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MUSICAL QUEST September 25, 2015 September 24 & 26, 2015 Ì Peter Coyote, narrator Emily Rose Siar, soprano 27 BACH/SITKOVETSKY Goldberg Variations for Strings & Cembalo NIGHT OF MYSTERY 62 ©Disney October 29 & 30, 2015 October 31, 2015 Cathal Breslin, piano 31 Poulenc Sonata for Flute & Piano October 24, 2015 ,)%)ŏ 0 Selections from 65 Disney in Concert “Romeo & Juliet” for Clarinet & Piano 73 PINCHAS ZUKERMAN GALA Connesson Techno Parade for Flute, Clarinet & Piano January 28 & 30, 2016 December 31, 2015 ,)%)ŏ 0 Selections from “Cinderella” for Violin & Piano A Night at the Oscars Pinchas Zukerman, violin 0 & Sonata for Violin & Piano Dmitry Sitkovetsky, violin 75 Amanda Forsyth, cello 35 January 29, 2016 February 13, 2016 Mozart Divertimento K.287 for Broadway, Our Way! WINTER DREAMS 2 Horns & String Quintet 67 77 "#%)0-%3 “Souvenir De Florence” String Sextet February 25 & 27, 2016 April 30, 2016 Video Collage: April 8, 2016 The Music of the Eagles Aleksander & Lyuba Titovets paintings 39 ")-.%)0#" Cello Sonata 79 Smetana Piano Trio 69 HOPE SPRINGS ETERNAL April 7 & 9, 2016 May 13, 2016 & Í .")0 ( Quintet for Piano & Winds Sergey Antonov, cello 43 Schubert)../,()#(Ő. ), Piano Trio, D.897 71 HOLIDAY & FAMILY FRENCH MASTERPIECES 0 &“Gaspard De La Nuit” for Solo Piano May 12 & 14, 2016 December 11, 2015 Inna Faliks, piano )2y&)'#(#)( 47 )&#3Ê)( ,. 81 Greensboro Coliseum

December 18, 2015 )2y&)'#(#)( EDUCATION & GSYO )&#3Ê)( ,. 81 Williams High School, Burlington * #- (/( /.#)(,)!,'- 58 April 23, 2016 , (-),)3'*")(3 #,. -,#( -- - )/."," -., 61 Mt. Zion Baptist Church, Greensboro 83 January 28 & 30, 2016 #("-/% ,'(& 111|, (-),)3'*")(3|),! 5 BEHIND THE SCENES

GSO RESOURCES, PROGRAMS, AND CONTRIBUTORS Board of Directors 11 Contributors 50 Chairman of the Board 11 Endowment Fund 53 President & CEO 13 GSO Guild 56 e honor and Music Director 15 Preludes 58 Resident Conductor 19 Music at Midday Series 58 Concertmaster 21 Youth Orchestra 61 Orchestra Personnel 23 Restaurant Specials 84 commemorate Corporate Contributors 49 Advertiser Index 87 ARTISTIC STAFF Dmitry Sitkovetsky ...... Music Director Nathaniel Beversluis ...... Resident Conductor/ the Magna Carta Music Director of GSYO FULL TIME STAFF Lisa Crawford ...... President & CEO Sheila Cauthen ...... Director of Marketing & Sales on its Daniel Crupi ...... Director of Development and PR Kathleen Jackson ...... Í)2 ŏ (! , Peter Zlotnick ...... Education Manager

800th Anniversary ADMINISTRATIVE AND PRODUCTION STAFF Vito Ciccone ...... Production Manager Kathy Homiller ...... Controller Andreas Nasser ...... Event Coordinator Wendy Rawls ...... Orchestra Personnel Manager Cynthia Small ...... Administrative Assistant John Spuller ...... Orchestra Librarian Nancy J. R. Wells ...... Development & Marketing Assistant

AFFILIATES Carol Rauch ...... Playbill Editing Media Production Associates ...... Recording Company Dr. David Nelson ...... Program Notes Progress Printing ...... Playbill Printing UNCG ...... Chamber Series WFDD ...... Radio Broadcasts ABOUT THE COVER

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"The Side of the the Mountain" was inspired from photographs taken while hiking the Mountain-To-Sea Provider of legal services Trail with his wife and two-year old daughter. James currently lives in Greensboro, North Carolina and is an Associate Professor at Guilford Technical Community College. He received his Master of Fine Arts from to North Carolina for 50 years. the University of North Carolina at Greensboro and his Bachelor of Arts from Ferrum College in Virginia. $IIRUGDEOHHIÀFLHQW competent representation. TICKETS IN ADVANCE Call 336.335.5456, Ext. 224, 10:00 – 4:30, Monday – Friday Visit , (-),)Ê)&#- /'Í)2 ŏ }rzsr -. ., .Online ticketmaster.com Smith, James, Rowlett & Cohen, LLP Tickets are also available 45 minutes prior to the performance at the concert 101 S. Elm Street, Suite 310, Greensboro, NC 27401 (336) 274-2992 ō [email protected] Follow us on Facebook and Twitter for updates throughout the GSO season! of Greensboro OYSTER PERPETUAL DATEJUST LADY 31

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The cultural life of the Greensboro community has been ATLANTA enriched by the Symphony’s innovative programming and AUGUSTA CHARLOTTE artistic integrity. DENVER LOS ANGELES NEW YORK Working in harmony - it’s how we are helping to make our RALEIGH community a better place to live and work. SAN DIEGO SAN FRANCISCO SEATTLE .LOSDWULFN7RZQVHQGLVDQLQWHUQDWLRQDOPXOWLSUDFWLFH¿UPWKDWSURYLGHVOHJDOUHSUHVHQWDWLRQ SHANGHAI LQWKHIROORZLQJDUHDVFRUSRUDWH¿QDQFH UHDOHVWDWHLQWHOOHFWXDOSURSHUW\DQGOLWLJDWLRQ SILICON VALLEY STOCKHOLM TOKYO WALNUT CREEK :$6+,1*721'& WINSTON-SALEM

ZZZNLOSDWULFNWRZQVHQGFRP .LOSDWULFN7RZQVHQG 6WRFNWRQ//3 CHAIRMAN Robert M. Green, Jr. Dear Symphony Supporter, On behalf of the Greensboro Symphony Board GREENSBORO SYMPHONY ORCHESTRA of Directors, our President, Lisa Crawford, and the BOARD OF DIRECTORS entire Symphony staff , I welcome you to the 2015- 2016 Greensboro Symphony Masterworks, POPS, EXECUTIVE COMMITTEE and Chamber Music Concert Series. Chairman Robert Green Th e Tanger Outlets Masterworks Series opens Chairman-Elect Garson Rice with the patriotic Lincoln Portrait narrated by Past Chair & Vice Chair Management Committee Susan Schwartz Hollywood star, Peter Coyote. October's concert Vice Chair Scott Duggan kicks off Halloween weekend with an Evening of Vice Co-Chair Development Peggy Hamilton Mystery featuring Irish pianist, Cathal Breslin. Vice Co-Chair Development Charles Compton We begin 2016 with world-renowned violinist, Vice Chair-Artistic Advisory Tim Smyth Pinchas Zukerman, in concert with our Maestro Sitkovetsky, performing Assistant Vice Chair- Artistic Advisory Sam LeBauer Bach's Concerto for Two Violins in d minor. Th e program will continue with Vice Chair-Marketing Katie Klod Johannes Brahms’s Double Concerto for Violin & Cello in a minor featuring Chair of GSO Endowment Fund Trustees Lisa Bullock Pinchas Zukerman and his lovely spouse, Amanda Forsyth. Th is is a concert Secretary Myrna Carlock that no one should miss. We fi nish out the season in April and May featuring Treasurer Phil Petros cellist, Sergey Antonov, along with pianist, Inna Faliks. Once again, another Asst. Treasurer Ryan Homer phenomenal Masterworks Season! Guild President Andrea Knupp Th e Tanger Outlets POPS Series begins with an October magical journey Guild President-Elect Sharon Kasica into the World of Disney’s Animated Feature *President & CEO Lisa Crawford Film Sequences, all brought to life through the “A season of *Music Director Dmitry Sitkovetsky voices of four Broadway stars. We end 2015 with a celebratory New Year's Eve starry night unforgettable ¢2 ŏ#) at the Oscar's featuring many of your favorite music lies ahead, Hollywood classics. Our traditional Valentine's BOARD OF DIRECTORS concert will be a Broadway Tribute. Th e POPS supported by an Peter Alexander Fred Guttman Kathy Manning Season culminates in April with the outstanding extremely strong Margaret Arbuckle Peggy Hamilton Megan Millard Music of the Eagles, a must-see celebration of Elaine Ashley Robert Harris Carole Moore one of the most prolifi c Grammy Award-winning organization.” Jason Bodford Shawn Houck Ann Mueller bands of all times. Nancy Bogard Ryan Homer David F. Parker Gail Buchanan Chris Howard Phil Petros Our extraordinary Rice Toyota Chamber Series opens in September with Lisa Bullock DK Jeong Carol Rauch Maestro Sitkovetsky & Friends. Following concerts will feature our outstanding Charles Calkins Suzanne Johnson Garson Rice guest artists playing selections from Prokofi ev, Ravel, Mozart, Shostakovich, Myrna Carlock Orton Jones Peter Rogers Beethoven, and Tchaikovsky. Vanessa Carroll Sharon Kasica Laura Santana Th e Symphony Guild continues to be an integral part of the tremendous Charles Compton Ches Kennedy Rebecca Schlosser success of our organization through their sponsorship of eight comprehensive Amy Conley Bob Klepfer, Jr Susan Schwartz Darren Cossaart Katie Klod Dmitry Sitkovetsky music programs that reach over 50,000 students in four counties, including Betsy Craft Andrea Knupp Anne Smith our stellar Youth Orchestra. Lisa Crawford Ann E. Kroupa Tim Smyth A season of unforgettable music lies ahead, supported by an extremely Scott Duggan Svetlana Krylova Dennis Stearns strong organization. We have many to thank for making the 2015-2016 season Eric Eley Joe LeBauer Steven Thaggard a grand success: our musicians, our GSO Board Members who give so much Bill Fraser Sam LeBauer Bernadette Trinidad Robert Green Kim Littrell Corey Williams of their time and fi nancial resources to ensure our success, and the tireless Patrick Guido Bernie Mann Bob Woodward eff orts of the Greensboro Symphony staff . A special "THANK YOU" goes out to our annual donors, corporate sponsors, Playbill advertisers, and of course, our season-ticket subscribers. Without your generosity and unwavering support, PAST CHAIRMAN our "Crown Jewel" of the Greensboro arts community would not exist. #& -|)& 1959-67 ) ,.| & * ,} ,. 1993-95 Again, we graciously thank everyone! We know that you will enjoy another )/!&- |,, 1967-72 0#|,% , 1995-97 extraordinary season of music! | | &.( , 1972-74 )3 #- , 1997-98 Sincerely, Ê",& - | #&& 1974-75 )"(||)& () 1998-00 #& -|)& 1975-76 0#)/." 2000-02 '/ &|#&-)( 1976-80 Ì((| ,)/* 2002-04 )3 ),,#-)( 1980-83 Ê,)& #( ,,3 )), 2004-06 Í ,(, (( 1983-85 ) ,.Í,-1 &&2006-08 Ì& ,.| #( ,,3},| 1985-87 ((#-. ,(-2008-10 Robert M. Green, Jr. Ì(( (# & 1987-89 ) ,.,,#-} ,|2010-12 Chairman of the Board 1#-|#."# 1989-91 /-("1,.4 2012- 14 ) ,.| 0# . - 1991-93

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2PZJV:LUPVY3P]PUNJVTc-HJLIVVRJVT2PZJV:LUPVY3P]PUN PRESIDENT & CEO Lisa Crawford

Dear Symphony Supporter, How can you help enrich Greensboro’s Symphony? • Ask friends to join you for a concert and experience for themselves We have a breathtaking season how music can be a catalyst to calm those tough days and restore your planned for you. The choices are soul, many, whether you enjoy a Tanger • Volunteer to help with our Symphony Guild, comprised of more than Outlets Masterworks or POPS 300 women who share a passion for music and help promote awareness performance, the Rice Toyota and raise funds for our education programs, Sitkovetsky and Friends Chamber • Become involved with our Heritage Society, a part of the Greensboro Series, or have a child or grandchild Symphony Endowment, and help ensure the Symphony will be a in one of the Lincoln Financial fiscally strong asset for our children, grandchildren and generations to Keep Kids in Tune education come. programs which bring the gift of music to more than 50,000 children in our area every year. I invite you to step forward and make a difference in our Symphony! I The Symphony is one of Greensboro’s great “quality of look forward to hearing from you and sharing our excitement. Thank you! life” assets that keeps growing better and better each year. While you may think you are coming to enjoy incredible Sincerely, music performed by first class musicians and our world class music director, you are also supporting an organization which has become one of several key attractions in Greensboro for economic development. The Symphony in its many roles plays Lisa Crawford a critical role in attracting and retaining companies and good [email protected] employees (and new jobs) to the Triad. 336.335.5456 ext. 222

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Mary Catherine Riceˇ˕ˇ"ÈÝ Áˇ@ È ¦Ý Garson Rice ~ Dealer Principal ȽɁȾȻˇ èèÁ¦ÝÏíÈˇøÈíˇʠˇ"ÝÈáÏÝÏʢˇA 336-288-1ȼɄȻˇʠˇwww.ricetoyota.com @ÏÈˇʋˇ!Ý¯ˇɃʡȾȻˇ ÇˇʋˇɃʡȻȻˇÚÇˇˇʠˇˇY èˇɄʡȻȻˇ ÇˇʋˇɂʡȻȻˇÚÇ MUSIC DIRECTOR Dmitry Sitkovetsky Ì-(,.#-.1")- , .#0#.3 ŏ -. !),#-#(!}'#.,3"-/#&./*(.#0 ( successful career as a violinist, conductor, arranger, festival director & also a TV presenter. Sitkovetsky has performed as a soloist with a number of the world’s the Korsholm Music Festival in Finland (1983-1993 and 2002), Seattle leading orchestras including the Berlin, New York and Los Angeles Phil- International Music Festival (1992-1997), The Silk Route of Music Fes- harmonic Orchestras, Leipzig Gewandhaus, Concertgebouw Orchestra, tival in Baku, Azerbaijan (1999) and has worked with a diverse range of all of the major London orchestras, NHK of Japan, Chicago, Philadelphia artists such as Argerich, Ashkenazy, Bashmet, Davidovich, Harrell, Kis- and Cleveland orchestras. He has performed at a number of high-profile sin, Maisky, Ohlsson, Penderecki, Repin, Schnittke and Shchedrin. From festivals including Salzburg, Lucerne, Edinburgh, Verbier, Enescu (Bucha- 2003-2006 Sitkovetsky was a co-music director of the Festival del Sole in rest), Ravinia, Hollywood Bowl, Mostly Mozart and Festival del Sole (Napa Cortona where his NES CO was an orchestra-in-residence and performed Valley). In 2003, he was appointed Music Director of the Greensboro Sym- with such artists as Dmitri Hvorostovsky, Marcelo Alvarez, Bobby McFer- phony Orchestra, a position he currently holds with great success. rin, Evelyn Glennie, Denis Matsuev, Sir Antonio Pappano & many others. Sitkovetsky’s guest engagements represent his extremely diverse He has an active and varied range of activities. Highlights of the last season included a concerto recording career with an exten- performance with the Symphony of Napa Valley under the baton of Sir sive discography which includes Neville Marriner (Mozart); play/conduct programs with the SPHINX all the major violin concerti, nu- orchestra at the Festival del Sole (Napa Valley); Kioi Sinfonietta of To- merous chamber music works as kyo (Bach, Tchaikovsky), return engagements with the Japan Century well as orchestral recordings that Orchestra (Bach, Mendelssohn, Beethoven), Moscow Virtuosi (Mozart, he’s conducted. In 2010, Häns- Tchaikovsky), Tallin Chamber Orchestra (Dohnanyi, Britten); concerts sler Classic released a boxed set with Slovakian Philarmonic of Bratislava (Beethoven, Rachmaninov), of the complete Mozart Violin Slovenian Philarmonic of Ljubljana (Adams, Corigliano, Rachmaninov), Sonatas with Antonio Pappano collaboration with Peter Coyote as a narrator in Copland’ Lincoln Portrait and Konstantin Lifschitz. On & Britten’s Young Person’s Guide to the orchestra in Napa Valley as well as the Concertgebouw Live label, recitals with Pavel Giliov in Germany (Schnittke, Prokofiev, Beethoven) as there was a release of Dutilleux’s part of Villa Musica project. L’Arbre des Songes with the Among his guest-engagements in the upcoming 2015-16 season he Concertgebouw Orchestra and will play all Bach Solo Sonatas & Partitas at the Ravello Festival, will play Mariss Jansons. Recently, Nim- chamber music concerts at La Jolla Chamber Music Festival (Taneyev, bus Alliance released a newly Shostakovich), return at the Enescu Festival in Bucharest with his New recorded version of the Bach’s Goldberg Variations and 15 Sinfonias for European String Chamber Orchestra (Shchedrin, Tchaikovsky, Shosta- string trio to great critical acclaim. In June 2015 his orchestral transcrip- kovich) and collaborate with Moscow Soloists & Yuri Bashmet (Mozart), tion of the Bach Goldberg Variations, which he performed with Kioi Sinfo- Moscow Philharmonic & Viktoria Mullova (Shostakovich, Prokofiev), nietta in February 2015 in Tokyo, was released in Japan on MeisterMusic. Tchaikovsky Symphony Orchestra & Vladimir Fedosseyev (Prokofiev) as Sitkovetsky shows a keen interest in performing contemporary rep- well as Odense Symfoniorkester (Bach/Sitkovetsky, Mendelssohn). He ertoire - he premiered the violin concerti written for him by John Casken will conduct his first opera production – Puccini’s La Boheme – with Vaasa (1995) and Krzystof Meyer (2000) and often performs works by Dutilleux, Opera in Finland, where he was the Artistic Director of the Korsholm Penderecki, Schnittke, Pärt and Rodion Shchedrin, who has written sev- Festival for 10 years. eral works for Sitkovetsky both as violinist and conductor. In September Sitkovetsky has built a flourishing career as a conductor. From 2012 he conducted the premiere of Jakov Jakoulov’s Concerto for clarinet 1996–2001, he was Principal Conductor and Artistic Advisor of the & harp in Greensboro, NC as part of the UNCG New Music Festival & GSO Ulster Orchestra and then appointed Conductor Laureate, and from Chamber Music series “Sitkovetsky & friends”. In May 2014 Sitkovetsky 2002–2005 held the position of Principal Guest Conductor of the Rus- gave the world premiere of the violin concerto written for him by Nimrod sian State Orchestra. From 2006–2009, he was the Artist-in-Residence Borenstein. The latest premiere for Dmitry’s 60th birthday was the work at the Orquesta Sinfonica de Castilla y Leon (Spain). Sitkovetsky is the of Mark Engebretson for soprano, solo violin & strings which was be part founding director of the New European Strings Chamber Orchestra (NES of “DIMA-60!” Extravaganza held in Greensboro on 28th September 2014 CO) established in 1990 which is comprised of distinguished string play- with Julia Sitkovetsky singing the soprano part. ers from Eastern & Western Europe. Since his successful transcription In 2014 Sitkovetsky added another string of artistic accomplishments of Bach’s Goldberg Variations for string trio and string orchestra, he has to his bow – he became a TV presenter in the program called “Visiting transcribed more than 50 works mostly for strings by Haydn, Beethoven, with Dmitry Sitkovetsky” commissioned by the Russian Kultura Chan- Brahms, Dohnanyi, Bartók, Tchaikovsky, Shostakovich, Stravinsky and nel. The first four programs went on air in June 2014 with great public & Schnittke. He has been a member of ASCAP since 1985 and his transcrip- critical acclaim: Evgeny Kissin, Barbara Hendrichs, Mischa Maisky, Bella tions are published by Doblinger, Sikorski and Schirmer. His transcription Davidovich. Further programs included Sir Neville Marriner, Leonidas of Chopin Preludes commissioned by the Verbier Festival for the 20th Kavakos, Yefim Bronfman, Gary Graffman, Alexander Antonenko & Sir Anniversary Gala in July 2013 was performed by such artists as Frost, Antonio Pappano. Pletnev, Wang, Trifonov, Ax, Pressler, Bashmet, Kavakos, Frang, Capuçon Born in Baku, Azerbaijan, Dmitry Sitkovetsky grew up in Moscow among many others, was shown live on Medici TV. His latest transcrip- studying at the Moscow Conservatory and after his emigration in 1977, tion of Stravinsky Divertimento commissioned by the Orpheus Chamber at the Juilliard School in New York. Since 1987 he has resided in London Orchestra will be premiered at Carnegie Hall on 5th December 2015. with his wife, Susan, and their daughter, Julia. Sitkovetsky was the Artistic Director of a number of festivals including

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VISIT US ONLINE AT WWW.THEFRESHMARKET.COM RESIDENT CONDUCTOR, MUSIC DIRECTOR OF THE GREENSBORO SYMPHONY YOUTH ORCHESTRA Nate Beversluis Nate Beversluis is a pianist, conductor and composer/arranger, currently Resident Conductor with Greensboro Symphony Orchestra. In this position he leads a variety of pops and classical concerts as well as creating and leading his own brand of hilariously entertaining children’s concerts which reach nearly 50,000 students in North Carolina. He serves as assistant conductor and frequent concerto accompanist to Dmitry Sitkovetsky, as well as Music Director of the fl ourishing Greensboro Symphony Youth Orchestra program. Pops and jazz artists he has worked with include Jeff Rupert, John Pizzarelli, Hilary Kole, Franc D’Ambrosio, Nicole Parker, Ali Mauzey, Steve Lippia, Stephen Freeman, Mark McVey, and John Pagano. He also conducts Greensboro Symphony as a ballet orchestra for local productions. Recent guest conducting engagements include Ohio Southwest Regional Orchestra, CCM Philharmonia, and Orlando Philharmonic. He is adjunct faculty at the School of Music, Th eatre and Dance at the University of North Carolina at Greensboro, where he teaches conducting and leads the new music ensemble, Present ~ Continuous. Previously he was Music Director at Elon University, Seaside Music Th eatre, University of Central Florida Th eater Department, and Associate Artistic Director at Tri-Cities Opera. As a jazz pianist he was a member of several house trios in clubs and restaurants in Central Florida, including Heidi’s Jazz Club in Cocoa Beach, where he played with Stan Soloko, Johnny Powers, Rabbit Simmons, Annie Sellick, and Simone Kopmajer. His interests as a composer involve combining jazz and classical musicians and his music has won awards from ASCAP and BMI. He holds degrees from Indiana University (Jazz Studies) and the College-Conservatory of Music (CCM) at the University of Cincinnati (Orchestral Conducting). He was twice a composition fellow at the Henry Mancini Institute. His teachers include Phil DeGreg, Lynne Arriale, Mike Lucas and Luke Gillespie (piano), Michael Schelle and Jack Smalley (composition), and Mark Gibson, Xian Zhang, and Karla Lemon (conducting). www.nathanielfoxbeversluis.com retirement&RPSŇHý by you At The Village at Brookwood, we know one size does not fit all. Here you can craft and refine your unique retirement, enjoying the freedom and flexibility to spend time with inspiring activities and creative people. That’s a lifestyle that should be music to your ears.

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Music – Learning for Life

Big Band, Bourbon & Blandwood October 10, 2015 Signature Fall event at Blandwood Mansion and Gardens Symphony Presentation Ball December 28, 2015 Honorary Chair, Suellen Milton

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Many thanks to our 2015-2016 Premiere Sponsor

Greensboro music lovers are encouraged to apply for membership in the Greensboro Symphony Guild. Visit www.gsoguild.org for details. CONCERTMASTER Marjorie Bagley

North Carolina native Marjorie Marjorie studied under Stephen Shipps, Joseph Gingold, and Bagley has performed around the Pinchas Zukerman, and received chamber group coaching from world since beginning her career at the Tokyo and American Quartets and Isidore Cohen of the age nine as a soloist with the Win- Beaux Arts Trio. She has performed with Joseph Silverstein, Ani ston-Salem Symphony, and then at Kavafian, members of the Emerson and Borromeo Quartets, and fourteen with the North Carolina harpsichordist Kenneth Cooper. Symphony. After two decades else- Currently Professor of Violin at UNCG, Marjorie has held fac- where, she happily returned in 2009 ulty positions at Ohio University and Utah State University. She to teach at UNCG and be closer to teaches and performs as co-concertmaster at the Brevard Music her family. She plays a violin crafted Festival in western North Carolina, and plays with the Berk- in 1708 by Milan’s Giovanni Granci- shire Bach Society in western New England. She has taught and no. performed at the Perlman Music Festival, the Green Mountain As a founding member and first Chamber Music Festival, and the International Music Academy Photo credit: violinist of the Arcata String Quartet in Plzen, Czech Republic. Rick Buchanan for a decade, Marjorie performed in Marjorie lives in Greensboro with her husband, UNCG phys- Wigmore Hall (London) and Carnegie Hall’s Weill Recital Hall (New ics professor Ian Beatty, and their energetic toddler Eleanor Rose. York). She’s indulged her taste for foreign travel and adventure while When not busy teaching, they enjoy traveling, cooking, adven- performing solo recitals and concertos in Korea, Moldova, South Afri- turing outdoors, and trying to maintain their 1903 Victorian ca, and Namibia, and teaching master classes in Argentina and Chile. home in College Hill. She enjoys working with living composers to perform and record contemporary music (published by the VOX, Albany, Equilibrium, and Summit labels). Note: John Fadial, GSO concertmaster, is on a one-year sabbatical.

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VIOLIN I +Jorge Rodriguez Jan Mixter TROMBONE +Marjorie Bagley, Concertmaster Amelia Weesner Bu Scherf +Brian French, Principal Luci White Greensboro Symphony Guild Chair Dave Wulfeck, Trombone II FLUTE *John Fadial, Concertmaster VIOLA Frederick Kent Wilkins Memorial Chair Debra Reuter-Pivetta, Principal *Fabrice Dharamraj, Scott Rawls, Principal by Kaye Andrews Wilkins and Children Associate Concertmaster Kathleen Price Bryan Memorial Chair by Linda Cykert, Flute II/Piccolo Erik J. Salzwedel, Bass Trombone Chair in Honor of Caroline Lee Kathleen Bryan Edwards and Family Linda B. and Maurice Jennings Chair Alice Wilson Pearce Chair +Eric Koontz, Associate Principal *Fabian Lopez, Associate Concertmaster Carla Copeland-Burns, Piccolo/Flute III by Woody Pearce Maureen Michels, Assistant Principal Richard Kelly Bowles, Jr. Memorial Chair +Wendy Rawls, Associate Concertmaster Garson L. Rice, Jr. Chair by by Louise H. and R. Kelly Bowles Family TUBA Beverly Cooper Moore and Catherine G. 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Bradford Lloyd Chair by Lynn Carroll Haley Chair by Michael W. Haley CLARINET +Alexander Ezerman, Principal Mary Ruth and Robert B. Lloyd, Jr. Matvey Lapin Kelly Burke, Principal *Beth Vanderborgh, Principal Xylophone, John R. Beck Marie C. and Ed Faulkner Chair Edwin Riley, Clarinet II Hughlene Bostian Frank and Anne Sellitti, Assistant Principal by Marie C. and Ed Faulkner Elaine Wolf Cone Memorial Chair William Allen Frank Chair Kay Bryan Edwards Chair Ruth Metheny by Barbara S. and Herman Cone, Jr. by Joseph M. Bryan, Jr. Mike Austin Sally London Hobbs Memorial Chair Brenda Fincher Mark Cramer, Bass Clarinet John E. and Martha S. Chandler Chair by Johnnye and J.T. Hunter Joan T. and William L. Hemphill Chair Royce O. Reynolds Chair Michael Lasley Nonoko Okada by Jane W. Reynolds Jennifer Alexandra Johnston Thomas E. and Elaine R. Wright Chair Dorothy G. Frank Chair by Stanley M. Frank Joy C. Morrison Chair BASSOON Colin Tribby Ramilya Siegel by William H. Morrison, Jr. Lillian Daley Brown Memorial Chair James Autha Freeze Memorial Chair Carol L. Bernstorf, Principal Melodee Earnhardt by the Massey Trust through Nancy C. by J. Thurman and Peg Freeze The Brough-Webber Chair Mark Hekman, Bassoon II and Alex S. Brown, Jr. Nicolae Soare by Elizabeth Brough Webber Walter W. King, Jr. Memorial Chair Janie C. and E. Kemp Reece Chair and William R. Webber by Elizabeth Yates King HARP Jean Von Berg Sykes Gina Pezzoli Amber Ferenz, Contra/Bassoon III Helen Rifas, Principal David Vincent Sherman Chair Greensboro Opera Company Chair Joyce C. Kiser Memorial Chair Eleanor Downes Mewborn Chair by Ann, Beth and Becky Sherman by Peggy and Phil Johnson by Mose Kiser, Jr. and Family In Memory of Carolyn Riddle Downes *Janet Orenstein Lee Richey HORN PIANO/CELESTA Lucy and Clark Dixon Memorial Chair The Kroupa Family Chair by Robert Campbell, Principal Nancy Johnston, Principal by Jack C. Dixon Bob and Ann Kroupa Lynn Beck, Horn II Irene Mitchell Moore and Beverly Marcia Riley VIOLIN II Carole Swope Monroe Chair Cooper Moore Chair Preston Wylie Keith and Martha by Edwin Brent Monroe Fred Pivetta +Stephanie Ezerman, Principal Elizabeth Allred Keith Chair by Contemporary Piano Chair by +Lucia Kobza, Associate Principal Dr. Preston Keith and Marty Keith Timothy Papenbrock, Horn III Alison Lawson, Assistant Principal Ethel Clay Price Memorial Chair Willie and Lisa Bullock Worth Williams by Kathleen Price Bryan Family Fund +William Estes Dr. William R. and Music Librarian Alice Mae and William M. Lineberry Beverley C. Rogers Chair David Doyle, Horn IV John P. Spuller Memorial Chair by Helen and Richard and Danahy Family Chair by Mary C. Albert S. Lineberry, Sr. BASS Richard Danahy and Patrick Danahy Stage Manager Kay Hensley John P. Spuller, Principal Vito Ciccone TRUMPET Lynn R. Prickett Memorial Chair by the Michael Ashton, Assistant Principal Anita Cirba, Principal Orchestra Personnel Manager Lynn R. and Karl E. Prickett Fund Carolyn J. Maness Chair Peter B. Bush Memorial Chair by Wendy Rawls Brandon Ironside by John R. Maness Mary Ann Bush and Children *On Leave One Year Sidney J. Stern, Jr. Memorial Chair Mara Barker Ken Wilmot, Trumpet II by Katherine G. Stern C. Scott Lee Chair by +One-Year Contract Barbara S. and Herman Cone, Jr. Chair by David Mullikin Caroline M. and N. Clayton Lee String personnel listed Donna M. and Herman Cone III Ellen and Gary Taft Chair Virginia Masius in alphabetical order Karl J. Kassner, Trumpet III +Julia Reeves Richard W. and Carlotta M. The Austin Family Chair by The Jimmie Irene Johnson Memorial Chair Treleaven Memorial Chair by Patricia Austin Sevier by Dr. Harry W. Johnson and Family Carl W. and Lina Z. Treleaven

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GUEST ARTISTS CONCERT PROGRAM

Peter Coyote Emily Siar Richard Strauss Don Juan, Op.20 MASTERWORKS

Aaron Copland SERIES SPONSOR A Lincoln Portrait Peter Coyote, narrator

INTERMISSION

Peter Coyote has had an Emily Siar graduated Summa Edvard Grieg Íœŕ, œőŒŖ extensive career as an actor, Cum Laude and Phi Beta Music from Ibsen’s Dramatic Poem, director, screenwriter, narrator, Kappa from the University (Ì/#.),#/' and author. He has appeared of North Carolina at Chapel Peer Gynt y~qq*|'| Prelude: At the Wedding in over 70 fi lms, some of his Hill, where, as a Kenan Music SPONSORED BY more famous roles being Keys Scholar, she studied with Dr. Abduction of the Bride; Ingrid’s Lament in E.T. the Extra-Terrestrial and Jeanne Fischer and earned a Dance of the Mountain King’s Daughter Porter Reese in Timerider: Th e BM in Vocal Performance and The Death of Ase Adventure of Lyle Swann. He a BA in Women’s and Gender Prelude: Morning Mood has worked for many acclaimed Studies. During her studies at Solveig’s Song (with soprano) directors, such as for many UNC, Emily performed in opera Anitra’s Dance directors, including, Pedro workshop and worked with Peer Gynt’s Homecoming , Almodóvar, Martin Ritt, Roman distinguished visiting artists, Solveig’s Cradle Song (with soprano) Íœŗ œőŒŖ Polanski, and Diane Kurys. including Anthony Dean In the Hall of the Mountain King (Ì/#.),#/' After a short apprenticeship Griff ey, Dawn Upshaw, David y~qq*|'| at the San Francisco Actor’s Daniels, Arlene Shrut, and Peter Coyote, narrator Workshop, he joined the San Frederica von Stade. Emily Rose Siar, soprano SPONSORED BY Francisco Mime Troupe, a In the summer of 2012, Norman B. Smith, L.L.B. radical political street theater. Emily was chosen to attend In the Mime Troupe, h e directed Marilyn Horne’s prestigious Carolyn Turner Smith, Ph.D the fi rst cross-country to tour of Music Academy of the West In Celebration of the “Th e Minstrel Show, Civil Rights in Santa Barbara, California. in a Cracker Barrel,” a highly She was subsequently invited 800th Anniversary of the controversial piece closed by to participate in Ms. Horne’s Magna Carta the authorities in several cities. “Th e Song Continues” Th e cast was arrested several Masterclass series at Carnegie THIS CONCERT IS PART OF: times before a tour of eastern Hall, where she was seen on colleges and universities, the stage of Weill Recital Hall ending triumphantly in New as a participant in renowned York City, where they were collaborative pianist Dalton invited and sponsored by Baldwin’s masterclass. Emily PRELUDES comedian Dick Gregory. Th e returned to the Music Academy ,( '), )/. ."#- 0 (#(!³- '/-# 1#." ,| 0# &-)(| , &/ - !#( . following year, a play, “Olive in the summer of 2013 to x~rv "/,-3 ( x~qq ./,3 #( Pits,” that Peter co-wrote, sing the role of Papagena ." ))())'| directed and performed in, won in a new production of Die a Special OBIE from New York’s Zauberfl öte, directed by David RADIO BROADCAST 1#&&,)-.."#-)( ,.)(,#3} Village Voice newspaper. Peter Paul. Th e following summer, .) ,st}sqrv.y~qq*'| has done extensive voice-over Emily attended SongFest as a — continued next page — — continued next page — SEASON SPONSORS

111|, (-),)3'*")(3|),! 27 PROGRAM NOTES GUEST ARTIST BIOS continued from previous page Don Juan, Op.20 by Richard Strauss (1864-1949) Coyote — One of the musical genres for which Richard story unfolds. Toward the end of Lenau’s poem, Strauss is best known is the “tone poem": Th is is Don Juan realizes that he has hurt many women work, lending his voice to over a single-movement work for orchestra associated and allows himself to be stabbed to death by the 120 fi lms. His mellow voice, often with an external idea, usually a poem or story, and brother of one of them. compared to Henry Fonda’s, is a often labeled as “program” music. By contrast, Many dramatic encounters in the story are gift that won him an Emmy in 1992 pieces not inspired by a story are called “absolute” heard in the themes: from tender love music for his narration of the “Th e Meiji music. Th e Brahms symphonies are examples. played by the oboe to Don Juan’s noble persona Revolution” episode, part of the Don Juan is a literary character who is majestically represented by the horns. Strauss PBS American Experience ten-part a voracious womanizer. Many authors and ends the work with music depicting Don Juan’s series called “Th e Pacifi c Century.” musicians have presented this story, most notably death. He continues to lend his rich voice Mozart in his opera, Don Giovanni. Strauss based Th e fi rst performance of Don Juan was to narrations for commercials and his composition on a poem by the Hungarian- in 1888 in Weimar, where Strauss was Court documentaries and often donates born Nikolaus Lenau. In this version, the main Kapellmeister. Th e 24-year-old Strauss scored his voice to fi lms that support issues character is in search of the ideal woman, and, of and conducted this work for a large orchestra. close to his heart. course, breaks the hearts of several women as the Peter holds a BA in English Literature from Grinnell College. Peter makes his home in Marin County in Northern California since Lincoln Portrait by Aaron Copland (1900-1990) the early ‘70s. He is also a passionate With works like Rodeo, Appalachian Spring, "I worked with musical materials of my own songwriter, guitarist and amateur Fanfare for the Common Man, and Billy the with the exception of two songs of the period: photographer. He has two grown Kid, many of Aaron Copland’s compositions are the famous 'Camptown Races' which, when used children and has been married to considered quintessentially American. Lincoln by Lincoln supporters during his Presidential Stefanie Pleet since 2000. Portrait has similar nationalistic roots. In the campaign of 1860, was sung to the words, 'We're early stages of World War II, conductor Andre bound to work all night, bound to work all day. I'll Kostelanetz commissioned three American bet my money on the Lincoln hoss…,' and a ballad composers for a concert of music that expressed that was fi rst published in 1840 under the title “the magnifi cent spirit of our country.” In 'Th e Pesky Sarpent,' but it is better known today addition to Copland’s music, the other newly- as 'Springfi eld Mountain.' composed American works on the program were Th e composition is roughly divided into three Siar — William Schuman’s, New England Triptych and main sections. In the opening section I wanted Schubert Fellow on a grant from the Ferde Grofé’s, Hudson River Suite. Th e concert to suggest something of the mysterious sense University Mayo Foundation. While was presented by the Cincinnati Symphony of fatality that surrounds Lincoln's personality. at SongFest, she was privileged to Orchestra, with Kostelanetz conducting, in May, Also, near the end of that section, something of coach with several contemporary 1942. his gentleness and simplicity of spirit. Th e quick composers, including Jake Heggie Copland’s fi rst choice was to dedicate the work middle section briefl y sketches in the background and Libby Larsen, and was invited to Walt Whitman, but Kostelanetz persuaded the of the times he lived. Th is merges into the to sing on a Schubert lecture recital composer that a political fi gure of world statue concluding section where my sole purpose was prepared by Graham Johnson. would be better for the patriotic nature of this to draw a simple but impressive frame about the Emily placed 1st in the Mid- concert. Abraham Lincoln seemed an ideal choice. words of Lincoln himself." Atlantic Regional Competition, For a performance by the Boston Symphony 3rd at the fi rst NATS National in 1943, Copland described Lincoln Portrait: Competition in Boston, and earned 3rd place in the Charlotte Opera Guild Competition this year. She was Peer Gynt, Op.23, Incidental Music for Ibsen’s Play by Edvard Grieg (1843-1907) a winner of the 2014 UNC Concerto In 1867, the Norwegian playwright and poet, powerful poem, the more clearly he saw that he Competition, which earned her the Henrik Ibsen, wrote a large literary work, Peer was the right man for a work of such witchery and opportunity to perform works by Gynt, which tells of the travails and successes of so permeated with the Norwegian spirit.” Berlioz and Delibes as a soloist with the title character. Th e author originally intended Grieg conducted the fi rst performance in the UNC Symphony Orchestra in this to be an extended poem, but when he February 1876 in Oslo but then added new December 2014. decided to make it a stage play instead, he asked pieces for revivals in 1885 and 1902. Th e entire Emily is deeply interested in the his friend and fellow Norwegian, Edvard Grieg, incidental music has 23 movements and lasts intersection of music and gender. to write music to accompany it. Th e composer approximately 90 minutes. In 1888 and 1893, Her undergraduate thesis, which readily accepted. the composer extracted movements from the received highest honors, was titled, Th e depth of the story presented a challenge large work to create two popular suites. Tonight’s “Th e Taming of Manon and Mimì: to Grieg. Although he initially described it as “an performance is a hybrid that uses most of the Engaging with Women in Puccini’s unmanageable subject,” he was able to fi nd a way to two suites and additional movements from the Operas.” deal with the subject matter. His wife later wrote, complete incidental music. “Th e more he saturated his mind with the

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CONCERT PROGRAM

Paul Dukas The Sorcerer’s Apprentice MASTERWORKS

Franz Liszt SERIES SPONSOR Mephisto Valse No.1 for solo piano

Franz Liszt Totentanz for piano and orchestra Cathal Breslin, piano*

OCTOBER œŚ, œőŒŖ INTERMISSION (Ì/#.),#/' y~qq*|'| ,! #,)%)ŏ 0 GUEST ARTIST Dance of the Knights from SPONSORED BY Cathal Breslin, piano Romeo and Juliet Cathal Breslin has been praised worldwide as one of the Camille Saint-Saens most exciting pianists of his generation with critical acclaim Danse Macabre, Op.40 such as “superb intensity and passion” (Cleveland Plain Dealer), “energized and energizing” (Belfast Telegraph), “a deep Jean Sibelius connection to the music” (Tampa Oracle), and “noble poetry” Valse Triste (Th e Independent, London). Born in Derry, Northern Ireland, a growing international career has taken him to concert halls Modest Mussorgsky OCTOBER Ŕő, œőŒŖ throughout Europe, U.S.A. and Asia, including halls such as Night on Bald Mountain (Ì/#.),#/' Carnegie Hall in New York, Wigmore Hall in London, and the y~qq*|'| National Center for the Performing Arts in Beijing. Cathal has performed with the Turin Philharmonic, National Distinguished Guest Artist Piano Chair SPONSORED BY Symphony Orchestra of Ireland, BBC Ulster Orchestra, in honor of Linda M. Jones Camerata Ireland, and RTE Concert Orchestra, with prestigious conductors such as Vladimir Altschuler, Barry Douglas, and *Steinway Piano Selected from Christian Gansch. Steinway Piano Gallery-Charlotte As a chamber musician, Cathal performs as a member of www.steinwaypgch.com Trio Festivale. Other chamber music performances have included with the Brodsky Quartet, Houston Symphony Winds, Fitzwilliam Quartet, the Ceruti Quartet, and the Coull Quartet. PRELUDES In 2007 Cathal was awarded the Bronze Medal at the Viotti ,('), )/.."#- 0 (#(!³-'/-#1#." International Piano Competition in Vercelli/ Milan, Italy, a ,| (3 ))% ,|, &/ - !#(.x~rv "/,-3(x~qq ,#3#(." ))( World Federation International Music Competition. Other Room. international competition successes have included top prizes in RADIO BROADCAST “Carlet” in Valencia, “Grand Konzerteum” in Athens, and “Iowa” 1#&&,)-.."#-)( ,.)(,#3} in the U.S. ͒He has broadcast regularly for BBC Radio 3, RTE (/,3ss}sqrw.y~qq*'| and Radio Ulster, RTVE Spain, and has performed on Japanese, Chinese, Spanish and Irish Television. — continued next page —

SEASON SPONSORS

111|, (-),)3'*")(3|),! 31 PROGRAM NOTES

The Sorcerer’s Apprentice by Paul Dukas (1865-1935) Sometimes a piece of music is known 1896-97 and was based on Goethe’s 1797 in his animated film, Fantasia. The piece from performances on the concert stage, poem of the same name. Dukas’s music reached a huge audience and achieved and other times it is familiar because of its follows the German playwright’s story in great popularity. Of course, the appren- use in another medium. Paul Dukas’s The exquisite detail. Although the piece was tice was played by none other than Mickey Sorcerer’s Apprentice is an example of the highly regarded as concert music, it was Mouse! latter. not all that well known until 1940, when This symphonic poem was written in Walt Disney used The Sorcerer’s Apprentice

Mephisto Valse No.1 for Solo Piano by Franz Liszt (1811-1886): Totentanz for Piano and Orchestra Between 1859 and 1885, Liszt wrote waltz of great abandon at a wedding feast. This virtuoso work for piano and orches- four Mephisto Waltzes. The first two were The movement is subtitled, “The Dance in tra uses the medieval chant melody, “Dies originally for orchestra and later arranged the Village Inn.” Irae,” Day of Wrath, as its principal theme. for piano. The third and fourth were writ- Liszt was fascinated and preoccupied Liszt gives the listener a wide range of ten for piano. Mephisto Waltz No. 1 is the with death and composed a number of variations—from the romantic to the dia- best known of the four. Liszt portrays a works that related to death in some way. bolic—as the piece moves towards its dra- scene from Faust - Nikolaus Lenau’s ver- One example is the piece on tonight’s pro- matic ending. Totentanz was completed in sion, not Goethe’s - where Faust dances a gram, Totentanz, The Dance of the Dead. 1849 and revised in 1853 and 1859.

( ) ." (#!".- ,)')' )( /&# .3 ,! #,)%)ŏ 0(1891-1953) Prokofiev’s “Dance of the Knights” but, because of the restrictive and conser- been adapted for use by rock bands, in is from the opening act of his ballet, Ro- vative attitude towards art in the Soviet movies and television series, and even as meo and Juliet, which was first performed Union at the time, Prokofiev reverted to the title theme for broadcasts of NFL foot- by the Kirov Ballet in St. Petersburg in Shakespeare’s original ending. ball in Great Britain. September, 1935. This production was The Dance of the Knights is also known uniquely going to have a happy conclusion, as the Montagues and Capulets. It has

Danse Macabre, Op.40 by Camille Saint-Saens (1835-1921) Danse Macabre was originally writ- Saens’s orchestral version was completed was also used in Totentanz. The climax of ten for voice and piano in1872, with the in 1874. the music depicts skeletons as they be- text describing the wild dance of Death. The composition begins with the harp come more and more active; but once the The original poem, by Henri Cazalis, tells tolling the twelve strokes of midnight. cockerel crows, as played by the oboe, the of skeletons running through the forest, Death, portrayed by the violin, enters with skeletons return to their graves. the cracking bones of dancers, and Death a demonic dissonance. In the midst of the playing a dance tune on his violin. Saint- music, we can hear the “Dies Irae,” which GUEST ARTIST BIO Valse Triste by Jean Sibelius (1865-1957) continued from previous page In 1903, the Finnish composer, Jean tells of a sick woman in her bed at night. Sibelius, wrote incidental music for a play A waltz melody comes from afar, and Breslin — entitled Death, which included a move- she awakens and begins to move. Oth- ment with a tempo indication of “slow erworldly couples join her, eventually gy- Cathal began his conservatory studies waltz.” In the following year, he revised rating to a wild rhythm. A knock on the at the Royal College of Music in London this movement and called it Valse Triste door interrupts the dance and the guests with John Barstow, continuing at or Sad Waltz. vanish. Death has arrived. the Royal Northern College of Music The story accompanied by this music in Manchester with Kathryn Stott, Benjamin Frith and Alexander Melnikov. Night on Bald Mountain by Modest Mussorgsky (1839-1881) He then lived in Madrid for two years In 1867, Mussorgsky composed a Just like The Sorcerer’s Apprentice, studying with Joaquin Soriano. In short tone poem based on a Russian tale Night on Bald Mountain became well 2008 he received a Doctor of Musical set on the eve of Kupala Night, The Feast known through Disney’s Fantasia. In the Arts Degree in Piano Performance from of St. John the Baptist. Set during the film, Mussorgsky’s music accompanies summer solstice, the work evokes images the Witches’ Sabbath, which is why the the University of Michigan, studying of pagan festivities, various rituals, and piece is now associated with Halloween with Arthur Greene, where he was the gathering of witches and spirits. The rather than summer as was the original also a Fulbright Scholar and Teaching original title of the music was St. John’s intent. Assistant. Night on Bald Mountain. Mussorgsky finished it on June 23 of that year, the eve of St. John’s Day.

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Choose a retirement lifestyle that empowers you to play on. 2015-2016 SEASON Pinchas Zukerman Gala

GUEST ARTISTS CONCERT PROGRAM

Pinchas Zukerman Amanda Forsyth Felix Mendelssohn The Hebrides Overture MASTERWORKS

Johann Sebastian Bach SERIES SPONSOR Concerto for 2 violins in D minor, BWV 1043 Pinchas Zukerman, violin Dmitry Sitkovetsky, violin

INTERMISSION ÌÌœř, œőŒŗ (Ì/#.),#/' Johannes Brahms y~qq*|'| Double Concerto in A minor SPONSORED BY Allegro Pinchas Zukerman has re- Canadian Juno Award- Andante mained a phenomenon in the winning Amanda Forsyth is Vivace non troppo world of music for over four de- considered one of North Pinchas Zukerman, violin cades. His musical genius, prodi- America's most dynamic cellists. gious technique and unwavering She has achieved her international Amanda Forsyth, cello artistic standards are a marvel reputation as soloist, chamber to audiences and critics. His musician and principal cello of enthusiasm for teaching has re- Canada’s National Arts Centre sulted in innovative programs in Orchestra since 2008. JANUARY Ŕő, œőŒŗ London, New York, China, Israel Internationally, she has (Ì/#.),#/' and Ottawa. Th e name Pinchas performed with numerous Zukerman is equally respected as orchestras, such as the Moscow y~qq*|'| violinist, violist, conductor, ped- Virtuosi, Royal Philharmonic, SPONSORED BY agogue, and chamber musician. Israel Philharmonic, Mariinsky Pinchas Zukerman’s 2014- Orchestra, Orchestre Radio de 2015 season included over 100 France, Lisbon’s Gulbenkian worldwide performances, bring- Orchestra, the English Chamber ing him to multiple destinations Orchestra and the Maggio in North America, Europe, Af- Musicale Orchestra. In the U.S. rica, Asia and Australia. He com- she has performed with the San pleted his 16th and fi nal season Diego, Colorado, Oregon, Grand as Music Director of the National Rapids, and Dallas symphonies. PRELUDES Arts Centre Orchestra of Ottawa. Recent tours to Australia and ,( '), )/. ."#- 0 (#(!³- '/-# In his sixth season as Principal South Africa have included recitals 1#.",|, !),3Ê,,)&&|, &/ - !#(. Guest Conductor of the Royal and major orchestral concerts. In x~rv "/,-3 ( x~qq ./,3 #( Philharmonic Orchestra in Lon- March 2014, Ms. Forsyth made ." ))())'| don, he led the ensemble in con- her Carnegie Hall debut with the RADIO BROADCAST certs at home in the United King- Israel Philharmonic Orchestra. 1#&&,)-.."#-)( ,.)(,#3} dom as well as on its January As a founding member of the ,/,3rz}sqrw.y~qq*'| 2015 tour of Florida. Additional Zukerman Chamber Players she orchestral engagements include has visited Germany, Israel, Italy, symphonies in Colorado, San Finland, Holland, Switzerland, — continued next page — — continued next page — SEASON SPONSORS

111|, (-),)3'*")(3|),! 35 PROGRAM NOTES GUEST ARTIST BIOS continued from previous page The Hebrides by Felix Mendelssohn (1809-1847) Zukerman — Some of Mendelssohn’s best-known as the opening theme of this music. He Diego, Kansas City, Tucson, Budapest, Salz- works were born out of his travels. The included the notation for this theme burg, Berlin, Korea, Hamburg, and Australia. “Italian” Symphony, Symphony No.4, is in a letter to his sister, Fanny, in which As a recitalist, he has performed in Berlin, a great example of this, as is the work he said, “In order to make you under- Istanbul, Seattle, San Diego and Ottawa, and on tonight’s program. stand how extraordinarily the Hebrides with the Zukerman Chamber Players in Italy, In 1829, Mendelssohn was invited affected me, I send you the following, Spain, Australia, China, Japan and Korea. to visit England by the Philharmonic which came into my head there.” A devoted and innovative pedagogue, Mr. Society. He then went to Scotland, Mendelssohn completed the work in Zukerman chairs the Pinchas Zukerman Per- where he worked on his Symphony December 1830, naming it The Lonely formance Program at the Manhattan School No.3, the “Scottish” Symphony. During Island, but revised it two years later and of Music, where he has pioneered the use of this time, he traveled to different parts renamed it The Hebrides. Sometimes it distance-learning technology in the arts. In of the country. One area in particular, is also called Fingal’s Cave, named after Canada, he has established the NAC Institute the Hebrides, was particularly moving the cave in that region. for Orchestra Studies and the Summer Music to him. While there, he thought of a Institute encompassing the Young Artists, melody that would eventually be used Conductors and Composers Programs. Pinchas Zukerman studied at The Juil- liard School with Ivan Galamian. He has been Concerto for Two Violins in D minor, BWV 1043 by Johann Sebastian Bach (1685-1750) awarded the Medal of Arts, the Isaac Stern Bach’s “Double Concerto” is one of solo instruments are accompanied Award for Artistic Excellence and was ap- the most recognized pieces in classical by a small orchestra of strings and pointed as the Rolex Mentor and Protégé Arts music. He wrote it in 1730-31 when basso continuo. The “basso continuo” Initiative’s first instrumentalist mentor in we was the cantor for the St. Thomas is a keyboard instrument sometimes the music discipline. Pinchas Zukerman’s ex- School in Leipzig. A few years later, joined by a cello or bassoon. tensive discography contains over 100 titles, he arranged it for two harpsichords. and has earned him 2 Grammy awards and 21 Typical of many Baroque concerti, the nominations.

Double Concerto in A minor, Op.102 by Johannes Brahms (1833-1897) Brahms wrote his Double Concerto But then, Robert Hausmann, who — for a very personal reason—to recover was the cellist in Joachim’s string quar- Forsyth a lost friendship. The composer had tet, asked Brahms to write a concerto New Zealand, Turkey, and performed for had a long-time bond with violinist for him. The composer contemplated the Petra Conference for Nobel Laureates in Joseph Joachim. Brahms dedicated writing a cello concerto, but then Jordan. In addition, this ensemble has had many works to Joachim, including his thought a concerto for violin and cello a series in New York at the 92nd Street Y only violin concerto. The two worked might give him the opportunity to and has performed several South American very closely during the composition of work with Joachim again and to mend tours. In March 2013, Ms. Forsyth returned the concerto, and Brahms relied quite their friendship. to Asia with the ensemble for concerts heavily on Joachim’s advice. Brahms then wrote a formal letter in Taiwan, China and Japan followed by A rift between composer and violin- to Joachim to introduce the idea of a concerts in Santa Monica, CA and Scottsdale, ist occurred during Joachim’s divorce. double concerto. After the violinist AZ. Summer festival appearances included Apparently, Joachim claimed that consented, Brahms asked for his advice Ravinia, Tanglewood, Verbier and Edinburgh his wife, Amalie, had an affair with on some preliminary musical sketches. in 2013. She has performed regularly at Brahms’s publisher, and Brahms wrote One of these melodies even quotes a Japan’s Miyazaki Festival and in May 2011 a private letter of support to her. When portion of a violin concerto by Viotti, she appeared in gala fundraising concerts Amalie showed this letter to her hus- which was one of Joachim’s favorite following the Japanese earthquake disaster. In band, Joachim felt betrayed that his works. late 2013, Ms. Forsyth returned to Australia closest musical friend and collaborator The plan had its intended effect. for performances with the Sydney Symphony, would side with his soon-to-be ex-wife. When the work was finished, Brahms, the West Australian Symphony and the Might Brahms have thought of writ- Joachim, and Hausmann met at Clara Adelaide Symphony. ing another concerto for Joachim to be Schumann’s home to rehearse it. A pri- Born in South Africa, Ms. Forsyth moved a musical apology? Some scholars have vate performance was given in Baden- to Canada as a child and began playing cello pondered this, but have speculated Baden on September 21, 1887, and the at age three. She became a protégé of William that such a gesture would have been re- first public performance was on Octo- Pleeth in London, and later studied with jected by the violinist as a transparent ber 18. On his manuscript score that Harvey Shapiro at the Juilliard School. Ms. scheme to get back in Joachim’s good Brahms gave to Joachim, the composer Forsyth performs on a rare 1699 Italian cello graces. wrote, “To him for whom it is written.” by Carlo Giuseppe Testore.

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CONCERT PROGRAM

Pytor Ilyich Tchaikovsky Symphony No.1 in G minor, Op.13, MASTERWORKS “Winter Dreams” Dreams of a Winter Journey, SERIES SPONSOR Allegro tranquillo Land of Desolation, Land of Mists, Adagio cantabile ma non tanto Scherzo. Allegro scherzando giocoso Finale. Andante lugubre—Allegro maestoso ÍÌœŖ, œőŒŗ INTERMISSION (Ì/#.),#/' GUEST ARTISTS y~qq*|'| Tchaikovsky SPONSORED BY Aleksander Titovets Suite from Sleeping Beauty Aleksander Titovets’ classical art skills refl ect the Russian School of Introduction Oil Painting, a style that combines a powerful realistic involvement Adagio with the soft, lyrical looseness of impressionism. Titovets was Pas de caractere honored in Russia with membership in the prestigious Union of Panorama Artists of the USSR. Titovets immigrated to the United States with Waltz his wife, Lyuba, from Russia in 1992. Titovets has participated in competitions with the National Academy of Design, in New York, and the Oil Painters of America. He won Best of Show in Tchaikovsky the International Fine Art Competition four years in a row among , 1812 Overture ÍÌœŘ œőŒŗ competitors in his region, and for many years running, was selected (Ì/#.),#/' as a guest artist for Great American Artists and Artists of America. Charles Calkins, percussion y~qq*|'| His work is included in public and private collections worldwide, including those of actress Sophia Loren and the King of Spain, His SPONSORED BY Majesty Juan Carlos. He resides in El Paso, Texas. Lyuba Titovets Lyuba Titovets’ artistic training began at age fi ve in St. Petersburg. She studied at the State University in St. Petersburg where she received a BA and MFA in the College of Fine Arts. In 2000 she received the Dillman’s Creative Art Foundation Award from the Oil Painters of America Juried Exhibition. Lyuba Titovets had works included in a world exhibition PRELUDES ,('), )/.."#- 0 (#(!³-'/-#1#." in Westminster Abby in London, England, as well as the ,| )( #./-| , &/ - !#( . x~rv National Academy of Desigh and Oil Painters of America. "/,-3(x~qq ./,3#(." ))( Her name is also included in the Archive of the National Room. Museum of Women in the Arts in Washington D.C. RADIO BROADCAST Lyuba Titovets came to the United States in 1992 with her 1#&&,)-.."#-)( ,.)(,#3} husband Aleksander who is also a master painter. Like her Ì*,#&r}sqrw.y~qq*'| husband’s paintings, much of Lyuba’s artwork is steeped in Russian infl uences. Th eir work was just recently added to the collections of the King of Spain, Juan-Carlos, and actress Sophia Loren.

SEASON SPONSORS

111|, (-),)3'*")(3|),! 39 PROGRAM NOTES

Symphony No.1 in G minor, Op.13, “Winter Dreams” by Pytor Ilyich Tchaikovsky (1840-1893)

Shortly after Tchaikovsky graduated movement; this original melody no lon- completed symphony was performed and from the St. Petersburg Conservatory, ger exists. During this time, Tchaikovsky was very well received. His tenacity to early in 1866, he began his first sympho- saw a doctor for his nervous and physical finish the symphony had proven worth- ny. What should have been a joyful first exhaustion and was told he was “one step while. endeavor turned out to be challenge for away from insanity.” He was ordered to This symphony is not as program- him. After several months of work on the rest completely. matic as it is descriptive. Tchaikovsky symphony, Tchaikovsky was emotionally After Tchaikovsky recovered, he re- himself supplied the titles for the first spent. He wrote to his brother, Modest, turned to the symphony. Still, by the end two movements: “Dreams of a Winter “My nerves are again as upset as they of 1966, Rubenstein and Zaremba did Journey” and “Land of Desolation, Lands would be.” not approve of the work as a whole but at of Mists.” These movements create what Part of his upset was because Tchai- least were supportive of the middle two some scholars describe as “frozen” and kovsky had shown the new piece to his movements. These were performed at a “sober” images. The final two movements former teachers, Anton Rubinstein and concert of the Russian Musical Society in rely solely on tempo markings without Nikolai Zaremba, and they were ex- February, 1867, but they were not well any additional extra-musical references. tremely critical of the music. Zaremba received. even insisted that the young composer Tchaikovsky persisted with his com- change one of the themes in the first position. Finally in February, 1868, the

Suite from Sleeping Beauty by Tchaikovsky

In May, 1888, Tchaikovsky was asked characters, and even suggestions for miere was highly regarded, it was the to compose the music for a new ballet to some compositional styles. music that caused the greatest stir. Since be performed at Saint Petersburg’s Mary- Tchaikovsky’s schedule meant that his that time, the score of The Sleeping Beauty insky Theater. The composer readily ac- work on the new ballet had to concen- has charmed audiences for more than a cepted and began to study the Brothers trated within certain time periods. When century. Tchaikovsky called it a “dancing Grimm’s adaptation of Charles Perrault’s he finished the music the following May, symphony”; and a former New Yorker story, which would soon become The he wrote, “In all, I worked ten days in Oc- critic once wrote, “The score is the ballet.” Sleeping Beauty. Tchaikovsky was given tober, three weeks in January, and a week a very exact set of requirements that in- now! And so in all about forty days.” cluded the number of counts for each of Although the performance of the bal- the dances, separate themes for the main let dancers in the January, 1890 pre-

1812 Overture by Tchaikovsky

The 1812 Overture is one of classical In 1880, to celebrate the completion The piece itself can be heard as a blow- music’s best-known pieces. With its can- of the Cathedral of Christ the Saviour by-blow account of the events surround- non fire at the climactic conclusion, it has in Moscow, Tchaikovsky was asked to ing the attempted military takeover. We long been a staple of July 4th celebrations compose a commemorative piece. The can hear the Russian national anthem, and other outdoor performances world- organizers of the festivities planned to “God Save the Czar;” a Russian Orthodox wide. Tchaikovsky actually had lukewarm have an outdoor concert in front of the Church hymn, “God Save Thy People;” a feelings about it: “The ‘Overture’ will be church; and Tchaikovsky used this op- Russian folk song that celebrates Tchai- very loud and noisy, but I wrote it with- portunity to make his new music a huge kovsky’s home country; and, of course, out any warm feelings of love and so it event, complete with a military band, “La Marseillaise” for Napoleon and his will probably be of no artistic worth.” The church bells, and cannons. French troops. In the triumphant con- audiences’ reaction has surpassed the Originally entitled “The Year 1812,” clusion, we hear the church bells ringing composer’s assessment of the music, and the overture was also used to celebrate across the land and the firing of the can- the 1812 Overture continues to be a pe- the successful Russian defense against nons. rennial crowd pleaser. Napoleon’s advancing army in 1812.

“Inspiration is a guest that does not willingly visit the lazy.” Pytor Ilyich Tchaikovsky

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CONCERT PROGRAM

Í Ĝ#"' .( Overture to The Bartered Bride MASTERWORKS

Ì(.)(N(0)Ĝ6% SERIES SPONSOR Concerto for Cello and Orchestra in B minor, Op. 104 Allegro Adagio, ma non troppo Finale: Allegro moderato—Andante— Allegro vivo Sergey Antonov, cello APRIL Ř, œőŒŗ (Ì/#.),#/' y~qq*|'| GUEST ARTIST Sergey Antonov INTERMISSION CO-SPONSORED BY Cellist Sergey Antonov enjoys a versatile career as a soloist and Robert Schumann chamber musician. Critics throughout the world have praised him, 3'*")(3)|r#(ÍŐ. $),}*|ty} saying he is “destined for cello superstardom,” and that “No virtuosic “Spring” challenge is more than his equal.” Sergey has performed in halls Andante un poco maestoso ranging from the Great Hall of Moscow Conservatory to Suntory Allegro molto vivace Hall in Tokyo. He has collaborated with musicians such as Denis Larghetto Matsuev, Bernadene Blaha, and Kevin Fitz Gerald, as well as his permanent piano partner Ilya Kazantsev. Th e duo has recorded Scherzo: Molto vivace several CDs of traditional cello-piano repertoire as well as their own Allegro animato e grazioso transcriptions, recorded in their CD album Elegy. Antonov has also APRIL Ś, œőŒŗ collaborated with such maestros as Vladimir Spivakov, Yan Pascal (Ì/#.),#/' Tortilier, and Mikhail Pletnevamong. Sergey is a member of the y~qq*|'| acclaimed Hermitage Piano Trio with Ilya Kazantsev and violinist Misha Keylin. Sergey has won many prestigious awards, such as the Gold Medal in the 2007 International Tchaikovsky Competition in Moscow, the 2008 Golden Talent Award by the Russian Performing Arts Foundation, and the Justuz Friedrich Dotzhauer Competition in Germany. His chamber ensemble performances have also brought him honors from the Lyrica Chamber Music Series as their “Young Artist of the Year,” and First Prizes from the Chamber Music Foundation of New England and the Swedish International Duo PRELUDES ,('), )/.."#- 0 (#(!³-'/-#1#." Competition. Sergey has appeared on Russian National Television ,|0# &-)(|, &/ - !#(.x~rv in performances with the Moscow Philharmonic in their “Stars of "/,-3(x~qq ./,3#(." ))( the 21st Century” series, and in live concerts on Boston’s NPR radio Room. station WGBH. RADIO BROADCAST Sergey studied at the Central Music School and the Moscow 1#&&,)-.."#-)( ,.)(,#3} Conservatory, where he studied under the renowned professors 3w}sqrw.y~qq*'| Natalia Shakhovskaya, and M. Rostropovich. He holds an Artist’s Diploma from Longy School of Music in Boston where he worked with Grammy nominated cellist Terry King. He lives in New York with his wife Nika and son Noah.

SEASON SPONSORS

111|, (-),)3'*")(3|),! 43 PROGRAM NOTES

Overture to The Bartered Bride3Í Ĝ#"' .((1824-1884)

Bedřich Smetana is often called “the should beget a native Czech music.” bit unusual. Most overtures are written father of Czech” music; but his desire One of his pieces most closely as- after the rest of the opera is finished, but to create a nationalistically Czech mu- sociated with the Czech lands was The Smetana composed this overture first. sic did not come to him until he heard Bartered Bride, a comic opera that tells Its jubilant opening and lively rhythms a most critical remark. When Johann the story of love—with more than a few make it a great introduction to the comi- Herbeck, an important Viennese conduc- humorous side stories—set in a rural vil- cal story to follow. tor and musician, said that Czechs were lage in the Czech countryside. It was first incapable of making music of their own, performed on May 30, 1866, and has de- Smetana vowed to prove him wrong. "I lighted audiences ever since. swore there and then that no other than I The composition of the overture is a

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In 1865, when he was 24, Dvořák be- the National Conservatory in New York, ters. The moving second movement is gan to compose a cello concerto for the Dvořák heard Victor Herbert, one of the influenced by the composer’s sadness cellist in the theater orchestra where faculty members at the music school, because his sister-in-law, whom Dvořák Dvořák played viola. He gave the cellist perform a new cello concerto. Appar- once loved, had recently passed. The a copy of the work in progress and then ently Herbert’s treatment of the cello was composer even included part of her fa- abandoned it. Nothing about this piece different from what Dvořák would have vorite song as a tribute. The final move- was heard again until it was found in the imagined, and this was the impetus the ment is lively until just before the end. cellist’s estate 60 years later. Czech composer needed to begin work Dvořák describes the final moments of In the years that followed, several dif- on his Concerto in B minor. He later re- the concerto: “The Finale closes gradu- ferent cellists asked Dvořák to compose a marked to Brahms, “Why on earth didn’t ally diminuendo, like a sigh, with remi- large work for cello, but he was reluctant I know that one could write a cello con- niscences of the first and second move- to do so. He thought this instrument certo like this? Had I known, I would ments—the solo dies down…then swells played an important role in the orches- have written one long ago.” again, and the last bars are taken up by tra and string quartet but was not a good The first movement of the concerto the orchestra and the whole concludes in solo instrument. “High up it sounds na- has some of Dvořák’s most inspired mu- a stormy mood." sal, and low down it growls” is how he sic. The orchestral introduction is rich described the cello’s sound. and varied, and the music becomes even In 1894, while serving as director of more expressive once the solo cello en-

3'*")(3)|r#(ÍŐ. $),}*|ty}*,#(!3) ,."/'(( (1810-1856)

Schumann composed his first sym- with Felix Mendelssohn conducting. high, like a summons to awakening. Fur- phony in 1841, a year in which many The title,Spring , came to Schumann ther on in the introduction, I should like significant pieces were written: Chopin’s after he completed the symphony. When the music to suggest the world’s turning F minor Ballade, the second version the piece was performed in Berlin, he green, perhaps with a butterfly hover- of Liszt’s Transcendental Etudes, Men- wrote the following to the conductor: ing in the air, and then, in the Allegro, to delssohn’s Scottish Symphony, Wagner’s “Could you breathe a little of the long- show how everything to do with spring is Rienzi, and Verdi’s Nabucco. The work ing for spring into your orchestra as they coming to life.” on Schumann’s piece came quickly. He play? That was what was most in my mind sketched it in four days in late January when I wrote [the symphony] in January and completed the scoring in February. 1841. I should like the very first trumpet The first performance was on March 31 entrance to sound as if it came from on

“To send light into the darkness of men's hearts - such is the duty of the artist.” Robert Schumann

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704-223-0727 www.dinoparties.com Tom Chitty & Associates Direct Line: 336-420-2836 Email: [email protected] Website: www.tomchitty.com 2015-2016 SEASON French Masterpieces

GUEST ARTIST CONCERT PROGRAM Inna Faliks, piano “Adventurous and passionate” (Th e New Yorker) Ukrainian- Maurice Ravel MASTERWORKS born pianist Inna Faliks has established herself as one of the most Valses Nobles et Sentimentales exciting, communicative and poetic artists of her generation. SERIES SPONSOR Faliks was recently named the new Head of Piano and Associate Sergei Rachmaninov Professor of Piano at UCLA Herb Alpert School of Music. After Piano Concerto No.2 in C minor, Op.18 her acclaimed debut with the Chicago Symphony Orchestra, she Moderato has performed on many of the world’s great stages, with numerous Adagio sostenuto—Più animato orchestras, in solo appearances, and with conductors such as Allegro scherzando Leonard Slatkin and Keith Lockhart. Critics praise her “signature Inna Faliks, piano blend of lithe grace and raw power“ (Lucid Culture), “poetry and MAY Œœ, œőŒŗ panoramic vision” (Washington Post), and “riveting passion, Ì3)%Ì/#.),#/' playfulness” (Baltimore Sun). Her lauded discography includes a INTERMISSION y~qq*|'| recent all Beethoven release, and “Sound of Verse – music of Boris Pasternak, Ravel, and Rachmaninoff .” Claude Debussy Faliks’s distinguished career has taken her to numerous recitals La Mer and concerti in prestigious venues in the US as well as highly “From dawn to noon on the sea” reviewed appearances in France, Italy, Switzerland, Ukraine, “Play of the Waves” Estonia, Japan, Russia, and Israel. Winner of many competitions, “Dialogue between wind and waves” including the ProMusicis International Award, she has been featured on radio and international television broadcasts, and has performed in Carnegie Hall’s Weill Concert Hall, Metropolitan Ravel Museum of Art, Paris’ Salle Cortot, Chicago’s Orchestra Hall, and Daphnis and Chloe Suite No.2 Moscow’s Tchaikovsky Hall. Nocturne Committed to innovative programming, Interlude MAY Œŕ, œőŒŗ Faliks has premiered 13 Ways of Looking at the Danse guerrière Ì3)%Ì/#.),#/' Goldberg, has performed and recorded the y~qq*|'| unknown piano works of Russian poet Boris Pasternak, and appeared in theatrical Distinguished Guest Artist productions such as “Admission: One Piano Chair in honor of Shilling” with Downton Abbey star Lesley Linda M. Jones Nicol. Faliks is the founder and curator of Music/Words, a series that pairs together live performances with readings by established contemporary poets. Th e series has been heard and seen in NYC, Chicago and LA for 7 seasons now, live and on radio. PRELUDES Her own teachers included Leon ,( '), )/. ."#- 0 (#(!³- '/-# 1#.",|, !),3Ê,,)&&|, &/ - !#(. Fleisher, Boris Petrushansky, Gilbert x~rv "/,-3 ( x~qq ./,3 #( Kalish, Ann Schein and Emilio del ." )1(-.#,- )3| Rosario. RADIO BROADCAST 1#&& ,)-. ."#- )( ,. #( *. ' ,sqrw|

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111|, (-),)3'*")(3|),! 47 PROGRAM NOTES

Valses Nobles et Sentimentales by Maurice Ravel (1875-1937)

Ravel was enamored by the waltz. He following year. For Valses Nobles et Senti- Sentimentales do not distinguish between used it as the inspiration for La Valse, mentales, Ravel turned to the music of the the “noble” and “sentimental” waltzes which he composed in 1920, and the Viennese composer, Franz Schubert. In as Schubert’s did. The music consists of work performed tonight, Valses Nobles 1823, Schubert published two collections seven waltzes and a slow epilogue. et Sentimentales, which was originally of waltzes entitled Valses nobles and Vals- written for piano and orchestrated the es sentimentales. Ravel’s Valses Nobles et

Piano Concerto No.2 in C Minor, Op.18 by Sergei Rachmaninov (1873-1943)

Following the poor premiere of his first him as well. At the first session, the doc- himself played the first performances. symphony in 1897, Rachmaninoff sank tor asked the composer what composi- The melodies of the concerto became into a deep depression and malaise. He tion he wished to create. Rachmaninoff very popular and found their way into later wrote, “All my self confidence broke replied “a piano concerto.” During the pop culture. They can be heard in Frank down. A paralyzing apathy possessed me. daily treatments, which included some Sinatra’s “Full Moon and Empty Arms,” I did nothing at all and found no pleasure hypnosis, the composer repeatedly Eric Carmen’s “All by Myself,” and in in anything. Half my days were spent on heard, “You will start to compose a con- various television programs and sporting a couch sighing over my ruined life.” certo. You will work with the greatest of events. Rachmaninov’s aunt had been treated ease. The composition will be of excellent for a similar emotional malady by a Mos- quality.” The sessions began to work. Be- cow physician, Dr. Nicholas Dahl, and tween the fall of 1900 and spring of 1901, Rachmaninoff began treatments with the concerto was finished. Rachmaninoff

La Mer by Claude Debussy (1862-1918)

Debussy’s La Mer - “The Sea” - is one different aspect of ocean life. The open- again fitting the image of the ocean. of the finest examples of impressionism ing movement, “From dawn to noon on Debussy composed La Mer between in music. The composer depicts rich evo- the sea,” imitates the maritime moods 1903 and 1905. He actually completed cations of the ocean using a multitude of one might experience during these hours. it in a hotel on the coast of the English orchestral colors and creative and pro- “Play of the waves,” the second move- Channel. The first performance was in gressive harmonies. The piece has three ment, is quick and nimble, as one might Paris on October 15, 1905. movements, which Debussy actually calls expect to see in the intricacy of flowing three symphonic sketches. Each of these water. The finale, “Dialogue of the wind sketches paints a picture in sound of a and the sea,” is animated and majestic,

Daphnis and Chloé Suite No.2 by Ravel

Daphnis et Chloé is a ballet. In 1909, hour in length, his longest work. For session featuring crotales and a wind ma- Sergei Diaghilev requested that Ravel concert hall performances, two suites of chine. compose the score for a performance by excerpts have been extracted. Suite No. his Ballets Russes. The premiere, on June 2, performed tonight, is frequently heard 8, 1912, was conducted by Pierre Mon- in orchestral concerts. Ravel was a master teux. Vaslav Nijinsky and Tamara Kar- orchestrator, and he used a large ensem- savina danced the lead roles. ble for the music. Some of the unusual Ravel called the music a “choreograph- instruments in the score are alto flute, ic symphony.” The full ballet is about an English horn, and a sizable percussion

“Music, I feel, must be emotional first and intellectual second.” Maurice Ravel

48 111|, (-),)3'*")(3|),! CORPORATE SPONSORS DIAMOND GOLD CIRCLE > $40,000 AND ABOVE

DIAMOND CIRCLE > $20,000–$39,999

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7 Ê/, /Ê9"1Ê,/

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GOLD CIRCLE Pratt Family űœ,Ŗőő–ŕ,ŚŚŚ Foundation

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BRONZE CIRCLE Ambleside Gallery Elements Gallery The Hub, LTD Thermal Resources Sales, Inc. $Ŗőő–ŚŚŚ

www.GreensboroSymphony.org 49 œőŒŖ/œőŒŗ ANNUAL CAMPAIGN

MAESTRO’S ANGELS > $œő,őőő AND ABOVE Anonymous

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Mr. Joseph M. Bryan, Jr. Clem and Hayes Clement Barbara Cone Marion and Peggy Follin Susan and Bill Fraser

MAESTRO’S GOLD CIRCLE > $œ,őőő–$ŕ,ŚŚŚ Anonymous Ryan and Alisha Homer Ms. Barbara Kretzer Dr. Alex Plotnikov and Sveta Krylova Roy and Vanessa Carroll Mr. and Mrs. Orton B. Jones Ann and Bob Kroupa Roberts Family Foundation Carole Cone Douglas Leonard and Tobee Kaplan Bobbie and Bernie Mann Robert and Alice Spuller Mr. and Mrs. William Frank Dr. and Mrs. Preston W. Keith Annie Furman Parham Wiley and Virginia Sykes Dr. and Mrs. Charles M. Hassell Ralph and Andrea Knupp Dale and Barbara Phipps

MAESTRO’S SILVER CIRCLE > $Œ,őőő–$Œ,ŚŚŚ Tony Bengel Leo and Marcia Horowitz Mr. Phillip Petros Dennis and Pam Stearns Dr. and Mrs. John E. Chandler Dr. and Mrs. D.K. and Young Jeong Doris R. Preyer Janet and Jim Stenersen Mr. Albert C. Cohen Judy F. Jolly David and Ann Raper Katherine G. Stern Barbara and Michael Curry Í ($'#(((, 3 Suzanne & Bob Rhodes Gary and Ellen Taft Mr. and Mrs. J. Patrick Danahy Dr. Joe LeBauer Sylvia and Norman Samet Ms. Jeanne Tannenbaum Dr. and Mrs. John H. Dilworth Sam and Joan LeBauer Dr. and Mrs. Robert Sevier Dorry and Michael Tooke Scott and Joanne Duggan Mimi Levin Ann E. Sherman Mary Ann Vinson ,|( ,-|3( -,# ŏ( Ellen and Lee Lloyd Jonathan and Anne Smith Mr. and Mrs. William R. Webber Holt Gwyn and Beth Boulton Mrs. John R. Maness Tim and Paula Smyth B.J. Williams Peggy and David Hamilton George Michel and Tracy Nash Florence L. Snider Tom & Elaine Wright Sherry and Bob Harris Mr. and Mrs. David F. Parker &#- .".'/!"( . ,)$% Robert and Donna Hodgman Alice and Woody Pearce Mr. and Mrs. James B. Staton III

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ÍÌÊ¸űŖőő–űŚŚŚ Dr. Peter Alexander and Lucinda Deulin William J. and Elizabeth A. Craft Katie Klod Dabney and Walker Sanders Rusellene J. Angel Marie L. Dow Louise and Bill Latture Dr. Rebecca Saunders Margaret and Howard Arbuckle Clara and Jim Duggins Dan and Genevieve Leach Susan and Jerry Schwartz Bill and Elaine Ashley Eric and Cheryl Eley Richard and Jane Levy Shirley Spears Lena and Lacy Baynes Dr. Stuart and Carol Fountain Mr. and Mrs. Mark Littrell Steven and Lynn Thaggard Joe and Betty Brantley Jon and Marsha Glazman Jim and Fray Metcalfe Jimmy and Susan Thompson Gail Buchanan Brenda and Jack Glenn Megan Millard Sarah Warmath Lisa and Willie Bullock Mr. Jamie A. Grosso Carole Lineberry Moore Mr. Charles L. Weill, Jr. Dr. Susan and Charles Calkins Dr. William B. Herring Rod and Linda Mortenson Gay White Myrna Carlock Shawn Houck Peter and Nancy Peiffer Robert F. Winsor Harold Carpenter Mitchell and Suzanne Johnson John and Donna Peterson Dr. and Mrs. Robert W. Woodward Laura Chesak and Gary Steeley Ê" - (( 3( )"(0 ,ŏ & Carol Rauch Martha Yarborough Dr. Bryan and Renea Cobb Jerry and Jo Kennedy Mr. and Mrs. Garson L. Rice, Jr. Peter and Darlene Young Robert and Sally Cone J. Franklin & Candace L. Kime Roy E. and Christine P. Rizzo Amy Conley Mose and Doris Egerton Kiser William R. and Beverley C. Rogers Darren and Kim Cossaart Bob and Joretta Klepfer Peter and Lynn Rogers

Ì¸űœŖő–űŕŚŚ Charles and Gayle Adams Sally and Allen Cone Gail and Ken Huggins Marlene Pratto Lynne and John Alexander Í ..3(Í ($'#(Ê)( } ,| Donna Moran and Garnett Hughes ŏ )1( Nancy and Tom Beard Mary and Ron Cox Maggie Jeffus and Ted Thompson Barbara Sanders Liz and Bill Blackwell Clifford and Dorothea Davis Claire Kelleher Michael and Rebecca Schlosser Mr. and Mrs. Donald E. Bogard Pam and Alan Duncan #%# ( )"( #&#'($,) Bill and Linda Schneider Drs. Hunter Boylan and Barbara Bonham Harry and Ruth Edgren Robert and Jean Knox Jim and Cindi Schrum David and Nancy Bray Elizabeth C. Eller Robert and Pearl Kraay Phyllis Shavitz Judy Breece Virginia Gaskin Art and Jean Kriner Betty Ann and Kenneth Smith Ned and Joan Bryan Margery Gates Seymour and Carol Levin Jim and Diane Stanley Peter and Elizabeth Burger Dr. and Mrs. Robert M. Gay Sandra and Frank LoNano Louise Stolaroff Mr. and Mrs. Joseph N. Callicott David and Kathleen Gleeson Susan Marlowe Mr. and Mrs. J. Robert Stout Linda and Jim Carlisle Sandra and Erwin Goldman J. Gordon McLamb Susan and Larry Tysinger Hodges and Joe Carroll Mr. and Mrs. Carson Grantham Tom and Judith Mincher BJ Weatherby and Verne Nielsen Jim and Stacey Carson Mr. J. Glenn Grayson Richard and Walena Morse Judy and Tom Weiss Marlene H. Cato Norman Grey Curtis and Louise Nichols Ron and Linda Wilson Fred and Susan Chappell Van and Rusty Gunter John and Ashley Nosek Thomas and Carol Wood Ned and Linda Cline James D. Gwatkin III and Marlene Nielsen Betsy and Mitchell Oakley Beverly and Patrick Wright, Jr Mr. and Mrs. Irving Cohen In honor of Barbara and Herman Cone Larry and Susan Pearman Dr. Michael L. and Faye C. Collins by Marianne and Xaver Hertle Watty and Marvin Pinson

¸űŒőő–űœŕŚ Susan and Dan Acker Mary P. Best Nancy Cameron Janie and Jim Crouch Rose and Victor Ackermann Barbara and Dave Blackman Lynn and Tom Chandler Patricia and John Crupi Helen and John Alford /." |Í&))'ŏ & Anne B. Christian Margot H. Cunningham Dr. and Mrs. William O. Ameen, Jr. Kenneth and Patricia Blythe Judge Judith A. Christley, Ret. Robert F. Dabbs Gary and Linda Anderson Phyllis C. and R. Marshall Bowden Bill and Maggie Churchill Stephen and Linda Danford James P. and Carol D. Aplington Charles and Hedy Breckenridge Louann A. Clarke In honor of Robert Green Kenneth and Linda Baker Jamie and Bill Brown Henry L. and Ruth S. Coble by Duane & Madeleine Dassow Mrs. Nancy S. Balderacchi / $ .. (0#Í,)1( Lib Conner Mr. Kearns Davis Larry and Brenda Barnes Dr. George F Brumback Bob and Sophie Connolley Mary and John Devera Joan and Eddie Bass Becky and Julian Bullock Diane Conrad Joe DiPiazza and Carla LeFevre John Batchelor Philip and Kathe Burger Michael Cowie and Michelle Dowd David and Sarah Dowds Betty M. Baxter H.T. and Kathy Busby Bobbie and Lem Cox Mr. and Mrs. Lawrence R. Doyle Nan and John Bayersdorfer Bob and Barbara Byrd Jo Ann Cox Doris F. Dunlap

111|, (-),)3'*")(3|),! 51 œőŒŖ/œőŒŗ ANNUAL CAMPAIGN

¸űŒőő–űœŕŚ Marilyn and Arthur Eddy Gloria and Thomas Jordan Norma B. Nudelman William and Ann Snyder Mary G. and Jack Elam Dr. and Mrs. Kenneth Kasica Leah F. Overman Marian K. Solleder Keith and Debbie Faircloth Sharon and Robert Katana Caroline Panzer Pam and David Sprinkle Joe and Reneé Fila In memory of Elizabeth B. Gabriel Cameron Gordon Peck Bill and Sue Stafford Linda E. Fleishman by Barbara and Alan Key Charlene Pell Cindy and Rick Stark Steve Foley Mr. and Mrs. David K. Kinser Dr. Judy Penny Dr. and Mrs. H. Frank Starr, Jr. Mr. and Mrs. Richard Forman Bonnie and John Knab Dorothy and Robert Peters Ralph and Nancy Stevens Jud and Carol Franklin Edward and Joanne Koehler Roy and Betty K. Phipps Eileen Stirling Justice and Mrs. Henry E. Frye Dr. and Mrs. Robert Kriegsman Dr. and Mrs. George H. Pierson, Jr. Lawrence and Dale Stoehr Elizabeth Jane Fryman Derek Krueger and Gene Rogers Roger and Nan Poplin Dr. and Mrs. Ronald F. Sural Richard Gabriel Margery Lane Richard and Janet Potter Florence Sutler Mr. and Mrs. Allen Gerhard Curtis and Terry Lashley Kathryn Ramsay Peggy R. Tager Jeanette and Bill Giddings William and Janet Law Hilary and Jane Rauch Stuart and Barbara Teichman Mrs. Janet C. Gill Hugh and Anita Lawson In memory of E. Kemp Reece Mark and Elizabeth Van Horn Nancy L. Glenz Don and Connie Leonard by Janie Reece David and Carol Van Schoick Jean and Gary Goodman Paul and Jean Leslie Bill and Donna Richardson Richard and Sylvia Vanore Delores Gray Clarence E. Lloyd, Jr Lane and Karen Ridenhour Arnold and Brigitte Vogt Robert Green, MD and Jaquelyn Reilly Lisa Lloyd Kitty and George Robison Bob and Ginny Waldron Susan S. Griswold Neil and Bridget Macpherson Hans and Ellen Roethling Ken and Suzy Walker Jim and Judy Guidone Nancy Y. Madden Mary Rogg Charles A. Ward Rabbi Fred and Nancy Guttman Elaine and Ben Marks Lloyd and Ruth Roghelia Diane and James Watkins The Honorable and Bud and Reba Maxson Marnie and Jerry Ruskin Mrs. Frank Weiner Mrs. A. Robinson Hassell Dan and Bonnie McAlister Dr. and Mrs. William Sasser Len and Judy White Thomas F. and Sandra C. Henley Rosemary McGee Carl and Leigh Seager Lynda Dodson Williams Robert and Judy Herron Amanda McGehee Mr. and Mrs. W. David Sellers Jeaneane Williams Carole and Aaron Hilmer Peter and Karen Meyers Matthew Sergio Martha Wilson Lori Holt Robert and Bonnie Miller In memory of Ray Johnson Jim and Brenda Wilson John Hoyt Margaret and Patrick Miller by Anne Skinner Amanda S. Wood Vicky and Sam Hunt Paul and Janet Morien Jim and Susan Slagle Lynette Wrenn Kay and Clyde Hunt Karol B. Murks Dr. and Mrs. Arthur Sleeper Henry and Karen Zompa Daniel and Paula James Dan and Ninevah Murray In honor of Nancy J.R. Wells Jim and Frances Jochum Carol Sue Newton by Yvonne Smothers Paul and Sara Jones Talmage and Jana Nowell Sandra J. Snider

¸űŚŚ Anonymous In honor of Mr. Gary & Mrs. Ellen Taft Ms. Karen Hogarth Phyllis Parker Mary B. AbuSaba by WellSpring Retirement Community Anne and Mike Honer Ed and Phyllis Parkerson Carolyn and Donald Allen In honor of Congressman Howard Coble Barbara T. Hughes Sarah Pearlman Jim and Betty Allen by WellSpring Retirement Community Pat Hurley Janet Plummer Betty Angel Scott and Nancy Culclasure Judith R. Hyman Joan N. Poole Jim and Joan Armstrong Keith Cushman and Deb Bell Patricia J. Jacobs Melody and Josh Rose Kay and R.B. Arthur Mr. and Mrs. Robert H. Demaree, Jr. Gwen Jeffreys In honor of the birthday of Lillian Rauch Jerome and Colleen Assal Ms. Kay Doost Sarah Jeong by Mark Rosenbaum Vernon and Dea Aune Sally Earnest Gene and Karen Johnston Anne and James Rouse Tom and Donna Baker -|. &&Í|ŏ, Alfred E. Jones and Dr. Tony G. LeTrent-Jones Sawyer Exterminating, Inc. Bob and Carolyn Banks Kathryn F. Eskey Anne Jones Mary Fran Schickedantz George and Barbara Barker Mary Carlan Eubanks Joyce Jones George and Phyllis Setzer Bauman Family Foundation Mary Spencer Ferchaud Ms. Diane Joyner Harold and Ann Shelton Mr. and Mrs. Bill Beasley Charles J. and Alice H. Fisher Paul and Laura Kilmartin Bill Sims, Jr. Kathleen and Sion Bell Margaret Flannery Elizabeth Knollmeyer Ken and Catherine Sisk Al and Margaret Birge J. Paul Ford Amanda D. Lange Sue and Fred Starr James and Judith Bolzan Gordon Forester Johnnye Letterman Elmer and Margaret Straight Beth Brannan Sherri R. Forrester Karen Lisenby Diane Taylor Sydney and Hannah Britt Bill and Alane Frakes Andrew Long, Jr. George and Lee Templeton Ouida B. Brown Elissa M. Fuchs Karen Marshall Gary and Kay Tesh Nancy and Trip Brown Felice Gavin Betty C. Masters Dave and Sandy Thompson Jean R. Buchert Carolyn Gribnau Sandy and Jim McCall Joyce Traver Nancy R. Bulmer Mary and Kevin Haggerty Butch and Tricia Mendenhall Ruth Van Lehn Robert and Carol Burklin Shirley B. Hamilton Gerald D. Miller Lynne and William Watson Elizabeth F. Campbell Max and Cathy Harless John and Caroline Mitchell Janice Whitesell Anne Christopher Mr. and Mrs. Roy H. Harris Dr. and Mrs. Robert Mowry Jon Yellin and Dr. Barbara Morgan Mr. and Mrs. Robert Coble Jean Haynes Walt and Barbara Mueller Jean Young Sue A. Cole Jack Heath Floyd Nesbitt Chip and Cathy Hicks Mariana Newton

Our sincere appreciation to supporters of the 2015-2016 Annual Campaign. This list is current as of September 9, 2015. If you would like to be a part of this year’s campaign, please contact Daniel Crupi: 336.335.5456, ext. 239 or [email protected]

52 111|, (-),)3'*")(3|),! ENDOWMENT The Fund TRUSTEES Lisa Bullock, Chairman, Sally B. Cone, Robert Harris, Jr., A. Robinson Hassell, Ann Elizabeth Kroupa Lee Lloyd, Lewis R. Ritchie, William R. Rogers, Ph.D., Jonathan Smith

History of the Endowment In 1985, the seeds of the Greensboro Symphony Endowment Fund (GSEF) were planted by Symphony Guild President, Rachel Hull Galyon. Under her leadership, the Guild raised an additional $50,000 during the 1985-1986 season to contribute toward endowing the $250,000 Concertmaster’s Chair, completed in 1995, marking the official launch of the GSEF. The leadership torch was passed to Guild member, Caroline M. Lee, who devoted more than twenty years to the development and growth of the fund. In 1995, Guild member Kay Edwards and GSO Board Mem- ber, Maurice Jennings, launched a successful campaign to surpass the GSEF’s $1 million milestone. During the 2001-2002 season, the fund surpassed $2.5 million with a special initiative spear- headed by Caroline Lee. In 2001, Barbara Cone led a secret campaign undertaken by Endowment donors to establish the Associate Concertmaster’s Chair in honor of Caroline M. Lee. Since 2006, Cathy and Garson Rice have served as co-chairs of the Endowment Committee. The Greensboro Symphony Endowment Fund celebrated its 25th Anniversary in 2012 with assets totaling over $4,000,000 and is currently valued at over $4.5 million dollars. A special $25,000 gift was given to celebrate the Endowment’s 25th Anniversary in 2011 to be used for development and marketing resources. During the 2014-2015 season, a distribution of $150,000 was made to the Symphony for its annual operating budget, received in January 2015.

CAROLINE M. LEE ASSOCIATE CONCERTMASTER’S CHAIR Caroline Lee tirelessly led the Greensboro Symphony Endowment Fund for more then twenty years. To honor her years of service and the remarkable growth of the Fund, the Guild and Symphony friends honored Caroline by endowing the Associate Concertmaster’s Chair in 2001.

NAMED FUNDS: $Œő,őőő¥ŔŚ,ŚŚŚ HERITAGE SOCIETY Anonymous Herbert and Mary Frances Hazelman The Heritage Society is composed of those who provided bequests in their wills to the Mr. and Mrs. Thaddeus A. Adams, III Michel Family Foundation Greensboro Symphony Endowment Fund. Dorothy B. and T. Clyde Collins In honor of Sally Millikin Gifts may be in honor or as a memorial. Marion Stedman Covington by Steve Millikin Amelia Tatum Daniel Memorial Anonymous Bequests Dr. E. Phillip Morgan Memorial Nan and John Bayersdorfer by Samuel Cameron Tatum by Inga Borgstorm Morgan, Anne Rendleman Daniel Warren Moore and Anne Moore Diaz Kent and Carolyn Morgan Mr. and Mrs. Robert E. Guirlinger Memorial by Jean Paul Moore Carolyn and Harold O’Tuel Claire Kelleher George W. and Anna B. Dickieson Doris R. Preyer, Pearl E. and Robert A. Kraay Kay Bryan Edwards by KPB Corporation Trustee William Y. Preyer, Jr. CLU E. Joseph LeBauer Ronda Ellen and Kenneth Kornfeld Lynn R. and Karl E. Prickett Fund Sam and Joan LeBauer Mrs. E. Pierpoint Gill Mr. And Mrs. J. W. Werner, Jr. Caroline M. and N. Clayton Lee Susan and Dale Miller Roy E. and Christine P. Rizzo Kitty and George Robison Connie and Robin Saul Florence G. Young

111|, (-),)3'*")(3|),! 53 ENDOWMENT Chairs by Section

Unavailable Available

Violin Percussion Flute Clarinet Bassoon Horn Timpani Viola Cello Tuba Bass Conductor

Giving Options

54 111|, (-),)3'*")(3|),! ENDOWMENT The Chairs Patrons of chairs receive permanent listing in the playbill, public recognition and preferential parking. The Greensboro Symphony is grateful for their generous support in building the Endowment Fund. For more information on how you may play a part in the continuation of the Symphony’s great music and education programs, please call co-chairs Cathy and Garson Rice at 336-273-1426.

MAESTRO’S PODIUM $Ŗőő,őőő ASSOCIATE AND ASSISTANT Lucy and Clark Dixon Barbara B. and Robert E. Endowed by bequest PRINCIPAL CHAIRS · $ŗő,őőő Memorial Chair Lavietes Chair Kay Bryan Edwards Chair by Jack C. Dixon MAESTRO’S PODIUM EMERITUS by Joseph M. Bryan, Jr. C. Scott Lee Chair CHAIR $Ŕőő,őőő Marie C. and Ed Faulkner Chair by Caroline M. and N. Clayton Lee Milton J. Jackson Memorial Chair Jeanne Maxwell Hassell Chair by Marie C. and Ed Faulkner by Lenora W. Jackson by Charles M. Hassell Alice Mae and William M. Lineberry Dorothy G. Frank Chair Memorial Chair YOUTH ORCHESTRA Carolyn J. Maness Chair by Stanley M. Frank by Helen H. and Albert S. Lineberry, Sr. CONDUCTOR’S CHAIR $œŘŖ,őőő by John R. Maness 1 CHAIR AVAILABLE Hughlene Bostian Frank and R. Bradford Lloyd Chair Garson L. Rice, Jr. Chair William Allen Frank Chair by Mary Ruth and Robert B. Lloyd, Jr. CONCERTMASTER’S by Catherine G. Rice and Children James Autha Freeze The Michael and Anna Lodico Chair CHAIR $œŖő,őőő SECTION CHAIRS · $ŕő,őőő Memorial Chair by Flo and Bill Snider Greensboro Symphony Guild by J. Thurman and Peg Freeze Austin Family Chair Joy C. Morrison Chair THE DISTINGUISHED GUEST by Patricia Austin Sevier Greensboro Opera Company Chair by William H. Morrison, Jr. ARTIST PIANO CHAIR $ , œŖő őőő Richard Kelly Bowles, Jr. by Peggy and Phil Johnson In honor of Linda M. Jones Carole Swope Monroe Chair Memorial Chair Lynn Carroll Haley Chair by Edwin Brent Monroe THE YOUTH PHILHARMONIC by Louise H. and R. Kelly Bowles by Michael W. Haley Family Foundation CHAIR $ŒŖő,őőő Alice Wilson Pearce Chair In honor of Dr. Jean B. Brooks. Joan T. and William L. by Woody Pearce Brough-Webber Chair Hemphill Chair by Elizabeth Brough Webber Ethel Clay Price Memorial Chair ASSOCIATE CONCERTMASTER’S and William R. Webber by Kathleen Price Bryan Family Fund CHAIR $ , Sally London Hobbs ŒŖő őőő Memorial Chair In Honor of Caroline M. Lee Lillian Daley Brown Memorial Chair by Johnnye and J. T. Hunter Lynn R. Prickett Memorial Chair by the Massey Trust through by the Lynn R. and Karl E. Prickett Fund ASSISTANT CONCERTMASTER’S Nancy C. and Alex S. Brown, Jr. Rachel Smothers Hull and CHAIR $Œőő,őőő Worth Brantley Hull Chair Royce O. Reynolds Chair Beverly Cooper Moore and Willie and Lisa Bullock Chair by Jane W. Reynolds Irene Mitchell Moore Chair by Willie and Lisa Bullock Linda B. and Maurice Jennings Chair Dr. William R. and Beverley C. LILLIAN RAUCH BEGINNING Mr. Lenoir Chambers Rogers Chair STRINGS PROGRAM Memorial Chair Jimmie Irene Johnson David Vincent Sherman Chair $Œőő,őőő by Mr. Lenoir Chambers Wright Memorial Chair by Dr. Harry W. Johnson and Family by Ann, Beth and Becky Sherman PREMIUM PRINCIPAL CHAIRS John E. and Martha S. $ , Chandler Chair Mary Ellen and Elizabeth Sidney J. Stern, Jr. Memorial Chair Œőő őőő by Katherine G. Stern Fraser Family Chair Anne Kavanagh Chair Barbara S. and Herman by Ellen C. and B. John Kavanagh by Susan and Bill Fraser Cone, Jr. Chair Ellen and Gary Taft Chair by Donna M. and Herman Cone III Eleanor Downes Mewborn Chair Preston Wylie Keith and Martha Richard W. and Carlotta M. In Memory of Carolyn Riddle Downes Elizabeth Allred Keith Chair Treleaven Memorial Chair Elaine Wolf Cone Memorial Chair by Dr. Preston Keith and Marty Keith by Barbara S. and Herman Cone, Jr. by Carl W. and Lina Z. Treleaven PRINCIPAL CHAIRS · $ , řő őőő Janie C. and E. Kemp Reece Chair Kathleen Price Bryan Richard and Danahy Family Chair Frederick Kent Wilkins Memorial Chair by Mary C. Richard Danahy and Patrick Walter W. King, Jr. Memorial Chair Memorial Chair by Kay Bryan Edwards and Family Danahy by Elizabeth Yates King by Kaye Andrews Wilkins and Children Peter B. Bush Memorial Chair George W. Dickieson Chair Joyce C. Kiser Memorial Chair Betty F. and Robert P. by Mary Ann Bush and Children GSO Conductor 1951-1963 by Mose Kiser, Jr. and Family Williams Chair by Anna B. Dickieson Irene Mitchell Moore and Kroupa Family Chair Thomas E. and Elaine R. Beverly Cooper Moore Chair by Bob and Ann Kroupa Wright Chair

111|, (-),)3'*")(3|),! 55 Music — Learning for Life A Message from Greensboro Symphony Guild President, Andrea Knupp

It is with great pride and anticipation that the Greensboro Symphony Guild welcomes the 2015- 2016 season of the Greensboro Symphony Orchestra. Under the direction of Maestro Dmitry Sitkovetsky, our exciting Masterworks and Chamber Series bring a well-planned and enjoyable program for all of our Symphony patrons. The ever popular Pops Series, with Resident Conductor Nate Beversluis, will once again delight audiences with varied and spectacular offerings sure to please everyone! As a volunteer support organization, the Greensboro Symphony Guild members are a diverse group of community leaders and friends. Since our inception in 1964, we have promoted the Greens- boro Symphony Orchestra and its many educational programs throughout the Piedmont Triad. More than $2,000,000 from fundraisers has been given to support the endowment and music education programs of the Greensboro Symphony Orchestra. Music education is at the forefront of our mission and goals for the Symphony Guild. Each year, we enrich the lives of more than 50,000 pre-school through high-school aged children through school concerts and partnership programs. The Greens- boro Symphony Youth Orchestra continues to be a strong focus of our support through scholarships and coaching sessions. This year’s theme, “Music – Learning for Life” underscores the importance of bringing music to all ages in our community. Music education enhances the quality of our lives and engages both our young people and adults in the magic and stimulation of social, language and creative development. Award winning programs supported by the Guild have remained a significant cornerstone of our community while being recognized and honored by the League of American Orchestras. In 1985, the Guild was honored with the President’s Volunteer Action Award by President Ronald Reagan. Our Guild will kick off the year with an exciting Big Band, Bourbon & Blandwood event downtown at the Blandwood Mansion and Gardens. Join us as we dance the night away under sparkling chandeliers, with dinner and bourbon tastings to delight every palate. The 38th Annual Symphony Presentation Ball will be Monday, December 28. Twenty four young women will serve as ambassa- dors for the Symphony Orchestra and music education. Suellen Milton will serve as Honorary Chair. In April, we will sponsor the 4th biennial Super Sale, an amazing array of items for every shopper’s delight. From furniture to linens, clothing to housewares, there will be something for everyone! Our Tennis Tournament will return in May engaging many tennis players of every level in an exciting day of play. And new to the Guild this year, we will be offering two Musicale Sundays. Join us for a social evening which will include a musical performance by a small ensemble sure to please our members and friends. On these pages are the logos and names of those companies and friends who have so generously supported us this year. We are extremely grateful for their generosity and contributions to the Guild and the Greensboro Symphony Orchestra. For more information about the Guild, please visit our newly updated website at www.gsoguild.org or follow us on Facebook or Twitter. To contact us directly, you may email us at [email protected] or call our office at 336 632-1812. We welcome your interest and support.

Warm regards,

Andrea Knupp President, Greensboro Symphony Guild

56 111|, (-),)3'*")(3|),! EXECUTIVE COMMITTEE MANY THANKS TO OUR œőŒŖœőŒŗ GUILD SPONSORS President Andrea Knupp President Elect Sharon Kasica VP Education Nancy Bogard VP Fundraising Lori Holt VP Operations Laura Green VP Marketing/Publicity Ann Mueller GUILD Secretary Brenda Macfadden Treasurer Cindy Stark œőŒŖœőŒŗ ACTIVITIES Past President Rebecca Schlosser AND PROJECTS Executive Assistant Susan Mackey October 10, 2015 Big Band, Bourbon & Blandwood Dinner, dancing and bourbon tastings MAJOR EVENT CHAIRS at the Blandwood Mansion and Gardens, 7:00 – 11:00pm

BIG BAND, BOURBON & BLANDWOOD December 6, 2015 Musicale Sunday, 4:00 p.m.-6:00 p.m. FALL SIGNATURE EVENT Social with Ensemble performance Event Chairs by Giannini Brass Laura Green, Kristie Smith December 28, 2015 Symphony Presentation Ball, SYMPHONY PRESENTATION BALL Sheraton Greensboro Hotel Honorary Chair Suellen Milton At Four Seasons, 7:30 p.m. Honorary Chair, Suellen Milton Chair Beverly Wright Vice Chair Laura Wolf April 3, 2016 Musicale Sunday, 4:00 p.m.-6:00 p.m. Wally West Music Resource Social with Ensemble performance MUSICALE SUNDAYS www.wallywest.com April 23, 2016 Chairs Andrea and Ralph Knupp Brenda Glenn, Gayle Koonce Super Sale in honor of Laura and Robert Green, 707 E. Bessemer Ave. Mitzie Weatherly GSO Board President (former Trader’s Chevrolet Building) Anonymous in honor of Kristie Smith May 5, 2016 SUPER SALE Guild Tennis Tournament Chairs Botanica Flowers and Gifts Starmount Forest Country Club Nancy Beaver, Elizabeth Craft Carriage House Antiques and Home Décor All income raised is returned to the GSO and its Vice Chairs education programs. We thank each of you for your Contemporary Lady Karen Hundgen, Vanessa Skenes continuing generosity in supporting the Guild. DLM Builders, Inc. The Symphony Guild’s Speakers Bureau is available to visit your organization or business. Guild Home Instead Senior Care representatives will share highlights of the Guild’s TENNIS TOURNAMENT rich 50-year-old history and traditions, its mission Lori and Mark Holt and purpose, and the exciting programs made Chairs available to share music education throughout the Piedmont Triad. For more information or to schedule Olivia Gillespie, Sherri Hill Landmark Builders a presentation, please contact the Symphony Guild at (336) 632-1812 or www.gsoguild.org Southern Engraving Co. We are on Facebook and Twitter! Spring Garden Storage " )''/(#.3--/**),.) /#&*,)$ .-#-0#.&.) Wolfe Homes our success.

111|, (-),)3'*")(3|),! 57 Keep Kids in Tune

The Greensboro Symphony Orchestra education programs offer the experience, excitement and understanding of classical music to the whole community. Education programs include presentations by small ensembles, performances by the full orchestra, student performance programs, and more!

PRELUDES LILLIAN RAUCH BEGINNING STRINGS PROGRAM Distinguished speakers share insight in to A Collaboration between the Greensboro Symphony, UNCG School of Masterworks series programs. Music, Theatre, and Dance and Peck Elementary School. Coordinated • Preludes take place in the Moon Room at Dana by Dr. Rebecca MacLeod (UNCG), it utilizes American String Teachers’ Auditorium and in the Lower Lobby of Aycock Association (ASTA) curriculum and is considered a model program. Auditorium. • Guest speakers begin 45 minutes prior to Main objectives Thursday Masterworks concerts • Provides string instruments and instruction free of charge • Saturday evening Preludes are joined by Music • Nurtures and develops students’ creative talents Director Dmitry Sitkovetsky and guest artists, one • Prepares students for challenging opportunities in music and life hour prior to the beginning of the concerts. • Provides music education majors with the opportunity to explore and develop as teachers in a diverse setting

Guest artists who have visited the program: • Members of Sphinx Orchestra • Harlem Quartet • Conductor John McLaughlin Williams Celebrations • Program has grown to involve over 150 students • Students and alumni have performed for Maya Angelou, and Gloria Ladson-Billings • Graduates of the program continue to perform in middle and high school MUSIC AT MIDDAY orchestras and the Greensboro Symphony Youth Orchestra program. GSO small ensembles perform at community venues. • Based on the success of Peck graduates, Jackson Middle School now has • Woodwind, Brass, String, and Percussion groups a school orchestra. • Concerts take place in the Spring • The Peck Alumni Leadership Program provides private lessons to graduates • Audience members can meet musicians of Peck who return to rehearse, perform, and mentor younger students. and ask questions

ORKIDSTRA These concerts are for three- to five- year olds and their families. • Annual Performances for 500+ children in the Guilford Child Development Head Start program • Public performances at venues including: Greensboro Science Center, Greensboro Children’s Museum, North Carolina Zoo (Asheboro) • Children’s book narrated by local storyteller Logie Meachum • Illustrations and text projected for easy reading • Performance by GSO Percussion Ensemble • Movement activities and sing-alongs

58 111|, (-),)3'*")(3|),! IN-SCHOOL ENSEMBLES GSO small ensembles perform in every Guilford County Schools elementary school. • Woodwind, Brass, String, and Percussion groups • Concerts take place in the Winter and Spring • Introduces students to the sections of the orchestra, prepares them for full Elementary EDUCATION Concerts, and encourages children to study a musical instrument. HIGH SCHOOL PARTNERSHIP PROGRAM • Students can meet musicians and ask • Supported directly by the Greensboro Get questions Symphony Guild • Greensboro Symphony musicians visit Involved! high schools to perform, teach, and mentor students • Participating high school performing ensembles then perform onstage prior to GSO Masterworks concerts STUDENTS: • High school students invited to stay and hear • Hear members of the GSO live their mentors perform at your school! • Past partnership schools include: • Sign up for free High School or Ragsdale Grimsley College Night tickets! Weaver Northern Guilford ../ (.#% .-}$/-.¥w ),&& Page Penn-Griffin Southwest Guilford Western Guilford Masterworks concerts! ELEMENTARY SCHOOL CONCERT PROGRAMS • Attend a free Youth Orchestra • Serve over 18,000 elementary students Northwest Guilford concert! in the following counties: • Guilford • Alamance • Audition for Youth Orchestra! • Rockingham • Randolph • A new program each year, with varied combinations of music and storytelling, ADULTS: music and history, or music and dance • Attend Pre-Concert Preludes! • Theme for Spring 2016 is • Hear Music at Midday “Pirates, Princesses, and Pizzicato” performances in the community! • Encourage family members to audition for Youth Orchestra! • Support education programs HIGH SCHOOL NIGHT through donations! • Coordinated with High School Partnership • Join the GSO Guild or the Program performances in May Friends of the GSYO! • ANY high school student can request up to four free tickets - email highschool@ greensborosymphony.org in the month prior to the concert

MUSIC IN THE MIDDLE • Annual concerts for 6,000 Guilford County TICKETS middle school students Student tickets are always just $6 for • Combinations of traditional and contemporary Masterworks series concerts & only $12 for EDUCATION SPONSORS music for orchestra, with multimedia POPS concerts! This offer is open to students • Theme for Fall 2015 is“The Science of of any age with valid ID. Sound” including live on-stage oscilloscope and spectrograph displays. CONTACT • For both Music in the Middle and the Call 336-335-5456 or email education@ Elementary Concerts, teachers and students greensborosymphony.org for more receive preparatory materials at the beginning information. of the school year

111|, (-),)3'*")(3|),! 59 ~ Investing in tomorrow, today.~ At Lincoln Financial Group, we believe in helping people face their futures with conﬁdence. Which is why we established the Lincoln Financial Foundation: To support the hopes and dreams of Greensboro by providing the tools and resources it needs to lay the foundation for a better tomorrow.

Lincoln Financial Group is the marketing name for Lincoln National Corporation and its afﬁliates. ©2012 Lincoln National Corporation. LCN1006-2043449 Greensboro Symphony YOUTH ORCHESTRA ($)3)/, , Youth Orchestra concerts!

The mission of the Greensboro Symphony Youth Orchestra (GSYO) is to provide a professionally œőŒŖšœŒőŗ directed environment for young musicians to study, prepare, and perform music, to serve the PERFORMANCES: community at large by providing high quality, free performances, to complement school music programs, and to encourage and advocate the arts, music, and music education November 22, 4:00 p.m. Greensboro Day School in the Piedmont Triad region. GSYO Music Director and GSO Resident Conductor Nate Beversluis leads the program into its 45th season. February 21, 4:00 p.m. Dana Auditorium ENSEMBLES: Beginning originally as a single ensemble, the GSYO program has grown to include fi ve groups May 22, 4:00 p.m. with progressive educational goals, off ering Dana Auditorium opportunities for young players through advanced high school students. Th e GSYO program includes students up through grade 12 from Greensboro, Burlington, Chapel Hill, Southern Pines, Salisbury, and Southern Virginia. Students take part in weekly rehearsals and Call 336-335-5456 sectionals, two to fi ve public performances per year, or email education@ domestic and international performing trips, chamber greensborosymphony.org music, and various related social and cultural activities. Students are placed into ensembles by audition. For for more information. information on each individual ensemble’s educational focus and entry requirements, see the Youth Orchestra website, www.GSYO.org. TICKETS: TOURS: Th e GSYO has a track record of successful GSYO perforamnces are regional performances including Elizabeth City, free and open for the Albemarle, and Tryon, NC, and the Piccolo Spoleto festival in Charleston, SC. Th e GSYO has also toured Greensboro community!. Chicago (2014), New York (2007), and Salzburg, Vienna, and Munich (2010).

STUDIO RECORDING: August 2015 marks the release of the GSYO’s fi rst studio recording, “Taking it Home,” featuring the premiere recordings of works by Mason Bates and Scott Shea, as well as a very unique version of George Gershwin’s Rhapsody in Blue with Nate Beversluis conducting from the piano. CDs are available for purchase in the lobby at Greensboro Symphony and Youth Orchestra concerts, and online at CDbaby.com.

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Stephanie Ezerman, violin Lucia Kobza, violin Brandon Ironside, violin Scott Rawls, viola Simon Ertz, viola

Gizem Yucel, viola Alexander Ezerman, cello Lee Richey, cello John Spuller, bass Nate Beversluis, harpsichord

1 Goldberg Variations Johann Gottlieb Goldberg was a keyboard player in the court of Aria Johann Sebastian Bach Count Kaiserling, the Russian ambassador to Saxony. When Bach, Variations 1-30 (1685-1750) the great Baroque composer, heard the Count mention he would Aria like some new keyboard pieces for Goldberg to play, he was inspired Arranged to write a large set of variations, which he thought would be well received. Th e Count was very pleased when he heard the completed Dmitry Sitkovetsky, violin I Dmitry Sitkovetsky music and presented Bach with a golden goblet fi lled with precious Wendy Rawls, violin I (b. 1954) coins. Andrew Emmett, violin I Nicolae Soare, violin I Th e Goldberg Variations are at the pinnacle of Baroque variation Marjorie Bagley, violin II form. Bach presents an aria to begin and conclude the piece and, Stephanie Ezerman, violin II between the two, gives us 30 masterful variations on this theme. Lucia Kobza, violin II Dima Sitkovetsky’s arrangement for string ensemble captures the Brandon Ironside, violin II essence of this music well-known throughout the world. Scott Rawls, viola Simon Ertz, viola Gizem Yucel, viola Alexander Ezerman, cello Lee Richey, cello John Spuller, bass Nate Beversluis, harpsichord SEASON SPONSORS

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OCTOBER ŔŒ, œőŒŖ Dmitry Sitkovetsky, violin Cathal Breslin, piano , /. ,#0 ..}Ő/. Kelly Burke, clarinet Ê"))&) /-#} " ., (( #.&&& y~qq*|'|

1 Sonata for Flute and Piano Poulenc wrote his Flute Sonata in 1957 for the French I. Allegretto fl utist, Jean-Pierre Rampal. It was dedicated to the memory of II. Cantilena: Assez Francis Poulenc (1899-1963) Elizabeth Sprague Coolidge, an American patron of chamber III. Presto giocoso music. Written in three movements, it is one of the most frequently performed works in the fl ute repertoire. Cathal Breslin, piano Debra Reuter Pivetta}Ő/. 2 I. Young Juliet Selections from Romeo and Juliet Prokofi ev composed his ballet music for Romeo and Juliet II. Masks for Clarinet and Piano in 1935, but it was not produced until 1940 because of fear of reprisal by Soviet censors. Th ree movements from the large III. Mercutio ,! #,)%)ŏ 0(1891-1953) ballet are performed tonight in an arrangement for clarinet and piano. Cathal Breslin, piano Arranged Boris Prorvich Kelly Burke, clarinet 3 Techno Parade for Guillaume Connesson is professor of composition at the Cathal Breslin, piano Flute, Clarinet and Piano Conservatoire National de Région d'Aubervilliers, France. Debra Reuter Pivetta}Ő/. Techno Parade was written in 2002 for fl ute, clarinet, and Kelly Burke, clarinet Guillaume Connesson (b.1970) piano. It is a virtuosic piece featuring non-stop energy and extended technical display for the instrumentalists. 4 Prokofi ev composed his ballet music for Cinderella between I.Valse Selections from Cinderella 1940 and 1944. Th e work premiered at the Bolshoi Th eater in II. Good Fairy of Winter for violin and piano November, 1945. III. Masurka ,)%)ŏ 0 Dmitry Sitkovetsky, violin

Cathal Breslin, piano 5 Sonata No. 2 Th e French Ravel was a fan of American jazz, and he I. Allegretto included jazz-infl uenced music in several of his compositions. II. Blues. Moderato Maurice Ravel (1875-1937) Th e second movement of this sonata is entitled “Blues,” after III. Perpetuum mobile. Allegro what is perhaps the most original musical style to come out Dmitry Sitkovetsky, violin of the United States. Cathal Breslin, piano SEASON SPONSORS

111|, (-),)3'*")(3|),! 65 The Greensboro Symphony Guild gratefully acknowledges Our Signature Sponsors for 2015-2016

www.gsoguild.org Sitkovetsky & Friends

CHAMBER Dmitry Sitkovetsky violin Emi Hildebrandt, violin Marjorie Bagley, violin Stephanie Ezerman, violin Noah Hock, viola SERIES SPONSOR

-.,)#.%)0 .-%3,#0 - )3).-*)(-), 0 "#& Scott Rawls, viola Eric Koontz, viola Alex Johnston, cello Michael Ashton, cello Alexander Ezerman, cello ÌÌœŚ, œőŒŗ Ê"))&) /-#} " ., (( #.&&& y~qq*|'|

Anne Sellitti, cello Bob Campbell, horn Lynn Beck, horn 1 Divertimento No.15 in Mozart’s delightful divertimenti were written to entertain guests I. Allegro at weddings and other special events. Whereas divertimenti with ÍŐ. $),} |ryx II. Tema con variazioni fi ve movements are very typical, Divertimento, K.187 is somewhat III. Menuetto—Trio unusual in its theme and variations movement and the slow tempo W.A. Mozart IV. Adagio featured at the beginning of the fi nal movement. (1756-1791) V. Menuetto—Trio VI. Andante—Allegro molto

Dmitry Sitkovetsky, violin Emi Hildebrandt, violin Noah Hock, viola Alex Johnston, cello Michael Ashton, cello Bob Campbell, horn Lynn Beck, horn 2 When Tchaikovsky was elected into the Saint Petersburg Chamber String Sextet in D minor, I. Allegro con spirito Music Society in 1886, he was asked to compose a new piece for a Souvenir de Florence, Op.70 II. Adagio cantabile e con moto sextet of 2 violins, 2 violas, and 2 cellos. He was challenged by this III. Allegretto moderato unique instrumental group and delayed composing the piece. Four IV. Allegro con brio e vivace Pytor Ilyich Tchaikovsky years later he wrote, “I started working on [the sextet] three days (1840-1893) ago and am writing with diffi culty, handicapped by lack of ideas and Marjorie Bagley, violin the new form. One needs six independent but, at the same time, homogenous voices. Th is is frightfully diffi cult.” Stephanie Ezerman, violin Scott Rawls, viola In 1890, while on holiday in Florence, a melody came to Tchaikovsky Eric Koontz, viola that he incorporated in the piece. Finally, after more work and Alexander Ezerman, cello modifi cations, the Souvenir de Florence had a successful premiere for Anne Sellitti, cello the Chamber Music Society in 1892. On the program tonight is the original sextet version of Souvenir de Florence. Th e music was later adapted for string orchestra.

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APRIL ř, œőŒŗ Ê"))&) /-#} " ., (( #.&&& y~qq*|'| Dmitry Sitkovetsky, violin Inara Zandmane, piano Sergey Antonov, cello

1 Sonata for Cello and Piano Th e Cello Sonata was one of Shostakovish’s early works. He I. Allegro non troppo in D minor, Op. 40 fi nished it in 1934 shortly after his opera, Lady Macbeth, had its II. Allegro controversial fi rst performance. Turmoil in Shostakovich’s life III. Largo Dmitri Shostakovich continued during the composition of the sonata as he divorced IV. Allegro (1906-1975) his wife, Nina, and fell in love with a student. He later remarried Nina. Th e four-movement work was premiered on Christmas day in Inara Zandmane, piano Moscow. Sergey Antonov, cello

2 Piano Trio in G minor, Smetana is primarily known for his larger works including the I. Moderato assai Op.15 opera, Th e Bartered Bride, the overture from which was performed last II. Allegro, ma non agitato night, and his nationalistic Ma Vlast - “My Country” - for orchestra. III. Finale: Presto Í Ĝ#"' .( He only ventured into the realm of chamber music three times: two (1824-1884) string quartets and the trio on tonight’s program. Dmitry Sitkovetsky, violin Inara Zandmane, piano Smetana was in mourning while composing the trio. He had just lost Sergey Antonov, cello his eldest daughter, Fritzi, on September 6, 1855. She was just fi ve- years-old. He poured his grief into this chamber music piece, which can especially be heard in the slower fourth movement, right before a faster ending. In the third movement, Smetana quotes a protest song that was used in the rebellion of the 1840s.

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Dmitry Sitkovetsky, violin Inna Faliks, piano Ashley Barrett, oboe Kelly Burke, clarinet

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MAY ŒŔ, œőŒŗ Ê"))&) /-#} " ., (( #.&&& y~qq*|'| Carol Bernstorf, bassoon Bob Campbell, horn Brooks Whitehouse, cello

1 /#(. .#(Ő. ), Beethoven’s 1797 Quintet for Piano and Winds, one of his early I. Grave—Alegro ma non troppo Piano and Winds, Op.16 works, is modeled after a similar 1784 quintet by Mozart. Both works II. Andante cantabile share the same instrumentation, keys, overall organization, and III. Rondo: Allegro ma non troppo Ludwig van Beethoven even dotted rhythms in the fi rst movement. Although in many ways (1770-1827) Beethoven’s Quintet can be considered “Mozartean,” the younger Inna Faliks, piano composer still shows us how he was breaking away from the earlier Ashley Barrett, oboe classical model and beginning to move toward his more expansive Kelly Burke, clarinet later music. Carol Bernstorf, bassoon Bob Campbell, horn 2 )../,()#(Ő. ),#(),#)} Th e history of Schubert’s Notturno is somewhat uncertain. Some I. Moderato D.897 scholars believe that this short piece was from 1826 as the original II. Quasi variazione slow movement for the composer’s Piano Trio in B-fl at, D.898, and III. Allegro risoluto that Schubert later wrote a diff erent movement that he liked better. Franz Schubert Others think that this was music that came from Gmunden, in the (1797-1828) Inna Faliks, piano lake country east of Salzburg, where Schubert stayed for six weeks in 1825. Th e melody for the center section comes from a melody that Dmitry Sitkovetsky, violin a group of pile drivers sang while they worked. Th is theory suggests Brooks Whitehouse, cello that the music was from 1827.

Th e title, “Notturno,” was only given to the music when it was fi rst published in 1945. Schubert never attached that descriptive name to the music. 3 “Gaspard de la Nuit” Ravel used Aloysius Bertrand’s literary collection, Gaspard Three poems for solo piano de la Nuit - Fantaisies à la manière de Rembrandt et de Callot, as the after Aloysius Bertrand Maurice Ravel inspiration for this solo piano piece. Th is three-movement work, I. Ondine (1875-1937) known for its diffi culty, was fi rst performed on January 9, 1909 in II. Le Gibet Paris. III. Scarbo Inna Faliks, piano

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Join the Greensboro Symphony for a magical journey into storytelling and the music of ÊÍœŕ, œőŒŖ Disney. Í,)/!"..)&# 3." .& (.-) )/,Í,)13-#(! ,-( ./,#(! (.-.#0# ) ,)' -.)0 ,Ê"/," #)(##-( 3(#'. ŏ&'-}1 , *,)/.)*, - (. ÊÊ& -&-#' y~qq*|'|

GUEST ARTISTS SPONSORED BY Juliana Hansen has performed in Th oroughly Modern Millie (Millie), Les Miserables (Eponine), Beauty and the Beast (Belle) and Th e Wizard of Oz (Dorothy). Juliana was a fi - nalist on NBC’s T.V. show, “Grease- You’re Th e One Th at I Want,” on which she worked with Tony-Award winning director Kathleen Marshall and Sir Andrew Lloyd Webber. Juliana has a Masters from Th e Guildford School of Acting in Eng- land and lives in LA, where she pursues Film and Television.

Stephanie Burkett Gerson has been seen as a lead vocalist and Mrs. Claus in the Rockette’s Radio City Christmas Spectacular National Tour and appeared in I Love A Piano as Ginger at Moonlight Stage Productions in Vista California. Regional Th eatre credits: Joseph and the Amazing Technicolor Dreamcoat (Narrator), Cats (Jellylorum), Beauty and the Beast (Babette), Meet Me in St. Louis (Lucille), You’re a Good Man Charlie Brown (Lucy), Grease (Sandy), Th e Wizard of Oz (Dorothy).

Anthony Apicella has appeared in a list of Off -Broadway productions in New York City including, Smiling the Boy Fell Dead (Musicals in Mufti at Th e York Th eatre), Huckleberry Haywood: A Spunk Rock Musical and Fools in Love. Anthony has performed several times with Mike Berkowitz and the Gene Krupa Orchestra. Anthony is a member of Th e Copa Boys; a trio of singers dedicated to honoring the era of tuxedos, martinis and the Great American Songbook.

Terron Brooks has performed with artists such as Stevie Wonder, Josh Groban, David Foster, Randy Jackson, Stephanie Mills, Sheila E., Smokey Robinson and Michael Jack- son. On Broadway, Terron has also been seen as “Simba” in Disney’s Th e Lion MEDIA SPONSOR King and “Seaweed” in Hairspray. Mr. Brooks starred in the hit romantic comedy All About You. Terron is best remembered for his critically acclaimed portrayal of Eddie Kendricks in the Emmy Award winning NBC mini-series Th e Temptations.

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111|, (-),)3'*")(3|),! 73 Eastern Music Festival Congratulates Greensboro Symphony on their 2015-2016 season.

Post Ofﬁce Box 22026 ƒ Greensboro, NC 27420 ƒ EasternMusicFestival.org A Night at the Oscars

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Lights, camera, action! Don’t miss the music of the silver screen with songs from Oscar winning and nominated dramas, romances and Hollywood classics. You will see pianist Rich Ridenhour and trumpeter Brandon Ridenour, father and son, bring down the house with a deadpan sense of humor, and snazzy, muted trumpet work. DECEMBER ŔŒ, œőŒŖ -.)0 ,Ê"/," GUEST ARTISTS y~qq*|'|

Brandon Ridenour Rich Ridenour SPONSORED BY A virtuoso trumpeter, pianist, and com- Critics hail pianist Rich Ridenour as amazingly poser/arranger, Brandon Ridenour is a winner versatile, masterfully musical and wickedly of the 2014 CAG Victor Elmaleh Competition. funny. Mr. Ridenour established his career His wide-ranging activities as a soloist and performing his own musical arrangements of chamber musician paired with his passion for classical masterworks and today’s popular piano composing and arranging are manifested in his favorites. With hundreds of engagements to his versatile performances and unique repertoire. credit, Mr. Ridenour has recently performed with Brandon has appeared as a concerto soloist with the orchestras of Indianapolis, Atlanta, Kansas City, the National Symphony Orchestra, Los Angeles Topeka, Harrisburg, Grand Rapids, Detroit (covering Philharmonic, and the Edmonton Symphony for Peter Nero), Tucson, Evansville, Charleston, West Orchestra. He has played with leading ensem- Virginia, Elgin, Owensboro, Mazatlan, Mexico and bles including the New York Philharmonic, the Bravissimo Festival Orchestra of Guatemala International Contemporary Ensemble, the City. Mr. Ridenour serves as pops director for the Knights, the Royal Scottish National Orchestra, Dearborn Symphony Orchestra. the Deutsche Kammerphilharmonie Bremen, Mr. Ridenour has collaborated with renowned and the Mahler Chamber Orchestra in Europe. performers such as Martin Short, Carol Lawrence, Other solo performances include the Kennedy Robert Guillaume, Smokey Robinson, Bob Keeshan Center, Walt Disney Hall, and Carnegie Hall. (Captain Kangaroo), Larry Gatlin, David Ogden A graduate of Th e Juilliard School and an alum- Stiers, Jim Nabors, Richard Hayman and Jennifer nus of Th e Academy (Ensemble ACJW), Bran- Holiday. don began playing piano at the age of 5 under A native of Grand Rapids, Michigan, Mr. Ridenour the tutelage of his father, Rich. Residing in received a Bachelor’s degree in music from the Brooklyn, NY, Brandon also plays with New University of Michigan and a Master’s degree from York City based ensembles, Decoda and Novus. the Juilliard School of Music. Mr. Ridenour is an international Steinway Artist.

Diane Penning “...clear, free fl ying and of exciting timbre”, “...thrilling…exquisite… with gorgeous top notes.” MEDIA SPONSOR Th ese are but two critic descriptions of coloratura soprano Diane Penning’s voice. Equally at home in classical repertoire and pops, Diane has performed with orchestras around the country in both genres.

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FEBRUARY ŒŔ, œőŒŗ -.)0 ,Ê"/," y~qq*|'|