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

SPRING 2019 PROGRAM

WHAT’S INSIDE

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elcome to the National Philharmonic Wat the Music Center at Strathmore! With spring in the air, the Philharmonic continues its season of celebration of the Leonard Bernstein Centennial. As a student of Bernstein’s, I count myself among his disciples and a living link to the memory of this greatest musician ever to hail from the Western Hemisphere.

Leonard Bernstein’s career was famously launched when, at age 25, he was asked to step in for the ailing conductor Bruno Walter and lead a performance of the New York Philharmonic that was broadcast on national radio. In February, I will lead the program which recreates that famous moment, and includes the music of Richard Strauss, Richard Wagner, Robert Schumann and Miklós Rózsa. Joining me for this performance will be violist Roberto Díaz and Grammy winning cellist Zuill Bailey. Photo credit Jay Mallin credit Jay Photo

“Jazz is the ultimate common denominator of the American musical style,” remarked Bernstein. The National Philharmonic’s March concert features the artistry of trumpeter Byron Stripling in the Sounds of New Orleans, a tribute to Louie Armstrong.

In April, the National Philharmonic Chorale is featured in Verdi’s great Requiem. Soloists include soprano Danielle Talamantes, mezzo-soprano Margaret Lattimore, tenor Zach Borichevsky and bass Kevin Deas. Leonard Bernstein recorded the Requiem in 1970 joined then by the quite young Plácido Domingo!

The symphonies of Beethoven were prominent in Bernstein’s repertoire and so the Philharmonic finishes the season with two of the greatest: the fifth and the ninth. The latter, Bernstein famously conducted to celebrate the fall of the Berlin Wall, substituting the word “Freude” (joy) with “Freiheit” (freedom) in the final movement. The Philharmonic’s performance will follow this celebratory innovation. The programs will also include two of Bernstein’s own works: Symphony No. 2 (The Age of Anxiety), featuring pianist Michael Brown, and Chichester Psalms, Bernstein’s most famous choral work.

I look forward to seeing you at the concerts!

Piotr Gajewski Music Director & Conductor NATIONAL PHILHARMONIC 2019 CALENDAR

THE DEBUT NATIONAL PHILHARMONIC CHAMBER PLAYERS SAT FEB 23, 2019 8pm AT POTTER VIOLINS* Member Encore Q&A SUN APRIL 28, 2019 3-5pm Zuill Bailey, cello Three-time Grammy Award winner Musical Atoms-A study of Intervals Roberto Díaz, viola Music of Britten and Brahms Piotr Gajewski, conductor Schumann Manfred Overture ANXIETY Miklós Rózsa Theme, Variations and Finale, op. 13 BERNSTEIN & BEETHOVEN, PART I Richard Strauss Don Quixote SAT MAY 11, 2019 8pm Wagner Prelude to Die Meistersinger Member Encore Q&A Meet the Musicians: 7-7:30pm SOUNDS OF NEW ORLEANS: A TRIBUTE TO Michael Brown, piano LOUIS ARMSTRONG Piotr Gajewski, conductor SAT MARCH 30, 2019 8pm Bernstein Symphony No. 2 (“The Age of Anxiety”) Color the Music exhibit NEW! Beethoven Symphony No. 5 in C minor Byron Stripling, trumpet Piotr Gajewski, conductor FREEDOM Stripling’s electrifying and heartfelt tribute to Louis Armstrong BERNSTEIN & BEETHOVEN, PART II has become America’s most popular orchestral pops program. SAT JUNE 1, 2019 8pm Esther Heideman, soprano VERDI REQUIEM Shirin Eskandani, mezzo-soprano SAT APRIL 13, 2019 8pm Colin Eaton, tenor Kevin Short, baritone Danielle Talamantes, soprano National Philharmonic Chorale Margaret Lattimore, mezzo-soprano Piotr Gajewski, conductor Zach Borichevsky, tenor Kevin Deas, bass Bernstein Chichester Psalms National Philharmonic Chorale Beethoven Symphony No. 9 in D minor (“Choral”) Piotr Gajewski, conductor

Fantastic student chamber Free pre-concert lectures are offered 75 minutes ensembles are featured before concerts throughout the season. Please check throughout the season in the nationalphilharmonic.org for up-to-date information. concert lobby 45 minutes The Pre-Concert Lecture Series is sponsored by before concerts. Student Jean & Paul Dudek. performances are sponsored by the Misbin Family. *Potter Violins John Kendall Recital Hall 7711 Eastern Ave | Takoma Park, MD

NATIONAL PHILHARMONIC 3 THE DEBUT

SATURDAY, FEBRUARY 23, 2019, 8PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor

THE DEBUT

Zuill Bailey, cello Roberto Díaz, viola Piotr Gajewski, conductor Overture to “Manfred,” Op. 115 Robert Schumann (1810-1856)

Theme, Variations and Finale, Op. 13 Miklós Rózsa (1907-1995) Andante rubato Allegro scherzando Un poco meno allegro Moderato con gran espressione Vivo con spirit Andante quasi pastorale Allegro molto agitato e tumultuoso Moderato molto giusto Vivace INTERMISSION

Don Quixote, Op. 35 Richard Strauss (1864-1949) Introduction Theme: Don Quixote, the Knight of the Sorrowful Countenance Sancho Panza Variation 1: The Adventure with the Windmills Variation 2: The Battle with the Sheep Variation 3: Dialogue of Knight and Squire Variation 4: The Adventure with the Penitents Variation 5: The Knight’s Vigil Variation 6: The False Dulcinea Variation 7: The Ride Through the Air Variation 8: The Adventure with the Enchanted Boat Variation 9: The Combat with the Two Magicians Variation 10: The Defeat of Don Quixote by the Knight of the White Moon Finale: The Death of Don Quixote

Prelude to “Die Meistersinger Richard Wagner (1818-1883) von Nürnberg”

All Kids, All Free, All the Time is sponsored in part by Mrs. Patricia Haywood Moore and Dr. Roscoe M. Moore, Jr. and Dieneke Johnson. The Music Center at Strathmore Marriott Concert Stage ARTIST BIOGRAPHIES

Piotr Gajewski, conductor as the creation of summer institutes for young string players and singers, “Immensely talented master classes with esteemed visiting and insightful conductor, artists, and a concerto competition for whose standards, taste high-school students. Working with and sensitivity are the local school system, Gajewski also impeccable,” raves established and conducts annual concerts

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

NATIONAL PHILHARMONIC 5 ARTIST BIOGRAPHIES

Zuill Bailey, cello Kalmus "Ludwig Masters" has released his musical editions of the core repertoire Zuill Bailey, widely in celebration of his appearances considered one of the and recordings. premiere cellists in the world, is a Grammy Award Mr. Bailey performs on the "rosette" 1693 winner, distinguished Matteo Gofriller Cello, formerly owned

Photo credit Lisa-MariePhoto Mazzucco soloist, recitalist, chamber by Mischa Schneider of the Budapest musician, Artistic Director String Quartet. He is the Artistic Director and teacher. His rare combination of of El Paso Pro-Musica (Texas), the Sitka celebrated artistry, technical wizardry Summer Music Festival/Series and Cello and engaging personality has secured his Seminar (Alaska), the Northwest Bach place as one of the most sought after and Festival (Washington), guest Artistic active cellists today. Director of the Mesa Arts Center (Arizona) and Professor of Cello at the University of Recent highlights include appearances Texas at El Paso. with orchestras such as Los Angeles, Chicago, Detroit, Minnesota, Israel, San Roberto Díaz, viola Francisco, Toronto, Nashville, North Carolina, Indianapolis, Milwaukee, and A violist of international the Philharmonia (UK) with conductors reputation, Roberto Díaz Itzhak Perlman, Carlos Kalmar, Neeme is president and CEO Jarvi, Jun Markl, Stanislav Skrowaczewski, of the Curtis Institute Alan Gilbert, Andrey Borekyo, Krzysztof of Music. As a teacher Urbanski, Giancarlo Guerrero, Andrew of viola at Curtis and Litton, Grant Llewellyn and James former principal violist DePriest. He was honored as the of the Philadelphia Orchestra, Mr. Díaz distinguished Alumnus of 2014 by Johns has already had a significant impact on Hopkins University Peabody Institute. American musical life and continues to do so in his dual roles as performer and Zuill Bailey is an internationally renowned educator. Mr. Díaz has appeared as an recording artist with over twenty titles. orchestral soloist and recitalist in major Mr. Bailey's extensive discography cities around the globe and has worked includes the “Bach Cello Suites” and with many of the leading conductors and Britten Cello Symphony/Cello Sonata composers of our time, including Krzysztof CD’s, both of which immediately soared Penderecki, Jennifer Higdon and to the Number One spot on the Classical Edison Denisov. Billboard Charts. The Grammy Award winning “Tales of Hemingway,” swept A celebrated chamber artist and recitalist, the board with three Grammy Awards Mr. Díaz is a member of the Díaz Trio including Best Solo Performance by with violinist Andrés Cárdenes and cellist Zuill Bailey. Other celebrated releases Andrés Díaz, and performs frequently include the complete works for cello and on tour in programs featuring Curtis piano of Brahms, Beethoven and Barber students. His recording of transcriptions in addition to concertos of Prokofiev, by William Primrose with pianist Robert Tchaikovsky, Shostakovich, Dvorak, Elgar, Koenig (Naxos) was nominated for a 2006 Haydn, Schumann, Korngold, Saint Saens, Grammy. Mr. Díaz is a 1984 graduate of the Bloch, Brahms, Beethoven and the world Curtis Institute of Music, where his teacher premiere recordings of the Muhly and was his predecessor at the Philadelphia Daugherty Works for Cello and Orchestra. Orchestra, Joseph de Pasquale.

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On November 14, 1943, the 25-year-old orchestral pieces, rich in musical textures Leonard Bernstein, assistant conductor that capture the various moods of the at the New York Philharmonic, walked play and the tempestuous nature of its on the stage of Carnegie Hall to lead protagonist. The project was obviously the orchestra in an ambitious program, very dear to Schumann, who commented without having had time for any rehearsal. that he had never committed himself with He stepped in at the last moment to such love to any composition as he did in replace his mentor, Bruno Walter, who the case of “Manfred.” The complete work was ill with the flu. Almost fifty years premiered in Leipzig on March 14, 1852, later, in what was to be one of his last with the Overture being singled out as the interviews, Bernstein recalled the event: best. Leonard Bernstein highlighted this “I strode out and I don’t remember a piece as a particularly unnerving one in his thing from that moment—I don’t even debut concert, because it starts with a rest, remember intermission—until the sound therefore turning the opening of the piece of people standing and cheering and into a very tricky negotiation between clapping.” It was a momentous event in conductor and orchestra. In his own the musical life of the country, and the words, this difficult beginning “obsessed” enthusiastic response from the audience and “possessed” him like a nightmare. and critics made Bernstein an immediate celebrity. This program recreates that Theme, Variations and Finale, Op. 13 eventful evening. Miklós Rózsa Overture to “Manfred,” Op. 115 (born April 18, 1907 in Budapest, Hungary; died July 27, 1995 in Los Angeles, CA) Robert Schumann The Hungarian-American composer Miklós (born June 8, 1810 in Zwickau, Germany; Rózsa achieved international renown died July 29, 1856, in Bonn, Germany) as one of the finest composers of film and television music, having completed Schumann was one of the most literary almost 100 film scores. Even though it’s minded of all the Romantic composers. not written specifically as a film score, Not only was he a published poet before Theme, Variations and Finale, Op. 13, bears embarking on his musical studies, but he many of the qualities that made Rózsa also continued to derive inspiration from such a successful film music composer: literary and poetic sources throughout a wide range of moods, constantly his life as a composer. Not surprisingly, inventive and unusual textures, a pervasive he threw himself wholeheartedly into the sense of free improvisation, passionate project of writing incidental music for climaxes, evocative pastoral scenes, Lord Byron’s dramatic poem, Manfred, in driving rhythmic patterns, and striking 1848. Altogether, Schumann composed 16 contrasts of dynamics and sonorities. musical numbers for the play, for various These are all rhetorical aspects of music, orchestral and vocal combinations, but related to sensorial and perceptual only the Overture entered the canonic qualities that are often responsible for repertoire. It is widely regarded as one its visceral and immediate impact. The of Schumann’s most accomplished

NATIONAL PHILHARMONIC 7 PROGRAM NOTES

work was composed in 1933 and had machine, and features the cello as the its premiere in Duisburg, Germany, on soloist and the embodiment of the October 8, 1934. The theme on which the character of Don Quixote. The solo viola composition is based resonated deeply (and sometimes the tenor tuba and bass with Rózsa, because it came to him as he clarinet) depicts Don Quixote’s squire and was leaving his native Budapest to settle sidekick, Sancho Panza. The subtitle that in Paris, after having bid farewell to his Strauss appended to the work—“Fantastic family and friends to embark on a journey Variations for Large Orchestra on a whose outcome was quite uncertain. Theme of Knightly Character”—indicates Maybe the Theme, Variations and Finale the scope of the variations as they depict can accommodate an autobiographical not only Don Quixote’s shifting states reading, in which the composer charts of mind, but also a number of external the upsurge of emotions that attended circumstances that inspired some of this crucial juncture in his life. The sixth Strauss’s most charmingly descriptive variation was used in the soundtrack of orchestral writing. The part for the cello, four episodes of the 1950s television series, as befits the representation of a knightly “The Adventures of Superman.” character, is infused with nobility, majesty, and melodic lines of great lyricism. Don Quixote, Op. 35 Musically and technically, it is a tour de force in idiomatic writing for the cello, Richard Strauss covering the instrument’s entire expressive (born June 11, 1864, in Munich, Germany; range. Leonard Bernstein remembers died September 8, 1949, in Garmisch- going over some of the tricky spots with Partenkirchen, Germany) the cello and viola soloists in preparation for his debut concert, and also getting last- Richard Strauss was one of the greatest minute advice from Bruno Walter on some orchestrators in the history of Western cuts to the score. music. His finely tuned ear for orchestral color and nuances of sonorities is evident Prelude to “Die Meistersinger throughout his works in every genre. It von Nürnberg” was this innate talent for “describing” events and emotions through sound that Richard Wagner made him such a successful composer of (born May 22, 1813 in Leipzig, Germany; operas and symphonic, or tone, poems. In died February 13, 1883 in Venice, Italy) the latter genre, he produced a number of masterpieces that remain unchallenged Wagner began composing Die in post-Romantic music. One such work Meistersinger von Nürnberg, his comic is Don Quixote, Op. 35, a set of variations masterpiece, in 1862, but a full production that chronicles some episodes in the life of of the opera was not staged until 1868. Cervantes’s captivating character, one of The Prelude, however, which Wagner the major archetypes of Western culture. composed during a train journey to The work is written for an enormous Venice, was performed in public in orchestra with an array of percussion the fall of 1862. It is, in many ways, a instruments that even includes a wind perfect miniaturization of the opera as

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a whole, hinting at many of the musical characters and situations in the opera, and dramatic devices that unfold in and by creating these distinct and quite the complete work. The action of the precise connections, Wagner was able to opera revolves around a singing contest manipulate their structure and character in among the traditional meistersingers order to convey emotional and situational (poet singers) of Germany’s Middle Ages, changes that could be immediately and by extension reflects on the idea of apprehended. The climactic end of the what makes a great song, and how the Prelude, which leads directly into the power of music tugs at our emotions. congregation singing in the opera, also The Prelude anticipates at least four of works very well as a conclusion when the the opera’s main themes, each of which Prelude is performed as a concert piece. is presented separately before Wagner combines all four together. These @ James Melo, 2018 themes are associated with important

NATIONAL PHILHARMONIC 9 SOUNDS OF NEW ORLEANS

SATURDAY, MARCH 30, 2019, 8PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor

SOUNDS OF NEW ORLEANS A TRIBUTE TO LOUIS ARMSTRONG

Byron Stripling, trumpet Piotr Gajewski, conductor

After You’ve Gone Henry Creamer/Turner Layton

Tiger Rag Nick Larocca (arr. William Grimes)

St. James Infirmary Joe Primose (arr. Dennis Mackrel, Jeff Tyzik)

Sometimes I Feel Like a Motherless Child Traditional (arr. Larry Cook)

Do You Know What it Means to Miss Louis Alter, Eddie DeLange New Orleans (Byron Stripling & Trio only)

Saint Louis Blues Handy (arr. Jeff Tyzik)

Satchmo Scattin’ & Swingin’ Stripling (arr. Dennis Mackrel)

INTERMISSION

Won’t You Come Home Bill Bailey Hughie Cannon (arr. Jeff Tyzik)

Basin Street Blues Spencer Williams (Stripling & Trio only)

Down by the Riverside Traditional (arr. Jeff Tyzik)

What a Wonderful World Bob Thiele/George Weiss (Stripling & Trio only)

Just a Closer Walk Traditional (arr. Marty Robinson)

When the Saints Go Marchin’ In Traditional (arr. Lawrence Cook)

The Music Center at Strathmore Marriott Concert Stage

10 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Piotr Gajewski, Many will remember his featured cameo conductor performance in the television movie, “The Young Indiana Jones Chronicles,” and his (For Piotr Gajewski’s critically acclaimed virtuoso trumpet and biography, please see riotous comedic performance in the 42nd page 6.) Street production of “From Second Avenue to Broadway.” Photo credit Jay Mallin credit Jay Photo Television viewers have enjoyed his work Byron Stripling as soloist on the worldwide telecast of The Grammy Awards. Millions have A powerhouse trumpeter, heard his trumpet and voice on television gifted with a soulful commercials, TV theme songs including voice and a charismatic “20/20,” CNN, and soundtracks of onstage swagger, Byron favorite movies. Stripling has delighted audiences internationally. Stripling earned his stripes as lead As soloist with the Boston trumpeter and soloist with the Count Pops Orchestra, Stripling has performed Basie Orchestra under the direction of frequently under the baton of Keith Thad Jones and Frank Foster. He has also Lockhart, as well as being featured soloist played and recorded extensively with the on the PBS television special, “Evening bands of Dizzy Gillespie, Woody Herman, at Pops,” with conductors John Williams Dave Brubeck, Lionel Hampton, Clark and Mr. Lockhart. Currently, Stripling Terry, Louis Bellson, and Buck Clayton serves as artistic director and conductor in addition to The Lincoln Center Jazz of the highly acclaimed, award winning Orchestra, The Carnegie Hall Jazz Band, Columbus Jazz Orchestra. and The GRP All Star Big Band.

Since his Carnegie Hall debut with Stripling enjoys conducting Seminars and the New York Pops, Stripling has Master Classes at colleges, universities, emerged as one of America’s most conservatories, and high schools. His popular symphony pops guest artists, informative talks, combined with his having performed with over 100 incomparable wit and charm, make him orchestras around the world including a favorite guest speaker to groups of the Boston Pops, National Symphony, all ages. Pittsburgh Symphony, Detroit Symphony, Seattle Symphony, Baltimore Symphony, Stripling was educated at the Eastman Dallas Symphony, Minnesota Orchestra, School of Music in Rochester, New York Detroit Symphony, Vancouver Symphony, and the Interlochen Arts Academy in Toronto Symphony, and Dallas Symphony, Interlochen, Michigan. One of his greatest to name a few. He has been a featured joys is to return, periodically, to Eastman soloist at the Hollywood Bowl and and Interlochen as a special guest lecturer. performs at jazz festivals throughout the world. A resident of Ohio, Stripling lives in the country with his wife, former dancer, An accomplished actor and singer, writer and poet, Alexis and their Stripling was chosen, following a world beautiful daughters. wide search, to star in the lead role of the Broadway bound musical, “Satchmo.”

NATIONAL PHILHARMONIC 11 VERDI REQUIEM

SATURDAY, APRIL 13, 2019, 8PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor

VERDI REQUIEM

Danielle Talamantes, soprano Margaret Lattimore, mezzo-soprano Zach Borichevsky, tenor Kevin Deas, bass National Philharmonic Chorale Montgomery College Chorus Piotr Gajewski, conductor

Messa da Requiem Giuseppe Verdi (1813-1901) Introit and Kyrie (chorus, soloists) Dies irae Dies irae (chorus) Tuba mirum (chorus) Mors stupebit (bass) Liber scriptus (mezzo-soprano, chorus) Quid sum miser (soprano, mezzo-soprano, tenor) Rex tremendae (soloists, chorus) Recordare (soprano, mezzo-soprano) Ingemisco (tenor) Confutatis Maledictis (bass, chorus) Lacrymosa (soloists, chorus) Offertory Domine Jesu Christe (soloists) Hostias (soloists) Sanctus (double chorus) Agnus Dei (soprano, mezzo-soprano, chorus) Lux aeterna (mezzo-soprano, tenor, bass) Libera me (soprano, chorus) Libera me Dies irae Requiem aeternam Libera me

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

The Music Center at Strathmore Marriott Concert Stage

12 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Piotr Gajewski, Violetta in La Traviata at Cedar Rapids conductor Opera and Finger Lakes Opera and Adina in L’elisir d’amore at Gulfshore Opera. (For Piotr Gajewski’s biography, please see Talamantes recently released her debut page 6.) album, Canciones españolas, to critical acclaim and her sophomore album,

Photo credit Jay Mallin credit Jay Photo Heaven and Earth, A Duke Ellington Songbook is an exciting crossover into Danielle Talamantes, jazz. Both albums can be found on the soprano MSR Classics label.

“It’s not often that a Margaret Lattimore, fortunate operagoer mezzo-soprano witnesses the birth of a star!,” noted of soprano Grammy-nominated

Photo credit Cox Roy Photo Danielle Talamantes’ mezzo-soprano Margaret recent role debut as Lattimore is acclaimed Violetta in La Traviata. This season, as one of the most Talamantes returns to the Metropolitan versatile mezzo-sopranos Opera to reprise the role of Frasquita in performing today, singing Bizet’s Carmen. Additional performances repertoire from Händel and Mozart to include the role of Mimì in La Bohème Mahler, Verdi, and Wagner. Most recently, with the Fairfax Symphony, Beethoven’s Ms. Lattimore reprised the role of Mrs. Symphony No. 9 and Choral Fantasy at De Rocher in Dead Man Walking with Carnegie Hall, Handel’s Messiah with the Opera on the Avalon, sang Mahler’s La Jolla Symphony, Verdi’s Requiem with Symphony No. 2 with Pacific Symphony, the National Philharmonic and Fairfax Costa Rica National Symphony, and Symphony, and Mendelssohn’s Elijah Bozeman Symphony, and returned to with Choralis. The Metropolitan Opera for Les contes d’Hoffmann, The Exterminating Angel, Other recent engagements include a The Merry Widow, and Romeo et Juliette. return to the Metropolitan Opera to sing This season, Ms. Lattimore returns to The the role of Beatriz in the US premier of Metropolitan Opera in their production of Thomas Ades’ The Exterminating Angel Iolanta, performs the role of Filipyevna in and debut the role of Anna in Verdi’s Eugene Onegin with the Canadian Opera Nabucco, Fiordiligi in Mozart’s Così fan Company, and sings Verdi’s Requiem tutte with the National Philharmonic, with the National Philharmonic as well Marzelline in Beethoven’s Fidelio with as Mahler’s Symphony No. 2 with the the Princeton Festival Opera, Poulenc’s Sheboygan Symphony. Ms. Lattimore has Gloria with the Arizona State Symphony become an audience and critic favorite for Orchestra, Haydn’s Creation with Cathedral her one-of-a-kind portrayals throughout Choral Society, Handel’s Messiah with the her repertoire and on the concert stage. US Naval Academy, Phoenix Symphony, and Austin Symphony, the title role in Floyd’s Susannah with Opera Roanoke,

NATIONAL PHILHARMONIC 13 ARTIST BIOGRAPHIES

Zach Borichevsky, tenor with Washington National Opera, Gran Teatro del Liceu in Barcelona, and with the Tenor Zach Borichevsky Finnish Radio Symphony Orchestra. is known for his creation of “intimate moments of Kevin Deas, bass beauty.” Borichevsky has established himself as American bass Kevin one of the most exciting Deas is especially vocal talents on the celebrated for his riveting international stage, with performances portrayal of the title role in such as Rodolfo in La bohème with Porgy and Bess with the Finnish National Opera, Romeo in New York Philharmonic, Roméo et Juliette for Teatro Municipal National Symphony, St. de Santiago, and Alfredo in La traviata Paul Chamber Orchestra, Philadelphia for the Glyndebourne Festival. He has Orchestra, San Francisco, Atlanta, San graced opera stages across the globe Diego, Utah, Houston, Baltimore and with recent performances as Edmondo in Montreal Symphonies and at the Ravinia Manon Lescaut in his Metropolitan Opera and Saratoga Festivals. His recent début, Anatol in Vanessa for the Santa Fe recordings include Die Meistersinger with Opera, Rodolfo in La bohème with English the Chicago Symphony under the late Sir National Opera, and Alfredo in La traviata Georg Solti and Varèse’s Ecuatorial with with the Seattle Opera. This season, the ASKO Ensemble under Ricardo Chailly, Borichevsky performs as Eisenstein in Die both on Decca/London. Other releases Fledermaus with Palm Beach Opera and as include Bach’s B minor Mass and Handel’s a soloist in Verdi’s Requiem with National Acis & Galatea on Vox Classics and Dave Philharmonic. Future seasons will see Brubeck’s To Hope! with the Cathedral Borichevsky performing in house débuts Choral Society on the Telarc label.

MONTGOMERY COLLEGE CHORUS ROSTER

Dr. Molly Donnelly, Director Sydney Alexander Leah Duff Meribor Matusow Matthew August Rachel Fast Julia Nardini Cecchino Yasmine Benderson Susan Gadomski Isabel Nelligan George Benskin Johnny Gonzalez Julia Ostlund Robert Bowering Eric Greene William Paxton Jake Brown Jason Guerrero Gret Price Joel Castillo Gomez Adam Huie Gabrielle Rivera Emily Christian Patrick Judy Truman Robinson Benjamin Clark Denise Lindekugel Elizabeth Roddy Destiny Clark Amy Loberg Nita Roff Ann Cook Mark Lucero Nicholas Smith Luis Cordovez Veronica Magana Anne Schauer Becky DeLameter Eric Matthis Sarron Seyoum

14 NATIONAL PHILHARMONIC PROGRAM NOTES

Messa da Requiem accompany his wife Giuseppina when she went. Nevertheless, there is no question Giuseppe Verdi that his Messa da Requiem is a profoundly (born October 9, 1813 in La Roncole, Italy; religious work. In it, Verdi embodied all the died January 27, 1901 in Milan, Italy) tenets of the Christian faith to produce a work that is at once spiritual, religious, and The compositional history of Verdi’s philosophical. It is significant that the final greatest religious composition, the Messa impulse for the composition of the Messa da Requiem, is entangled with a massive da Requiem was the death of the great but failed project. When the great opera Italian humanist and writer Alessandro composer Gioacchino Rossini (whom Manzoni in 1873, whom Verdi greatly Verdi admired) died in 1868, Verdi came admired. The composition of the work up with the idea of a jointly composed proceeded swiftly from then on. The Messa Requiem to honor Rossini, calling on da Requiem was completed in April 1874, several Italian composers to collaborate by and was given its world premiere on the each composing a section of the Requiem. anniversary of Manzoni’s death, on May 22, Verdi launched the project by composing 1874, with Verdi himself conducting. Thus, the last movement, the “Libera me.” Verdi’s Messa da Requiem fulfills the wish Eventually, twelve major Italian composers he had originally set out to achieve with participated, and within one year the the Messa per Rossini: a grand religious Requiem had been completed, scheduled work performed to honor the memory of a to be performed on November 13, 1869 great artist. to mark the first anniversary of Rossini’s death. That premiere, however, never The Messa da Requiem is so massive happened due to a confusing combination that only rarely can it be performed in of artistic and bureaucratic mishaps. The a liturgical setting (as is the case with work was then completely forgotten, and Brahms’s A German Requiem). Lasting it was only in 1988 that the conductor an average of one hour and a half, and Helmuth Rilling resurrected the Requiem calling for enormous vocal and orchestral per Rossini and gave its world premiere in forces, it survives as a magnificent piece Stuttgart, Germany. of concert music, albeit one that has all the dramatic flair of Verdi’s most The failure of the Messa per Rossini accomplished operas. In fact, one of the project, however, seems to have motivated defining characteristics of the Messa da Verdi to pursue a full-fledged setting of Requiem is the plethora of musical and the traditional Requiem as a project of dramatic devices, the kind of which Verdi his own. Verdi was a man of somewhat had honed through many years as a conflicted religiosity, even though he successful opera composer. These include was a deeply spiritual person. One may rhythmic patterns that are more conducive say that, while he nurtured spirituality to the expression of violent passions rather as a central element in his psychological than as aids to contemplation; melodic makeup, he tended to shun most of the lines that beguile by their sensuality rather forms of organized religion. As an adult, than their introspective nature; contrasts he did not attend church and did not even of sonority and musical texture that are

NATIONAL PHILHARMONIC 15 PROGRAM NOTES

suited to the expression of passionate and Leonard Bernstein’s most consequential conflicted interactions in a secular context; encounter with Verdi’s Messa da Requiem and an overall approach to sonority that happened in London in February 1970, aims directly at the listeners’ emotions, when he conducted the London rather than their religiosity. This is not to Philharmonic Orchestra in a recording of say, however, that the Messa da Requiem this towering masterpiece. As he strode lacks in spirituality. As pointed out above, into the Royal Albert Hall, he announced Verdi’s approach to this dimension of the “We are assembled, gentlemen, hopefully human psyche had always been colored to record the Ingemisco.” The Ingemisco by a strand of humanism and secularism. is the fiendishly difficult aria for the tenor, We may say that, ultimately, Verdi’s which taxes even the greatest and most Messa da Requiem is a “catholic” work experienced of singers. This moment was in the original sense of the word, as the first of many dramas that attended being “universal.” the project, with some witnesses recalling the sessions as revelatory of Bernstein’s The reception history of the Messa da musical and diplomatic prowess, “a man of Requiem is a bit uneven. Reactions have supreme confidence and uncompromising ranged from outright admiration by integrity, even when crises threatened Brahms (“only a genius could have written to become disasters.” The star tenor, this work”), to malicious commentary the temperamental Franco Corelli, had by Hans von Bülow (when he labeled pulled out of the project, and the young the Messa da Requiem as Verdi’s latest and still inexperienced Placido Domingo, “opera,” but one in “ecclesiastical robes”), whose reputation was already soaring, and George Bernard Shaw’s prediction stepped in. Bernstein’s larger-than-life that the Messa da Requiem would endure personality was the unifying element in in the repertoire more consistently than a tumultuous project in which clashes any of Verdi’s operas. Closer to home and of personalities, intentions, and musical to our own turbulent times, the Messa da conceptions were often at a fever pitch. Requiem has been performed on many Domingo was understandably nervous. occasions when a musical work was To add to the difficulty of the grand tenor needed to honor and reinstate our loftiest aria, Bernstein took it at an unusually slow human aspirations. One such occasion is tempo. Somehow, through his experience the tradition of honoring the prisoners of and superb musical instincts, he managed the concentration camp of Theresienstadt to reassure the young Domingo and led (Terezín), who performed Verdi’s sublime him—and the entire cast—into a musical work 16 times between 1943 and 1944. One journey that brought Verdi’s masterpiece is left to imagine how these performances to life, in all the grandeur and terror of its were possible at all, but most importantly, transcendent beauty. how powerfully ennobling they must have been as the work lifted those prisoners @James Melo, 2018 into a state of renewed dignity. In other situations, the Messa da Requiem has been staged in the manner of an opera, in acknowledgment of its inherent dramatic powers.

16 NATIONAL PHILHARMONIC TEXT AND TRANSLATIONS

Giuseppe Verdi: Messa da Requiem

I. Requiem and Kyrie I. Requiem and Kyrie Chorus: Chorus: Requiem aeternam dona eis, Domine; Grant them eternal rest, O Lord; et lux perpetua luceat eis. and may perpetual light shine upon them. Te decet hymnus, Deus, in Sion, A hymn in Zion befits you, O God, et tibi reddetur votum in Jerusalem. and a debt will be paid to you in Jerusalem. Exaudi orationem meam: Hear my prayer: ad te omnis caro veniet. all earthly flesh will come to you. Quartet and Chorus: Quartet and Chorus: Kyrie eleison. Lord, have mercy upon us. Christe eleison. Christ, have mercy upon us. Kyrie eleison. Lord, have mercy upon us. II. Sequence II. Sequence Chorus: Chorus: Dies irae, dies illa, The day of wrath, that day will solvet saeclum in favilla, dissolve the world in ashes, teste David cum Sibylla. as David and the Sibyl prophesied. Quantus tremor est futurus, How great will be the terror, quando judex est venturus, when the Judge comes cuncta stricte discussurus! who will smash everything completely! Tuba mirum spargens sonum, The trumpet, scattering a marvelous sound per sepulcra regionem, through the tombs of every land, coget omnes ante thronum. will gather all before the throne. Bass: Bass: Mors stupebit et natura, Death and Nature shall stand amazed, cum resurget creatura, when all Creation rises again judicanti responsura. to answer to the Judge. Mezzo-soprano and Chorus: Mezzo-soprano and Chorus: Liber scriptus proferetur, A written book will be brought forth, in quo totum continetur, which contains everything unde mundus judicetur. for which the world will be judged. Judex ergo cum sedebit, Therefore when the Judge takes His seat, quidquid latet apparebit: whatever is hidden will be revealed: nil inultum remanebit. nothing shall remain unavenged. Dies irae, dies illa, The day of wrath, that day will solvet saeclum in favilla, dissolve the world in ashes, teste David cum Sibylla. as David and the Sibyl prophesied. Soprano, Mezzo-soprano and Tenor: Soprano, Mezzo-soprano and Tenor: Quid sum miser tunc dicturus? What can a wretch like me say? Quem patronum rogaturus, Whom shall I ask to intercede for me, cum vix justus sit securus? when even the just ones are unsafe?

NATIONAL PHILHARMONIC 17 TEXT AND TRANSLATIONS

Solo Quartet and Chorus: Solo Quartet and Chorus: Rex tremendae majestatis, King of dreadful majesty. qui salvandos salvas gratis: who freely saves the redeemed ones, salva me, fons pietas. save me, O font of pity. Soprano and Mezzo-soprano: Soprano and Mezzo-soprano: Recordare, Jesu pie, Recall, merciful Jesus, quod sum causa tuae viae: that I was the reason for your journey: ne me perdas illa die. do not destroy me on that day. Quaerens me, sedisti lassus; In seeking me, you sat down wearily; redemisti crucem pacem: enduring the Cross, you redeemed me: tantus labor non sit causas. do not let these pains to have been in vain. Juste judex ultionis: Just Judge of punishment: donum fac remissionis give me the gift of redemption ante diem rationis. before the day of reckoning. Tenor: Tenor: Ingemisco tamquam reus, I groan as a guilty one, culpa rubet vultus meus; and my face blushes with guilt; supplicanti parce, Deus. spare the supplicant, O God. Qui Mariam absolvisti, You, who absolved Mary Magdalen, et latronem exaudisti, and heard the prayer of the thief, mihi quoque spem dedisti. have given me hope, as well. Preces meae non sunt digne, My prayers are not worthy, sed tu, bonus, fac benigne, but show mercy, O benevolent one, ne perenni cremer igne. lest I burn forever in fire. Inter oves locum praesta, Give me a place among the sheep, et ab haedis me sequestra, and separate me from the goats, statuens in parte dextra. placing me on your right hand. Bass and Chorus: Bass and Chorus: Confutatis maledictis, When the damned are silenced, flammis acribus addictis, and given to the fierce flames, voca me cum benedictis. call me with the blessed ones. Oro supplex et acclinis, I pray, suppliant and kneeling, cor contritum quasi cinis: with a heart contrite as ashes: gere curam mei finis. take my ending into your care. Chorus: Chorus: Dies irae, dies illa, The day of wrath, that day will solvet saeclum in favilla, dissolve the world in ashes, teste David cum Sibylla. as David and the Sibyl prophesied. Solo Quartet and Chorus: Solo Quartet and Chorus: Lacrymosa dies illa, That day is one of weeping, qua resurget ex favilla, on which shall rise from the ashes judicandus homo reus. the guilty man, to be judged. Huic ergo parce, Deus. Therefore, spare this one, O God. Pie Jesu Domine: Merciful Lord Jesus: dona eis requiem. grant them peace. Amen. Amen.

18 NATIONAL PHILHARMONIC TEXT AND TRANSLATIONS

III. Offertorio III. Offertorio Quartet: Quartet: Domine Jesu Christe, Rex gloriae: O Lord Jesus Christ, King of Glory: libera animas omnium fidelum deliver the souls of all the faithful defunctorum de poenis inferni dead from the pains of hell and from the et profondo lacu; libera eas de ore leonis; deep pit; deliver them from the mouth of the lion; ne absorbeat eas tartarus, that hell may not swallow them, and ne cadant in obscurum. that they may not fall into darkness. Sed signifer sanctus Michael But may the holy standard-bearer Michael repraesentet eas in lucem sanctam. show them the holy light; Quam olim Abrahae promisisti et semini ejus. which you once promised to Abraham and his descendents. Hostias et preces tibi, Domine, laudis offerimus. We offer to you, O Lord, sacrifices and prayers. Tu suscipe pro animabus illis, quarum hodie Receive them on behalf of those souls whom memoriam facimus. we commemorate today. Fac eas, Domine, de morte transire ad vitam, Grant, O Lord, that they might pass from quam olim Abrahae promisisti et semini ejus. death into that life which you once promised to Abraham and his descendents. Libera animas omnium fidelum defunctorum Deliver the souls of all the faithful dead from de poenis inferni; the pains of hell; fac eas de morte transire ad vitam. Grant that they might pass from death into that life. IV. Sanctus IV. Sanctus Double Chorus: Double Chorus: Sanctus, sanctus, sanctus, Holy, holy, holy, Lord God of Sabaoth. Dominus Deus Sabaoth. Heaven and earth are filled with your glory. Pleni sunt coeli et terra gloria tua. Hosanna in the highest! Hosanna in excelsis! Blessed is he that comes Benedictus qui venit in nomini Domini. in the name of the Lord. Hosanna in excelsis! Hosanna in the highest! V. Agnus Dei V. Agnus Dei Soprano, Mezzo-soprano, and Chorus: Soprano, Mezzo-soprano, and Chorus: Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the dona eis requiem. world, grant them rest. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the dona eis requiem sempiternam. world, grant them rest everlasting.

NATIONAL PHILHARMONIC 19 TEXT AND TRANSLATIONS

VI. Lux aeterna VI. Lux aeterna Mezzo-soprano, Tenor and Bass: Mezzo-soprano, Tenor and Bass: Lux aeterna luceat eis, Domine, Let eternal light shine upon them, O Lord, cum sanctis tuis in aeternam; quia pius es. with your saints forever; for you are merciful. Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, and may et lux perpetua luceat eis, perpetual light shine upon them cum sanctis tuis in aeternam; quia pius es. with your saints forever; for you are merciful. VII. Libera me VII. Libera me Soprano and Chorus: Soprano and Chorus: Libera me, Domine, de morte aeterna in Deliver me, O Lord, from eternal death on that die illa tremenda; awful day, quando coeli movendi sunt et terra: when the heavens and the earth shall be moved: dum veneris judicare saeclum per ignem. when you will come to judge the world by fire. Tremens factus sum ego et timeo, dum I tremble, and I fear the judgment and the discussio venerit atque ventura irae, quando wrath to come, when the heavens and the coeli movendi sunt et terra. earth shall be moved. Dies irae, dies illa calamitatis et miseriae; dies The day of wrath, that day of calamity and magna et amara valde. misery; a great and bitter day, indeed. Requiem aeternam, dona eis, Domine, et lux Grant them eternal rest, O Lord, and may perpetua luceat eis. perpetual light shine upon them. Libera me, Domine, de morte aeterna in die Deliver me, Lord, from eternal death on that illa tremenda. awful day. Libera me, Domine, quando coeli movendi Deliver me, O Lord, when the heavens and sunt et terra; the earth shall be moved; dum veneris judicare saeclum per ignem. when you will come to judge the world by fire. Libera me, Domine, de morte aeterna in die Deliver me, Lord, from eternal death on that illa tremenda. awful day. Libera me. Deliver me.

20 NATIONAL PHILHARMONIC NATIONAL PHILHARMONIC 21 BERNSTEIN & BEETHOVEN: PART 1

SATURDAY, MAY 11, 2019, 8PM

The National Philharmonic Piotr Gajewski, Music Director and Conductor BERNSTEIN & BEETHOVEN: PART 1

Michael Brown, piano Piotr Gajewski, conductor

Symphony No. 2 (“The Age of Anxiety”) Leonard Bernstein (1918-1990) PART ONE The Prologue: Lento moderato The Seven Ages Variation 1—L’istesso tempo Variation 2—Poco più mosso Variation 3—Largamente, ma mosso Variation 4—Più mosso Variation 5—Agitato Variation 6—Poco meno mosso Variation 7—L’istesso tempo The Seven Stages Variation 8—Molto moderato, ma movendo Variation 9—Più mosso (Tempo di Valse) Variation 10—Più mosso Variation 11—L’istesso tempo Variation 12—Poco più vivace Variation 13—L’istesso tempo Variation 14—Poco più vivace

PART TWO The Dirge: Largo The Masque: Extremely fast The Epilogue: Adagio—Andante—Con moto

INTERMISSION

Symphony No. 5 in C minor, Op. 67 Ludwig van Beethoven (1770-1827) Allegro con brio Andante con moto Scherzo: Allegro Allegro

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The Music Center at Strathmore Marriott Concert Stage

22 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Piotr Gajewski, and Maryland Symphony Orchestras conductor and the New York Youth Symphony in Carnegie Hall’s Stern Auditorium. Mr. (For Piotr Gajewski’s Brown joined the roster of The Chamber biography, please see Music Society of Lincoln Center’s CMS page 6.) Two program in 2015 and performs with the Society in Alice Tully Hall and on

Photo credit Jay Mallin credit Jay Photo tour. He regularly performs concerto and solo recitals; in a trio with violinist Elena Michael Brown, piano Urioste and cellist Nicholas Canellakis, and frequently performs recitals with each Winner of a 2015 Avery of them. Recent commissions of his own Fisher Career Grant, compositions include a Piano Concerto Michael Brown has been for the Maryland Symphony Orchestra described by The New and works for the Look & Listen Festival, York Times as a “young Bargemusic, Concert Artists Guild, and

Photo credit NedaPhoto Navaee piano visionary” and “one Lincoln Center’s Great Performers. A of the leading figures native New Yorker, Mr. Brown earned in the current renaissance of performer- dual Bachelor’s and Master’s degrees in composers.” Selected by Sir András Schiff Piano and Composition from The Juilliard for his “Building Bridges” series in 2016-17, School, where he studied with pianists Mr. Brown will make debut solo recitals Jerome Lowenthal and Robert McDonald in Berlin, Florence, Milan, Frankfurt, and composers Samuel Adler and Robert Antwerp, Zurich, and New York’s 92nd Beaser. Michael Brown is a Steinway Street Y. Recent highlights include debuts Artist. michaelbrownmusic.com with the Seattle, North Carolina, Flagstaff,

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NATIONAL PHILHARMONIC 23 PROGRAM NOTES

Leonard Bernstein it feverishly: in planes, in hotel lobbies, in (born August 25, 1918 in Lawrence, MA; transit between several cities. The work died October 14, 1990 in New York City, NY) was commissioned by Serge Koussevitzky, Bernstein’s longtime mentor, who also Symphony No. 2 (“The Age of Anxiety”) conducted the premiere with the Boston (composed 1948-49; premiered April 8, 1949) Symphony and Bernstein himself on the piano. Leonard Bernstein’s Symphony No. 2 (“The Age of Anxiety”) is a genre-defying The literary, musical, and expressive work that combines elements of content of the Symphony No. 2 is nothing symphony, concerto, and program music. less than a capsule of the entire human Inspired by his reading of the dramatic journey, from cradle to grave. The poem poem The Age of Anxiety by W.H. Auden, (and the symphony) opens with three the genesis of the Symphony No. 2 may men and a woman gathered in a bar be compared with another Bernstein where, prompted by drinking and leisurely masterpiece based upon a literary work, talk, they discuss the human existence the Serenade after Plato’s “Symposium.” and predicament, our constant search In both cases, the composition evolved for meaning, our hopes and aspirations, through a give-and-take process: musical the failure of many of our projects to and literary elements alternatively laid materialize, the inevitability of death, claim to the structure of the piece. and the ultimate loneliness that besets However, Symphony No. 2’s debt to its each one of us. Such a wealth of symbols literary structure is more direct, since and topics elicited from Bernstein an Bernstein retained the dramatic outline equally varied, nuanced, and multilayered of Auden’s poem as the framework. musical writing, with a great variety of The work is constructed along several instrumentation and textures deployed symmetrical patterns. It consists of two throughout the symphony. Its musical parts, each divided into three sections. language, in analogy to the poetic These six sections are titled after the language, traces several of the forms corresponding sections in Auden’s poem, and techniques developed through the a clear sign that Bernstein intended to history of Western music, varying from emulate their literary mood and character. functional tonality to serialism and jazz. This is not surprising, given the strong The inclusion of the piano (which lends reaction that Auden’s poem elicited from the symphony the character of a concerto him. Bernstein considered the poem “one for piano and orchestra) was explained of the most shattering examples of pure by Bernstein as an attempt to provide an virtuosity in the history of English poetry.” autobiographical voice in the work, with Auden’s poem won the Pulitzer Prize in the piano representing the protagonist 1948, but was received ambivalently by of the quest depicted in the journey. The many critics, with opinions ranging from close connection between Auden’s poem its outright dismissal by some as Auden’s and Bernstein’s symphony was pointed worst work, to unqualified praise by T.S. out by Bernstein himself in the notes he Eliot. From the moment Bernstein decided wrote for the premiere: “I had not planned to compose the symphony, he worked on a ‘meaningful’ work, at least not in the

24 NATIONAL PHILHARMONIC PROGRAM NOTES

sense of a piece whose meaning relied by the horns” and make it do his bidding. on details of programmatic implication. The work was composed at the height of I was merely writing a symphony inspired Beethoven’s second stylistic period (the by a poem and following the general form so-called “heroic” period) in C minor, his of that poem. Yet, when each section was favorite key for deploying heroic and tragic finished I discovered, upon re-reading, feelings. Although written in the traditional detail after detail of programmatic relation layout of a classical symphony in four to the poem—details that had ‘written movements, the internal structure of the themselves,’ wholly unplanned work clearly looks forward to Romantic and unconscious…” compositional techniques. The entire first movement is based on the elaboration of The score of Bernstein’s Symphony No. 2 the famous and ubiquitous opening motive was choreographed by Jerome Robbins of four notes, which is transformed in an in a work also titled “The Age of Anxiety,” almost infinite series of minute variations but of the three works under that title—a in sound, rhythmic profile, harmonization, poem, a symphony, and a ballet—it is instrumentation, register, and dynamics. Bernstein’s symphony that most readily The introspective slow movement comes to mind. provides a lyrical interlude between the drama of the first movement and the truly Symphony No. 5 in C minor, Op. 67 mysterious (even ominous) “Scherzo” (Composed 1804-1808; premiered that follows. In this movement, echoes of December 22, 1808) the opening motive reappear, this time no longer affirmative and defiant, but Ludwig van Beethoven imbued with doubt, expectation, and (baptized December 17, 1770 in Bonn, uncertainty. The end of the “Scherzo” Germany; died March 26, 1827 in contains one of the most hair-raising Vienna, Austria) passages in music: over a long and Few works in the history of Western sustained crescendo, highlighted by music have sustained such an enduring an obsessive motive in the timpani, the popularity, critical status, and international entire orchestra swells toward the finale, admiration as Beethoven’s Symphony launching into a martial and victorious No. 5. It is, by any measure, one of the motive on an immediate modulation to most performed, recorded, adapted, and C major. The effect is truly one of having abused of all the works in the canonical conquering the darkness, of having repertoire. It has been appropriated for reached the summit, of affirming the vital political, social, and marketing purposes, energies of life. No wonder the four-note subjected to untold forms of parody, motive that opens this symphony has enlisted to serve as a beacon of freedom acquired such an iconic presence in our and a harbinger of violence, and analyzed collective imagination as the “fate” motive. from every conceivable perspective. The The BBC used it to preface its broadcasts Symphony No. 5 is also surrounded in during World War II, and its rhythm (short- the fog of legend and anecdote, having short-short-long) is the Morse Code for acquired a veneer as an autobiographical the letter “V,” which in turn was adapted work in which Beethoven depicted, in as an emblem of victory (“V for Victory,” music, his motto that he would “take fate due to the Roman numeral for “5”).

NATIONAL PHILHARMONIC 25 PROGRAM NOTES

The range of associations attached to pleasure that rose up in jubilant tones the Symphony No. 5 touches on every sinks and succumbs, and only through aspect of music, culture, and society. One this pain, which, while consuming but not of the most exuberant descriptions of the destroying love, hope, and joy, tries to burst work was given by the poet, critic, and our breasts with full-voiced harmonies of all composer E.T.A. Hoffmann, who reviewed the passions, we live on and are captivated the premiere (though the review was beholders of the spirits. unsigned) in the Allgemeine musikalische Zeitung, and of which this is an excerpt: This Romantic outpouring is an early evidence of the mysterious power that Radiant beams shoot through this region's Beethoven’s Symphony No. 5 has exerted deep night, and we become aware of over listeners everywhere, and at gigantic shadows which, rocking back every time. and forth, close in on us and destroy everything within us except the pain of @ James Melo endless longing—a longing in which every

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26 NATIONAL PHILHARMONIC BERNSTEIN + BEETHOVEN: PART 2

SATURDAY, JUNE 1, 2019, 8PM

The National Philharmonic Pior Gajewski, Music Director and Conductor BERNSTEIN + BEETHOVEN: PART 2

Esther Heideman, soprano Shirin Eskandani, mezzo-soprano Colin Eaton, tenor Kevin Short, baritone Enzo Baldanza, boy soprano National Philharmonic Chorale Piotr Gajewski, conductor

Chichester Psalms Leonard Bernstein (1918-1990) Introduction: Psalm 108, vs. 2 First Movement: Psalm 100 Second Movement: Psalm 23 and Psalm 2, vs. 1-4 Third Movement: Psalm 131 Finale: Psalm 133, vs. 1

INTERMISSION

Symphony No. 9 in D minor, Op. 125 Ludwig van Beethoven (1770-1827) Allegro ma non troppo, un poco maestoso Molto vivace Adagio molto e cantabile Finale: Presto—Allegro assai

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The Music Center at Strathmore Marriott Concert Stage

NATIONAL PHILHARMONIC 27 ARTIST BIOGRAPHIES

Piotr Gajewski, Symphony Orchestra, Aspen Music conductor Festival, Virginia Symphony Orchestra, Jacksonville Symphony, National (For Piotr Gajewski’s Philharmonic, Buffalo Philharmonic, biography, please see Milwaukee Symphony, Cincinnati page 6.) Symphony, Seattle Symphony, Boston Baroque, Amsterdam Symphony

Photo credit Jay Mallin credit Jay Photo Orchestra, Orquestra del Gran Teatre del Liceu, the U.S. Naval Academy, and the Esther Heideman, Rotterdam Philharmonic Orchestra. soprano In addition to performing the staples of Angelic is the word that traditional concert repertoire, such as has most often been used Beethoven’s Symphony No. 9, Mahler’s to describe the silvery, Symphony No. 2 or No. 4, Mozart's C- pure, sweet tone minor Mass, Handel's Messiah and Orff's of Esther Heideman's Carmina Burana, Esther Heideman has vocal artistry. In 2000, featured prominently in the premieres she won the Metropolitan Opera National of some of today's most respected Council Auditions and the Licia Albanese contemporary composer. These have Competition. In 2001, she made her included the role of Jenny Lind in Libby Metropolitan Opera debut singing Larsen’s opera Barnum’s Bird (Plymouth Pamina in Mozart’s Die Zauberflöte. Music Series, Philip Brunelle), Sister These performances were immediately Angelica in The Three Hermits by Stephen followed by her debut with the New York Paulus, and The Revelation of St. John by Philharmonic in Bach’s Christmas Oratorio, Daniel Schnyder (with the Orquestra del and her European debut with the Prague Gran Teatre del Liceu under Sebastian Radio Symphony, singing in Mahler's Weigel and Milwaukee Symphony under Second Symphony. Andreas Delfs), as well as Deus Passus by Wolfgang Rihm (Rotterdam Philharmonic, Esther was raised on a dairy farm in small Markus Stenz). Ms. Heideman lived in town Wisconsin, and was involved in band, Beijing, China for 1.5 years, performing choir and church music from a young age, many concerts with the Beijing New Music but never took a voice lesson until she Ensemble. Since moving back to the was 18. Originally she attended college to U.S., Esther has also returned to the become a band/choir teacher, but it was Aspen Music Festival every summer there she discovered her true passion for to perform music with the Aspen singing, and has dedicated her life to it Contemporary Ensemble. ever since. Upcoming performances include R. Evan’s Ms. Heideman's career began with Ireland’s Poet Patriots with the National her Carnegie Hall debut, singing Cathedral, Britten’s War Requiem with Handel’s Messiah. Since this time, she Music Worcester, Szymanowski’s Stabat has performed with major orchestras Mater with the National Philharmonic, and throughout the world, such as the a holiday concert at the Kennedy Center Baltimore Symphony, Pittsburgh in 2018. Esther is also currently recording a Symphony, St. Louis Symphony, Atlanta CD to be released on iTunes. When Symphony, Minnesota Orchestra, Saint not performing, she enjoys teaching Paul Chamber Orchestra, Philadelphia lessons and masterclasses and sharing Pops, Daejeon Philharmonic Orchestra, her knowledge and experience with Beijing New Music Ensemble, Chicago young performers. 28 NATIONAL PHILHARMONIC ARTIST BIOGRAPHIES

Shirin Eskandani, Colin Eaton, tenor mezzo-soprano Colin Eaton is known Hailed by Opera Today for around the Washington, her “pleasing and pliant DC Metropolitan area voice,” Iranian-Canadian and internationally for his mezzo-soprano Shirin classical repertoire, but Eskandani recently made possesses a versatility her Metropolitan Opera that crosses many stage debut as Mercedes in Carmen. She genres. Locally, Eaton’s oratorio solo and is the recipient of several prestigious concert performances have included awards, including first place at the Gerda Mendelssohn's St. Paul, Haydn’s Creation, Lissner Foundation Vocal Competition Carl Orff's Carmina Burana, Rossini's and fourth place at the Licia Albanese- Stabat Mater, Bruckner's Te Deum, Puccini Competition. Verdi’s Requiem, Mozart's Requiem, and most recently Scenes from the Life of a Career highlights include company Martyr with the Richmond Symphony. debuts with the Rossini Opera Festival, Internationally, Colin was a member of the Sarasota Opera and Opera Southwest. crossover classical tenor trio known as Ms. Eskandani’s recent roles include Vai DaCapo. As a member of Vai DaCapo, Dorabella in Cosi fan Tutte; Sandrina in he performed for sellout live audiences un Avvertimento ai Gelosi; Angelina in La throughout Germany and recorded Cenerentola; Zaida in Il Turco in Italia; the concerts were selected to be aired in 85% Mother in Hansel and Gretel; and Ragonde of PBS’ U.S. markets. in Le Comte Ory. In service to our great nation, Eaton has On the concert stage, Ms. Eskandani has been a prominent member of the world- performed in numerous works including renowned United States Army Band Bach’s Matthäus-Passion; Haydn’s Lord “Pershing’s Own” for 19 years, recently Nelson Mass; Handel’s Messiah; and earning the rank of Sergeant Major and is Duruflé’s Requiem. She has premiered currently Group Leader of the esteemed several works including The Oratorio vocal ensemble The Army Voices. to End all Oratorios with the Vancouver Symphony Orchestra and the Royal Kevin Short, Winnipeg Ballet’s performance of baritone Handel’s Messiah. Kevin Short's most Ms. Eskandani is a Midwest District recent and future Finalist at the Metropolitan Opera National engagements include Council Auditions and has worked as a Grenvil La Traviata and young artist with Merola Opera, Palm Le Duc Roméo et Juliette Beach Opera, Opera Theatre of Saint Metropolitan Opera, Louis, Syracuse Opera, the Ash Lawn Porgy Porgy and Bess Seattle Opera, Jack Opera Festival, and Banff Centre Opera. Rance La Fanciulla del West New York She received her Bachelor of Music from City Opera, Le Comte De Gormas Le Cid the University of British Columbia and Theater St. Gallen, Archibaldo L’amore her Master of Music from the Manhattan dei tre re Sarasota Opera, and Nick School of Music. Shadow The Rake’s Progress Théâtre de

NATIONAL PHILHARMONIC 29 ARTIST BIOGRAPHIES

Caen, Opéra de Reims, Opéra de Rouen, Enzo Baldanza, Opéra de Limoges, and Grand Théâtre de boy soprano Luxembourg. Recordings include Lodovico Otello and a solo album for Pentatone Boy soprano Enzo Music Label. Kevin Short sang in over Baldanza is in sixth grade twenty operas at The Metropolitan Opera, at St. Albans School in and performed with Santa Fe Opera, Washington, D.C. He Lyric Opera of Chicago, Houston Grand has been a member of Opera, Los Angeles Opera, Washington the National Cathedral National Opera, Opera Company of Boy Choristers for two years. Enzo began Philadelphia, Canadian Opera Company, his musical journey at six months in the Opéra Comique, Oper Köln, Staatstheater Music Together® program and started Stuttgart, Teatro Comunale di Bologna, playing violin at age three. Baldanza is Theater Basel, Bregenzer Festspiele and now an accomplished violinist and lives at Festival d'Aix-en-Provence. home with his parents and two dogs. He has performed the treble solo in Leonard Bernstein’s Chichester Psalms with the National Symphony Orchestra June 2018, The Duke Evensong Singers October 2018, and performed Handel’s Messiah 1741 boy soprano solo part at the Washington National Cathedral December 2018. In addition to making music, Enzo loves sports, science and studying airplanes.

PROGRAM NOTES

Chichester Psalms be vacant and devoid of an immediate goal. He acknowledged as much, when Leonard Bernstein he wrote later that year to the composer (born August 25, 1918 in Lawrence, MA; David Diamond, referring to himself as died October 14, 1990 in “a composer without a project.” It was in New York City, NY) this context that the Chichester Psalms were composed. In December 1963, Leonard Bernstein composed the Bernstein received a letter from Walter Chichester Psalms during a period of great Hussey, Dean of Chichester Cathedral in emotional and creative distress. In early England, commissioning a set of Psalms 1964, unable to get over the assassination to be performed during the 1965 Southern of President John F. Kennedy, Bernstein Cathedrals Festival, which united the in addition found himself having to cope cathedrals of Chichester, Winchester, and with the murder of his close friend and Salisbury. Hussey specifically wished for collaborator, the composer Marc Blitzstein, a setting of Psalm 2, in a more popular with whom he was involved in a large and accessible style, and with even “a compositional project. All of a sudden, his hint of West Side Story about the music.” personal and professional life seemed to Bernstein, however, embarked on a

30 NATIONAL PHILHARMONIC PROGRAM NOTES

project of a far grander scale. Reeling from Psalm, followed by excerpts from a the emotional intensity of his recently related Psalm. Bernstein specified that completed Symphony No. 3 (“Kaddish”), the text be sung in Hebrew, and many an elegiac work in memory of John critics view this blending of Christian F. Kennedy, Bernstein conceived the and Jewish elements as a plea for peace Chichester Psalms in a more optimistic, in light of contemporaneous events in life-affirming, and altogether more serene the young state of Israel. Stylistically, the way. His working title for the project was mixture of accessible tonal idiom with Psalms of Youth, but he was concerned unorthodox treatment of some of tonality’s this title would give the impression that the basic building blocks created a work in work was intended for amateurs or that it which conflicting emotions coexist in a was easy to perform. Ultimately, Chichester tense balancing act. Bernstein himself, Psalms, which was completed in the spring in assessing the work, commented that of 1965, turned out to be a work of great “it has an old-fashioned sweetness musical complexity that posed significant along with its more violent moments.” difficulties for its performers. Interestingly, the world premiere did not occur at Chichester Cathedral, but at the Bernstein wrote the Chichester Psalms Philharmonic Hall in New York City on in a prevailingly tonal idiom, moving July 15, 1965, with Bernstein conducting. away from the 12-tone works that he The first performance at the Chichester had just completed. While the melodic Festival followed on July 31, conducted by and harmonic vocabulary is essentially John Birch. After that performance, a critic tonal, the pervasive use of the dissonant from the London Sunday Times hailed interval of a 7th (a number that has Bernstein as a truly religious composer, important symbolic meanings in both “of the kind that Luther must have had in Christianity and Judaism) creates mind when he grudged the devil all the some unusual relations between the good tunes.” Chichester Psalms went on several voices and between voices to become Bernstein’s most frequently and instruments. Rhythmically, some performed choral work. sections of the Chichester Psalms also depart from traditional structures, such Ludwig van Beethoven as the highly unusual meter of 7/4 in (baptized December 17, 1770 in Bonn, the first movement. The full orchestral Germany; died March 26, 1827 in version of the work includes, among a Vienna, Austria) variety of orchestral textures, two very demanding parts for harps. Textually, Beethoven’s Symphony No. 9 in D minor, the work combines excerpts and styles Op. 125, sometimes referred to as his associated with Christian liturgical music “Choral” symphony, belongs to that rank (particularly homophonic text setting and of artworks about which any form of imitative polyphony) with other elements critical commentary inevitably falls short. derived from Judaic liturgical traditions A genre-defying and groundbreaking work, (such as melodic formulas and inflections it has impressed itself in the collective derived from Hebrew). Each of the three imagination of humankind in a deep and movements of Chichester Psalms follows perpetually reinvigorating manner, calling the same structure: a setting of a complete for renewed interpretation in every new

NATIONAL PHILHARMONIC 31 PROGRAM NOTES

context or presentation. It is impossible an unsurpassed richness of thematic to overestimate the significance of this variation, harmonic inventiveness, and symphony in the development of Western rhythmic innovation. The element of music. No less a towering figure than surprise is always present, as Beethoven Richard Wagner acknowledged his debt to provides a seemingly inexhaustible tour of Beethoven’s masterpiece, seeing in it the musical procedures unheard of until then. very fountainhead of many new paths in Take, for example, how the last movement music. The gigantic, hybrid symphonies/ and the “Choral” portion of the symphony song cycles of Gustav Mahler would be are introduced. The movement starts inconceivable without the model provided with the orchestra only, the instruments by Beethoven’s Symphony No. 9. taking turns presenting material derived Its cultural meaning is equally all- from all the previous movements, as if encompassing, having acquired an iconic Beethoven were reminding the audience presence in the most diverse societies and of the before in preparation for the after. being enlisted as a vehicle of a bewildering Then, the theme of the “Ode to Joy” is array of political and social causes. Much presented instrumentally, after which the of this mythological status is related to solo baritone sings these words, written by the setting, in the last movement of the Beethoven himself: ''O Freunde, nicht diese symphony, of Friedrich Wilhelm Schiller’s Töne!' Sondern laßt uns angenehmere poem “Ode to Joy.” This movement alone anstimmen, und freudenvollere.'' ("Oh is longer than many Classical symphonies friends, not these sounds! Let us instead in their entirety, and Beethoven himself strike up more pleasing and more joyful had difficulties in describing its particular ones!"). It is as if he were saying that now nature, a circumstance that is a sure sign there is a new way of doing things, a new of its inventiveness and novelty. future, and a new vision for the power and transcendence of music. The premiere, The Symphony No. 9, completed in 1824, conducted by Beethoven himself, occurred was composed at a time when Beethoven to great acclaim in Vienna on May 7, 1824. was completely deaf. Substantial literature A measure of the towering presence of has been written discussing the impact the Symphony No. 9 in our culture is the that Beethoven’s deafness may have fact that Beethoven’s manuscript of the had on his late style, but the music of symphony was added in 2001 to the United the Symphony No. 9 clearly shows a Nations’ Memory of the World Programme composer at the summit of his creative Heritage, the first musical score to be power and inspiration. Structurally, accorded this honor. it follows the classical outline in four movements, but each one is treated with @ James Melo, 2018

32 NATIONAL PHILHARMONIC TEXT AND TRANSLATIONS

Leonard Bernstein: Chichester Psalms

Introduction and First Movement Psalm 108, vs. 2 Psalm 108, vs. 2 Urah, hanevel, v’chinor! Awake, psaltery and harp! A-irah shahar! I will rouse the dawn! Psalm 100 Psalm 100 Hariu l’Adonai kol haarets. Make a joyful noise unto the Lord all ye lands. Iv’du et Adonai b’simha. Serve the Lord with gladness. Bo-u l’fanav bir’nanah. Come before his presence with singing. D’u ki Adonai Hu Elohim. Know ye that the Lord, He is God. Hu asanu, v’lo anahnu. It is He that hath made us, and not we ourselves Amo v’tson mar’ito. We are His people and the sheep of His pasture. Bo-u sh’arav b’todah, Enter into His gates with thanksgiving, Hatseirotav bit’hilah, And into His courts with praise. Hodu lo, bar’chu sh’mo. Be thankful unto Him, and bless His name. Ki tov Adonai, l’olam has’do, For the Lord is good, His mercy is everlasting. V’ad dor vador emunato. And His truth endureth to all generations. Second Movement Psalm 23, vs. 1-4 Psalm 23, vs. 1-4 Adonai ro-i, lo ehsar. The Lord is my shepherd, I shall not want. Bin’ot deshe yarbitseini, He maketh me to lie down in green pastures, Al mei m’nuhot y’nahaleini, He leadeth me beside the still waters, Naf’shi y’shovev, He restoreth my soul, Yan’heini b’ma’aglei tsedek, He leadeth me in the paths of righteousness, L’ma’an sh’mo. For His name’s sake. Gam ki eilech Yea, though I walk B’gei tsalmavet, Through the valley of the shadow of death, Lo ira ra, I will fear no evil, Ki Atah imadi. For Thou art with me. Shiv’t’cha umishan’techa Thy rod and Thy staff Hemah y’nahamuni. They comfort me. Psalm 2, vs. 1-4 Psalm 2, vs. 1-4 Lamah rag’shu goyim Why do the nations rage, Ul’umim yeh’gu rik? And the people imagine a vain thing? Yit’yats’vu malchei erets, The kings of the earth set themselves, V’roznim nos’du yahad And the rulers take counsel together Al Adonai v’al m’shiho. Against the Lord and against His anointed, N’natkah et mos’roteimo, Saying, let us break their bands asunder Yoshev bashamayim And cast away their cords from us. Yis’hak, Adonai He that sitteth in the heavens Yil’ag lamo! Shall laugh, and the Lord Shall have them in derision!

NATIONAL PHILHARMONIC 33 TEXT AND TRANSLATIONS

Psalm 23, vs. 5-6 Psalm 23, vs. 5-6 Ta’aroch l’fanai shulchan Thou preparest a table before me Neged tsor’rai In the presence of mine enemies, Dishanta vashemen roshi Thou annointest my head with oil, Cosi r’vayah. My cup runneth over. Ach tov vahesed Surely goodness and mercy Yird’funi kol y’mei hayai Shall follow me all the days of my life, V’shav’ti b’veit Adonai And I will dwell in the house of the Lord L’orech yamim. Forever. Third Movement Psalm 131 Psalm 131 Adonai, Adonai, Lord, Lord, Lo gavah libi, My heart is not haughty, V’lo ramu einai, Nor mine eyes lofty, V’lo hilachti Neither do I exercise myself Big’dolot uv’niflaot In great matters or in things Mimeni. Too wonderful for me to understand. Im lo shiviti Surely I have calmed V’domam’ti, And quieted myself, Naf’shi k’gamul alei imo, As a child that is weaned of his mother, Kagamul alai naf’shi. My soul is even as a weaned child. Yahel Yis’rael el Adonai Let Israel hope in the Lord Me’atah v’ad olam. From henceforth and forever. Finale Psalm 133, vs. 1 Psalm 133, vs. 1 Hineh mah tov, Behold how good, Umah nayim, And how pleasant it is, Shevet ahim For brethren to dwell Gam yahad. Together in unity.

Ludwig van Beethoven: Symphony No. 9, Op. 125 (Finale)

O Freunde, nicht diese Töne! Oh friends, not these sounds! Sondern laßt uns angenehmere anstimmen, Let us instead strike up more pleasing und freudenvollere. and more joyful ones! Freiheit! Freedom! Freiheit! Freedom! Freude, schöner Götterfunken Joy, beautiful spark of divinity, Tochter aus Elysium, Daughter from Elysium, Wir betreten feuertrunken, We enter, burning with fervor, Himmlische, dein Heiligtum! heavenly being, your sanctuary! Deine Zauber binden wieder Your magic brings together Was die Mode streng geteilt; what custom has sternly divided. Alle Menschen werden Brüder, All men shall become brothers, Wo dein sanfter Flügel weilt. wherever your gentle wings hover.

34 NATIONAL PHILHARMONIC TEXT AND TRANSLATIONS

Wem der große Wurf gelungen, Whoever has been lucky enough Eines Freundes Freund zu sein; to become a friend to a friend, Wer ein holdes Weib errungen, Whoever has found a beloved wife, Mische seinen Jubel ein! let him join our songs of praise! Ja, wer auch nur eine Seele Yes, and anyone who can call one soul Sein nennt auf dem Erdenrund! his own on this earth! Und wer's nie gekonnt, der stehle Any who cannot, let them slink away Weinend sich aus diesem Bund! from this gathering in tears! Freude trinken alle Wesen Every creature drinks in joy An den Brüsten der Natur; at nature's breast; Alle Guten, alle Bösen Good and Evil alike Folgen ihrer Rosenspur. follow her trail of roses. Küsse gab sie uns und Reben, She gives us kisses and wine, Einen Freund, geprüft im Tod; a true friend, even in death; Wollust ward dem Wurm gegeben, Even the worm was given desire, Und der Cherub steht vor Gott. and the cherub stands before God. Froh, wie seine Sonnen fliegen Gladly, just as His suns hurtle Durch des Himmels prächt'gen Plan, through the glorious universe, Laufet, Brüder, eure Bahn, So you, brothers, should run your course, Freudig, wie ein Held zum Siegen. joyfully, like a conquering hero. Seid umschlungen, Millionen! Be embraced, you millions! Diesen Kuß der ganzen Welt! This kiss is for the whole world! Brüder, über'm Sternenzelt Brothers, above the canopy of stars Muß ein lieber Vater wohnen. must dwell a loving father.

Ihr stürzt nieder, Millionen? Do you bow down before Him, you millions? Ahnest du den Schöpfer, Welt? Do you sense your Creator, O world? Such' ihn über'm Sternenzelt! Seek Him above the canopy of stars! Über Sternen muß er wohnen. He must dwell beyond the stars.

NATIONAL PHILHARMONIC 35 NATIONAL PHILHARMONIC ORCHESTRA

VIOLIN 1: CELLOS: CONTRABASSOON: Colin Sorgi*, Lori Barnet*, Nicholas Cohen Concertmaster ** Principal (1 Year Leave of Absence) Todd Theil * FRENCH HORNS: Jody Gatwood, Kerry van Laanen * Michael Hall*, Concertmaster Emeritus Barbara Brown + Principal Karen Johnston Johnson, April Chisholm-Studney + Mark Wakefield* Interim Concertmaster Jihea Choi + Justin Drew Olga Yanovich* Sean Neidlinger + Evan Geiger Leslie Silverfine* Kathryn Hufnagle + Shona Goldberg-Leopold Lysiane Gravel-Lacombe* Catherine Mikelson + Amy Horn Sara Matayoshi* Fiona Thompson + Hanbing Jia* Lauren Weaver + TRUMPETS: Brenda Anna + Chris Gekker*, Eva Cappelletti-Chao + BASSES: Principal Claudia Chudacoff + Robert Kurz*, Robert Birch, Doug Dube + Principal Robert and Margaret Laura Knutsen + Kelly Ali + Hazen Chair Jennifer Rickard + Brent Edmonston + Carlton Rowe Matthew Richardson + Alec Hiller + Christian Tremblay + Yoshi Horiguchi + TROMBONES: Laura Ruas + David Sciannella*, VIOLIN 2: Mark Stephenson + Principal Linda Leanza*, Greg Watkins + James Armstrong Acting Principal Jeffrey Cortazzo, Arminè Graham* FLUTES: Bass Trombone Kay Budner* David Whiteside*, Jennifer Shannon* Principal TUBA: Cathy Stewart* Nicolette Oppelt* Willie Clark Elise Blake + David LaVorgna Lisa Cridge + TIMPANI & PERCUSSION: Anne Donaldson + PICCOLO: Tom Maloy*, Alexandra Mikhlin + David LaVorgna Principal Laura Miller + Aubrey Adams Joanna Owen + OBOES: Tony Asero Ning Ma Shi + Mark Hill*, Curt Duer Principal Robert Jenkins VIOLAS: Katherine Ceasar-Spall * Gerald Novak Julius Wirth*, Fatma Daglar Bill Richards Principal Leonora Karasina* ENGLISH HORN: HARP: Mark Pfannschmidt* Fatma Daglar Rebecca Smith, Judy Silverman,* Principal + Associate Principal CLARINETS: Astrid Walschot-Stapp + Viola Emeritus Cheryl Hill*, Catherine Amoury + Principal KEYBOARD: Jaclyn Dorr + Carolyn Alvarez-Agria* William Neil Phyllis Freeman + Suzanne Gekker Jeffrey Watson Jim Kelly + Personnel Manager Theodore M. Guerrant, Stephanie Knutsen + BASS CLARINET: Theodore M. Guerrant Chair Margaret Lang + Carolyn Alvarez-Agria Jennifer Rende + *=Core Orchestra Tiffany Richardson + BASSOONS: +=Regularly engaged musician; Derek Smith + Erich Hecksher*, Rotated roster Elizabeth O’Hara Stahr + Principal Rebecca Watson

The musicians employed in this production are members of and represented by Washington, D.C. Federation of Musicians, Local 161-710 of the American Federation of Musicians.

36 NATIONAL PHILHARMONIC NATIONAL PHILHARMONIC CHORALE

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

NATIONAL PHILHARMONIC 37 NATIONAL PHILHARMONIC BOARD OF DIRECTORS

BOARD OF DIRECTORS Jane Riddle BOARD OF ADVISORS Carol Evans* Pete Ryan Joel Alper Ruth Faison* Lori Sommerfield Albert Lampert* Joan Fidler Charles Toner M.D. Chuck Lyons Ken Hurwitz* Elzbieta Vande Sande Roger Titus Dieneke Johnson* Katya Vert-Wong* Jerry D. Weast Albert Lampert*, Carla Wheeler* Chair Emeritus *Executive Committee Marie Lee BOARD OFFICERS *Chair Emeritus Dr. Wayne Meyer Todd Eskelsen*, Chair Dr. Roscoe M. Moore, Jr. Paul Dudek*, Secretary Matt Riddle William Lascelle*, Treasurer SUPPORTERS OF THE NATIONAL PHILHARMONIC

As of January 1, 2018 The National Philharmonic takes this opportunity to gratefully acknowledge the following businesses, foundations and individuals that have made the Philharmonic’s ambitious plans possible through their generous contributions. Maestro Circle $10,000+ Sustainer Circle $1,000 to $2,499 Concertmaster Circle $7,500 to $9,999 Patron $500 to $999 Principal Circle $5,000 to $7,499 Contributor $250 to $499 Benefactor Circle $2,500 to $4,999 Fellow $125 to $249 ORGANIZATIONS Jim and Carol Trawick Foundation, Inc. MAESTRO CIRCLE The Dallas Morse Coors Foundation Arts & Humanities Council of for the Performing Arts Montgomery County United Way of National Capital Area Clark-Winchcole Foundation Eskelsen Law Group, LLC SUSTAINER CIRCLE Gloria Miner Charitable Music Fund Polish Cultural Institute Lockheed Martin Corporation Metro Washington DC Federation of Musicians Maryland State Arts Council Potter Violins Montgomery County, MD Polish American Arts Association of Montgomery County Public Schools Washington, DC National Endowment for the Arts Southwest Community Foundation Paul M. Angell Foundation Thursday Dinner Society The Morris and Gwendolyn Cafritz Foundation PATRON CONCERTMASTER CIRCLE ASTA MD/DC Chapter Embassy of the Republic of Poland Bethesda Violins Brobst Violin Shop PRINCIPAL CIRCLE Charles and Margaret Levin Family Foundation Ameriprise Financial Gailes Violin Shop, Inc. Executive's Ball Lashof Violins Kolar Charitable Foundation of Buckley Sandler CONTRIBUTOR PGNiG Music & Arts Violin House of Weaver BENEFACTOR CIRCLE Capital Bank FELLOW Dimick Foundation Creative European Cooking Henry B. & Jessie W. Keiser Foundation, Inc. Gary Frisch Violins Polish & Slavic Credit Union

38 NATIONAL PHILHARMONIC INDIVIDUALS Ms. Michelle Gajewski NAMED GIFTS Dr. Robert Gerard & Ms. Carol Goldberg* Anne Claysmith* for the Chorale Chair - Dr. Joseph E. Gootenberg & Dr. Susan Leibenhaut Soprano II Fund Mr. & Mrs. Richard F. Larkin Jean & Paul Dudek for the Pre-Concert Dr. Wayne Meyer* Lecture Series Fund David & Lottie Mosher Ann & Todd Eskelsen for the Chorale Music Fund Mr. & Mrs. William E. Pairo Dieneke Johnson for the All Kids Free Fund Ms. Julie Pangelinan Mrs. Patricia Haywood Moore & Michael & Janet Rowan Dr. Roscoe M. Moore, Jr. for the Mr. & Mrs. Steven Seelig All Kids Free Fund Dr. Charles B. Toner & Dr. Cecile M. Toner Ms. Katya Vert-Wong GIFTS OF $50,000+ Mrs. Margaret Makris SUSTAINER CIRCLE Mrs. Rachel Abraham GIFTS OF $25,000+ Fred & Helen R. Altman* Robert & Margaret Hazen Mr. & Mrs. Roger Berliner Dr. Roscoe M. Moore & Mr. Bill Catherwood & Ms. Jean Sperling Mrs. Patricia Haywood Moore Mr. & Mrs. Gary R. Correll* Mr. & Mrs. Erik Cudd GIFTS OF $15,000+ Dr. Stan Engebretson Mr. Edward Brinker & Ms. Jane Liu Ms. Marietta Ethier Edward Grossman* & Rochelle Stanfield Mr. & Mrs. Voytek Fizyta Dr. Maria A. Friedman* MAESTRO CIRCLE Mr. & Mrs. Joseph Gatwood Ms. Anne Claysmith* Darren & Elizabeth Gemoets* Mr. & Mrs. Paul Dudek Ms. Sarah Gilchrist* Ms. Carla Wheeler & Mr. Jeffrey P. Naimon Mr. & Mrs. John Hagner Dr. Stacey Henning* CONCERTMASTER CIRCLE Ms. Sue Henry Dr. & Mrs. John V. Evans Mr. & Ms. Gerald Hoefler Mrs. Joan M. Levenson Mrs. Tanjam Jacobson William W. & Sara M. Josey* PRINCIPAL CIRCLE Ms. Kathleen Knepper Mr. Robert Dollison, Ms. Martha Jacoby Krieger* in memory of Krystyna Dollison Mr. & Mrs. John R. Larue Mr. & Mrs. Todd R. Eskelsen Mr. & Mrs. Eliot Lieberman* Mr. & Mrs. Richard Fidler Ms. Jane Lyle* John & Julie Hamre Mr. Larry Maloney* Mr. & Mrs. David Hofstad Mr. Winton E. Matthews Jr. Kenneth Hurwitz & Susan Weiss Mr. & Mrs. Kent Mikkelsen* Ms. Dieneke Johnson Mr. Thaddeus Mirecki, in memory of Irene Mirecki The Kahn & Miller Foundation Dr. Robert Misbin Mr. & Mrs. Albert Lampert Mr. Thomas Nessinger* Mr. William A. Lascelle & Ms. Blanche Johnson Ms. Martha Newman* Ms. Marie Lee Mrs. Jeanne Noel Ms. Florentina Mehta Dr. & Mrs. Goetz Oertel RADM & Mrs. Kenneth P. Moritsugu Paul & Robin Perito Mr. & Mrs. Matthew Riddle Mrs. Janice H. Schiavone* Ms. Lori J. Sommerfield Mr. & Mrs. James Shin Mrs. Elzbieta Vande Sande, Dr. Hanna Siwiec & Mr. Spencer Meyer in memory of George Vande Sande, Esq. Ms. Kathryn Senn, Mrs. Sandra Zachariasiewicz in honor of Johanna van der Zalm Carol A. Stern* BENEFACTOR CIRCLE Sternbach Family Fund Mrs. Ruth B. Berman Mr. & Mrs. Carl Tretter Dr. Ronald Cappelletti* Ms. Ellen van Valkenburgh* Mr. Steven C. Decker & Ms. Deborah W. Davis Mr. Hruaia Vanlal Dr. Lawrence Deyton* & Dr. Jeff Levi Dr. & Mrs. Royce Watson J. William & Anita Gadzuk* Drs. Jack & Susan Yanovski Mr. Devin M. Gajewski Mr. & Mrs. Bernard J. Young

NATIONAL PHILHARMONIC 39 PATRON Mr. and Ms. Waldemar Izdebski Anonymous Mr. and Mrs. Douglas Jacobson Ms. Ann E Albertson Dr. Laura Kafka Mr. & Mrs. Joel Alper Mr. & Mrs. Gerald Kaiz Drs. John E. & Shirley Bennett Irena Karpinski, Esq. Mr. & Mrs. Norman A. Bernache Mr. & Mrs. David Keaton Ms. Eileen Binns Mr. Tomasz Kierul Ms. Cornelia Djuh Mrs. Elizabeth King Dr. Bernadette Dunham Mr. & Mrs. Allan Kirkpatrick Mr. John Eklund Ms. Kornelia Koppany Ms. Michele Farquhar Mr. & Dr. Roman Korzan Leanne & Joe Ferfolia Mr. & Mrs. Herbert J. Lerner Ms. Anna Freska Dr. Marcia D. Litwack Dr. Renata Greenspan Mr. Dean Lohmeyer Mr. Theodore Grish Mr. & Mrs. Bruce MacLaury Dr. & Mrs. John Helmsen Mrs. Dorothy MacPherson Mr. & Mrs. William and Donna L. Hickman Mr. & Mrs. Michael Madden Mr. & Mrs. Hochron* Mr. & Mrs. Jerald C. Maddox Mr. & Mrs. Donald Jansky Mr. & Mrs. Forbes Maner Mr. David E. Kleiner & Ms. Mary Bentley Mr. & Mrs. Curtis Menyuk Mr. & Mrs. Joseph Kolar Dr. Maria Michejda David R. and Deborah S. Lambert Charitable Trust Dr. Bozena Michniak Mr. Paul Lunardi Susan & Jim Murray Dr. Elizabeth Marchut-Michalski Dr. Stamatios Mylonakis & Ms. Maureen O'Connor Mr. & Mrs. David McGoff* Dr. Ruth S. Newhouse Dr. Maria Miller Ms. Sima Osdoby & Mr. Arthur Katz Mrs. M. Elizabeth Moore & Mr. L. Wayne Porter Ms. Dolores Patrizio Mr. Vernon Mosley Dr. & Mrs. Joram Piatigorsky Mr. & Mrs. Raymond Mountain Mr. Charles A. O'Connor & Ms. Susan F. Plaeger Ms. Cecilia Muñoz & Mr. Amit Pandya Ms. Joy Ragsdale Mr. Paul Murray Mr. & Mrs. James M. Render Ms. Katherine Nelson-Tracey Mrs. Izabela Rutkowska Dr. Charlie Park Mr. Charles Z. Serpan Mr. W. Larz Pearson & Mr. Rick Trevino Ms. Lilian Silva Dr. Raymond Petryshyn Dr. & Mrs. Paul Silverman Dr. & Mrs. Manuel Porres Ms. Jolanta Stefanska Mrs. Dorothy Prats The Stempler Family Foundation Dr. Michael Sapko & Ms. Kari Wallace Ms. Susan Sterling Ms. Krystyna Wasserman Mr. & Mrs. John R. Stoner Dr. Maria M. Tomaszewski CONTRIBUTOR Mr. & Mrs. Dennis Torchia Mr. Edco Bailey Mr. & Mrs. Gerald Vogel Mike & Cecilia Ballentine Mr. Wayne R. Williams Mr. Paul Bennett & Ms. Carol Herndon Mr. & Mrs. John B. Wing Mr. & Ms. Jeffrey Birnbaum Mr. Daniel Zelikow Ms. Sara D. Brown Mr. & Mrs. Arthur Bushkin FELLOW Ms. Nancy Chesser & Mr. J. Michael Rowe Mr. & Mrs. Dan Abbott Dr. Mark Cinnamon & Ms. Doreen Kelly Anonymous Mr. & Mrs. Steve K. Cook* Mr. Jose Apud Dr. & Mrs. Gordon M. Cragg Ms. Jean Arnold Mr. & Mrs. J. R. Crout Ms. Elisabeth Bahl Mr. & Mrs. J. Steed Edwards Ms. Shirley Baker Ms. Caroline Elton Mr. & Mrs. Stephen Baldwin Ms. Ruth Faison* Mr. Robert Barash Ms. Julia Friend* Mr. & Mrs. Edward E. Barr Ms. Katherine Gekker Ms. Mary Bliss Mr. Rolf Grafwallner Mr. & Mrs. Frederick Brown Mrs. Denise R. Harding* Ms. Bozenna Buda Ms. Jill Hartman James K. Queen & Katherine Budner Mr. & Mrs. Rue B. Helsel Ms. Patricia Bulhack Mr. Kenneth L. Hill Mr. Michael Casassa & Mrs. Joan Schmader Mr. Carl Hutzler Ms. Reena Chakraborty

40 NATIONAL PHILHARMONIC Mr. & Mrs. Edwin Chen Mr. & Mrs. Allan Laufer Ms. Carolyn Chuhta* Mr. Douglas Leavens & Ms. Judith David Dr. F. Lawrence Clare Ms. Elisabeth Lejman-Jaworski, M.D. Ms. Ellie Collinson Ms. Jennifer Letowt Ms. Nerissa Cook Ms. Carolyn Lincoln Mr. William Copper Mr. & Mrs. Rett Ludwikowski Mr. Alan T. Crane Dr. Gail E. Makinen Ms. Janet Crossen* Mr. & Mrs. Warren Manison Mr. Dean Culler Mrs. Nancy C. May Dr. & Mrs. James B. D'Albora Dr. & Mrs. Steven Mazer Mr. William D'Antonio Ms. Barbara Mazurkiewicz Mr. R. Doughty Mr. & Mrs. Michael McClellan* Mr. Andrzej Drozd Mr. & Mrs. Robert McGuire Ms. Jennifer Dubesa Mr. & Mrs. Michael Merchlinsky Mr. & Mrs. Tom Dunlap Ms. Kristi K. Merritt* Ms. Carla V. Durney Mr. & Mrs. Edward Mills Sandy & Norton Elson Dr. Oliver Moles Jr.* Mrs. Nancy A. English Mr. William J. Moore Ms. Emilia Eriksson Ms. Stephanie Murphy Mr. Harold Freeman Dr. Wanda O'Brien-Trefil Mrs. Francesca F. Frey-Kim* Dr. Richard Z. Okreglak & Dr. Edwarda M. Buda Ms. Else H. Froberg Ms. Sally Oesterling Mr. & Mrs. William Garry, in honor of Ms. Agnieszka Panek Caitlin Garry Mr. & Mrs. Edward Parr Ms. Livia N. Gatti Ms. Victoria J. Perkins Katherine Gekker Mr. & Mrs. Robert B. Pirie Mr. Bernard Gelb Mr. Luke Popovich Mr. David Glasser Mr. Laurence Posorske & Dr. Lynette H. Posorske* Ms. Rafal Golebiowski Mr. Mark Price, in memory of Dale Collinson Mr. William Gordon & Ms. Linda Currie Mr. Kazimierz Pukownik Mr. & Mrs. Philip Grimley Ms. Leila Rao* Mrs. Janice Hamer Mr. Daniel Razvi Drs. William & Marlene Haffner Dr. James Rhyne Mrs. Roma Hart Mr. Keith Roberts Lisa W. Harter* Ms. Sallie K. Roberts* Mrs. Jacqueline Havener Ms. Janet Rochlin Mr. Myron Hoffman Miss Audrey A. Ross Ms. Carol Horn Ms. Lisa Rovin* Ms. Annette Hussong Mr. & Mrs. Sydney Schneider Mr. Nicholas Ialongo Ms. Katherine Schnorrenberg* Mr. & Mrs. Harold Jaffe Ms. Virginia Schultz Beth & Andy Jewell Mr. & Mrs. Charles L. Short, Jr. Mrs. Marilyn Katz* Mr. Donn Smith Ms. Helen Kavanagh Ms. Irma Tetzloff Dr. & Mrs. Meir Kende Mr. Brian Thiel Ms. Rae King Mr. Michael Ussery Mr. James Kleiler Ms. Virginia W. Van Brunt* Dr. Mark Knepper & Dr. Cathy D. Knepper Ms. Mary E. Walsh Mr. Edward Knox Mr. Jonathan Weiss Mr. & Mrs. Steven Krasnow Ms. Kate Westra Mr. Dan Krieger Ms. Hanna Wolfinger Bozena Kucewicz Pait Mrs. Doris E. Wright Ms. Laurie Lane* Mr. & Mrs. Brad Yoder

NATIONAL PHILHARMONIC 41 NATIONAL PHILHARMONIC ENDOWMENT

Ms. Ann Albertson Mr. William Lascelle & Ms. Blanche Johnson Fred & Helen Altman Mr. Greg Lawson & Mr. Sai Cheung Robert B. Anderson* Mrs. Joan M. Levenson Mrs. Ruth Berman Dr. Lawrence Deyton & Dr. Jeff Levi Rabbi Leonard Cahan Mr. & Mrs. Kent Mikkelsen Dr. Ron Cappelletti Mr. Thaddeus Mirecki, in memory of Dale Collinson Family Irene Mirecki Jean & Paul Dudek Dr. Kenneth P. Moritsugu & Ann & Todd Eskelsen Ms. Lisa R. Kory Dr. & Mrs. John V. Evans Susan & Jim Murray Ms. Ruth Faison Robin & Paul Perito Piotr & Tisha Gajewski and Mr. Charles Serpan Hania Gajewska, Dr. & Mrs. Paul Silverman in memory of Ryszard Gajewski Dr. Hanna Siwiec & Mr. Spencer Meyer Dr. Robert Gerard & Ms. Carol Goldberg Sternbach Family Fund Dr. & Mrs. Val G. Hemming Dr. Theodora Vanderzalm, in honor of Mr. and Mrs. Ken Hurwitz Dieneke Johnson Dieneke Johnson *Deceased Mr. & Mrs. Al Lampert HERITAGE SOCIETY

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

NATIONAL PHILHARMONIC STAFF

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

42 NATIONAL PHILHARMONIC GENERAL INFORMATION

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

NATIONAL PHILHARMONIC 43 COAT CHECK ASSISTIVE LISTENING Located in the Promenade across from the The Music Center at Strathmore is equipped Ticket Office. As weather requires, the coat with a Radio Frequency Assistive Listening check will be available as a complimentary System for patrons who are hard of hearing. service to our patrons. If you would like to keep Patrons can pick up assistive listening devices your coat or other belongings with you, please at no charge on a first-come, first-served basis place them under your seat. Coats may not be prior to the performance at the coatroom placed over seats or railings. when open, or at the ticket taking location as you enter the Concert Hall with a driver’s ALLEGRO KITCHEN license or other acceptable photo ID. For other The Café in the Promenade of the Music Center accessibility requests, please call (301) 581-5100. at Strathmore, operated by Ridgewells Catering, features a wide variety of snacks, sandwiches, ELEVATOR SERVICE entrees, beverages and desserts. It is open for There is elevator service for all levels of the lunch and dinner and seats up to 134 patrons. Music Center at Strathmore. FOOD & BEVERAGE EMERGENCY CALLS The intermission bars offer beverages and If there is an urgent need to contact a patron snacks on all levels before the show and during attending a Music Center concert, please call intermission. There are permanent bars on the (301) 581-5112 and give the patron’s name and Orchestra, Promenade and Grand Tier levels. exact seating location, and telephone number for a return call. The patron will be contacted by LOST AND FOUND the ushering staff and the message relayed left During a show, please see an usher. All other with Head Usher. times, please call (301) 581-5112. LATECOMER POLICY LOUNGES AND RESTROOMS Latecomers will be seated at the first Located on all seating levels, except in the appropriate break in the performance as not to Upper Tier. disturb the performers or audience members. PUBLIC TELEPHONES The decision as to when patrons will be seated Courtesy telephones for local calls are located is set by the presenting organization for around the corner from the Ticket Office, off that night. the Circle Plaza entry, and at the Promenade FIRE NOTICE Right Boxes. The exit sign nearest to your seat is the shortest ACCESSIBLE SEATING route to the street. In the event of fire or other Accessible seating is available on all levels. emergency, please WALK to that exit. Do not Elevators, ramps, specially designed and run. In the case of fire, use the stairs, not designated seating, designated parking and the elevators. many other features make the Music Center at Strathmore accessible to patrons with disabilities. For further information or for special seating requests in the Concert Hall, please call WARNINGS the Ticket Office at (301) 581-5112. The use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited by law. Violators are subject to removal from the Music Center without a refund, and must surrender the recording media. Smoking is prohibited in the building. Please set to silent, or turn off your cell phones, pagers, PDAs, and beeping watches prior to the beginning of the performance.

44 NATIONAL PHILHARMONIC Did You Know? Young people who participate in the arts for at least three hours on three days each week through at least one full year are: • 4 times more likely to be recognized for academic achievement • 3 times more likely to be elected to class office within their schools • 4 times more likely to participate in a math and science fair • 3 times more likely to win an award for school attendance • 4 times more likely to win an award for writing an essay or poem