Mr. Philip Lieberman Mr. and Mrs.Joel L. Altman Mr. and Mrs. Rene Males Mr. and Mrs. Roy 0. Barden Mr. and Mrs. Raymond H. Marks Nancy H. Bright, M.D. Mrs.Janice Middlebrook Mr. and Mrs. Gerald Coffey Mr. and Mrs. Paul B. Milhous Mrs. Elizabeth F. Cumpton Ms. Rhoda Morein Mr. and Mrs. Allen Dickerman Mrs. Robin C. Muir Mr. and Mrs. Bernard Dombrowsky Ms. Judith Nelson and Mr. Daniel Varalli Mr. and Mrs. Solomon Ellman Mr. and Mrs. Dale Oliver Ms. Pearl Epstein Mr. and Mrs. Edward Paley Ms. Alyce E. Erickson Mrs. Isabelle M. Paul Mrs.Joseph Fowler Dr. and Mrs. Maurice Pollock Mrs. Barbara Fox Mr. and Mrs. Shumway Poole Mr. and Mrs. Nathan D. Froot Mr. Alfred Rauchman Mr. and Mrs. Howard Gleckman Mr. and Mrs. Pat Ravo Dr. Catherine A. Gold Dr. Susan Resneck Pierce Mr. and Mrs. Gerald Goldberg Dr. and Mrs. Robert Resnick Dr. and Mrs. Arnold S. Goldstein Dr. and Mrs. Arthur L. Roth Mr. and Mrs. Louis B. Green Mr. and Mrs. Lewis Roth Ms. Shirley Green Mr. and Mrs. Boris Rueger Ms. Lynne Haberman Mr. and Mrs. William E. Satterfield Ms.Judith Heyman and Mr. Abe Savitzky Mr. Philip Lieberman Mr. Robert Sheetz Mr. and Mrs.John Hobbs III Mr. and Mrs. Arthur I. Sherman Ms. Sylvia Katzman Mr. and Mrs. Todd Simmons Mr. and Mrs. Herbert F. Kayne Mr. and Mrs. Mark B. Swillinger Mr. and Mrs. Arnold H. Kossoff Mr. and Mrs. Gerard]. Theisen Mr. and Mrs. Bernard Kozel Mr. and Mrs. Harold Toppel Mr. and Mrs. Arthur E. Landgren Mr. and Mrs. Theodore Truman Dr. and Mrs. Alexander Z. Lane Mr. Hendrik Vietor Mrs. Mildred M. Lane Ms. Margaret H. Westervelt Ms. Wendy U. Larsen Mrs. Deanna M. Wheeler Mr. and Mrs. Melvin Lechner Mr. and Mrs. Timothy A. Williams Mr. and Mrs. Alvin Zubasky 48 BENEFACTOR($250+) Mrs. Patricia A. Thomas Mr. and Mrs. Joel L. Altman Mrs.June M. Toppel Mr. and Mrs. Ronald G. Assaf Mrs. Elaine Wold Mr. and Mrs. Myron Baker Mr. and Mrs. Michael Wynn Mr. Albert G. Biehl Mr. and Mrs.Jordan Zimmeran Ms. Charlotte B. Codo Chapin, Ballerano & Cheslack Mr. and Mrs. Anthony Comparato Lawless, Edwards & Warren Dr. and Mrs. James R Cook Ogilvie Corporation Mr. and Mrs. Richard DeVos Raymond James Mr.John Dick Weinstein, Jones & Associates Mr. and Mrs. R Douglas Donn Wells Fargo Mr. and Mrs. Charles W. Elliott Mrs. Lora Friedkin PATRON ($100-$249) Mr.John). Gallo,Jr. Mr. and Mrs. Vernon Adkins Mr. Robert Gilman Mr. and Mrs. Richard Becker Mr. and Mrs. Bernard Godin Mr. and Mrs. Murray Bender Mr. and Mrs.John R Goltra Ms. Nettie Birnbach Dr. and Mrs. Philip Harris Mr. and Mrs. Carmelo Bonomo Mr. Kenneth Head Mr. and Mrs. Martin Buckin Ms.Julianne Hendren Mr. Edward Claire and Mrs. Shirley Duffield Henrietta Countess de Hoernle Mrs. Dorothy Cline and Mr. J. Zel Lurie Mr. and Mrs. Michael H. James Mr. and Mrs. Walter Cohen Mr. and Mrs. Melvin Kofsky Ms. Donna Ditchik Arnold Mr. and Mrs. Sol Kugler Mrs. Myra A. Dresser Mr. and Mrs. Richard N. Kull Mr. and Mrs. William M. Duff II Mrs. Iris Lerner Mr. and Mrs. Edgar Eaton Mr. and Mrs. Mike Levy Ms. Mary F. Feurstein Mr. and Mrs. F. Dixon McElwee Ms. Adele Fitch Mrs. Julie A Moffitt Mr. and Mrs. David Fleisher Ms. Eleanor Morgante Ms. Patricia A Gerstadt Mr. and Mrs. Ralph P. Muller Mr. and Mrs. Samuel Goldman Mr. and Mrs. Carl Nurmi Mrs. Barbara Gordon Mr. and Mrs. Milton Podolsky Dr. and Mrs. Kermit Halperin Mr. Harold Pontius Mrs. Wilma Harris Consul General Klaus H. Priebe Ms. Edythe Harrison Florence Bellande Robertson, Ph.D. Mr. and Mrs. Gerry A. Hoffman Mr. and Mrs. Jack Saleh Mrs. Sandra). Johnson Mr. and Mrs.John Shuff Mr. David L.Joseph Mr. Charles Siemon Mr. and Mrs. Paul Juliano Mr. and Mrs. Frederick V. Simms Mr. and Mrs. Isaac L. Kaplan Mr. and Mrs.John S. Simoni Mr. and Mrs. Milton Kaplan Dr. and Mrs. Robert E. Sonneborn Dr. and Mrs. Gerard Kass Ms. Arlene Sparks Mr. and Mrs. Philip Katz Ms. Margaret Stein Mr. Robert C. Keltie Mr. and Mrs. Lewis Stone Mr. and Mrs. Charles Krauser Mrs. Regina A. Theisen Dr. and Mrs. Samuel I. Levey

DONORS 49 Mr. and Mrs. Robert Levinson Dr. and Mrs. Philip A Freedman Mr. and Mrs. Bernard R. Lippman Ms.Jane Geller Mr. and Mrs. David Lurie Mr. and Mrs. Stanley Giffin Mr.John K Meiners Mr. and Mrs. Stanley Goldberg Mr. and Mrs. Herbert Molder Mr. and Mrs. George Goldman Mr. and Mrs.Jerome Naftol Ms. Selma Goldrosen Mr. and Mrs. Alfred Peristein Ms. Phyllis Greisdorf Ms. Sheila Pollack Mr. and Mrs. Morton Grohman Dr. and Mrs. Morris Povar Ms.Jane H art Dr. and Mrs. Leo F. Qµinn Ms. Elizabeth N.Jennings Drs. Errol and Patricia Re ese Mrs.Jenny Jotic Mr. and Mrs. Peter S. Rosoff Mr. and Mrs. Basil Kamener Dr. Virginia Salus Mrs. Anita Katz Mr. Aaron Sarfaty Mr. and Mrs. Theodore Kohane Mr. and Mrs. Milford Schneiderman Mr. and Mrs. Gerald Kravitz Mr. and Mrs. RolfR. Stein Ms. Lenore E. Lam Mrs. Diane Storin and Mr. Jay Lau wick Mr.Jerome Goldhuber Mr. Joseph Lavinia Jr. Mr. and Mrs. Gary Strack Ms. Rita Levien Mrs. Edith Tobias Mr. and Mrs. Robert A Levinson Mrs. Alma R. Tobias Ms. Carolyn Lubovsky Dr. and Mrs. Morris A Weinberger Mrs. Ruth R. McGoldrick Mrs. Ruth Woolfe Mr. and Mrs. Joseph Menkes Mr. and Mrs. Charles Zimmerman Mr. Harold Miller First Presbyterian Church Ms. Charlene Newman Northern Trust Bank of Florida N.A Mr. William Niles Mr. Elmar Oliveira FRIEND ( $50-$99) Mr. and Mrs. Seymour Passman Mr. and Mrs. Louis Ackerman Dr. and Mrs. Leonard Posner Ms. Evangeline Adams Ms. Gloria Protaz Mr. and Mrs. Robert Agar Mrs. Helen S. Ratner Mr. and Mrs. Martin Alderman Ms. Minnie Rosenkrantz Mr. and Mrs. Adolph Bernard Ms. Doris Roth Ms. Dolores J. Birch Mr. and Mrs. Roger Rubens Mr. and Mrs. Norman Block Ms. Harriet Rubin Dr. and Mrs. Richard Bromberg Mrs. Evelyn Sanders Mr. George S. Brown Mrs. Phyllis N. Buchsbaum Ms. Patricia Ciasulli Ms. Geraldine H . Cohen Mrs. Gertrude C. Cooper Gifts listed we re received from July 1, 2007 Ms. Sandra Covin through Jun e 30, 2008. This list was prepm·ed by Mrs. Leila Dardick the Office of Develop ment and Alumni Affairs. Mrs. Shirley Feinberg Every effort was made to ensure the accuracy of Mr. and Mrs. Stanley Feld the listings. If you have any comments, questions Dr. and Mrs. Gerard Ferere or correction s, p lease contact the gift administra­ Mr. and Mrs. Maynard Freedman tor at 561-237-7875.

50 DONORS Our ORCHESTRA

VIOLIN DOUBLE B ASS TRUMPET Joe Adkins Jeff Adkins Aaron Heine Adam Diderricht Katherine Algarra Jeffery Karlson GarethJohnsont Douglas Ferreira + Nikola Nikolovski VadimKim Madeleine Leslie Joshua Pierson Seul-ALee* Hideki Sunagat Moises Arnerico Silva Edgar Leite** David Stonecipher Kelsey Lin F LUTE Alexander E. Wiener Valentin Mansurov Luis Bautista Samuel Park* Orlando Guerrero TROMBONE Helena Piccazio Oderlyn Gutiez Gentry Barolet Marcoantonio Real Jessica Willis Rachel Britton d'Arbelles Branko Ilievski Kaitlin Richardson O BOE Alex is bet Sandra Rubio Kendra Hawley Vasile Sult ** Noah Redstone B ASS TROMBONE Joanna Villa Veroslav Taskov Steven Gellersen Xinou Wei Nicholas Thompson Leonides Perez Maryna Yermolenko John Weisberg TUBA VIOLA C LARINET Julio Cruz Matthew Barwegen + Stojo Miserlioski Zade Nahhas Alex Briscaru + Mauricio Murcia William Rueckert Rebecca Diderrichot Ciprian Stancioi Ioana Luca Brian Wahrlich P ERCUSSION Lydia Luce Joel Biedrzycki David Pedraza B ASS OON Anthony Pastore Joe Yrigoyen Eduardo Albuerme Chris Tusa Jensen Ling C ELLO Joshua Paul Rhodes Ilie Curteanu Carlos Vina Christine Echezabal Joseph Goering FRENCH HORN t Concertmaster Jonah Kimot Audrey Destito * Assistant Concertmaster Adriana Lombardi + Erin Huang ** Principal Second Violin Oksana Rusina+ Mario Lopez f Principal Aziz Sapaev + Yu-Ju Sun + Assistant Principal

ORCHESTRA MEMBERS SJ LYNN UNIVERSITY

Featuring the Empire Brass Quintet Saturday, April l 8 7:30 p.m. Mizner Park Amphitheater Downtown Boca Raton

Bring your lawn chairs, blankets and picnic baskets and enjoy an evening of American Classics in the Pops tradition.

FREE ADMISSION. NO RESERVATIONS NECESSARY.