OCTOBER 2016
CONTENTS
CONCERTS 43 The celebrated conductor Juanjo Mena returns to the the CSO podium Oct. 27 and 29 21 CSO: Violin Legends: Gil Shaham, Oct 7–8 to lead the Orchestra, 29 Guest artists: Neeme Järvi, conductor; a cast of superb soloists and the Gil Shaham, violinist magnificent May Festival Chorus in music of great emotional power: 33 Pops: Vanessa Williams, Oct 9 Beethoven’s Missa Solemnis. 34 Guest artists: Vanessa Williams, vocalist; Keitaro Harada, conductor 57 Multi-Grammy-winning cellist 37 CSO: Beethoven’s Missa Solemnis, Oct 27 & 29 Yo-Yo Ma is considered one of the 43 Guest artists: Juanjo Mena, conductor; greatest living classical musicians; Joélle Harvey, soprano; Daniela Mack, mezzo- Louis Langrée said of him, “…he is soprano; Barry Banks, tenor; David Pittsinger, completely committed to music and bass-baritone; May Festival Chorus, Robert his craft, yet radiates a palpable joy Porco, director that is infectious.” He joins the CSO 49 CSO Special Concert: Yo-Yo Ma, Oct 28 for a one-night-only performance of 57 Guest artist: Yo-Yo Ma, cellist Dvořák’s epic B Minor Cello Concerto Oct. 28. 30 Gil Shaham, one of the foremost violinists of our time, will perform Mendelssohn’s Violin Concerto with DEPARTMENTS the CSO and guest conductor (and Järvi family patriarch) Neeme Järvi, Oct. 7–8. 6 A Letter from the President 7 Music Hall Renovation Update 34 Vanessa Williams is one of the 8 Your Concert Experience most respected and multi-faceted 10 Orchestra Roster performers in the entertainment 14 Artistic Leadership: Louis Langrée and industry today. She’ll take the stage John Morris Russell with the Cincinnati Pops and CSO Associate Conductor Keitaro Harada 17 If It Sounds Good, It Is Good! by JMR to perform her chart-topping hits and 18 Spotlight: Mace Justice Broadway favorites one night only, Oct. 9. 59 Boards 61 Financial Support 67 Administration NEWS 68 Coda
12 Feature: Musical Ambassadors: Reflecting on the CSO’s 1966 World Tour
2 | FANFARE CINCINNATI | cincinnatisymphony.org
FANFARE CINCINNATI STAFF: Cincinnati Symphony Orchestra and Cincinnati Pops Vice President of Communications Chris Pinelo Director of Communications Meghan Berneking Digital Communications Manager Lee Snow Communications Assistant Melissa Knueven Editor/Layout McKibben Publications
All contents © 2016–17. The contents cannot be reproduced in any manner, whole or in part, without written permission from the Cincinnati Symphony Orchestra and Cincinnati Pops.
CINCINNATI SYMPHONY & POPS ORCHESTRA ON THE COVER Perhaps the most famous and Temporary Administrative Offices respected classical musician in the world, Yo-Yo Ma 441 Vine Street, Eighth Floor returns to the CSO Oct. 28. He’ll perform Dvořák’s Cincinnati, OH 45202 emotional B Minor Cello Concerto, a work full of Administrative Offices: 513.621.1919 Bohemian spirit. [email protected] Temporary Box Office & Concert Venue Taft Theatre CINCINNATI MAGAZINE: 317 East 5th Street Advertising and Publishing Partners for Fanfare Cincinnati Cincinnati, OH 45202 513.381.3300 Publisher Ivy Bayer [email protected] Director of Advertising Group Sales Tammy Vilaboy 513.744.3590 Art & Production Manager [email protected] Julie Whitaker Marketing Director TTY/TDD Chris Ohmer Use TTY/TDD Relay Service 7-1-1 Advertising & Marketing Designer cincinnatisymphony.org | cincinnatipops.org Emily Nevius Custom Publishing Account Manager facebook.com/CincySymphony or /CincinnatiPops Maggie Wint Goecke twitter.com/CincySymphony or /CincinnatiPops Senior Outside Account Representative Laura Bowling Operations Director Missy Beiting RECYCLE FANFARE CINCINNATI Business Coordinator Erica Birkle You are welcome to take this copy of Advertising and Business Offices Fanfare Cincinnati home with you as a Carew Tower souvenir of your concert experience. 441 Vine Street, Suite 200 Alternatively, please share Fanfare Cincinnati, OH 45202 Cincinnati with a friend or leave it with 513.421.4300 an usher for recycling. Thank you! Subscriptions: 1.800.846.4333 cincinnatimagazine.com
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A LETTER FROM THE PRESIDENT
Dear Friends, ȱȱȱ ȱȱȱȱȱ ȱȱȱ¢ȱǯȱǯȱȱȱ - It was 50 years ago this month that the CSO wrapped ȱȱȱȱ¢ȱȱ ȱȱȱ ȱȱ¡ǰȱȬ ǰȱęȬȬȬȱ ȱȱ ȱȱDZȱȱDzȱȱ ȱȱ ȱ¢ȱȱǯǯȱȱȱǯȱȱ ¢Dzȱȱȱȱ ĴDzȱȱ ȱǯȱĴȱ ȱȱŚŖȬȱȱȱ ǰȱȱǰȱ Ȧȱȱȱ ĵǰȱDzȱȱ ¢ǰȱǰȱ ȱ ǰȱǰȱ¢ȱȱ ȱęȱ ǯȱȱ ȱ ǰȱȱȱȱǰȱȱȱȱ ȱȱȱȱȱȱȱȱDzȱȱ ȱȱ ȱȱȱȱȱȂȱȱ ȱȱ¢Dzȱȱ Dzȱȱȱ ȱȱȱȂȱǯȱȱȱȱ ȱ ěDzȱ¢ȱȱ ȱDzȱȱȱ much more about this important moment in CSO ǯȱȱDzȱȱ ȱǯȱĴȱȦ ¢ȱȱȱŗŘȱȱȱȱȱFanfare Cincinnati. ȱȱȱ ĵǰȱDzȱȱȱȱ ȱȱ¢ǰȱȂȱȱȱ ȱ ȱ ǯ ȱȱȱ¢ȱȱ- ȱęȱȱȱȱȱ ȱȱȱȱȱȱǰȱ ȱ¡ȱ ȱȱȱȱȱȱȱȱ ȱȱ ȱ ǰȱǰȱȱȱ ȱȱȱ¢ȱȱȂȱǯ ǰȱȱȱȱȱȱȱǯȱ ȱ¡¢ȱȱ¡ȱȱ ȱȱ ȱȱȱȱȱȱ ȱ ȱȱȱȱȱȱȱȱȱȱ ǰȱȱ ȱȱȱ·ȱȱȱȱȱ ȱȱȱȱȱȱ¢ȱȱ¢ȱȱȱĴȱ ȱȱ ȱ ȱȱȱǰȱ Cincinnati on the map. ȱ ȱȱȂȱȱȱęȱ with 17 concerts in 12 cities across seven countries ¢ǰ ȱ ȱǯȱȱȱ ȱȱ ȱ ȱ¢ȱȱ¢ȱȱȱȱȱȱ ¢ȱȱȱȱȱ ǯ ȱȱȱȱȱȱȱ¢ȱ ȱȱȱȱȱȱȱȱȱǰȱ ¢ȱ¢
“This is your community foundation.”
Whether you’ve been in Cincinnati for days or decades, The Greater Cincinnati Foundation belongs to you. To join with others who want to give back and contribute to a thriving and vibrant region, visit gcfdn.org/giving.
Ellen Katz President/CEO, The Greater Cincinnati Foundation
6 | FANFARE CINCINNATI | cincinnatisymphony.org MUSIC HALL RENOVATION UPDATE
A picture is worth a thousand words, and so in this issue we are featuring a sample of the photography around the Music Hall renovation. ȱȱȱȱ ȱȱ¢ȱȱĴȱȱ Zory—who also happens to play bass with our Or- Ƿȱȱ¢ȱ£ȱĴȱȱ ȱ¢ȱĴȱȱ our classical performances or prefer the Pops, where Ĵȱȱȱȱȱȱ ȱȃ¢ȱǯȄȱ Ĵȱȱȱȱȱ¢ȱȱ to a portrait series he recently showcased, focusing on ȱȱȱȱȬȬǯȱ¢ȱĴȱǰȱȃȱ show highlighted the humanity of the neighborhood at the time—many of whom had never stepped foot inside Music Hall. Now, here we are exploring not ȱȱȱȱȱȱȱȱ ȱȱ ȱȱĴȱȱȱȱȱȱȱ ȱȱȱȱȱȯȱ¢ȱȱ ȱȱȱȱȱȱ ȱȱǯȄȱ ȱȱȱȱĴȱȱ ¢Ȃȱ¢ȱ ǰȱȱ ǯȦĴȱ ¢¢ǰȱȱ ȱ ȱȂȱȱǯȱ
All photos: © Matthew Zory
cincinnatisymphony.org | FANFARE CINCINNATI | 7 YOUR CONCERT EXPERIENCE
Welcome! Here are some tips for making the most of your concert experience.
The 2,500-seat, Art Deco-style Taft Theatre was Assistive listening devices and seating for built in 1928 and is the Orchestra’s temporary audience members with accessibility needs are home during Music Hall’s historic renovation. For available for all events. updates, visit cincinnatisymphony.org/musichall. Restrooms are located on the lower level and Stay up-to-date with the CSO and Pops via second level. Accessible restrooms are located ǰȱ Ĵȱȱȱ ǯȱ ȱȱęȱȱȱȱȱ¢ǯȱȱ
Visit the Bravo Shop in the Mayfair Hallway Please silence all noise-making electronics on the far east side of the lobby. CD recordings, before entering the theatre. Flash photography, merchandise and gifts are available for purchase. glowing screens and audio/video recording are prohibited during concerts. Classical Conversations takes place one hour before CSO subscription concerts, and is free to Out of consideration for all patrons, children ticketholders. Program notes are also available online under 6 will not be admitted to CSO at cincinnatisymphony.org. performances. Ushers will assist patrons with young children to seats at the back of the auditorium. For ȱȱȱȱȱȱ¡ȱĜȱȱȱ ¢ȱǰȱȱȱȱȱȱȱęȱȬ ȱȱȱǰȱȱȱȱ¢ȱĴȱǷȱ ǰȱęȱȬȱȱȱȱ¢ǯ Subscribers have unlimited free ticket exchanges and single ticket buyers may exchange for a $3 per ticket Ushers will seat latecomers at appropriate service charge (some restrictions apply). ȱȱȱǯȱ ȱȱȱȱȱȱ leave the auditorium during the concert, re-seating Concessions are available for purchase prior to will happen in the same fashion. These policies are concerts and during intermission. based on patron survey feedback. Thank you for ȱȱȱȱȱȱȱ¡ȱĜȱȱDzȱȱ understanding. inquiries, call 513.381.3300 during business hours.
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8 | FANFARE CINCINNATI | cincinnatisymphony.org iVÌÌVw`iVi] V>Ài>`VvÀÌ°
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7iÃÌ" viÀiVivÌ i1Ìi` LOUIS LANGRÉE, CSO Music Director Louise Dieterle Nippert & Louis Nippert Chair Paavo Järvi, Music Director Laureate Jesús López-Cobos, Music Director Emeritus JOHN MORRIS RUSSELL, Pops Conductor Louise Dieterle Nippert & Louis Nippert Chair Erich Kunzel, Founder and Conductor Emeritus, Cincinnati Pops Orchestra Keitaro Harada, Associate Conductor David G. Hakes & Kevin D. Brady Chair Gene Chang, Assistant Conductor
FIRST VIOLINS Denisse Rodriguez-Rivera ENGLISH HORN BASS TROMBONE Timothy Lees Steven Rosen ȱĴ Peter Norton Concertmaster Melinda & Irwin Simon Chair Principal Anna Sinton Taft Chair Joanne Wojtowicz Alberta & Dr. Maurice TUBA Kathryn Woolley Marsh Chair++ Christopher Olka Acting Associate Concertmaster CELLOS Principal Tom & Dee Stegman Chair Ilya Finkelshteyn CLARINETS Rebecca Culnan Principal [Open] TIMPANI First Assistant Concertmaster Irene & John J. Emery Chair Principal Patrick Schleker James M. Ewell Chair++ Daniel Culnan* Emma Margaret & Principal Eric Bates Ona Hixson Dater Chair Irving D. Goldman Chair ȱ Ĵ ȱǭȱȱ Second Assistant Concertmaster Norman Johns** Ixi Chen Woodside Chair Nicholas Tsimaras– Karl & Roberta Schlachter Vicky & Rick Reynolds Chair Richard Jensen* Peter G. Courlas Chair++ Family Chair in Honor of Morleen & Jack Rouse Chair Anna Reider Ĵ ȱȗ William A. Friedlander Dianne & J. David Marvin Kolodzik Chair Jonathan Gunn*‡ PERCUSSION Rosenberg Chair Susan Marshall-Petersen Benjamin Freimuth† David Fishlock Minyoung Baik Laura Kimble McLellan Robert E. & Fay Boeh Chair++ Principal Mauricio Aguiar§ Chair++ Susan S. & William A. Serge Shababian Chair Hiro Matsuo† BASS CLARINET Friedlander Chair James Braid Theodore Nelson Ronald Aufmann Michael Culligan* Marc Bohlke Chair given Kenneth & Norita Aplin and Richard Jensen by Katrin & Manfred Bohlke Stanley Ragle Chair BASSOONS Morleen & Jack Rouse Chair Michelle Edgar Dugan ȱě¢ William Winstead ȱĚ¢Ƹ Rebecca Kruger Fryxell Ruth F. Rosevear Chair Principal ȱ ĵě Charles Snavely Emalee Schavel Chair++ KEYBOARDS Jean Ten Have Chair Peter G. Courlas– Hugh Michie Michael Chertock Lois Reid Johnson Nicholas Tsimaras Chair++ Martin Garcia* James P. Thornton Chair Anne G. & Robert W. Dorsey Julie Spangler+ Chair++ BASSES CONTRABASSOON James P. Thornton Chair Sylvia Mitchell Owen Lee Jennifer Monroe Jo Ann & Paul Ward Chair Principal GUITAR/BANJO Luo-Jia Wu Mary Alice Heekin Burke FRENCH HORNS Timothy Berens+ Chair++ Elizabeth Freimuth SECOND VIOLINS James Lambert* Principal CSO/CCM DIVERSITY Gabriel Pegis Ĵ ȱ ¢ǰȱ ǯȘȘƸ Mary M. & Charles F. FELLOWS~ Principal Trish & Rick Bryan Chair Yeiser Chair Vijeta Sathyaraj, violin Al Levinson Chair Wayne Anderson§ Thomas Sherwood* Emilio Carlo, viola Yang Liu* ȱę Ellen A. & Richard C. Diana Flores, cello ȱ ȱǯȱǭȱĴ¢ȱ ȱ Ronald Bozicevich Berghamer Chair Chair Blake-Anthony Johnson, cello Rick Vizachero Elizabeth Porter† Maurice Todd, bass Ĵȱ£ȘȘ Acting Assistant Principal Henry Meyer Chair HARP Lisa Conway ORCHESTRA PERSONNEL Kun Dong Gillian Benet Sella Susanne & Cheryl Benedict Walter Zeschin, Director Principal Philip O. Geier, Jr. Chair Andrew Williams, Assistant ȱĴȱȗ Cynthia & Frank Stewart Chair Duane Dugger Rachel Charbel Mary & Joseph S. Stern, Jr. LIBRARIANS Ida Ringling North Chair FLUTES Chair Chiun-Teng Cheng Mary Judge Randolph Bowman Charles Bell Principal Stefani Collins Principal Lois Klein Jolson Chair Chika Kinderman Charles Frederic Goss Chair TRUMPETS Christina Eaton* Hye-Sun Park Amy Taylor† [Open] Ĵ ȱ ¢ ȱĴ Jane & David Ellis Chair Principal Assistant Librarian Charles Gausmann Chair++ Henrik Heide* Rawson Chair Stacey Woolley Douglas Lindsay STAGE MANAGERS Brenda & Ralph Taylor Chair++ PICCOLO Acting Principal Ralph LaRocco, Jr. Jackie & Roy Sweeney Joan Voorhees Technical Director Family Chair VIOLAS Patricia Gross Linnemann Robert Junk Steven Pride Christian Colberg Chair ȱǯȱĴ Principal ȱ Ĵȱǯȱȱ¢ȱ Louise D. & Louis Foundation Chair++ OBOES § Begins the alphabetical listing of Nippert Chair ȱ ě Dwight Parry players who participate in a system Paul Frankenfeld* Acting Associate Principal Principal of rotated seating within the string Grace M. Allen Chair Josephine I. & David J. section. Julian Wilkison** Joseph, Jr. Chair TROMBONES * Associate Principal Richard Johnson Cristian Ganicenco Marna Street ** Assistant Principal Donald & Margaret Principal Principal Emeritus † One-year appointment Rebecca Barnes§ Robinson Chair++ Dorothy & John Hermanies Chair ‡ Leave of absence Stephen Fryxell Lon Bussell* Joseph Rodriguez** + Cincinnati Pops rhythm section ++ CSO endowment only ~ Funded by the Andrew W. Mellon Foundation 10 | FANFARE CINCINNATI | cincinnatisymphony.org
Max Rudolf with pianist Lorin Hollander Musical Ambassadors: Ěȱȱȱ Max Rudolf conducts the CSO in Baalbek, Lebanon. ȱȂȱŗşŜŜȱ and contemporary music. Pianist Lorin Hollander, then only 22 years old, was the featured soloist, ȱ and he traveled and performed with the Orchestra by Meghan Berneking throughout the entire tour. ȃ ȱȱȱȱ ȱȱ¢ȱȱȱ ringing the Queen City’s extraordinary art- ¢ȱ ȱ¢ȱ ȱȱ ȱ ȱȱȱ ǰȄȱ istry to people outside the Cincinnati area ȱǯȱ ǯȱȃ ȱȱȱȱȱȱ has been a core value for the Cincinnati tour and all our conversations about the extraordinary Symphony Orchestra for over a hundred magic of where we were going to be traveling. [The Byears. What started as concerts around the region 1966 tour] was an experience that can’t be described grew into an important activity for gaining a global adequately because it is so fraught with images and reputation for the Orchestra. Fifty years ago, in 1966, memories.” the CSO embarked on a ten-week world tour span- ȱȱȱȱǰȱ ȱȱȱśǰȱ ning 33,000 miles and 15 countries and reaching over ŗşŜŜǯȱȱ¡ȱ¢ǰȱȱȱȱȱȱ 100,000 people over the course of 42 concerts. While ȱȱȱȱȱȱȱ ȱȬ an enormous undertaking even by today’s standards, ȱȯȱ ȱ¢ȱ¢ȱȱȱ the 1966 world tour remains a pivotal moment in the the front row. This performance would be a highlight Ȃȱ¢ǰȱęȱ¢ȱȱȱȃȬ for many orchestra members, along with the many nati sound” on the world stage. others that took place in historic, iconic venues. The The CSO’s music director at the time, Max Rudolf, ȱȱȱ ȱȱǰȱ ȱȱ made it one of his primary objectives to build recog- proved memorable, in part for the impressive venues. nition for the Orchestra, in part by scheduling high- ȃȱ ȱȱǰȱȱ ȱȱȱȱȱȱȱ ęȱȱǯȱ¢ȱȱ Ȭȱǰȱǯȱ the desert to the concert, which took place in Baalbek Rudolf used those connections to build a relationship in the largest Roman temple ever built,” said Carlos with the U.S. Department of State. Before long, the ǰȱȱȱȱȱȱȱȱǯȱȃ ȱ ȱ ȱȱȱęȱȱȱȱȱȱ¢ȱȱ impressive, and it sounded great because the acous- State Department for such a tour. While the tour was ȱ ȱȱĴȱȱȱȱȱȱǰȄȱȱǯ Ĝȱȱ¢ȱȱ¢ȱȱȱǰȱȱ ȱȂȱ ȱȱȱȂȱȱ from prominent Cincinnati arts philanthropist Ralph Manager and Public Relations Manager during the Ĵȱȱȱȱȱ¡ȱȱȱ ǰȱęȱȱȱȱȱȱȱȱ an undertaking. Once funding was in place, planning ȱȱ ȱǯȱȃȱ¢ȱ ¢ȱ commenced, and Mr. Rudolf conceived programs family in Lebanon was part of the local host group. ȱȱǰȱȱȱ They invited the whole orchestra to a cookout
12 | FANFARE CINCINNATI | cincinnatisymphony.org on their mountaintop estate,” said Mr. O’Daniel. “From there you could see the Mediterranean on one side, and Baalbek and Roman ruins on the other. The food was unbelievable,” he said. Performances continued in Tel Aviv, Haifa, Jerusalem, Beer Sheva, Dubrovnik, Lucerne, Bombay, Kuala Lumpur, Singapore, Hong Kong, Manila, Taipei, Okinawa, Urawa, Tokyo, Takasaki and Seoul. The varied tour repertoire included Gershwin’s Piano Concerto, William Schuman’s New England Triptych, Mus- sorgsky’s Pictures at an Exhibition, Stravin- sky’s Firebird Suite, Beethoven’s Third Symphony, Brahms’ Fourth Symphony ȱì¤Ȃȱȱ¢¢ǰȱȱ The CSO in concert at the Herod Atticus Amphitheatre in Athens. with a slew of other works. Mr. Rudolf conducted the majority of performances, although then-Associate Conductor Erich Kunzel took up the baton for a few concerts toward the end of the tour. The tour was as much about diplomacy as music. Mr. Rudolf, Mr. Hollander and ȱȱȱȱȱěȱȱ ȱ frequently invited to receptions and din- ners with American and foreign dignitar- ies, helping build diplomatic relationships ȱȱȱ ȱȱȱȱěȱȱ were strained. Some CSO musicians even conducted informal workshops and “jam sessions” with local musicians. ȃ ȱȱȱěȱȱǰȱǰȱ music and people,” said Mr. Hollander of his mentor, Mr. Rudolf. “He was also an astute statesman, and he was able to be Friends and family welcome back members of the CSO after 68 days on tour. with people and accomplish that cultural exchange in a way that I know changed The tour became important for building support lives, because I saw it happen.” back home. By making an impression around the Of course, like any orchestra tour, it was not with- world, audiences and philanthropists in Cincinnati out its challenges. An airplane malfunction meant that took notice and love for the CSO grew. While the a planned performance with full orchestra became Orchestra’s success has been the result of decades of a solo piano recital. Airline workers left instrument tenacity and perseverance, the 1966 world tour most ȱȱȱȱǰȱȱȱȱęȱȱȱ ¢ȱȱȱĴȱȱȱȱȱ ěȱȱȱȱǯȱ ȱ ǰȱȱȱ City’s musical culture. ȱȱȱ ȱĚȱȱȱǯȱȱȱȬ “It was a unique experience, no doubt about it,” tion, after ten weeks on the road, exhaustion and said Mr. Zavala. “My hobby is photography, so I have homesickness started to set in. lots of slides from the tour. I remember it gladly.” Top of mind for all of the musicians, however, was In 2017, the CSO and Pops will embark on two the music itself. “That was really the most intense international tours, one in Asia and one in Europe, ¢ǰȱȱĴȱȱ ȱ ȱ ǰȄȱȱǯȱ Ȭ performing a total of 17 concerts overseas over the lander. “The commitment to beauty, the perfection of course of the year. Fifty years after the historic trip balance, the essence of the composer, the opening of around the world, the Orchestra continues to be expressive depths of soul—that’s what it was about. I Cincinnati’s ambassador to the world. remember intense exhilaration. To be with endlessly ěȱȱȱȱȱ¡ȱȱȱȱȱ Special thanks to the Public Library of Cincinnati and personal involvement—I learned anew on that tour Hamilton County, Lorin Hollander, Michael O’Daniel as a young man that is what the role of an artist is.” and Carlos Zavala for their contributions to this story.
cincinnatisymphony.org | FANFARE CINCINNATI | 13 ARTISTIC LEADERSHIP
LOUIS LANGRÉE, Music Director monic, Orchestre de Cincinnati Symphony Orchestra Paris, Deutsche Kam- The French conductor Louis Langrée has been Music merphilharmonie Bre- Director of Cincinnati Symphony Orchestra since 2013 men, Budapest Festival and of the Mostly Mozart Festival at Lincoln Center in and NHK symphony New York since 2002. With the Cincinnati Symphony orchestras. Festival ap- Orchestra, recent and future highlights include a pearances have included performance in New York as part of the anniversary the Wiener Festwochen, season of Lincoln Center’s Great Performers series, a Salzburg Mozartwoche tour to Asia, and several world premieres, including and Whitsun festivals, three Concertos for Orchestra by Sebastian Currier, and the BBC Proms. Thierry Escaich and Zhou Tian. He has held positions Guest conducting projects over the next two as Music Director of seasons include Louis Langrée’s debut with the the Orchestre de Picardie (1993–98) and Orchestre Philhadelphia and Konzerthaus Berlin orchestras and Philharmonique Royal de Liège (2001–06) and was return engagements with the Leipzig Gewandhaus, Chief Conductor of the Camerata Salzburg (2011–16). Wiener Symphoniker and Hallé. With the Orchestre Louis Langrée was Music Director of Opéra National de France he will conduct Debussy’s opera National de Lyon (1998–2000) and Glyndebourne and Schoenberg’s tone poem based on Maeterlinck’s Touring Opera (1998–2003). He has also conducted Pelléas et Mélisande. He will also return to The Metro- at La Scala, Bayerische Staatsoper in Munich, the politan Opera in New York, Wiener Staatsoper and Royal Opera House Covent Garden, Opéra-Bastille Opéra Comique in Paris. and Théâtre des Champs-Elysées in Paris, Dresden Louis Langrée has conducted the Berliner Phil- Staatsoper and the Netherlands Opera in Amsterdam. harmoniker, Wiener Philharmoniker (in concert in Louis Langrée’s recordings have received several both Vienna and Salzburg) and London Symphony awards from Gramophone and Midem Classical. He Orchestra. He has worked with many other orchestras ȱȱȱȱȱȱȱĴȱȱ around the world, including the London Philhar- 2006 and Chevalier de la Légion d’Honneur in 2014.
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JOHN MORRIS RUSSELL, Conductor ment has yielded a new level of artistic excellence. Cincinnati Pops Orchestra Mr. Russell is also Principal Pops Conductor of the A remarkable artist Buffalo Philharmonic Orchestra and Conductor with boundless en- Laureate of the Windsor Symphony Orchestra in thusiasm for music- Ontario, Canada, where he served as Music Director making of all kinds, for eleven years. John Morris Russell With the Cincinnati Pops, Mr. Russell regularly is a modern conduc- leads electric performances at Music Hall, the Taft tor who engages and Theatre, Riverbend Music Center and throughout the enthralls audiences Greater Cincinnati region and on tour. Mr. Russell with the full breadth has collaborated with generations of great perform- of the orchestral ex- ers including Ray Charles, Rosemary Clooney, Idina perience. Now in his Menzel, Vince Gill, Branford Marsalis, Brian Stokes sixth season as Con- Mitchell, Megan Hilty, Michael McDonald, George ductor of the Cincin- Takei, Amy Grant, Rosanne Cash, Brian Wilson, nati Pops Orchestra, Katharine McPhee and Marvin Winans. Mr. Russell’s diverse ȱęȱȱȱȱ ȱȱ- programming and nati Pops on the Orchestra’s Fanfare Cincinnati label, electric stage pres- Home for the Holidays, Superheroes!, Carnival of the ence have infused Animals and American Originals, have all appeared new creativity and on the Billboard charts. In December 2014, Mr. Russell energy into one of the world’s most iconic pops led the Cincinnati Pops on a Florida tour. orchestras. A sought-after guest conductor across the con- Consistently winning international praise for his tinent, Mr. Russell’s list of frequent engagements extraordinary music-making and visionary leader- include the Los Angeles Philharmonic at the Hol- ship, this Ohio native is also Music Director and lywood Bowl, the New York Philharmonic, Toronto Principal Conductor of the Hilton Head Symphony Symphony Orchestra, The Cleveland Orchestra and Orchestra in South Carolina, where his commit- Vancouver Symphony Orchestra, among others.
16 | FANFARE CINCINNATI | cincinnatisymphony.org IF IT SOUNDS GOOD, IT IS GOOD!
ȂȱȱȱȱȱĚȱȱȱ ȱȱȱȱ ȱȱȱȱǰȱ ȱȱȱ ȱȱȱȱȱȱȱȱ ȱȱȱȱ ȱ ȱ¢¢ȱȬ ȱȱȱȱǰȱȱ ȱ ȱ ȱ Ȃȱ¢ȱȃǯȄȱȱ ȱȱȱ ȱȱȱȱĴȱDZȱȃȱȱȱ ȱ¢ȱȱȱ ¢ǰȱȱȱǰȱ Tȱȱȱǰȱȱȱȱȱ ǯȄȱ ȱȱȱȱȱ ȱ ȱ ȱ Ƿȱȱȱȱȱȱ¢ȱȱ ȱǰȱ ȱȱ¢ȱęȱȱȱȱȱȱ ȱȱȱȱ¢ȱǰȱȱȱȱ ȱȱȱȱ£ȱȱȱȱȱȱ ȱ¢ȱȱȱȱȱȱȱȱ ǯȱ ȱȱȱȱȱȱȱȱȱ ȱȱȱȱȱ ǯ ěȱȱǰȱ ȱȂȱȱȱȱȱ¢ȱ ȱȱȱȱȱǰȱ ȱȱȱ ȱȱȱ ȱȱȱȱ ȱȱ ȱȱȱȱ¢ȱȱȱȱ£ȱ ȱȱȱ ȱȱȱȱǯȱ ¢ȱǰȱȱȱȱ¢ȱǯȱ Ȃȱȱȱȱȱȱȱȱ ȱ¢ȱ ȱ ȱȂȱȱ ȯȱěȱȱ ȱȱǰȱȱȱȱ ȱȱȱȱ¢ȱȱȱȱȱȱȱȱȱ ȱǰȱȱȱǯȱȱȱ ȂȱȬ ȱǷȱ¢ȱȬȱȱȱȱȱȱȱ ȱȱȱ¢ȱȱȱęȱȱǰȱȱȱȱ ǰȱȱȱǰȱ ȱ ȱ ȱȱ ¢¢ȱȱȱȱȱȂȱSuperheroes! ȱȱǰȱȱȱȱȱ ǯȱȱȱȱ¢ȱȱȱ ǰȱȱȱȱȱȱȱ ǰȱ ȱ ǰȱȱȱȱȱȬ ȱǰȱȱȱȱȱȱǯȱ ȱȱ ȱȱȱȱȱȱȱȱȱ ȱ ȱȱȱȱȱȱȱȱęȱȱ ǯȱ ȱ ȱ ȱȱȱȱȱȱȱȱ¢ȱ ȱȱȱȱȱ¢ȱ¢ȱȱ ȱ¢ǰȱȱ Ȃȱȱȱȱ¢ȱȱ¢ȱȱȱ ȱȱȱȱǯȱȱ Ȃȱȱȱ my behalf! ȱȱȱȱȱȱȱǰȱ Ȃȱ ȱȱȱ¢ȱȱȃȱȱ ¢ǰȄȱȱ ǰ ǰȱȱȱȱȱȱ ȱ ȱȱȱǯ
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cincinnatisymphony.org | FANFARE CINCINNATI | 17 SPOTLIGHT ON... Mace Justice
Mace Justice’s support of music and the arts in the community has grown from a seed planted in his childhood. His father was a church soloist and his mother was an amateur pianist, so music naturally became an integral part of Mace’s life as well. He played clarinet in the high school band and orchestra, and he has sung in church and community choruses most of his life. His sister, Judy Justice, was a violin- Mace receives the Voices of Giving Award from Telly McGaha, a trustee ist who toured Germany soon after World War II. of the Greater Cincinnati Planned Giving Council. Mace recently penned a book lovingly chronicling his sister’s journey. recorded for distribution around the world, ensuring A Fiddler’s Journey has been described as an “ad- the CSO’s ability to be a place of experimentation and ȱȱȱ¢ȱ ȱęȱȱ ¢ȱȱ an ambassador of the city of Cincinnati. These works Europe during the breaking of centuries of patriarchal include Philip Glass’ Cello Concerto No. 2, Naqoyqatsi, and male-dominated traditions as she struggles to which was released in March of 2013, and Zhou Tian’s ȱȱȱȱęȱȱȱȱȱǯȄȱ Concerto for Orchestra, which will be released as part Ȃȱ ȱȱȱęȱȱȱȱȱȱ of a Concerto for Orchestra commission compilation musical legacy. disc this fall. Now a retired school teacher of Advanced Place- Mace has also honored his parents by endowing a ment English at Western Hills High School in Cincin- Chair for the Associate Principal Second Violin. As a nati, Mace has been an active supporter, volunteer member of The Thomas Schippers Legacy Society, he and subscriber of the CSO for over 50 years. He has ensured that his legacy will live on as a valued part ȱȱęȱȱȱǰȱ ȱȱȱ¢ȱ¢ȱȱȱȱȱȱę¢ȱ broadcasts, the appearances of guest artists, as well as of his Charitable Remainder Trust. general operating support. This season he is support- As a volunteer for the CSO, Mace led his fellow ing the guest appearance of conductor Gilbert Varga volunteers by writing a comprehensive guidebook (Mace’s sister, Judy, performed with Mr. Varga and for those providing tours of the Orchestra’s home, was very much a fan of his work), who will lead the historic Music Hall. CSO May 12–13, 2017. Mace has also supported the On June 22, 2016, Mace was honored at the 18th commission and premiere of works that have been Annual Voices of Giving Awards ceremony presented by the Greater Cincinnati Planned Giving Council at the CET studios. The Voices of Giving Awards pay tribute to those Greater Cincinnatians who—out of Ěǰȱ¢ȱȱȯȱȱȱ make a bequest or planned gift to a favorite charitable organization. The CSO is immensely grateful to Mace Justice for his ongoing support and dedication to helping the Orchestra to achieve its mission of seeking and sharing inspiration. His gifts ensure that the CSO remains a model for orchestras and arts organiza- tions around the world, with steadfast commitment to extraordinary artistry.
Mace with Judy Martin, retired CSO violist and fellow Schippers Society member.
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2016–2017 SEASON FRI OCT 7, 11 am SAT OCT 8, 8 pm Taft Theatre
NEEME JÄRVI conductor GIL SHAHAM violinist
GRIEG Suite No. 1 from Peer Gynt, Op. 46 (1843–1907) Morning Mood Aase’s Death Anitra’s Dance In the Hall of the Mountain King
MENDELSSOHN Concerto in E Minor for Violin and Orchestra, Op. 64 (1809–1847) Allegro molto appassionato Andante ȱ Ĵȱȱǯȱȱȱ
INTERMISSION
DVOŘÁK Symphony No. 7 in D Minor, Op. 70 (1841–1904) Allegro maestoso Poco adagio Scherzo: Vivace Finale: Allegro
The CSO is grateful to U.S. Bank, the CSO’s Masterworks Series Sponsor. The appearance of Neeme Järvi is made possible by a generous gift from Genevieve Smith. The CSO is grateful to Messer Construction, this weekend’s Presenting Sponsor. Friday Morning Shuttle Partner: Croswell Bus Lines.
Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. These concerts will end at approximately 12:45 pm Friday, 9:45 pm Saturday. 90.9 WGUC will broadcast this concert February 5, 2017, 8 pm.
cincinnatisymphony.org | FANFARE CINCINNATI | 21 PROGRAM NOTES: Oct 7–8 © 2016–17 Cincinnati Symphony Orchestra
With the rise of Romanticism in the Nineteenth Century, a sense of nationalism also began permeating the musical language of many composers. No composer embodied this more than Antonín Dvořák, whose rich oeuvre is infused with Eastern European influences, including in his beautifully lyrical Seventh Symphony. Described by Donald Tovey as “among the greatest and purest of this art-form since Beethoven,” Dvořák’s Seventh has become a staple of the orchestral repertoire, and anchors the second half of this richly Romantic program. Edvard Grieg’s music and craft was also heavily influenced by his Norwegian surroundings, including the incidental music he wrote for Henrik Ibsen’s play, Peer Gynt; music that has since become some of the composer’s most beloved. We are thrilled to welcome back to Cincinnati two legends of the classical music world for this program: Gil Shaham, one of the greatest violinists of his generation performing Mendelssohn’s Violin Concerto; and Neeme Järvi, the patriarch of an incredible musical dynasty, and one of the most highly respected conductors in the world. —Louis Langrée
EDVARD GRIEG November 2005, Paavo Järvi conducting. Individual Suite No. 1 from Peer Gynt, Op. 46 movements of the Suite have also been performed numerous times throughout the Orchestra’s history, Born: June 15, 1843, Bergen, Norway including for Pops and community concerts. Died: September 4, 1907, Bergen, Norway Duration: approx. 15 min. Work composed: 1874–75 Premiere: Incidental music—February 24, 1876 as The great Norwegian dramatist Henrik Ibsen (1828– ȱȱȱ¢Ȃȱęȱȱȱȱǻ ȱ 1906) accomplished the near-impossible in his verse Oslo); two concert suites published in 1888 and 1891 drama Peer Gynt (1867): he chose for his protagonist Instrumentation: ŘȱĚǰȱǰȱŘȱǰȱŘȱǰȱ a man who was completely devoid of any positive 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, qualities and made us care for that man deeply by timpani, bass drum, cymbals a2, triangle, strings the end of the play. Peer, a Norwegian peasant lad, CSO subscription performances (complete Suite No. 1): Four previous subscription weekends | is conceited beyond belief, a notorious liar, swindler ȱǻȱȱ ǼDZȱȱŗŞşśǰȱȱ and womanizer who betrays the love of his life and ȱȱȱȱȩȱȱȱǻȱ ǼDZȱ all his friends, and doesn’t hesitate to send others to
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22 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: OCT 7–8 their deaths so that he may live. But Ibsen showed ȱȱ ȱȱȱ¢ȱęȱȱȱȱȂȱ how earnestly this unsavory character had struggled Norwegian scenes. A pastoral melody, mostly over all his life to make sense of human destiny, and made long-held, unmoving bass notes, unfolds quietly, this quest the focus of his play. Like Goethe’s Faust, waxing and waning in intensity. Peer goes from one plane of experience to the next: his The second movement is “Aase’s Death.” Peer had path leads him, in turn, to the kingdom of the Trolls, an ambivalent relationship with his mother Aase, to to America, and to the North African desert, before ȱȱ¢ǯȱ ȱȱęȱȱȱȱǰȱ ȱȱ ȱęȱȱ ¢ȱȱȱȱ¢ȱǰȱ ȱȱ the two of them arguing vehemently and Aase calls spent her entire life waiting for him patiently in the her son a liar and a ne’er-do-well. As a response, Norwegian mountains. As a result of his wanderings, Peer lifts her up and puts her on the mill-house roof, ȱȱȱȱȱȱ ȱ¢ȱĴȱȱ from where she is unable to come down without life and, more importantly, the reader or spectator help. Later, as she lies dying, Peer sits next to her, ¢ȱĚȱȱȱȱȱ ǯ and spins out a lively fantasy about taking her on One of the things that make Peer Gynt unique is its ȱ ȱȱȱȱȬȱǰȱ ȱ singular mixture of Norwegian local color and uni- ȱ ȱȱȱ¢ȱǯȱȱ ȱȱǯȱ versal philosophy. When Edvard Grieg was asked to The music, in total contrast with these tumultuous ȱȱȱȱȱȱ¢Ȃȱęȱ- goings-on, is a lament for strings alone (all but the tion, he complained that it was “the most unmusical basses playing with mutes). Its simple yet poignant of subjects.” The philosophical side of the drama was melody is repeated three times, increasingly louder obviously hard to capture. The folkloristic element, ȱDzȱȱȱǰȱ¢ȱĚȱ on the other hand, positively cried out for musical theme fades out the movement in pianissimo. treatment, and here Grieg, an enthusiastic student of The third movement, “Anitra’s Dance,” is in a his country’s musical traditions, was in his element. “Tempo di Mazurka.” This may be geographically The incidental music to Peer Gynt strengthened his incorrect, given the fact that the mazurka is a Polish reputation as the greatest composer in Norway, and at dance and this scene of the play is set in a desert the same time, it helped establish Ibsen’s masterpiece oasis in North Africa. Yet the seductive melody and on the international stage. playful chromaticism of the movement are perfectly Grieg extracted two suites from Peer Gynt, both in character for the episode, in which Peer, posing as ȱȱǯȱȱęȱȱȱ a prophet and smoking his long pipe in the tent of an with the Prelude to Act IV, “Morning.” The sun rises Arab chieftain, enjoys the song and dance of a group over a landscape of North African desert—although of Arabian girls, and singles out one of them, Anitra,
WHAT TO LISTEN FOR: How Edvard Grieg vividly portrays certain events in his Peer Gynt Suite No. 1, particularly the sun- rise in the first movement. Mendelssohn’s soaring violin melodies, which have made this concerto one of the most famous and popular violin concertos in the repertoire. The Slavic “folk” influences in Dvořák’s Seventh Symphony, particularly in the third movement, which in the middle section features a rather raucous Bohemian dance.
WHY WAS THIS PROGRAMMED? Both Grieg and Dvořák incorporated folk elements into their music; Dvořák drew from his Czech background, and Grieg palpably absorbed and translated into music the surroundings of his idyllic home in Bergen, Norway. In many ways, Felix Mendelssohn served as a bridge between Classicism and Romanticism, and through his work as a conductor and musical personality, had a substantial influence on the music of the 19th century. On this program, Mendelssohn’s beloved Violin Concerto “bridges” these two iconic works by Grieg and Dvořák.
QUESTIONS TO DISCUSS ON THE WAY HOME: Mendelssohn’s Violin Concerto is often described as one of the earliest concertos displaying considerable virtuosity in the solo part. Which parts drew you into the music more: the beautiful lyricism of the slow middle movement, or the breathtaking and soaring virtuosity of the outer two movements? Dvořák’s Seventh Symphony is in many ways a journey from darkness to light, with the brooding opening of the Symphony making way for a triumphant conclusion. What kind of journey did you imagine while the Symphony unfolded?
cincinnatisymphony.org | FANFARE CINCINNATI | 23 PROGRAM NOTES: OCT 7–8
ȱȱĴǯȱȱȱǻȱȱǰȱ subscription weekends | Premiere: February 1895 ¡ȱȱȱǼȱȱȱ¢ȱ¢ȱȱǯ (Pike Opera House), Anton Seidl conducting, Eugène ȱȱȱ ȱȱȱ Ȃȱȱȱ Ysaÿe, violinist | Most recent: April 2014, Juanjo Mena ǰȱȃ ȱȱ ȱȱȱȱ ǯȄȱȱ conducting, Augustin Hadelich, violinist Duration: approx. 26 min. ȱȱȱ ȱȱȱȱ ȱȱȱȱ ȱȱȱȱȱǰȱȱ ȱȱȱǯȱȱ ȱŗŞŚŖȱȱ ȱȃȄȯȱǰȱ- ȱȱȱȱǰȱȱȱȱ ȯȱȱȱȱȱ ȱ ȱȱǰȱ ȱȱȱȱȱȱȱȱǯȱ ȱ ȱȱ ǯȱȱ ȱ ȱȱȱ ȱȱȱȱȱǰȱ ǰȱȱȱȱ patronage of the arts a major priority of his regime ȱȱȱȱȱȱȱȱ¢ȱǻȱ ȱȱȱȱǰȱǰȱȱ ȱȱȱȱǼǯȱȱȱ ȱȱȱǯȱȱȱȱ ȱȱȱȱȱȱȱȱȱ ǰȱȱȱ ȱȱȱ ȱȱȱȱ ȱȱȱ ȱȱǯȱȱȱȱȱȱ ȱȱȱȱȱȱǯȱ ȱ ȱ ǰȱȱȱ¢ȱȱ¢ȱȱ¢ȱǯ ǰȱȱ¡ǰȱȱ¢ȱȱȱȱ —Peter Laki ȱȱȱȱ¢ȱ¢ȱȱȱȱȱȱ ȱȱȱ ȱ¢ȱȱ ȱȱȱȱ FELIX MENDELSSOHN ȱ ȱȱǯ Concerto in E Minor for Violin and Orchestra, ȱȂȱ¢ȱȱȱȱȱȱ Op. 64 ǯȱ ȱǰȱ ȱ ȱ¢ȱ ȱȱ ȱȱǰȱ ȱ¢ȱȱȱȱȱȱ Born: February 3, 1809, Hamburg, Germany Died: November 4, 1847, Leipzig, Germany ȱȱȱ¢ȱ ȱȱȱȱȱǯȱ Work composed: 1838– September 16, 1844 ȱ ȱǰȱȱȱȱȱ Premiere: March 13, 1845, Leipzig—Neils Gade con- ȱȱȱȱȱ ȱȱȱȱȱ ducting the Leipzig Gewandhaus Orchestra, Ferdinand ȱȱ ȱȱ Ȃȱǯȱ- David, violinist ǰȱȱ ȱȱȱ ȱȱĴȱȱȱ Instrumentation: ȱǰȱŘȱĚǰȱŘȱǰȱŘȱ ȱȱȱȱȱ ȱȱ ǯȱȱ clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings ȱȱ¢ȱȱ ȱȱȱȱȱȱ CSO subscription performances: 27 previous
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24 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: OCT 7–8 his old friend, the violinist Ferdinand David. But in The composer was overworked and depressed. He the end Mendelssohn accepted. The composer was was required to teach, compose for the Royal Theater excited about working in Germany’s largest city, and and for church services, and conduct an orchestra and he looked forward to performing with and composing a chorus. During his years in Berlin he also was re- for Berlin’s large ensembles. quired to write incidental music—mostly empty and After complicated negotiations concerning his exact ȱȱȱĴȱȯȱȱȱȂȱ duties and title, Mendelssohn moved himself and his Antigone and Oedipus at Colonus and of Racine’s family to the Prussian capital in 1841. He took a leave Athalie. The one exception was the wonderful music of absence for one year from his position as conductor ȱȂȱA Midsummer Night’s Dream, which of the Leipzig Gewandhaus Orchestra. Concertmas- he had begun at the age of 17 and now completed on ter Ferdinand David, for whom Mendelssohn was commission from the King. writing the Violin Concerto, took over as conductor. Mendelssohn was ready to quit. But the King When the composer remained in Berlin, David was charmed him into staying. His work load was light- succeeded by Ferdinand Hiller and then Neils Gade, ened and he was given the freedom to travel. The to whom fell the honor of conducting the premiere of King turned out to be duplicitous, however—much ȱȱ ȱȱ ȱęȱ¢ȱ¢ȱȱŗŞŚśǯ of what he promised never materialized, including Once in Berlin, Mendelssohn encountered a series the promised conservatory. Mendelssohn returned of frustrations. The orchestral musicians were not temporarily to Leipzig, where he did succeed in as accomplished as those in Leipzig, and they were founding a new conservatory. This school, which had hostile to him. In addition, the bureaucrats with ȱȱȱȱǰȱęȱȱȱȱȱ whom he had to deal at court were evasive and un- that Frederick William had wanted for Berlin but was cooperative. Of the Minister of Arts, through whom unwilling to implement. The stellar faculty included all Mendelssohn’s requests had to be channeled, the violinist David (who was still waiting patiently for composer said, “He seems to have sworn death to Mendelssohn’s Violin Concerto), composer Robert every free intellectual endeavor. He is afraid of a ȱȱȱȱĵȱ ȱ ǯ mouse.” Adding to Mendelssohn’s unhappiness was ȱȱȱȱĜȱȱȱȱȱ the unexpected death of his mother in 1842. Ĝȱȱȱȱȱǯȱ ȱȱȱȱ
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cincinnatisymphony.org | FANFARE CINCINNATI | 25 PROGRAM NOTES: OCT 7–8 environment at the court oppressive, and his health ANTONÍN DVOŘÁK ȱȱȱěȱǻȱȱȱ¢ȱȱȱ Symphony No. 7 in D Minor, Op. 70 the age of 38). King Frederick William pretended Born: September 8, 1841, Mühlhausen, near Prague to be puzzled when he learned that his amply paid Died: May 1, 1904, Prague ȱ ȱȱǰȱȱȱę¢ȱ Work composed: December 13, 1884–March 17, acquiesced—on condition that Mendelssohn be avail- 1885; revised May 1885 able for future commissions and performances. The Premiere: ȱŘŘǰȱŗŞŞśǰȱȯì¤ȱ composer left Berlin for good in 1844. No longer conducting the London Philharmonic Orchestra Instrumentation: required to compose patriotic works, church hymns ŘȱĚȱǻǯȱǼǰȱŘȱǰȱŘȱ ȱȱǰȱȱ ȱę¢ȱȱȱȱ clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, strings the work he had begun six years earlier—the mag- CSO subscription performances: Twelve previous ęȱȱǯ ȱ ȱȩȱDZȱȱŗşŚŖǰȱ KEYNOTE. Although Mendelssohn was himself a ȱ ȱȱȩȱȱDZȱȱŘŖŗŘǰȱ ȱȱȱ¢ȱ Ĵȱȱȱ Michael Francis conducting. The CSO has also performed ȱǻȱȱȱȱŗśǼǰȱȱ¢ȱȱȱ ȱ ȱȱȱǰȱȱȱȱ ȱȱȱȱǯȱȱȱȱȱȱȱ- tours. Duration: certo is a masterful integration of virtuosity and mu- approx. 35 min. sicality. It is full of melodic lines that spin seemingly ȱȱȱȱȱȱÇȱì¤ǰȱȱ ě¢ȱȱȱȱ¢ȱȱ¡ȱ¢ȱ reputation spread rapidly. Brahms, who knew the ȱȱȱȱȱǯȱȱęȱ £ȱȱȱȱǰȱȱȱȱ in particular presents unabashed bravura and true the publisher Simrock, who subsequently brought melodiousness integrated in one of Mendelssohn’s out several of his scores. Brahms also secured per- wonderfully impish scherzos. It is this combination of ȱȱì¤Ȃȱȱȱ ¢ǯȱȱ virtuosity and lyricism that has endeared the concerto ȱȱ ¢ȱȱȱ¡ȱȱǰȱ to generations of violinists and listeners. which in turn led eventually to an invitation to the The concerto also has its share of innovations. United States. ǰȱȱ¡ǰȱȱȱȱ ȱȱ The composer was ambivalent about this rapidly movements are linked together. A bassoon holds one achieved fame. He was grateful that his music was ȱȱȱȱȱȱȱȱęȱǰȱ widely appreciated, and he was pleased with the ad- creating a harmonic link into the second movement. ditional income from conducting engagements. But he That movement goes without pause into a transitional ȱȱȱȱȱȃȱȱ£ȱǯȄȱ ȱȱȱȱȱȱęǯ The more he saw of foreign cultures, the stronger ȱęȱȱȱȱ ĴȬȱ£ǯȱ his own nationalistic identity became. Although Traditionally, the cadenza is left to the soloist to never deeply involved in politics, he found himself improvise, compose or choose. It usually occurs just increasingly in sympathy with movements aimed at ȱȱȱȱȱęȱǰȱȱȱȱ preserving his homeland and its culture. His music where the forward motion of the concerto stops for Ěȱȱęȱ ȱǯ ȱ ȱȱȱȱȱȱ ȱěȱȱȱȱ In the early 1880s, the time of his rise to fame, virtuosity. This extended, unaccompanied passage ì¤ȱ ȱȱ ȱȱȱDimitrij. This ¢ȱȱĴȱȱȱ ȱȱȱȱȱǯȱ work had been a success in Prague, and a perfor- Mendelssohn sought to integrate the cadenza into ȱ ȱȱȱǯȱǰȱȱȱ the form, so he placed it earlier in the movement. It ȱȱȱȱȬ£ȱȱȱǰȱ serves as the transition from the development section ȱȱȱȱȱȱȱȱȱ£ȱ to the recapitulation. Now that the cadenza had an nationalist opera. The composer was instead urged important structural role, its form and harmonies ȱ ȱȱ ȱȱę¢ȱȱǯȱ ȱ ȱ could no longer be left to the whim of the soloist. ȱ ȱ ȱĴȱȱ ȱȱǯȱȱ Thus Mendelssohn wrote down exactly what the ȱȱȱȱĚȱȱȱ ȱ ȱȱ¢ǰȱȱȱǻȱȱȂȱ advised him to drop the new national traits in his advice) that it should nonetheless give the virtuoso compositions if he wanted increased appreciation in ȱ¢ȱȱ ȱěȱȱǯȱȱȱȱ ǯȱȱȱȱȱȱȱǰȱ cadenza in the second or third movements, but the ȱ ȱȱǻ¢ȱǰȱȱǼȱȱȱ ȱȱȱȱęȱȱȱȱ ȱȱȱȱ ǯȱǰȱì¤ȱȱ ¢ȱȱęȱȱȱȱ trouble convincing his new publisher Simrock to print dazzle and simultaneously delight listeners. ȱȱȱȱ ȱȱ£ȱȱ ȱȱ ǰȱ —Jonathan D. Kramer and the two had heated exchanges over whether to
26 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: OCT 7–8 publicize the composer’s name in its German form ȱȱȱ¢ȱȱȱȱ (Anton) or in the original Czech (Antonín). ȱ¢ǯȱȱ£ȱȱȱȱfuriantȱȬ ȱ ȱ ǰȱì¤ȱǯȱ ȱȱȱ ȱȱȱ¢ǰȱȱ ȱ¡Ȭȱȱ fame partly because of his Bohemian nationalism, ȱȱȱŘƸŘƸŘȱȱȱřƸřǯȱ ȱ ȱ¢ȱ ȱȱȱȱǯȱȱ ȱȱĚȱȱ¢ȱȱȱ¡Ȭ ȱǰȱȱȱȱȱȱ ȱȱ DZȱ ȱȱȱ ȱ ȱȱ ȱȱ ȱǯȱ ȱ¢ȱęȱȱȱȱȱ ¡ǯȱ¢ȱȱȱȱȱȱ ȱ ȱȱȱȱȱȱȱȱȱ ȱ¢ȱȱ¢ȱ¢ǯ ǯȱ ȱ¢ȱȱȱȱǰȱȱȱ ȱęȱǰȱ ȱ¢ȱȱȱȱȬ ȱȱȱȱȱȱȱ£ȱ als of the earlier movements, sums up the variety of ȱ¢ȱȱ£ȱǯȱ ȱȱȱȱ Ȭ ȱȱȱ¢¢ǯȱȱȱȱȱȱȱ ȱȱ¢ǰȱȱȱȱȱȱ ȱ ȱȱȱǻȱȱȱęȱȱǼȱȱ from the German Artists’ Club. ȱ ȱȱǯȱȱȱȱ ȱȱȱȱȱȱȱ ȱȱ Ȭ ȱȱȱȱȱȱȱȱ ǰȱȱ ȱȱ ȱȱȱȱ¢ȱ£ȱȱ is the rhythmic vitality from the scherzo. ¢¢ǯȱȱ ȱ ȱȱ¢ȱȱ Not always when a composer sets out to create a ȱȱ¢ǰȱ ȱȱȱ ȱ ȱȱȱǯȱȱȱȱȱ ì¤ȱȱ¢ȱǯȱȱȱȱȱ ¢¢ȱì¤ȱȱȱȱȱ¢ȱȱȱ ȱȱȱ¢¢ǯȱ ȱ ȱȱ ȱ ęȱ¢ȱȱȱǯȱȱȱ ȱȱ ȱȱȱȱȱȱȱ ȱ ȱȱȱȱȱ ȱ ¢ȱȱȱ ȱȱȱ¢ǯȱ ȱ ȱȱȱ ȱ ȱȱȱȱ¢ȱǯȱ ȱȱęȱȱěȱǯȱ ȱęȱȱ ȱȱȱȱȱȱ¡ȱ ȱ ȱȱȱȱȱȱȱȱ ȱȱ¢ȱ ȱȂȱǯȱȱȱ¢ȱȱȱ ȱì¤Ȃȱȱ¢¢ǯȱȱȱ ȱȱĚȱ ȱȱȱǯ ȱȱȱȱȱ¢ȱDZȱȱ —Jonathan D. Kramer Ȃȱȱȱȱȱȱȱ ȱȱDzȱȱȱȱȂȱȱ¢Ȭ ¢ǰȱ ȱì¤ȱȱ¢ȱȱȱ ȱ ȱȱȱDzȱȱȱ£ȱ ǰȱ ȱȱ¡ȱȱȱDzȱȱ ȱȱȱȱ ȱȱȱȱȱ ȱȱȱȱȱȱȱǯȱȱ ȱ¢¢ȱȱȱȱȱȱ¢DZȱ ȱȱȱȱȱ ȱȱȱȱȱ ¢ǰȱȱ£ȱDzȱ ȱ ȱȱȱȱ ¢ȱȱȱȱǰȱȱȱȱ is my response. Captivating music that evokes the splendor of Northern climes, featuring American violinist Jennifer Koh. KEYNOTE. Czech nationalism is everywhere ȱȱȱ¢¢Ȃȱȯȱȱȱ ǰȱ¢ȱȱȱ ȱȱȬ ȱȱȱĚȱǰȱȱǰȱȱ ¢ȱȱȱȱȱȱȱĴȱȱ ȱȱ£ȱǯȱȱȱȱ¡ȱȱ NOV 18: ȱȱȱ£ȱǰȱȱ¢ȱȱȱ Ȭ¢ȱȱȱǻȱȱì¤Ȃȱ Slavonic DancesǼǯȱȱȱȱȱęȱȱǰȱ ȱ¡ǰȱȱȱ ȱȱ¢Ȭȱȱ ȱì¤Ȃȱǯȱȱęȱȱȯȱǰȱ ȱ¢ǰȱȱȯ ȱ ȱȱȱǰȱ¢ȱǰȱ Ȭȱȱ¢ǯ ȱȱĚȱȱȱȱȱȬ TICKETS ON SALE tional sophistication. Notice, for example, the often NOW! ȱ ȱȱȱęȱȱȱȱ ȱǰȱ ȱȱȱȱȱȱ cincinnatisymphony.org • 513.381.3300 ȱǯ
cincinnatisymphony.org | FANFARE CINCINNATI | 27 CROSWELL TOURS IS EXCITED TO PRESENT A new “Arts” experience!
Adventure Awaits!
Perfecting the Art of Travel since 1921
The Philadelphia Arts TheHOLIDAY Kennedy MEMORIES Center AT March 9-12, 2017 November 16-19, 2017 4 Days • 3 Nights • 5 Meals 4 Days • 3 Nights • 6 Meals
Marvel at the beautiful flowers on The famous Kennedy Center is America’s display at the world’s oldest and Performing Arts Center, located on largest indoor flower show. A delightful the Potomac River and filled with night of great food and fabulous architectural beauty. Don’t miss this entertainment by the Philadelphia memory making trip as you experience Orchestra will round out this great a holiday performance at The Kennedy getaway to the City of Brotherly Love Center and explore the nation’s capital and its famous flower show! during the most magical time of year.
Don’t miss the Bus! Contact Croswell Tours for additional information about these trips and our complete 2016-2017 schedule.
513.724.2206 • [email protected] • www.GoCroswell.com
Croswell VIP Tours • 975 West Main Street • Williamsburg OH 45176 GUEST ARTISTS: Oct 7–8
NEEME JÄRVI, of the Detroit Symphony Orchestra, conductor laure- conductor ȱȱȱ¢ȱĴȱȱȱȱȱȱ Previous CSO conductor emeritus of the Gothenburg Symphony. Performances: This In high demand as a guest conductor, recent and is Neeme Järvi’s future seasons for Neeme Järvi include engage- ęȱȱȱ ments with the Berliner Philharmoniker, Royal ȱ ȱȱ Concertgebouw Orchestra, Symphonieorchester ȱȱȱȱ des Bayerischen Rundfunks, Gewandhausorchester ȱŗşŞŖǯȱȱȱȱ Leipzig, Czech Philharmonic Orchestra and Wiener ęȱȱȱ ȱŗşŞŞǯ Symphoniker, and the major orchestras in the U.S., as Noteworthy: well as regular engagements with the NHK and Sin- ȱ §ȱȱȱ gapore symphony orchestras. He also continues his ȱȱȱ¢ȱ regular relationships with the Bergen Philharmonic ȱ¢¢ǯȱ Orchestra, Gothenburg Symphony and the Royal ȱǰȱȱ Ĵȱȱȱǯȱ §ȱǻȱȱ Highlights of an impressive discography include Neeme Järvi, © Simon van Boxtel ȱǼȱ critically acclaimed complete orchestral cycles of ȱ ȱ §ǰȱȱȱȱȱȱ ęȱǰȱǰȱȱǰȱǰȱ ǰȱǰȱȱȱȱĚȱǯȱȱ ì¤ǰȱ £ǰȱ ǰȱǰȱȱȱ Read more: ǯ Brahms. Järvi has also championed less widely Neeme Järvi is one of today’s most respected conduc- known composers as well as composers from his na- tors, performing with the world’s foremost orchestras. tive Estonia. Recent and future releases on Chandos He is principal conductor of the Estonian National include Tchaikovsky’s complete ballets with the Symphony Orchestra, head of conducting at the ȱǰȱȱ¢ȱ ȱěȱǰȱȱ Gstaad Conducting Academy, chief conductor emeri- ȱ¢ȱǰȱǰȱȬºǰȱĴȱȱ tus of the Residentie Orkest, music director emeritus and Scharwenka.
NEW VENUE! Christ Church Cathedral
2016–17 SEASON
AUTUMN SPIRITS FRI NOV 11, 2016
BRAHMS FEST FRI JAN 6, 2017
CABARET AND DANCE FRI FEB 3, 2017 4 EXTRAORDINARY CONCERTS with bonus pre-concert receptions! SPRING INSPIRATION FRI MAY 12, 2017
Last season, all concerts sold out. Please subscribe to ensure your seat! cincinnatisymphony.org/chamber • 513.381.3300
cincinnatisymphony.org | FANFARE CINCINNATI | 29 GUEST ARTISTS: OCT 7–8
GIL SHAHAM, ¢¢ǰȱȱ¢¢ȱȱȱ violinist Dzȱȱ ȱȱȱ¢¢ȱ Previous CSO ȱȱȱDzȱȱȱ¡ȱȱ Performances: This ȱȱ ȱȱ ǰȱȱȱȱȬ is Gil Shaham’s ninth lease of Violin Concertos of the 1930s, Vol. 2. Shaham has appearance with the ȱȱȂȱȱȱȱ CSO since his debut ȱȱȱȂȱȱ ȱȱ¢ȱȱ in 1991, including ȱȱȱȱȱȱ ȱ eight subscription weekends and one Ȧȱȱȱǯ Riverbend classical ȱȱȱȱ ȱ£ȱȱȱ performance. ȱȱȱȱǰȱȱȱȱȱ Noteworthy: ȱȱȱȱȱǯǯȱȱǯȱȱ Shaham toured Asia ȱȱȱȱ ¢ǰȱȱ ȱ this summer for a ¡ȱȱǰȱȱȂȱȱGramophone Ȭ series of chamber, Ȃȱǯȱ ȱȱȱȱȱ ȱ¢ȱ solo and orchestral ȱǰȱ ȱȱȱȱŘŖŖŚǰȱȱJ.S. Gil Shaham, © Luke Ratray performances, Bach: Sonatas & Partitas for Violin; Nigunim: Hebrew including the Melodies; Sarasate: Virtuoso Violin WorksDzȱȂȱȱ Mendelssohn concerto with the Singapore Symphony ȱ ȱȱȱ¢¢DzȱȱȂȱ Orchestra. He has recorded the Mendelssohn with the Philharmonia Orchestra (Deutsche Grammophon). ȱ ȱȱȱǯȱȱȱȱ Read more: GilShaham.com ȱ ȱǰȱȱȱȱ ȱ¢ȱ ȱȱȱǰȱȱǰȱ Gil Shaham is one of the foremost violinists of our time; ȱǰȱ ȱȱȱȱǯ ȱĚȱ ȱȱȱ ȱȱȱ ȱ ȱ ȱȱ¢ȱȱȱ ȱ ȱȱ¢ȱȱȱȱęȱȱȱ ȱŗşşŖǰȱȱȱŘŖŖŞȱȱȱȱȱ¢ȱ ȱȱȱȱǯȱ ȱȱȱ ȱ£ǯȱ ȱ¢ȱȱŗŜşşȱȃȱȄȱ ȱȱȱ ȱȱȱȬ ǰȱȱȱȱ ȱȱ¢ȱ ȱȱ ǰȱ ǰȱȱ¢¢ǰȱȱȱǰȱ ȱȱ¢ǰȱȱȱȱǯȱ ȱȱǰȱ ȱȱ¢¢ǰȱȱ
BRAHMS FEST CONTINUES! Get inspired with Louis Langree's exploration of the masterful music of Johannes Brahms as we connect you to the musical roots of the Orchestra and our city.
JAN 5 & 7 • Taft Theatre featuring Symphony No. 4
JAN 6 • Christ Church Cathedral CSO Chamber Players featuring Serenade No. 1
APR 14-15 • Taft Theatre featuring Piano Concerto No. 2 and Symphony No. 3
MAY 12 • Christ Church Cathedral CSO Chamber Players featuring Clarinet Quintet
cincinnatisymphony.org/brahmsfest
30 | FANFARE CINCINNATI | cincinnatisymphony.org We Have Because We Give
Aronoff Center for the Arts Music Hall Renovation rendering
Messer’s mission is to build better lives for its “We have because we give, we don’t give because customers, communities and employees. One of we have,” shared Mark Luegering, Messer senior the best ways to accomplish this is engaging in vice president who serves on the Cincinnati the community through the arts. Greater Cincinnati 6\PSKRQ\2UFKHVWUDERDUGDQGRWKHUQRQSUR¿W has a rich arts culture, and Messer is honored boards throughout Greater Cincinnati. “Instead to play its part in many ways, a few of which are of waiting for something good to happen before outlined below. starting to give, do it now and good things will come.” First, as a construction company, Messer has built or renovated well-known structures including Philanthropic support of the arts is outstanding Aronoff Center for the Arts, Uptown Arts, and in Greater Cincinnati. And Messer is committed currently Cincinnati Shakespeare Company and to helping create a community where everyone Music Hall. These and other organizations bring can grow and prosper; the number and variety of talent to our region that our family and friends opportunities available to engage in the arts — as enjoy through plays, shows, concerts, and so much a student, professional or welcomed patron — is a more. Arts organizations also nurture artists who great way to help make this happen. call Greater Cincinnati home. None of this would To learn more about Messer, visit messer.com or be possible without businesses and individuals follow us on Twitter @messerwearebldg. investing in the arts. Beyond physical construction, Messer is proud of its disciplined approach to community giving. Each year, the company awards four grants through its )RXQGDWLRQWRQRQSUR¿WRUJDQL]DWLRQVDFURVVLWV regions. In Greater Cincinnati, Messer supports the DUWVDQGRWKHUQRQSUR¿WRUJDQL]DWLRQVLQDQHIIRUW to make this region a better place to live and work. Messer has supported ArtsWave as far back as 1986 and the Cincinnati Symphony Orchestra and Cincinnati Pops for almost 25 years. Finally, Messer takes care to exceed expectations and build long-term relationships. That’s why the company encourages and supports employee Uptown Arts engagement in the community, and 100% of its senior managers are involved in community board and other leadership positions.
messer.com
@messerwearebldg your performance will stick with us forever.
The arts serve as a source of inspiration for us all. That’s why PNC is proud to be the Presenting Sponsor of the Pops Series and support the Cincinnati Symphony Orchestra and Cincinnati Pops.
©2016 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC SECOND POPS PROGRAM
2016–2017 SEASON SUN OCT 9, 7 pm Taft Theatre
VANESSA WILLIAMS Keitaro Harada, conductor
Selections will be announced from the stage.
There will be one 20-minute intermission this evening.
The Cincinnati Pops Orchestra is grateful to PNC, Presenting Sponsor of the Pops Series. Major underwriting provided by Mrs. Edyth B. Lindner.
Major underwriting CCI Design/Tom & Molly Garber is this evening’s Encore Sponsor. provided by Edyth B. Lindner William D. Stenger is this evening’s Concert Sponsor. AARP is this evening’s Performance Sponsor.
The Cincinnati Pops Orchestra is grateful for the support of ArtsWave. Tom & Molly Garber WVXU is the Media Partner for these concerts. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. The use of photographic and recording devices at these concerts is prohibited. Cincinnati Pops Orchestra recordings are found on the Fanfare Cincinnati, Telarc, Moss Music Group, Vox Cum Laude, MCA Classics, Caedmon and Musical Heritage Society labels.
cincinnatisymphony.org | FANFARE CINCINNATI | 33 GUEST ARTISTS: Oct 9
VANESSA WILLIAMS Globe, Grammy and an Oscar for Previous Pops Performances: Best Original Song for her platinum One previous, at Riverbend in 2007 single “Colors of the Wind,” from Noteworthy: While famous across ȱ¢ȱęȱPocahontas. the entertainment industry for her ȱȱǰȱęǰȱȱȱ A strong advocate for equal stage, she is also an active advocate rights, especially concerning the and author, and she recently gay community and minorities, launched a clothing line. Williams was honored with the Read more: VanessaWilliams.com Human Rights Campaign “Ally for Equality” Award for her hu- Vanessa Williams is one of the manitarian contributions. She also most respected and multi-faceted achieved a career pinnacle with a performers in the entertainment star on the Hollywood Walk of industry today. Vanessa Williams, © Rod Spicer Fame in 2007. Having sold over seven million Her autobiography, You Have records worldwide, Williams has also scored numer- No IdeaǰȱȬ Ĵȱ ȱȱǰȱ ȱǰȱ ous no. 1 and Top 10 hits on various Billboard Album was a New York Times Best Seller in 2012. Vanessa re- and Singles charts: Pop, Dance, R&B, Adult Contem- turned to Broadway in the spring of 2014 for a special porary, Holiday, Latin, Gospel and Jazz. limited engagement in the musical After Midnight. She ȱ¢ȱȱ ȱȱęǰȱǰȱ- also co-starred with Cicely Tyson and Cuba Gooding, cordings and the Broadway stage has been recognized Jr. in Trip to Bountiful, which was the no. 1 play of the ¢ȱ¢ȱȱ¢ȱ ȱĜǰȱȱ 2013 Broadway season. four Emmy nominations, 17 Grammy nominations (11 Vanessa Williams is the mother of four—Melanie, of them for individual achievements), a Tony nomina- Jillian, Devin and Sasha. Her charitable endeavors are tion, three SAG award nominations, seven NAACP many and varied, embracing and supporting such Image Awards, three Satellite Awards, and a Golden organizations as Special Olympics and several others.
34 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: OCT 9
KEITARO HARADA, conductor Director Louis Langrée and conducts Previous Pops Performances: the CSO, Pops and World Piano Subscription debut; as CSO and Competition, and he assisted James Pops Associate Conductor he has led Conlon for the 2016 May Festival. He Lollipops Family and Young People’s also holds the position of Associate concerts Conductor of the Arizona Opera. Noteworthy: A saxophonist, he was selected as a guest artist for With a growing schedule as a guest National Public Radio’s From the conductor, Harada began this sum- Top in 2003 and is featured as a ȱȱȱŘŖŗŜȱęȱȱȱ favorite guest alumnus on their PBS by invitation of Valery Gergiev, television documentary. Arizona Public performing to an audience of nearly Broadcasting produced a documentary 5,000. He makes his conducting debut on Harada’s bright career titled with Tokyo Symphony Orchestra Music…Language Without Words. Read more: kharada.com and Tokyo Philharmonic Orchestra in Keitaro Harada the fall, and leads the world premiere Conductor Keitaro Harada con- performances of Riders of the Purple tinues to be recognized at the highest levels for his Sage for Arizona Opera in 2017. He also makes his artistic abilities and passion for musical excellence. conducting debut with Boise Philharmonic, West As a three-time recipient of The Solti Foundation U.S. Virginia Symphony Orchestra and South Bend Sym- Career Assistance Award (2014, 2015, 2016), Bruno phony Orchestra; serves as cover conductor for several Walter National Conductor Preview (2013), the Seiji performances of the Los Angeles Philharmonic; and Ozawa Conducting Fellowship at Tanglewood Music returns to the Phoenix Symphony. Festival, a student of Lorin Maazel at Castleton Festi- A native of Tokyo, Harada is a graduate of Inter- ȱȱȱȱȱęȱȱǰȱ Ȃȱ lochen Arts Academy and Mercer University. He credentials are exemplary. completed his formal conducting training at Univer- Currently in his second season as Associate Con- sity of Arizona with Thomas Cockrell and Charles ductor of the Cincinnati Symphony Orchestra and ǯȱ Ȃȱȱȱȱ ȱǯȱ Cincinnati Pops, Harada regularly assists Music ȱȱȱȱȱ¢ȱ ȱǯȱ
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FIFTH SUBSCRIPTION PROGRAM Masterworks Series
2016–2017 SEASON THURS OCT 27, 7:30 pm SAT OCT 29, 8 pm Taft Theatre
JUANJO MENA conductor JOÉLLE HARVEY soprano DANIELA MACK mezzo-soprano BARRY BANKS tenor DAVID PITTSINGER bass-baritone MAY FESTIVAL CHORUS Robert Porco, director
BEETHOVEN Mass in D Major, Op. 123, Missa Solemnis (1770–1827) Kyrie Gloria Credo Sanctus Agnus Dei
The CSO is grateful to U.S. Bank, the CSO’s Masterworks Series Sponsor. The appearance of the May Festival Chorus this weekend is endowed by the Nancy & Steve Donovan Fund for Chorus and Orchestra.
Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. These concerts will end at approximately 9 pm Thursday, 9:30 pm Saturday. 90.9 WGUC will broadcast this concert February 12, 2017, 8 pm.
cincinnatisymphony.org | FANFARE CINCINNATI | 37 PROGRAM NOTES: Oct 27 & 29 © 2016–17 Cincinnati Symphony Orchestra
There were very few people who truly understood Ludwig van Beethoven during his lifetime. By all accounts complicated, rough-hewn, and not easily approachable, Beethoven was a genius who did not ingratiate himself to his fellow man. One of the few people who became close to Beethoven was the Archduke Rudolph, son of Emperor Leopold II, who had studied composition, theory and piano with Beethoven at a young age. Later in life, Rudolph became an important patron of Beethoven, and subsequently was the dedicatee of many of Beethoven’s most important scores. Upon Rudolph’s appointment as the Archbishop of Olmütz, Beethoven did the one thing he felt he could appropriately do to honor his friend: compose a solemn mass in honor of his installation. In that way, the Missa Solemnis is not only a sacred work, but also a deeply personal statement of love for this individual and for mankind. Here we encounter a different side of Beethoven—not the monolithic giant that we too-often perceive him to be, but rather a fellow human whose life was marked by the same triumphs and struggles that we all encounter. As Beethoven wrote on the first page of the Missa Solemnis: “From the heart—may it go again—to the heart.” —Louis Langrée
LUDWIG VAN BEETHOVEN ested in the rumors, since he had been associated with Mass in D Major, Op. 123, Missa Solemnis Rudolph for nearly 20 years as his teacher of piano and composition. (The piano part of the “Triple” Born: December 16, 1770, Bonn, Germany ȱȱŗŞŖřȮŖŚȱ ȱ ĴȱȱǯǼȱȱ Died: March 26, 1827, Vienna his part, Rudolph seems to have revered his teacher, Work composed: 1818–23 Premiere: April 7, 1824, St. Petersburg ¢ȱȱȱȱȱȱȱĴȱȱ Instrumentation: SATB soloists, SATB chorus, ȱȱȱȱęȱǰȱȱ ŘȱĚǰȱŘȱǰȱŘȱǰȱŘȱǰȱǰȱ and fair copies of his compositions. In the years 4 horns, 2 trumpets, 3 trombones, timpani, organ, strings after 1809, he became one of the composer’s most CSO subscription performances: Three previous important patrons, and he received in gratitude the subscription weekends | Premiere: March 1961, Max dedications of 15 important works, including the Rudolf conducting, Miami University Chorus and Fourth and Fifth Piano Concertos, the Op. 97 Piano soloists| Most recent: February 1989, Jesús López-Cobos ȱǻȃȄǼǰȱ ȱȱȱǻǯȱŗŖŜȱȱ conducting, May Festival Chorus and soloists ǯȱŗŗŗǼȱȱȱGrosse Fuge ǻǯȱŗřřǼǯȱȱȱ Duration: approx. 81 min. concerning Rudolph were substantiated when he In 1818, rumors began to circulate around Vienna that was elected Cardinal in April 1819 and Archbishop the Archduke Rudolph, youngest son of Emperor ȱûĵȱ ȱȱǯȱȱȱȱȱȱ Leopold II and brother of Emperor Franz, was going the news, Beethoven sent congratulations to the new to be elevated to the highest levels of the Austrian ǰȱȱěȱȱȱȱȱ ȱ Church hierarchy. Beethoven was especially inter- Mass for his installation ceremony, scheduled for
WHAT TO LISTEN FOR: Beethoven’s unusual treatment of the text, particularly in the Credo, and how Beethoven uses the word “Et” (“and”) repeated for dramatic effect. The stunningly beautiful violin solo in the Benedictus, which begins extremely high in the violin’s register and then seamlessly descends from above, and intermingles with the solo voices.
WHY WAS THIS PROGRAMMED? The Missa Solemnis is not often programmed as it is tremendously demanding for all the performers: orchestra, chorus and soloists. With the CSO and May Festival Chorus in peak form, a terrific cast of soloists, and in the intimacy of the Taft Theater, it seemed like a perfect time to revisit this important masterwork.
QUESTIONS TO DISCUSS ON THE WAY HOME: Beethoven wrote the Missa Solemnis as a gift for his friend and patron, the Archduke Rudolph, who was being installed as the Archbishop of Olmütz. For Beethoven, it seemed as though it was the most appropriate demonstration of loving kindness he could offer someone in Archduke Rudolph’s sphere. Have you encountered times when you want to show your gratitude for someone, but just cannot find the words or the best way to express that feeling? Beethoven inscribed on the first page of the Missa Solemnis: “From the heart—may it go again— to the heart.” This is one of the most personal musical statements that Beethoven ever wrote. What was the most moving part of the Missa Solemnis for you?
38 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: OCT 27 & 29
March 20, 1820. “The day when the solemn Mass by Solemnis and the Ninth Symphony is testimony to the myself is performed as part of the ceremonies for your resilience of his spirit. Imperial Highness,” he wrote in June 1819, “will be The artistic crisis that paralleled Beethoven’s the happiest day of my life, and God will inspire me so ȱĜȱȱȱȱȱ¢ȱ ȱȱȬ ȱ¢ȱȱȱ¢ȱȱȱȱęȱȱ ligious and musical. His belief in God was profound, of this solemn day.” As it turned out, Beethoven was but not dogmatic. Though born a Roman Catholic and ȱȱȱ¢ȱȱȱęȱȱȱǯ gladly receiving last rites on his deathbed, he had no It was not only divine inspiration but also artistic interest in organized religion. His God was simply crisis and wrenching personal problems that kept too pervasive, too omnipotent, to be trapped by mere the Missa Solemnis as the central musical concern of human ceremonies. “God above everything! For an Ȃȱȱȱ¢ȱęȱȱ¢ǯȱ ȱ ȱȱȱ eternal all-knowing Providence guides the fortune much of the time from 1818 to 1823, and his hearing and misfortune of mortal men,” he scribbled into his had gone completely except for a few brief episodes personal notes in 1818. The ancient text of the Mass during which the veil of silence was lifted—always, it served almost as the radioactive core from which the is worth noting, during music, never during conver- catalyst of Beethoven’s genius caused an explosion ǯȱ ȱ ȱȱ¢ȱȱȱȱȱĴȱȱ of visionary grandeur in the Missa Solemnis, equaled to wrest custody of his nephew Karl from the boy’s in all sacred music only by Bach’s Mass in B minor. incompetent (in Beethoven’s opinion) mother, the Beethoven’s vision of an all-powerful God was incar- ȂȱȬȬ ǯȱȱȱĴȱȱȱ nated into music of awesome power whose central 1820 was painful for Beethoven, not because he lost goal, he told Andreas Streicher, “was to awaken and the suit (he won, but alienated the boy), but because permanently instill religious feelings not only into the proceedings revealed that he was without noble ȱȱȱȱȱȱǯȄȱȱęȱȱ ancestors, a life-long belief he held tenaciously until it crisis for Beethoven around which the creation of the was publicly exploded in court. With declining health Missa Solemnis revolved was his acceptance of his and family turmoil sapping so much of his energy own mortality—his need to create a great document during those years (Beethoven turned 50 in 1820), the of religious humanism that would be an enduring composition of such monumental scores as the Missa testament to the ardor of his faith. For this reason, he
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cincinnatisymphony.org | FANFARE CINCINNATI | 39 PROGRAM NOTES: OCT 27 & 29 never felt that the score fully matched the ambition of decided, if Beethoven would replace the sacred Latin its purpose, and he continued to revise it for the rest ¡ȱ ȱ Ȭȱǯȱȱ of his life. It was not published until after his death. of the length of the program, which also included ȱȱȱȱĚȱȱMissa Solemnis the recent Consecration of the House Overture and and all the other important works of Beethoven’s last the premiere of the “Choral” Symphony, Beethoven decade was the simultaneous striving for both greater ȱȱȱȱ ȱȱȱǰȱ concentration and greater expansion. The vast exten- and billed the remaining Kyrie, Credo and Agnus sion of expression and resources in the Missa Solemnis ǰȱ ȱȱȂȱǰȱȱȃȱ ȱ and the last Symphony involved not just increasing Hymns for Solo and Chorus.” the external dimensions of the works’ forms, but In his later years, Beethoven became interested in also evoking an unprecedented range of emotions researching older music for solutions to his compo- through the use of more distant and more dramatic sitional problems. His study in preparation for the key relations. The element of concentration, which Missa Solemnis was the most extensive he ever under- ȱęȱȱȱȱȱȱ¡ǰȱ¢ȱ ǰȱȱȱęȱ ȱ¢ȱ¢ȱĚǰȱ is inextricably allied with it. Through complex coun- both ecclesiastical and musical, all intended to give ȱȱ¡ȱȱȱȱęǰȱ the richest and most moving expression to the text. Beethoven increased enormously the density of this ȱȱ¢ȱȱȱȱ ȱȱȱ ȯȱęȱȱ¢ǯȱ ȱȱȱȱ the Latin verses made so that he could consider the of apparent opposites—the vast extension of form ȱȱěȱȱȱ ǰȱȱȱȱȱ alongside the heightening of measure-to-measure the ancient tongue to learn its rhythms and stresses. expression—that makes the late works of Beethoven He frequently consulted his friend August Friedrich the most profound, challenging and moving in the Kanne, an expert on the history of the Mass. In addi- entire realm of music. He arrived at this new method tion to his textual studies, Beethoven also undertook only after the most ferocious labor (his early biogra- a surprisingly wide examination of earlier sacred pher Anton Schindler said he never saw him “in such music, from the ancient chants of the monks and a state of absolute withdrawal from the world” as the theoretical treatises of the 16th-century Italian during the composition of this work), and it reached ȱ ěȱ ǰȱȱȱ ȱȱ fruition in the Missa Solemnis. ȱȱȱȱȱ ȱǻȱ With all the personal problems and artistic struggles copied out several choruses from Messiah and let it be that Beethoven endured during the composition of the known that he considered Handel the greatest of all Missa Solemnis, and with the massive proportions that ǼǰȱȱȱȱĴȱȱǰȱ£ȱȱ the work ultimately assumed, it is small wonder that it Joseph and Michael Haydn. A wide variety of styles was not ready for Archbishop Rudolph’s installation was consequently absorbed into the Missa Solemnis, in 1820. Rudolph himself encouraged Beethoven to and one of its chief wonders is the unity the piece take his time with the work. Alexander Wheelock ultimately achieves. Thayer, the composer’s indefatigable biographer, There have been many explications of the Missa wrote that the Missa Solemnis was not fully sketched Solemnis, though these often are more exegesis than until the beginning of 1822; he worked on the orches- analysis. There are two principal conclusions at which tration throughout that entire year. Beethoven sent a all of these writings arrive, however, and these general ęȱȱ¢ȱȱȱȱȱȱ observations rather than a detailed discussion will on March 19, 1823, the third anniversary of his investi- ȱȱĜȱǯȱȱęȱȱȱȱȱȱȱ ture. He continued to work on it steadily until at least possible expression of the text was the motivating force the middle of that year, however, and tinkered with behind every note that Beethoven inscribed into this the score frequently thereafter. The Missa Solemnis score. His careful matching of tone to word arose from ȱęȱȱȱȱŝǰȱŗŞŘŚȱȱǯȱǰȱ¡ȱ ȱ¢ȱȱǻȱ¡ǰȱȱĚ¢ȱ ¢ȱȱȱȱęȱȱǰȱȱȱȱ scales at “et ascendit in coelum”—”and ascended into ȱ¢ȱȱȱ ĵǰȱȱȱ ȄǼǰȱȱȱǻȱȱȱ ȱȱȱȱȱǯȱȱȱȱ preceding the Benedictus, which would accompany ȱȱȱ¢ȱşȱȱ ȱĜǰȱ the elevation of the Host), or things personal (the however, since the Church authorities, through the pastoral and martial sections inserted into the Agnus Imperial Censor, were opposed to the performance of Dei, which were called “a prayer for inner and outer the sacred text of the Mass in a secular theater. One of Ȅȯȱ ȱĴȱȱȱȱȱ ȂȱȱĚȱǰȱȱĵȱ ȱȱȱǼǯȱȱȱȱȱ ¢ǰȱ ȱȱȱȱěȱȱDZȱ the commentators is that the abstract, purely musical the concert would be allowed to proceed, it was processes of the Missa Solemnis are a culmination
40 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: OCT 27 & 29 of those in all his previous works, that the musical in its vision, and almost beyond the performing vocabulary and the profound formal structures he abilities of mortal musicians. (The greatly learned had perfected in his earlier compositions (especially ȱȱȱȱ¢ȱȱȱȃet in the symphonies) through the control of harmony vitam venturiȄȱȱȱĜȱȱȱȱ ȱęȱ ȱȱȱȱȱȱȱȱ ĴǯǼȱ ǰȱȱȱȱ ȱȱȱ ȱȱȱ completely abstract continuity to this work with sung the very sense of struggle its performance demands text. Kyrie II, for example, is not a simple repetition of and the unparalleled joy of obstacles overcome. This Kyrie I, but a reworking of the earlier motives, a kind is music in which performer and listener alike can al- of symphonic development with voices. ¢ȱęȱȱȱȱȱ¡ȱ ȱȱȱĜȱȱȱ ¢ȱȱȱȱ humanity. The French composer, theorist and teacher Missa Solemnis as his greatest composition. It repre- Vincent d’Indy said it most succinctly in his biography ȱȱĚǰȱȱȱ¢ǰȱȱȱ ȱǯȱ ȱęǰȱȱ ȱȱ life-long concerns with joining music and philosophy, the Missa Solemnisǰȱȃȱȱȱȱȱȱȱ with infusing mere tones with profound thought and of the greatest masterworks in the realm of music.” deep emotion. The Missa Solemnis is superhuman —Dr. Richard E. Rodda
TEXT AND TRANSLATION Kyrie Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy. Gloria Gloria in excelsis Deo, Glory to God in the highest, et in terra pax hominibus bonae voluntatis. and on earth peace to men of good will. Laudamus te, benedicimus te, We praise you, we bless you, DGRUDPXVWHJORUL¿FDPXVWH ZHZRUVKLS\RXZHJORULI\\RX Gratias agimus tibi propter We give you thanks magnam gloriam tuam. for your great glory. Domine Deus, Rex coelestis, Lord God, heavenly King, Deus pater omnipotens. God the Father almighty. Domine Fili unigenite The only-begotten Son, Jesu Christe, Lord Jesus Christ, Domine Deus, Agnus Dei, Lord God, Lamb of God, Filius Patris, Son of the Father, qui tollis peccata mundi: you take away the sin of the world: miserere nobis. have mercy on us. Qui tollis peccata mundi: You take away the sin of the world: suscipe deprecationem nostram; receive our prayer; qui sedes ad dexteram Patris: you are seated at the right hand of the Father: miserere nobis. have mercy on us. Quoniam tu solus sanctus, For you alone are the Holy One, tu solus Dominus, you alone are the Lord, tu solus altissimus, you alone are the Most High, Jesu Christe, Jesus Christ, cum sancto spiritu. with the Holy Spirit. In gloria Dei Patris. Amen. In the glory of God the Father. Amen. Gloria in excelsis Deo. Glory to God in the highest. Credo Credo in unum Deum, We believe in one God, Patrem omnipotentem, the Father, the Almighty, factorem coeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium. of all that is, seen and unseen. Credo in unum Dominum, Jesum Christum, We believe in one Lord, Jesus Christ, Filium Dei unigenitum, the only Son of God, et ex patre natum ante omnia saecula. eternally begotten of the Father. Deum de Deo, lumen de lumine, God from God, Light from Light, Deum verum de Deo vero. true God from true God, Genitum, non factum, begotten, not made, consubstantialem Patri, of one Being with the Father. Per quem omnia facta sunt. Through him all things were made. Qui propter nos homines et For us men and propter nostram salutem for our salvation descendit de coelis. he came down from heaven. Et incarnatus est de Spiritu Sancto By the power of the Holy Spirit ex Maria virgine, he became incarnate from the Virgin Mary, et homo factus est. and was made man. Please turn page quietly.
cincinnatisymphony.org | FANFARE CINCINNATI | 41 PROGRAM NOTES: OCT 27 & 29
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42 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTISTS: Oct 27 & 29
JUANJO MENA, Festival (Russia), Hollywood Bowl, Grant Park, conductor Tanglewood and La Folle Journée. His operatic work Previous CSO includes ȱ¢ȱǰȱǰȱǰȱȱ Performances: This ȱ¡ǰȱȱȂȱȱ and ǰȱ is Juanjo Mena’s ȱ, ȱȱȱȱand ¢ȱ. ęȱȱ Mena has made several recordings with the BBC ȱ ȱȱǯȱ ȱȱ Philharmonic, including a disc of works by Manuel ȱȂȱ de Falla (ȱȱRecording of the Month), Gabriel Daphnis et Chloé Pierné ( ȱEditor’s Choice), and releases of ǻŘŖŗŘǼǰȱȂȱ music by Ginastera, Albéniz, Montsalvatge, Weber ȱ¢¢ȱ and Turina that have gained excellent reviews from ǻŘŖŗřǼǰȱ Ȃȱ the specialist music press. He has also recorded a criti- Panambí (2014) and cally acclaimed rendering of Messiaen’s É ȂȱLa vida breve Symphony (Hyperion) with the Bergen Philharmonic. ǻŘŖŗŜǼǯ Read more: ǯ JOÉLLE HARVEY,
Juanjo Mena, © Michal Novak soprano Previous CSO Chief Conductor of Performances: the BBC Philharmonic in Manchester, United Read more: Kingdom, Juanjo Mena is one of Spain’s most distin- ¢ǯ guished international conductors. Following his recent debut with the Berlin Phil- This season, Joélle Har- harmonic and appearances with the New York vey joins the Milwaukee Philharmonic and the Boston Symphony Orchestra Symphony as Susanna at Tanglewood, highlights of Mena’s 2016–17 season in ȱ££ȱȱ, the ȱȱ ȱȱĴȱǰȱ Joélle Harvey, © Arielle Doneson Los Angeles Philharmonic NHK Symphony Orchestra, New World Symphony as Pat Nixon in ¡ȱȱ and the Swedish Radio Orchestra, as well as return , The English Concert under Harry Bicket as visits to Boston, Cincinnati, Minnesota, Copenhagen, Dalinda in , and returns to the Glyndebourne Dresden and Oslo, and two European tours with the Festival Opera as Servilia in ȱ£ȱȱ. In BBC Philharmonic. concert, she appears with the Mostly Mozart Festival In Europe he has worked with prestigious or- for Mozart’s Mass in C Minor and his Requiem, which chestras such as the Berlin Philharmonic, London she also sings for the Kansas City Symphony and the Philharmonic, Oslo Philharmonic, Danish National Utah Symphony. Additionally, she sings Handel’s Symphony Orchestra, Orchestre National de France, Messiah with the Handel & Haydn Society and the Orchestra Filarmonica della Scala, Munich Radio National Symphony, Mahler’s ȱȱȱwith Orchestra and the Dresden Philharmonic, as well as the San Francisco Symphony, and John Adams’ ȱ with all the major Spanish orchestras. He has been Niño with the London Symphony Orchestra and Artistic Director of the Bilbao Symphony Orchestra, Concertgebouw. She also appears in concert with Chief Guest Conductor of the Orchestra del Teatro the LA Chamber Orchestra and the North Carolina Carlo Felice in Genoa and Principal Guest Conductor Symphony. of the Bergen Philharmonic. Last season, Harvey’s varied appearances included Mena has conducted most of the leading orchestras Michal in ȱwith the Handel & Haydn Society, Inès in North America, and his international festival ap- in a concert performance of ȱȱwith Washing- pearances have included the Stars of White Nights ton Concert Opera, and concerts with the Indianapolis Symphony, Virginia Symphony, St. Paul Chamber LEARN MORE ABOUT Orchestra and Les Violons du Roy. JUANJO MENA During the 2014–15 season, Harvey’s numerous Juanjo Mena got his start in music at the engagements included repeat appearances as Sicle in age of 7 when a teacher invited him to ȱwith Royal Opera, Covent Garden, Galatea sing in the school choir. Read more in in ȱȱ ȱwith the Killkenny Festival, and Fanfare Cincinnati exclusive ’s online Q&A role debuts as Marzelline in ȱwith San Francisco at cincinnatisymphony.org/mena. Symphony and Anne Trulove in Stravinsky’s The
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Rake’s Progress with Utah Opera. On the concert stage, BARRY BANKS, tenor she appeared with The Cleveland Orchestra (Bach’s Previous CSO Performances: B Minor Mass), Tafelmusik, Handel & Haydn Society Debut (May (Messiah and ǯȱĴ ȱ), LA Philharmonic Festival debut 2016) Read more: (ȱ), North Carolina Symphony (Mes- ĴǯȦȦ siah), Dallas Symphony (Mozart Requiem) and the ęȦ¢Ȭ Pygmalion Ensemble (Mozart Mass in C Minor). Barry Banks’ outstanding DANIELA MACK, facility in roles by Bellini, mezzo-soprano Rossini and Donizetti Previous CSO regularly takes him to the Performances: Debut (May Festival debut 2013) Barry Banks, © Christian Steiner world’s leading opera Read more: houses. With The Metro- ǯ politan Opera he has partnered with Renée Fleming in Rossini’s Armida, Natalie Dessay in ȱęȱȱ·- In the 2016–17 season, ȱand ȱ, Olga Borodina in Ȃȱ mezzo-soprano Daniela ȱǰȱand Anna Netrebko in ȱȱand Mack makes her Royal L’elisir d’amore. Opera House–Covent Other notable opera performances have in- Daniela Mack, © Simon Pauly Garden debut as Rosina cluded his debut as Arnold (Guillaume Tell) at in Il barbiere di Siviglia with Welsh National Opera, the title role in ǰȱȱ Javier Camerena and her Metropolitan Opera debut ȱ and Don Narciso ( ȱȱȱ ) at the in Rusalka as the Kitchen Boy. She also debuts with Bayerische Staatsoper, Ernesto (ȱ) at Royal the New York Philharmonic in Beethoven’s Ninth Opera House–Covent Garden, Count Almaviva at Symphony under Alan Gilbert and returns to Arizona Staatsoper Unter den Linden, Idreno (Semiramide) at Opera as Angelina in ȱȱand Santa Fe Teatro di San Carlo in Naples and in his debut at Royal Opera as Bradamante in . Danish Opera, and Iago in Rossini’s Otello at Théâtre In the 2015–16 season Daniela Mack returned to the des Champs-Elysées and Salzburger Festspiele. San Francisco Opera to reprise her performances as During his long association with English National Rosina in Il barbiere di Siviglia and created the role of Opera he has appeared as Tamino, Tom Rakewell Jacqueline Kennedy in the world premiere of David (The Rake’s Progress), Edgardo (ȱȱ), ǯȱĴȱȱ¢ȱȂȱJFK at the Fort Worth ěȱǻȱȱȱ ě) and as the Duke of Opera. She also made her Arizona Opera debut Mantua in Ĵ. in the title role of ȱand was seen in recital In concert Barry Banks has performed Berlioz’ with tenor Alek Shrader at the Tucson Desert Song ȱȱȱȱwith the London Symphony Festival. On the concert stage, Mack debuted with Orchestra, which was released to considerable ac- three orchestras under Charles Dutoit: Orchestra de ȱȱȱǰȱĴȂȱȱȱat the Teatro la Suisse Romande in Ravel’s Ȃȱ and alla Scala, ȱȱȱ ȱwith the Münchner Ȃȱȱȱ¸, Boston Symphony Orchestra in Philharmoniker, and Rossini’s ȱȱȱ Ȃȱ, and Chicago Symphony Orchestra with the Royal Philharmonic Orchestra. in Falla’s Ȭȱ . She also debuted with ȱȱȱȱȱȱȱ- ȱĴȱȱȱȂȱ ȱ enna in Theater an der Wien’s production of Ĵǰȱ Ȃȱȱ ȱ ĜȱȱȱȂȱ ȱȂ ȱand in two productions of The ȱȱwith Boston Baroque. ȱ, at Teatro Real and for Santa Fe Opera. Daniela Mack is an alumna of the Adler Fellowship Concert appearances include Beethoven’s Symphony Program at San Francisco Opera where she appeared No. 9 with the San Diego Symphony. as Idamante in , Siebel in Faust and Lucienne Barry Banks’ discography includes Mitridate with in Die tote Stadt. She performed the title role of La Classical Opera Company (Ian Page); and The Elixir ȱas a member of the Merola Opera Program ȱǰȱȱ ȱ ȱȱǰȱȱǰȱȱ and made her West Coast recital debut as part of San ǰȱȱȱȱand ȱȱȱin Francisco Opera’s Schwabacher Debut Recital Series. ȱȱȱȱȱȱǯȱȱȱ ȱ ȱȱęȱȱȱŘŖŗřȱȱěȱȱȱ include Armida from The Metropolitan Opera. His the World Competition. solo recital disc for Chandos—¢ȱȱȱȱ ȱȯreceived substantial critical acclaim.
44 | FANFARE CINCINNATI | cincinnatisymphony.org The most exquisite collection of fine linens and accessories for the bed, bath and table. Fine Linens • Nursery & Baby • Unique Gifts for the Home • Elegant Lingerie 7809 Cooper Road in Historic Downtown Montgomery A Cincinnati Landmark Since 1907 871-4050 or 1-800-634-4369 • www.gattlescincinnati.com GUEST ARTISTS: OCT 27 & 29
DAVID PITTSINGER, MAY FESTIVAL CHORUS bass-baritone ROBERT PORCO, Director of Choruses Previous CSO Heather MacPhail, Assistant to the Performances: Debut Director of Choruses & Accompanist (May Festival debut 2007) Read more: Minhye Jang, May Festival Conducting Fellow Rosanne Wetzel, Chorus Manager Ĵǯ ȱ¢ȱȱȱȱȱȱ¢ǰȱ nationally and internationally for its musicality, vast American bass-baritone ȱȱȱȱȱ ȱȱǯȱȱ David Pittsinger is re- chorus of 150 professionally trained singers, under nowned as a stage per- the direction of Robert Porco since 1989, is the core former of the greatest ȱȱȱȱȱ¢ȱȯ David Pittsinger, © Christian Steiner distinction for his dra- which was founded in 1873 and is the oldest, and matic portrayals in the one of the most prestigious, choral festivals in the world’s major opera houses. ȱ ȯȱ ȱȱȱĜȱȱ ȱȱŘŖŗŜȮŗŝȱǰȱĴȱȱȱȱ ȱȱȱ¢¢ȱȱȱȱ Metropolitan Opera to sing Le Bret in Francesca ǯȱȱȱȱȱȱȱ Zambello’s production of Franco Alfano’s ¢ȱȱ collectively devote more than 40,000 hours in rehears- . He also reprises his celebrated assumption als and performances. of Fred Graham in Kiss Me, Kate, directed by Lee Director Robert Porco has been recognized as one of ¢ȱȱȱ·¦ȱȱȱȱȱ¡ǰȱ the leading choral musicians in the U.S., and for nearly ȱȱȱȱȱ·¦ȱȱ¦ȱȱ 40 years he has been an active preparer and conductor season. Additional engagements include his role de- of choral and orchestral works, including most of the ȱȱȦȱ¡ȱȱȱȂȱȱ major choral repertoire, as well as of opera. In 2011 ȱȱȱȱȱ ¢ȱ¢ǯȱȱ ǯȱȱȱȱȂȱȃȱ ȱ work for the 2016–17 season includes a semi-staged Founders Award for Development of the Professional production and recording of Leonard Bernstein’s A ȱǯȄȱ ȱȱwith the Montreal Symphony Orchestra conducted by Kent Nagano, his debut performance Sopranos Altos Tenors in the title role of Mendelssohn’s ȱ with the ȱǯȱ Jackie Baker ȱ¡ Emily Ash Kate Bohanan Brian Donaldson ȱȱǰȱ Ȃȱȱwith ¢ȱǯȱ¢ ¢ȱ Douglas Easterling A. Maris Bernard Barbara Brown Jason Harris the New Jersey Symphony Orchestra, and a concert ¢ȱ ȱ ě¢ȱ ȱȱȱ ȱȱȱȱȱȱ Shannon K. Brock Lindsey Dolan Ĵȱǯȱ Dawn Bruestle Erika Emody Jason Ramler Beach, Florida. ȱǯȱ Margaret E. Hagar ȱǯȱ¢ Kathy Dietrich Sarah Hamilton Larry Reiring Pittsinger’s Helen Hayes Award-nominated Laurel Boisclair ¢ȱ¢ȱ ȱě performance as Emile de Becque in Rodgers & Ham- Ellsworth Spence B. Ingerson ȱǯȱě Kathy Falcón ¢ȱ ě ě¢ȱ merstein’s ȱę has been seen at the Kennedy Magdalena Karolyn L. Johnsen Ĵ ȱ Greenewald Sarah W. Keeling ȱ ȱȱȱȱǰȱȱȱȱ Anita Marie Greer ¡ȱ Gary Wendt ȱ ȱȱȱǰȱǰȱǯȱ Sarah Grogan Andrea Kiehl Barry Zaslow Gaynelle Hardwick Julie Laskey ǰȱǰȱǰȱĴǰȱȱ Leonardia Hardy Kay M. Luccasen Basses Dana Harms Elaine P. Lustig Mark Aiken ȱȱǰȱȱȱǯ Lauren Steiger Hess Kathy Mank Richard Arnest ȱȱǰȱȱĴȱȱȱ- ¢ȱ Melissa A. Martin ¢ȱ¢ Ruth Hill ȱ Kenny Bierschenk ter’s degree in vocal performance from the Yale School Lisa Koressel Jennifer Moak John E. Black ȱǯȱ Rozelia Park Andrew L. Bowers of Music and was a recipient of the “Outstanding Hilary Landwehr Amy M. Perry Ĵȱ¢ Alumnus Award” at his undergraduate alma mater, ȱ Hannah Berlin Petry Douglas J. Bruestle Marissa Miller Jeanne E. Phillips ȱĵ ȱ¢ȱȱǯȱȱǰȱ Lauren Peter Laura Schapiro ȱ Mary Beth Ann R. Schwentker ȱǯȱ he became a member of the Merola Program at the Poulimenos Molly Scruta Steven L. Dauterman ȱȱǯȱĴȱȱȱȱȱȱ Elizabeth Rancourt Rachel Seymour Steve France ȱǯȱ Patricia Somers Jon Gibson ¢ȱ Ȭ ȱȱȱȱ Beth Roberts Megan Weaver Jim Laskey Julia H. Schieve Linda Wiley Michael Merry ȱ¢ȱ¢ȂȱȱȱȱȂȱȱȱ Yvon F. Shore Monica Wilson Michael Pekel ȱȱ ȱȱǯȱ ȱȱȱȱ Samantha Staton Justin Peter ȱǯȱ ȱǯȱ with his wife and two children. ȱǯȱ ȱę Maria Luisa Yerdon James Shackson Gerald Shannon Samuel M. Stover ȱ Joshua Wallace Mark Weaver Ronald M. Webber Joe White 46 | FANFARE CINCINNATI | cincinnatisymphony.org Surgical Procedures MRI, Ultrasound & X-Ray Physical Therapy Injections Bracing & more, all in one place. SWIFT AND EFFICIENT SPINE CARE.
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SPECIAL CONCERT
2016–2017 SEASON FRI OCT 28, 8 pm Taft Theatre
LOUIS LANGRÉE conductor YO-YO MA cellist
DVOŘÁK Concerto in B Minor for Cello and Orchestra, Op. 104 (1841–1904) Allegro Adagio ma non troppo Allegro moderato. Andante. Allegro vivo
INTERMISSION
BRAHMS Symphony No. 2 in D Major, Op. 73 (1833–1897) Allegro non troppo Adagio non troppo ȱ Ĵȱ£ȱǻȱǼ Allegro con spirito
Yo-Yo Ma’s appearance made possible by the Harold C. Schott Foundation, Francie & Tom Hiltz, Trustees.
Classical Conversations are endowed by Melody Sawyer Richardson. WGUC is the Media Partner for these concerts. The Cincinnati Symphony Orchestra is grateful for the support of ArtsWave. Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops. This concert will end at approximately 9:45 pm. 90.9 WGUC will broadcast this concert February 19, 2017, 8 pm.
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It is with immense pleasure that we welcome our dear friend Yo-Yo Ma back to Cincinnati! To me, Yo-Yo is the absolute epitome of everything an artist should be—he is completely committed to music and his craft, yet radiates a palpable joy that is infectious, and his performances invariably bring audiences closer to the art. As a collaborator, there is no one more gracious to work with, and I look forward to every opportunity we have to perform together. The program features Yo-Yo performing Dvořák’s epic Cello Concerto, and it also includes Brahms’ beautifully lyrical Second Symphony. Brahms and Dvořák were close friends and drew considerable inspiration from each other, and their respective influences can be heard in each of these masterful works. —Louis Langrée
ANTONÍN DVOŘÁK ȱȱ ȱȱȱȱ¢ȱŘŖŗŗǰȱȱ §ȱ Concerto in B Minor for Cello and Orchestra, ǯ Duration: ¡ǯȱŚŖȱǯ Op. 104 The romantic era produced relatively few cello con- Born: September 8, 1841, Mühlhausen, near Prague Died: May 1, 1904, Prague certos. Since the cello has neither the penetrating high Work composed: November 8, 1894–February 9, range of the violin nor the sharp percussive sonority 1895; revisions complete June 11, 1895 of the piano, its sound can easily be overpowered by Premiere: ȱŗşǰȱŗŞşŜǰȱȯì¤ȱ a full orchestra. In the classical period, by contrast, conducting the London Philharmonic Orchestra, Leo orchestral ensembles were small. It is unlikely that Stern, cellist an orchestra of a dozen or so players would cover a Instrumentation: ȱǰȱŘȱĚȱȱǻǯȱǼǰȱ 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, 3 cello. Thus Haydn, for example, wrote cello concertos trombones, tuba, timpani, triangle, strings without any problems of balance. Twentieth-century CSO subscription performances: 19 previous ǰȱȱȱȱǰȱȱȱĜȱȱȱ ȱ ȱȩȱDZȱȱŗşŗŗǰȱȱ challenges, such as composing for cello and large ȱǰȱȱ ǰȱȩȱȱ orchestra. In the 19th century, however, the standard DZȱȱŘŖŖŞǰȱȱ §ȱǰȱ ȱ orchestra was large but composers were not yet ³ǰȱǯȱ ¢DZȱǯȱȱȱ
The CSO extends its sincere appreciation to the Harold C. Schott Foundation, Francie and Tom Hiltz, Trustees for making Yo-Yo Ma’s appearance possible.
Photo: Jason Bell
50 | FANFARE CINCINNATI | cincinnatisymphony.org PROGRAM NOTES: OCT 28 deliberate experimenters. It is therefore no surprise hints of Americana here, but rather the concerto is full that there are no cello concertos by Beethoven, of the spirit of his native Bohemia. Brahms, Mendelssohn, Tchaikovsky, Berlioz or Liszt. ȱȱ¢ȱĴȱȱȱȱȱ- ǻȱȱȱǰȱ ǯǼȱì¤ǰȱ ǰȱì¤ȱȱȱȱȱȱȱȱ on the other hand, was tempted by the challenging suited more to orchestral and chamber music than to medium twice. solo treatment. He changed his mind, however, when At the age of 24 he composed the large but he heard composer Victor Herbert perform his own immature Concerto in A Major, which he never Second Cello Concerto in Brooklyn in 1894. Herbert orchestrated. At the time he had just begun teaching, was principal cellist of the New York Philharmonic and he had fallen in love with one of his students, and also a composer of concert works and shows, such ȱŗŜȬ¢Ȭȱȱ ęȱ+¤ǯȱ ęȱȱ as Babes in Toylandǯȱì¤ȱ ȱȱ ȱȱ not return the composer’s love, but he thought manner in which Herbert employed a large orchestra, that he might win her heart by composing some even including trombones, despite the weakness of songs for her. So he spent his time writing the cycle the cello sound in certain registers. The Bohemian Cypresses instead of orchestrating the concerto. But composer decided to use in his own concerto such ęȱȱǰȱȱì¤ȱȱȱ penetrating instruments as piccolo, triangle, tuba and songs to someone else. Later he became enamored trombones—powerful tone colors he had avoided in of Josephina’s younger sister, whom he eventually previous concertos for violin and for piano. ǯȱȱ Ȃȱȱ ȱì¤Ȃȱ A second stimulus toward the composition of the cello music was not yet ended. Cello Concerto came from Hanuš Wihan, a friend Since he never orchestrated the A Major Concerto, of the composer who played cello in the Bohemian the composer had not had to face the problem of ȱǯȱȱ ȱȱȱęȱ balancing a cello with a full orchestra. It was 30 years £ȱȱȱȱ¢ǰȱȱì¤ȱ ȱȱ- ȱȱȱȱȱĴȱȱȱǯȱ certo especially for him. In the B Minor Concerto he confronted the challenge KEYNOTE. The first movement shows the dif- head on. ȱ ¢ȱì¤ȱȱȱȱȱȱ ȱŗŞşŘȱì¤ȱȱȱȬ¢ȱȱȱ- between cello and orchestra. When the solo instrument tor of the National Conservatory in New York. The ę¢ȱǰȱȱȱȱȱȱȱȱ ȱȱȱ¢ǰȱ Ĵȱǰȱȱ the orchestra, we hear a long succession of imagina- to increase the luminosity of her school by adding to tive treatments of its special timbre. The cello, for its faculty one of Europe’s leading composers. Thus example, plays the main theme over an understated she began a practice that has remained typical to the wind and string accompaniment. For part of this ȯĴȱȱȱȱȱ theme, it plays triple stops—three notes at once—to ȱȱȱǯȱȱȱ ȱěȱ help its sound carry over that of the orchestra. As the a salary 25 times (!) what he had been making at the solo line becomes more virtuosic, the orchestra enters Prague Conservatory. He was promised a four-month into a dialogue with the cello, so that the orchestral summer vacation. The conservatory orchestra was instruments play only when the cello is performing placed at his disposal for ten concerts, which were sustained notes or trills. When the cello plays fast runs, expected to include much of his own music. the orchestra is silent. As the two forces join together, ì¤ȱȱȱȱȱ¢ȱȱ ȱ the cello plays in its penetrating high register, so that it York society, but he missed his homeland. After his is readily heard above the orchestra. Other times, the ęȱȱȱȱȱȱȱȱȱ cello plays rapid arpeggiations that accompany (and small town of Spillville, Iowa, where several Czech hence blend in with) the orchestral texture. When it families lived. But that atmosphere made him more comes time for the orchestra to assert its full sonor- homesick. After his second season in New York, he ity, the cello is silent: it could not and hence does not spent the summer in Prague. When he again returned compete with the massive sound of the full ensemble. to New York, he missed his country still more. No The second movement uses most of the same tech- longer able to bear the thought of living abroad after niques to overcome the balance problem, although in his third season, he resigned. ȱȱ¢ȱȱȱ¡ǯȱȱì¤ȱ ȱȱȱȱȱĚȱȱ- was composing this movement, he received word ǯȱȱęȱ ȱ Ĵȱȱȱȱȱȱ that his sister-in-law Josephina—the woman with full of references to American folk music. The New whom he had been in love many years earlier—was World Symphony is the best known of these pieces. seriously ill. He was deeply concerned and therefore But, by his last American work—the B Minor Cello decided to use the melody of one of his songs, “Leave Concerto—his homesickness prevailed. There are no Me Alone,” in the slow movement of the concerto.
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This song, one of Josephina’s favorites, has certain ment had already planned its season and thought the similarities to a song from the early cycle Cypresses, ȱȱ ȱȱȱȱȱȱȱȱȱ ȱȱȱȱȱȱȱĴȱȱ ȱ ȱȱǯȱȱì¤ȱ ȱǰȱ her. The second movement develops both the song and he wrote implying that he would not come at all melody and the main theme. if another cellist was hired: ȱęȱȱȱȬȱȱȱȱ I am sorry to announce to you that I cannot conduct movements. The cello is used in typical fashion: carryȬ the performance of the celo [sic] conzerto [sic], the ing the melody when lightly accompanied, providing ȱȱ ȱȱȱȱ¢ȱȱȯȱ ȱȬȱǰȱȱĴȱȱȱȱ will play it. If you put the conzerto [sic] into the more forceful passages. Later on, the gentle lyricism of programme I could not come at all, and will be glad the earlier movements reappears, allowing the cello’s to come another time. songful voice to be heard once again in its beautiful ȱ¢ȱȱȱȱ ȱDZ high register. Toward the end, the music slows and thins for an ethereal reminiscence of Josephina’s song ȱȱȱȱȱ¢ȱȱȱȱǯȱ from the second movement. Only at the last possible ȱȱ¢ȱ¢ȱǯȱȱȱ¢ȱȱȱ ȱȱȱȱȱȱŗşȱȱ ȱȱ ǰȱȱȱęȱȱ¡ǰȱȱȱȱ ȱ ȱȱ¢ȱ¢ȱȱȱ ǰȱȱȱ and return to its original fast tempo. ȱǯȱȱȱ ȱ¢ȱȱ ȱȱ ¢ǰȱȱȱȱ ȱȱì¤Ȃȱ ǯȱ ȱ ȱȱȱȱȱ¢ȱ ȱȱ¢ȱ original idea for concluding the concerto. He returned you cannot come if we include the concerto. It is to Bohemia after his American sojourn with a someȬ very embarrassing for us, but as you wish it we ȱěȱȱȱȱǯȱȱȱȬ ȱȱȱȱǯ rived home, he learned that Josephina had died, and ì¤ȱȱȱȱȱȱȱȱȱ he decided thereupon to revise the concerto to include ȱȱȱ ȱȱȱǯȱȱȱ ȱęȱȱȱȱ ȱ ȱȱȱȱęȱ ¢ȱȱȱǰȱȱȱ ȱ ȱ love. He removed four measures near the end of the published with a dedication to the cellist for whom ęȱȱȱȱ ȱȱ¡ȱȱ ȱȱȱ Ĵǯ from Josephina’s song. (The composer would no —Jonathan D. Kramer ȱȱĚȱȱȱȱȱȱ¢ȱěȱ association of his Cello Concerto with romantic love: JOHANNES BRAHMS ȱȱŗşŞŝȱęȱThe Witches of Eastwick, the playing Symphony No. 2 in D Major, Op. 73 ȱȱȱȱȱȱȱȱȱ ȱȱ ȱȱȱȱȱ Born: May 7, 1833, Hamburg, Germany Died: ȱȱȱȱȱĚǷǼ April 3, 1897, Vienna Work composed: ì¤ȱȱȱȱǰȱȱȱ June–fall of 1877 Premiere: December 30, 1877—Hans Richter ¢ȱȱǯȱȱȱȱ ȱȱȱ conducting the Vienna Philharmonic Orchestra alteration—the insertion of a large cadenza just before Instrumentation: ŘȱĚǰȱŘȱǰȱŘȱǰȱŘȱ ȱǯȱì¤ȱ ȱ¢ǰȱȱ¢ȱȱ bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, the cellist wished to tamper with the piece merely timpani, strings ȱ ȱěȱȱ¢ǰȱȱȱȱȱȱ CSO subscription performances: 41 previous change would have ruined the passage memorializing subscription weekends | Premiere (Pike Opera House): Josephina. The composer wrote a strongly worded March 1896, Frank Van der Stucken conducting| Most recent: March 2016, Louis Langrée conducting Ĵȱȱȱǰȱȱȱ£ and Duration: approx. 43 min. ȱȱȱ ȱȱȱȱȱ with this spurious addition. Brahms had a special relationship with Clara ȱȱȱ¢ȱȱǯȱȱȱȱȱ ǰȱ ȱ ȱ Ȭȱ ȱ ȱ ȱȱȱȱȂȱĴȱȱȱȱ ȱȱȱȱȱȱȱ cadenza ȱĜ¢ȱȱì¤ȱȱȱȬ composer. The friendship began when Brahms helped poser was unwilling to allow his friend the privilege ȱȱ¢ȱȱȱȱȂȱ ȱȱęȱǯȱȱȱȱ hospitalization and after his death. Brahms often recently been found that indicates other reasons. sought Clara’s advice on the music he was composȬ ì¤ȱȱȱȱȱȱȱȱ ȱȱȱȱȱȱȱȱȱęǯȱȱ ȱǰȱ ȱȱȱǰȱȱȱŗŞşŜǯȱȱ ȱ¢¢ȱ ȱȱ¡ǯ ȱȱȱȱĚȱȱȱȱȱ ȱȱĜȱȱȱ¢ȱȱȱȱ the date shifted to April. The composer agreed to the Ȃȱȱȱǯȱȱȱ ȱȱȱ¢ȱ date change, but the London Philharmonic manageȬ ŘŖȱȱȱȱ··ȱȱǰȱȱȱȱȱ
52 | FANFARE CINCINNATI | cincinnatisymphony.org MATINÉE MUSICALE CINCINNATI OurOur 104th104th SeasonSeason Inspires!Inspires!
TENOR BEN BLISS Returning to Cincinnati after 2016 May Festival Guest Artist Performance
Thursday, November 10, 2016 at 11 a.m. Westwood First Presbyterian Church 3011 Harrison Avenue, Cincinnati, Ohio 45211
Program includes French favorites, Italian novelties, German romance and American delicacies. Accompanied by pianist Lachlan Glen. • Featured as Cassio in the 2016 Cincinnati May Festival’s concert production of Verdi’s Otello • Performed with the Metropolitan Opera and the New York Philharmonic • Graduated recently from the Lindemann Young Artist Development Program at the Metropolitan Opera • Received the Lincoln Center's 2016 Emerging Artist Award as well as the Mozart and Plácido Domingo awards at the 2015 Francisco Viñas International Competition in Barcelona
Remaining Concerts:
PIANIST JOYCE YANG VIOLINIST PAUL HUANG Tuesday, January 31, 2017 Tuesday, March 14, 2017 Recital begins at 11 a.m. Recital begins at 11 a.m. The Anderson Center The Anderson Center 7850 Five Mile Rd, 45230 7850 Five Mile Rd, 45230
PIANIST WINSTON CHOI Wednesday, April 12, 2017 Recital begins at 11 a.m. Forest Chapel UMC 680 West Sharon Rd, 45240
TICKET INFORMATION Season Ticket Packet Individual Tickets 6 Tickets - Just $60 At the Door: $15 (Each valid for any Students (with ID): $3 MATINÉE MUSICALE CINCINNATI 2016-17 season recital) For more information, please call (859) 781-0801 or visit www.MatineeMusicaleCincinnati.org PROGRAM NOTES: OCT 28
ȱȱǯȱȱȱ ȱęȱ ȱȱȱȱǯȱȱȱȱȱ¢ȱ in an asylum during his last years, Brahms expressed passionate, emotional yet triumphant and it is in the ȱěȱȱ¢ǰȱȱȱȱȱ ȱ¢ȱȱȱǯȱȂȱȱȱ¢ȱ ȱȱȱǯȱ ȱ DZȱ ȱȱ ȱȂȱǯȱȂȱ¡ȱ¢- ¢ȱȱȱǻȱȱ¢Ǽȱ ȱȂȱ My dearest Clara, I wish I could write to you as tenderly as I love you and do as many good and ȱPastoral. Both are idyllic, untroubled and ȱȱȱ¢ȱȱ ȱ ȱǯȱȱȱȱ ǰȱȱȱȱ¢ȱȱȱȱȱ ę¢ȱȱȱȱȱ ȱȱ¡ȱȱȱ ȱ ǯ ǯȱ ȱȱȱȱȱ¢ȱȱȱȱ Brahms, who did not believe in program music, ȱȱǰȱ ȱȱĴȱȱȱ would never have called a symphony Pastoral and adoring you. he would no doubt be annoyed with commentators ȱȱȱǰȱȱȱȱ ȱęȱȱȱȱȱ¢¢ȱĚȱȱȱ realistically about a union with Clara. But it did not ȱ¢ȱȱ ȱȱ ȱǯȱȱ ȱǯȱȱ ȱȱȱȱȱȱǰȱȱ ȱȱȱ¢ȱǰȱȱ¢ȱȱȂȱ¢ȱ ȱ ȱȱȱ ȱȱǯȱǰȱ ȱȱȱȱȱȱǰȱȱȱȱǯȱ KEYNOTE. ȱ ȱȱȱȱȱ ȱȱ ȱ ȱȂȱȱȱȱȱȱ ȱȱ ǯȱ ȱ ȱȱȱȱ DZȱ ȱȱȱ¢ȱǰȱ- ȱȱ¢ȱȱ ȱȱǯȱ I believe that I do not respect and admire her so ȱȱȱȱȱǰȱȱ ȱȱ ȱȱȱȱȱȱȱǯȱȱ example, which Brahms borrowed and expanded ȱȱ¢ȱȱ¢ȱȱȱ¢ȱ Ĵȱ¢ȱȱȱȱȱȯ ȱȂȱ ȱȱǻ¢ȱȱȱȱ¢¢Ǽǯȱ ǰȱȱȱȱȱȱȱȱȱ ȱ ȱęȱȱȱȱ¢ȱ ȱ¡¢ȱ ȱȱǯȱ ȱȱ ȱȱȱȱȱȱ¢ȱǯȱ ȱǰȱȱȱȱ¢ȱDZȱȱ ȱȱ ȱȱȱĴȱȱǯȱ¢ȱ three-note turn in the cellos and string basses (heard but promise heaven while Clara reveals it to us. upside-down a moment later in the third measure Clara and Brahms had been in daily contact, ȱȱȱ¢Ǽȱȱȱȱ Ȭȱęȱ but then she moved to Berlin and he returned to that begins that horn tune. One would be hard put ǯȱ¢ȱȱȱȱ¢ȱǰȱ ȱȱȱ¢ȱȱǯȱȱȱȱȱ ȱȱȱȱ¢ȱȱȱȱȱ which almost everything in this complex movement ȱǯȱȱȱ ȱȱ¢ȱǯȱ ȱȱȱ ȱȱęȱȱ£ǯȱȱ ȱȱȱ¢ȱȱȱ ǰȱȱ ȱȱȱȱȱȱȱȱ¢ȱ ȱ ȱȱȱȱȱȱȱȱȱ ȱȱȂȱȱǯ commitment to Clara. Many years later he insisted ȱȬȱęȱȱȱȱȱȱ - ¢ȱȱȱȂȱĴȱȱ¢ȱǯȱ ȱ¢ȱǯȱ ȱȱȱȱȱęȱ ȱȱ¢ǰȱȱȱȱȱ ȱ nicely the 3/4 measures as 1+/2+/3+ (“+” indicates ȱȱǯȱȱȱȱȱȱ ȱġǰȱȱ¢ȱȱȱȱȱȱ ȱǰȱ ȱ ȱ¢ȱȱȱĜȱ Ǽǯȱ ȱȱ ǰȱȱȱȱȱȱ ȱȱȱ¢ȱȱȱȱ ȱǯȱȱȱȱȱȱǻȱ¢ȱǼȱ between these two artists. ¢ȱ DZȱŗƸŘƸȦřƸŗƸȦŘƸřƸǰȱ ȱȱȱȱ ȱ¢ȱȱȱȱȱȱ¢- ǻ ȱȱǼȱ ȱȱȱȱȱǯȱȱ phony, with many preliminary versions sent to Clara ȱĚȱȱȱȱ ȱȱ Ȭȱȱȱ ȱǰȱȱȱȱȱȱȱȱ ȱȬȱǯȱȱȱȱ ȱǯȱ ȱȱȱȱ ȱ ¢ȱȱȱ¢ȱȱ ȱȱęȱȱȱȱȱȱȱȱȱ the summer, and so he wrote the Second Symphony ȱȱȱȯȱȱȱȱȱȱȱȱ ȱȱ ȱȱȱȱȱ ȱȱãȱǯȱ the beat, so the entire three-note motive (now 1½ ȱȱ ȱǰȱȱȱȱȱęȱǰȱ ȱǼȱȱȱȱDZȱŗƸŘȦƸřƸǯȱȱ which she praised. She predicted that it would have ȱȱȱȱȱȱȱȱěȱȱ more immediate success with the public than the ȱȱȱȱǰȱȱ¢ȱȱ ǰȱȱȱ ȱǯȱȱȱȱ ȱȱ ěȱȱǰȱ¢ȱŗǰȱŗƙȱȱŘȱȱ popular at the premiere that it had to be repeated. ǯȱȱĚȱȱęȱ ȱȱ¢ȱ ȱȱ¢¢ȱěȱȱȱȱ ȱěȱȱȱȱȱǰȱȱȱ ȱǯȱȱ ȱ¢ȱ ȱȱȱ ȱǰȱ¢ǯȱȱ¢ȱ earlier composer, whose music was a model and ¢ȱȱȱȱȱ¡ǰȱȱȱ ȱǯȱȱȱ Ĵȱȱȱȱ result is a movement that is endlessly intriguing Sixth Symphonies closely together, as did Brahms ȱȱȱǯ
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The second movement also is full of unusual ȯ¢ȱȱěȱǰȱŗƙȱȱ rhythms which are derived from its beginning, ŘƙȱȱĴȱ ȱȱŘȬȱ ǰȱȱ ȱȱ¢ȱȱȱȱȱěȱȱ ¡ȱȱȱȱȱȱȱǯȱȱ ȱȱěȱȱȱȱȱ¢ȱ ȱȱȱȱȱȱȱȱ¢ǰȱȱęĴȱ within the 4/4 measures. Listen carefully to that conclusion to this happiest of Brahms symphonies. ęȱDZȱȱȱȱȱȱęȱȱȱ¡¢DZȱ Brahms was a strange combination of humility ŗȱŘȱřȱŚǯȱȱ¡ȱȱȱȱȱęȱȱ ȱȬǰȱȱȱȱǯȱ ǰȱȱȱȱȱ ȱȱ¡ȱ He was unable to speak directly about himself or his beat before the third measure. It somehow sounds work, but he was willing enough to communicate in DZȱŗȱŘȱřȱŚȱȦȱŗȱŘȱřȱŚȱȦȱŚȱŗȱŘȱřȱŚǯȱ ȱ¢ǰȱȱȱ riddles, ambiguities or false modesties. Thus he could ȱȱȱȱDZȱŚȱŗȱŘȱřȱȦŚȱŗȱŘȱřȱȦŚȱŗȱŘȱřȱŚǯȱ ȱȱȱ¢¢ȱȱȱȱ ĵǯȱ ȱ From this initial displacement come the movement’s ¢ȱȬęȱȱȱȱ frequent emphasis on fourth beats and its tendency to ȱȬȱ¢DZȱȱȱȱȱȱ start melodies anywhere in the measure. The opening ȱȱ¢¢ȱ ȱȃȱȱǰȱ¢ȱĴȱ ǰȱȱ¡ǰȱȱȱȱȱȱǯȱ ȱȱȱ one.” Brahms went on to compare it favorably, in placed “properly” within the measure until the very his typical understated manner, to other composers’ end, and there Brahms achieves regularity by an DZȱȃ¡ȱǰȱȱȱȱȱȱȱ ȱDZȱȱȱǷ nothing but Berlioz, Liszt and Wagner; then its tender The deceptively innocent opening of the third amiability will do a lot of good.” After the successful movement actually contains the greatest rhythmic premiere of the Second, the composer said, with his sophistication thus far. The suggestions of 2/4 and 4/4 ȱȬȬěDZȱȃȱȱȱ ȱȱ ȱȱřȦŚȱȱȱȱ¡ȱȱȱǯȱ ȱĴ¢ȱ¢¢ȱ ȱȱȱ Dzȱ ȱ ȱȱȱȱ As a total contrast, the ensuing presto in 2/4 time is some wiser people.” Of course there were no wiser ȱȱDZȱȱ ȱ¢ȱ people, as Brahms well knew. He also knew that the ȱ ǯȱȱȱȱȱȱȱĴǰȱȱ ¢¢ȱȱȱȃĴ¢ǰȄȱȱȱȱȱȱȱ ȱ second presto, in 3/8 time, is less innocent. music lovers. Although much of the finale is rhythmically —Jonathan D. Kramer regular, there are several stunningly imaginative
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56 | FANFARE CINCINNATI | cincinnatisymphony.org GUEST ARTIST: Oct 28
YO-YO MA, cellist ness. Under his artistic direction, Previous CSO Performances: Silkroad presents performances by This will be Yo-Yo Ma’s seventh the acclaimed Silk Road Ensemble concert program with the CSO, and develops new music, cultural including his debut in 1982. Most partnerships, education programs recently, he performed Tchaikovsky’s and cross-disciplinary collaborations. Variations on a Rococo Theme and Ma’s discography of over 100 Andante Cantabile in May 2015 under albums (including 18 Grammy win- the baton of Louis Langrée. ǼȱĚȱȱȱ ȬȱȬ Noteworthy: Ma serves as ests, including his most recent, Sing a UN Messenger of Peace, as a Me Home, recorded with the Silk Road CultureConnect Ambassador, and on Ensemble and released in April 2016 ȱȂȱĴȱȱȱȱȱ as the companion album to the docu- & the Humanities; he has performed ¢ȱęȱȱThe Music of Strangers. for eight American presidents. He Yo-Yo Ma, © Jason Bell Yo-Yo Ma was born in 1955 to has several recordings available of the Chinese parents living in Paris. He ì¤ȱǰȱȱ ȱȱ began to study the cello with his father at age four Berlin Philharmonic (Sony). and soon came with his family to New York, where he Read more: yo-yoma.com, silkroadproject.org spent most of his formative years. Later, his principal Whether performing new or familiar works from the teacher was Leonard Rose at the Juilliard School. cello repertoire, coming together with colleagues for He sought out a traditional liberal arts education to chamber music or exploring cultures and musical expand upon his conservatory training, graduating forms outside the Western classical tradition, Yo-Yo from Harvard University in 1976. Among his nu- ȱȱȱęȱȱȱȱȱȱ merous prestigious awards, in 2011 Yo-Yo Ma was imagination. recognized as a Kennedy Center Honoree. In 1998 Ma established Silkroad, a nonprofit Ma and his wife have two children. He plays two organization that seeks to create meaningful change instruments, a 1733 Montagnana cello from Venice at the intersections of the arts, education and busi- ȱȱŗŝŗŘȱěȱȱǯȱ
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BOARD OF DIRECTORS (as of September 1, 2016) 2ႈFHUV Randi S. Bellner Marvin Kolodzik Sandra Rivers Francie S. Hiltz, Chair Paul M. Booth Peter E. Landgren Jack Rouse Otto M. Budig, Jr., Trish Bryan* Tad Lawrence Ann H. Santen Treasurer and Vice-Chair of Finance Harold Byers Wendy S. Lea Pamela Schmitt Robert W. McDonald, Secretary Myra Chabut Spencer Liles* Dennis L. Schoff Dianne Dunkelman, Christopher C. Cole Patricia Gross Linnemann Pamela Scott Vice-Chair of Volunteerism Peter G. Courlas Mark Luegering Edgar L. Smith, Jr. Thomas Charles Garber, Alvin H. Crawford, M.D. Timothy J. Maloney Thomas Stegman * Vice-Chair of Facilities Dennis W. Dern bruce d. mcclung William D. Stenger Dianne M. Rosenberg, Shaun Ethier Bernard L. McKay Ken L. Stone Vice-Chair of Leadership Development Mrs. Charles Fleischmann III* Sue McPartlin Theodore W. Striker, M.D. Rosemary Schlachter, Susan S. Friedlander* Anne Mulder Randolph L. Wadsworth, Jr.* Vice-Chair of Patron Development Jane Garvey Elizabeth Reitz Mullenix Patricia Wagner James E. Schwab, Immediate Past Chair L. Timothy Giglio Stephen R. Mullin Nancy Walker* Sheila J. Williams, Joseph W. Hagin Christopher Muth Geraldine B. Warner Vice-Chair of Community Engagement Carol C. Hake Eric V. Oliver Warren Weber Patti Heldman Marilyn J. Osborn Diane West 'LUHFWRUV Joseph W. Hirschhorn* Thanh T. Pham Stacey G. Woolley Jessica C. Adelman Sandra F.W. Joffe J. Marvin Quin II* Honorable Tyrone K. Yates Lars C. Anderson Lois Jolson Thomas H. Quinn, Jr. Shau Zavon Kathleen Barclay Peter E. Koenig James B. Reynolds* *Director Emeritus
BOARD OF OVERSEERS (as of September 1, 2016) The Board of Overseers are devotees of classical music and all things Orchestra related. With annual gifts of $5,000 or more for an individual and $7,500 or more for an organization, donors gain unique access to the people who make the music happen and a behind-the-scenes view into the workings of the Orchestra. To learn more about becoming a member, contact Rachel Kirley in the Philanthropy Department, 513.744.3291.
Adleta Group, Mr. Robert Adleta Susan Friedlander § Elizabeth and Brian Mannion, MD Irwin and Melinda Simon Romola N. Allen § Frost Brown Todd, Ms. Jill Myer Alan Margulies and Gale Snoddy Mr. Murray Sinclaire Mr. Anatole Alper Dr. and Mrs. Harry F. Fry Andrew and Jean Martin Elizabeth C. B. and Paul G. Sittenfeld Martha G. Anness § Molly and Tom Garber, CCI Design, Inc. Rhoda Mayerson Mr. and Mrs. Gerald Skidmore § Dr. Norita Aplin and Stanley Ragle § Ms. Jane Garvey Mr. and Mrs. Jonathan McCann Ms. Genevieve Smith Thomas P. Atkins Richard D. Gegner Mr. Robert W. McDonald Michael and Donnalyn Smith Mr. and Mrs. William T. Bahlman, Jr. § Mrs. Philip O. Geier § Mr. Bernard McKay Tom and Dee Stegman § Mrs. Katy Barclay Dr. Lesley Gilbertson and Laura Kimble McLellan § William D. Stenger Bartlett & Co., Jane Vanderhorst Dr. William Hurford Mrs. Susan M. McPartlin Mary S. Stern Mary Bergstein Mr. and Mrs. Michael H. Giuliani Mercy Health, Mario Cicchinelli Laurence G. Stillpass Mr. and Mrs. Allan Berliant Clifford J. Goosmann and Messer Construction Co., Kathleen C. Daly Theodore W. and Carol B. Striker Louis D. Bilionis and Ann Hubbard Andrea M. Wilson Mr. James A. Miller Mrs. Roy Sweeney Rosemary H. and Frank Bloom § Priscilla Garrison Haffner § Linda and James Miller Taft Stettinius & Hollister, BMES, John Moore Mr. Joseph Hagin Mr. and Mrs. David A. Millett Mr. Jeffrey Schloemer Robert L. Bogenschutz Dr. and Mrs. Edward Hake Monarch Construction, Mr. Ron Koetters Delle E. Taylor Dr. and Mrs. John and Suzanne Bossert § David G. Hakes Mrs. James Monroe § Ms. Anne D. Thomas Chris and Karen Bowman Tom and Jan Hardy § Stephen and Kristin Mullin § Laura G. Thomson Mr. and Mrs. Frederick E. Bryan, III § Mr. and Mrs. Brian E. Heekin Mr. and Mrs. Christopher Muth § Towers Watson, George Morrison Mr. Otto M. Budig, Jr. Mrs. Anne P. Heldman § Anne Nethercott § Toyota Motor Eng. & Mfg. Co. N.A., Inc., Mary Alice Burke § Mr. and Mrs. Fred Heldman Ohio National Financial Services, David Fleischer Edward and Susan Castleberry Patricia Henley § Mr. Gary T. “Doc” Huffman UBS, Mr. Troy DeBord CES/Link, Ms. Deborah Spradley David C. Herriman Marilyn J. and Jack D. Osborn § Dale and Joyce Uetrecht CFM, Ms. Jamie Jewell Mr. and Mrs. Joseph W. Hirschhorn § Arlene Palmer Larry Uhlenbrock Ms. Geraldine V. Chavez Mrs. Harry M. Hoffheimer John and Farah Palmer United Dairy Farmers, Mr. Brad Lindner Robert and Debra Chavez HORAN, Terry Horan § Dr. and Mrs. John Parlin Mr. and Mrs. Gregory Waddell Chemed Corp., Sandra E. Laney Dr. Murray Jaffe Paycor, Bob Coughlin Sallie and Duck Wadsworth § Cincinnati Symphony Club Dr. and Mrs. Stephen Joffe Daniel and Susan Pfau Nancy C. Wagner § 0LFKDHO/&LRI¿ Johnson Investment Counsel, Joseph A. and Susan E. Pichler Patricia M. Wagner § Sheila and Christopher C. Cole Mr. Dean Moulas PNC Bank, Kay Geiger Mr. and Mrs. Paul H. Ward § Coney Island, Victor W. Nolting Lois and Dick Jolson PricewaterhouseCoopers LLC, Ginger and David W. Warner Corporex Companies, LLC, Frank Jordan § Evelyn L. Cole Gary and Diane West § Mr. William Butler Mr. Mace C. Justice § Terry and Marvin Quin :HVWHUQ3DFL¿F+ROGLQJV Peter G. Courlas § Mr. and Mrs. Lorrence T. Kellar Rendigs, Fry, Kiely & Dennis, Mrs. Pat Fry Chiun-Teng Cheng Dr. and Mrs. Alvin Crawford Dr. and Mrs. Lionel King Mercer and Gabrielle Reynolds Western & Southern Financial Services, Jodelle S. Crosset Mr. and Mrs. Kevin Kline Vicky and Rick Reynolds Mr. Don Wuebbling Mrs. Thomas E. Davidson § Mrs. Thomas Klinedinst, Sr. Ellen Rieveschl § Mrs. Harris K. Weston (Alice) The Dehan Family Florence and Ron Koetters Elizabeth and Karl Ronn § Mrs. James W. Wilson, Jr. Dennis W. and Cathy Dern Marvin P. Kolodzik § J. David and Dianne Rosenberg Vance and Peggy Wolverton Mr. and Mrs. Steve Dessner Michael and Marilyn Kremzar Nancy and Ed Rosenthal World Pac Paper, LLC, Edgar Smith and Amy and Trey Devey § Kroger, Ms. Katy Barclay Moe and Jack Rouse § Toni Robinson-Smith Mr. and Mrs. Albert C. Dierckes, Jr. Mrs. Anne I. Lawrence Ann and Harry Santen Betsy and Alex C. Young § Nancy and Steve Donovan Mr. Jeffrey W. Lazarow Mr. Thomas Schiff Mr. and Mrs. James M. Zimmerman Marjorie Drackett Ms. Wendy Lea Martha and Lee Schimberg Anonymous (4) Dianne Dunkelman Mr. Louis Levin Mark S. and Rosemary K. Schlachter § Mrs. David Ellis, Jr. Daniel R. Lewis Pamela F. Schmitt § Denotes members of The Thomas Emory P. Zimmer Insurance Agency, Mr. and Mrs. Brad Lindner Jeffrey S. Schloemer and Marcia A. Banker Schippers Society. Individuals who have Baker D. Bahlman Edyth B. Lindner Harold C. Schott Foundation, made a planned gift to the Cincinnati Ernst & Young, Mr. Scott Trosset Calvin and Patricia Linnemann § Francie and Tom Hiltz Symphony Orchestra are eligible for Fifth Third Bank Foundation, Ms. Heidi Jark Whitney and Phillip Long Digi and Mike Schueler membership in The Thomas Schippers Dr. and Mrs. Carl G. Fischer Mark and Tia Luegering Vivian and Jim Schwab Society. For more information, please Mr. and Mrs. James T. Fitzgerald Macy’s, Mr. Matthew Q. Stautberg David and Abby Schwartz contact Ron Cropper at 513.744.3365. Mrs. Charles Fleischmann Mr. and Mrs. Timothy Maloney Ladislas & Vilma Segoe Family Foundation, Mr. David Ellis
cincinnatisymphony.org | FANFARE CINCINNATI | 59 OCTOBER 2016 Who’s a Group? You’re a Group!
The Cincinnati Symphony Orchestra and Cincinnati Pops are pleased to welcome the following groups to concerts this month: • Discover our specially priced tickets for groups of 10 or CSO, Oct 7–8 more! • Find out how you can Maple Knoll orchestrate a profitable Bridgeway Pointe Loveland High School fundraising event Twin Lakes at Montgomery for your local organization. Seasons Retirement Community Contact CSO Group Sales: The Kenwood Senior Living Center 513.744.3590 or Ĵȱȱ¢ csogroupsales.org The Knolls of Oxford Christian Village at Mason Cedar Village St. Gertrude Parish
Pops, Oct 9 Cedar Village Howard Financial
THE MUSIC OF THE CSO & POPS TAKE IT HOME! Visit the TAFT THEATRE BRAVO SHOP* for CDs, gifts and merchandise.
*Located on the far east side of the Taft Theatre lobby. All purchases benefit your CSO & Pops.
60 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT
2016–2017 SPONSORS The Cincinnati Symphony Orchestra and the Cincinnati Pops sponsors are an integral part of the Orchestra’s vibrant performances whether supporting a series, a concert or an artist. For information on becoming a sponsor, contact Sarah Anne Slaby at 513.744.3371. We are proud to be partners with the following organizations:
PLATINUM BATON CIRCLE ($50,000+)
Tom & Molly Garber
Anonymous Thomas J. Emery Memorial
Dr. and Mrs. Lois and Dick Florence and Ron The H.B., E.W. and F.R. Luther The Margaret McWilliams Dr. John & Louise Mulford 6WHSKHQ-RႇH Jolson Koetters Charitable Foundation, Fifth Rentschler Fund of the Greater Fund for the CSO Third Bank and Narley L. Haley, Cincinnati Foundation Co-Trustees Jacob G. Schmidlapp Harold C. Schott The John A. Schroth Ginger & David W. Trusts, Fifth Third Foundation/Francie Louise Taft Semple Ms. Genevieve Tom and Dee Jackie and Roy Family Charitable Trust, Foundation Smith Stegman Sweeney Warner Bank, Trustee and Tom Hiltz, PNC Bank, Trustee Trustees
GOLD BATON CIRCLE ($25,000–$49,999)
The Cincinnati Symphony Club
Sue Friedlander Ann & Gordon Mr. Mace C. Justice The Patricia Kisker Getty Foundation Foundation
-HႇUH\ -RG\/D]DURZ Ohio Valley The Ladislas & and Janie & Peter Schwartz Mr. Daniel R. Lewis MusicNOW Family Fund of the Greater Foundation, Fifth Vilma Segoe Family Cincinnati Foundation Third Bank, Agent Foundation
CONDUCTOR’S CIRCLE ($10,000–$24,999)
Rosemary and Crosset Family Mrs. Thomas R. Frank Bloom Fund Davidson
Mr. & Mrs. Robert L. The John C. Anne Heldman The Andrew Jergens The Kaplan Marvin P. Anne Lawrence The Daniel & Susan Lawrence Griswold Foundation Foundation Foundation Kolodzik Pfau Foundation
The August A. Rendigs, Jr. and Rosemary and Mark The Sutphin Family The Wohlgemuth The Eric B. Yeiser Family Helen J. Rendigs Foundation, Schlachter Foundation Herschede Foundation :5RJHU)U\7UXVWHHDQGWKH¿UP Foundation of Rendigs, Fry, Kiely & Dennis
CONCERTMASTER’S CIRCLE ($5,000–$9,999)
Queen City (OH) Chapter M MINNILLO & JENKINS CO. LPA,ATTORNEYS AT LAW
The Willard & Louis D. Bilionis & Dr. and Mrs. The Dehan James M. Ewell Jean Mulford William D. YOT Full Circle Ann Hubbard John E. Bossert Family Foundation Stenger Surgery Charitable Fund Foundation
ARTIST’S CIRCLE ENCORE CIRCLE Clark Schaefer Hackett $3,000–$4,999 $2,500–$2,999 Delta Dental The ASCAP Foundation The Amphion Foundation EY Paul and Cynthia Booth, COBCO Enterprises LLC Hightowers Petroleum Co. CE Power Solutions The J.M. Smucker Company Cincinnati USA Convention and Visitors Bureau Ohio CAT RiskSource Clark-Theders
cincinnatisymphony.org | FANFARE CINCINNATI | 61 FINANCIAL SUPPORT 2016–2017 Sponsors, cont.
ARTSWAVE Partners ȱȱęȱȱȱȱǯȱȱȱȱȱȱȱ ȱ¢ȱȱ ȱȱȱǰȱȱ¢ȱȱȱ ȱȱǯ PP&G Fifth Third Bank and the Fifth Third Bank Foundation ArtsWave Partners | OCTOBER 2016 GE The Kroger Co. Macy’s Inc.: ǰȱǯȱŝȮŞ Cincinnati Children’s Hospital Macy’s, Inc. Medical Center: ǰȱǯȱŘŝȱǭȱŘş Western & Southern Financial Cincinnati Bell: Cincinnati Bell ǰȱǯȱş U.S. Bank: ǰȱǯȱŘŞ U.S. Bank Fifth Third Bank and the Fifth Third Cincinnati Children’s Hospital Medical Center The Cincinnati Insurance Companies Bank Foundation: ǰȱȱŘŗ Toyota Motor Engineering & Manufacturing North America, Inc. Great American Insurance Group Ohio National Financial Services Duke Energy PNC Frisch’s Restaurants Convergys Corporation Enquirer Media
PERMANENT ENDOWMENTS ȱȱ¢ȱȱȱǰȱȱȱĴȱȱȱ Ȭȱǰȱȱ ȱ ȱȱȱȱęȱȱȱȱȱȱȱȱǯȱȱ¡ȱȱȱȱ ȱȱȱ ȱȱȱȱ ȱȱȱȱ¢ȱȱȱ¢ǯȱȱȱ ȱȱ ȱǰȱȱȱȱȱśŗřǯŝŚŚǯřřŜśǯ
ENDOWED CHAIRS Tom & Dee Stegman Chair+ Educational Concerts Grace M. Allen Chair Mary and Joseph S. Stern, Jr. Chair+ Rosemary & Frank Bloom * The Kenneth & Norita Aplin and Stanley Cynthia & Frank Stewart Chair Cincinnati Financial Corporation & Ragle Chair for Cello The Jackie and Roy Sweeney Family Chair The Cincinnati Insurance Companies Ellen A. & Richard C. Berghamer Chair Anna Sinton Taft Chair The Margaret Embshoff Educational Fund Robert E. & Fay Boeh Chair Brenda & Ralph Taylor Chair Kate Foreman Young Peoples Fund The Marc Bohlke Chair James P. Thornton Chair George & Anne Heldman+ Given by Katrin and Manfred Bohlke Nicholas Tsimaras-Peter G. Courlas Chair Macy’s Foundation Otto M. Budig Family Foundation Chair Jo Ann & Paul Ward Chair Vicky & Rick Reynolds*+ Mary Alice Heekin Burke Chair Matthew & Peg Woodside Chair William R. Schott Family** Peter G. Courlas-Nicholas Tsimaras Chair Mary M. & Charles F. Yeiser Chair Western-Southern Foundation, Inc. Ona Hixson Dater Chair Anonymous Chair The Anne G. and Robert W. Dorsey OTHER NAMED FUNDS Chair for Violin+ ENDOWED PERFORMANCES Ruth Meacham Bell Memorial Fund Jane & David Ellis Chair & PROJECTS Frank & Mary Bergstein Fund for Musical Irene & John J. Emery Chair Eleanora C. U. Alms Trust, Fifth Third Bank, Trustee Excellence+ James M. Ewell Chair Rosemary and Frank Bloom Endowment Fund*+ Jean K. Bloch Music Library Fund Susan S. & William A. Friedlander Chair+ Cincinnati Bell Foundation Inc. Cora Dow Endowment Fund Charles Gausmann Chair Mr. & Mrs. Val Cook Corbett Educational Endowment** Susanne and Philip O. Geier, Jr. Chair+ Nancy & Steve Donovan* Belmon U. Duvall Fund Emma Margaret & Irving D. Goldman Chair Sue and Bill Friedlander Endowment Fund*+ Ewell Fund for Riverbend Maintenance Charles Frederic Goss Chair Mrs. Charles Wm Anness*, Linda & Harry Fath Endowment Fund David G. Hakes & Kevin D. Brady Chair Mrs. Frederick D. Haffner, Ford Foundation Fund Dorothy & John Hermanies Chair Mrs. Gerald Skidmore and the Natalie Wurlitzer & William Ernest Griess Josephine I. & David J. Joseph, Jr. Chair La Vaughn Scholl Garrison Fund Cello Fund Lois Klein Jolson Chair Fred L. & Katherine H. Groll Fund for Fred L. & Katherine H. Groll Trust Harold B. & Betty Justice Chair Musical Excellence Music Director Fund for Excellence Marvin Kolodzik Chair+ Fred L. & Katherine H. Groll Fund for Great Artists Josephine I. & David J. Joseph, Jr. Al Levinson Chair Fred L. & Katherine H. Groll Trust Pianist Fund Scholarship Fund Patricia Gross Linnemann Chair+ The Carol Ann and Ralph V. Haile, Jr./ Richard & Jean Jubelirer & Family Fund* Alberta & Dr. Maurice Marsh Chair U.S. Bank Foundation Endowment Fund Elma Margaret Lapp Trust Laura Kimble McLellan Chair Anne Heldman Endowment Fund** Jésus López-Cobos Fund for Excellence The Henry Meyer Chair Lawrence A. & Anne J. Leser* Mellon Foundation Fund Louise Dieterle Nippert & Louis Nippert Chairs Mr. & Mrs. Carl H. Lindner** Nina Browne Parker Trust Ida Ringling North Chair PNC Financial Services Group Dorothy Robb Perin & Harold F. Poe Trust Rawson Chair The Procter & Gamble Fund Rieveschl Fund The Vicky and Rick Reynolds Chair Vicky & Rick Reynolds Fund for Diverse Artists+ Thomas Schippers Fund in Honor of William A. Friedlander+ Melody Sawyer Richardson* Martha, Max & Alfred M. Stern Ticket Fund Donald & Margaret Robinson Chair Rosemary and Mark Schlachter Endowment Fund*+ Mr. & Mrs. John R. Strauss Student Ticket Fund Dianne & J. David Rosenberg Chair+ The Harold C. Schott Foundation, Anna Sinton & Charles P. Taft Fund Ruth F. Rosevear Chair Francie and Tom Hiltz Endowment Fund+ Lucien Wulsin Fund The Morleen & Jack Rouse Peggy Selonick Fund for Great Artists Wurlitzer Season Ticket Fund Associate Principal Timpani Chair+ Dee and Tom Stegman Endowment Fund*+ CSO Pooled Income Fund Emalee Schavel Chair Mr. & Mrs. Joseph S. Stern, Jr. Fund CSO Musicians Emergency Fund Karl & Roberta Schlachter Family Chair for Great Artists Serge Shababian Chair U. S. Bank Foundation* *Denotes support for Annual Music Program Fund Melinda & Irwin Simon Chair+ Sallie and Randolph Wadsworth Endowment Fund+ **Denotes support for the 2nd Century Campaign +Denotes support for the Fund for Musical Excellence
62 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT HONOR ROLL OF CONTRIBUTORS The Cincinnati Symphony Orchestra and Cincinnati Pops extends our heartfelt thanks to the donors who support our work, providing nearly one third of the funding needed to bring great music to Cincinnati and the world. You can join our circle of supporters online at cincinnatisymphony.org/give or by contacting Pamela Taylor at 513.744.3239.
PLATINUM BATON Doris M. and Charles B. Levinson Fund * Edward and Susan Castleberry Betsy and Alex C. Young § Linda and James Miller Ms. Geraldine V. Chavez Anonymous (2) CIRCLE Joseph A. and Susan E. Pichler Fund* 0LFKDHO/&LRI¿ Gifts of $50,000 and above Terry and Marvin Quin Peter G. Courlas § The Louise Dieterle Nippert ARTIST’S CIRCLE Irwin and Melinda Simon The Lewis and Marjorie Daniel Foundation Gifts of $3,000–$4,999 Musical Arts Fund Dale and Joyce Uetrecht The Dehan Family Mr. and Mrs. Frederick E. Bryan, III § Stuart and Sarah Aitken Mr. and Mrs. Gregory Waddell Mr. and Mrs. Steve Dessner Mrs. Cecile D. Allyn The Otto M. Budig Family Foundation § Mr. and Mrs. Paul H. Ward § Amy and Trey Devey § Susan Friedlander § Yousef Aouad Gary and Diane West § Mr. and Mrs. Albert C. Dierckes, Jr. Mrs. Thomas S. Benjamin Molly and Tom Garber, CCI Design, Inc. Dianne Dunkelman George L. and Anne P. Heldman Fund* § David and Elaine Billmire CONDUCTOR’S CIRCLE Dr. and Mrs. Carl G. Fischer In Memory of Herbert R. Bloch, Jr. Francie and Tom Hiltz, Harold C. Schott Dr. and Mrs. Harry F. Fry Foundation Gifts of $10,000–$14,999 Mr. and Mrs. Joseph Brinkmeyer § Martha G. Anness § Ms. Jane Garvey Mr. and Mrs. Larry Brueshaber Dr. and Mrs. Stephen Joffe Richard D. Gegner Lois and Dick Jolson Mary Bergstein Janet and Bruce Byrnes Mr. and Mrs. Allan Berliant Dr. Lesley Gilbertson and Dr. and Mrs. Charles O. Carothers Florence and Ron Koetters Dr. William Hurford Mrs. Anne I. Lawrence Louis D. Bilionis and Ann Hubbard Miss Norma L. Clark § Robert and Debra Chavez Clifford J. Goosmann and Mary Ellen and Thomas G. Cody Daniel R. Lewis Andrea M. Wilson Edyth B. Lindner Sheila and Christopher C. Cole Mr. and Mrs. Michael D. Connelly Jodelle S. Crosset Dr. and Mrs. Edward Hake Mr. Stephen J. Daush Marilyn J. and Jack D. Osborn § Mr. and Mrs. Fred Heldman Margaret McWilliams Rentschler Fund* Mrs. Thomas E. Davidson § Jim and Elizabeth Dodd Emory P. Zimmer Insurance Agency Patricia Henley § Betty M. Duncan Mr. Thomas Schiff David C. Herriman Ms. Genevieve Smith Mr. and Mrs. James T. Fitzgerald Mrs. Diana T. Dwight Mr. and Mrs. Michael H. Giuliani Mrs. Harry M. Hoffheimer Jane F. and David W. Ellis Fund* § Tom and Dee Stegman § Dr. Murray Jaffe Mrs. Roy Sweeney Mr. Joseph Hagin Ann A. Ellison Tom and Jan Hardy § Mr. and Mrs. Lorrence T. Kellar* Marlana and Walter Frank Mr. and Mrs. Randolph L. Wadsworth, Jr. § Dr. and Mrs. Lionel King Ginger and David W. Warner Mr. and Mrs. Brian E. Heekin Carol S. Friel Mr. and Mrs. Joseph W. Hirschhorn § Michael and Marilyn Kremzar Mr. and Mrs. Otto P. Geier Frank Jordan § Mark and Tia Luegering Dr. and Mrs. James M. Greenberg GOLD BATON CIRCLE Mrs. Thomas Klinedinst, Sr. Dr. and Mrs. Brian A. Mannion Mr. and Mrs. Robert R. Heidenreich Gifts of $25,000–$49,999 Mrs. Anne I. Lawrence Alan Margulies and Gale Snoddy Dr. and Mrs. Robert S. Heidt, Jr. Mrs. Charles Fleischmann Ms. Wendy Lea and Centrifuse Andrew and Jean Martin Drs. Robert C. Hodges and Anthony A. McIntire Mr. Mace C. Justice § Levin Family Foundation Mr. and Mrs. Jonathan McCann Drs. Marcia Kaplan and Michael Privitera Mr. Jeffrey W. Lazarow Whitney and Phillip Long Mr. Robert W. McDonald Takashi and Chiseko Kato Calvin and Patricia Linnemann § Mr. and Mrs. Timothy Maloney Mr. Bernard McKay Mr. and Mrs. Richard Kovarsky Vicky and Rick Reynolds Rhoda Mayerson Mr. James A. Miller Peter E. Landgren and J. David and Dianne Rosenberg § Mrs. Susan M. McPartlin Mr. and Mrs. David A. Millett Judith Schonbach Landgren Moe and Jack Rouse § Dr. and Mrs. John Parlin Mrs. James Monroe § Elizabeth and Terry Lilly Ann and Harry Santen The Daniel & Susan Pfau Foundation Stephen and Kristin Mullin § Mrs. Robert Lippert Mark S. and Rosemary K. Schlachter § Mercer and Gabrielle Reynolds Mr. and Mrs. Christopher Muth § George and Sarah Morrison III Vivian and Jim Schwab Pamela F. Schmitt Arlene Palmer Mr. and Mrs. David W. Motch William D. Stenger Mary S. Stern John and Farah Palmer Mr. Scott Nelson and Dr. Susan Kindel Larry Uhlenbrock Laurence G. Stillpass August A. Rendigs, Jr. Foundation Mr. and Mrs. Robert S. Olson Mrs. Harris K. Weston (Alice) Theodore W. and Carol B. Striker Ellen Rieveschl § John and Francie Pepper* Ms. Anne D. Thomas Elizabeth and Karl Ronn § Mr. John W. Plattner SILVER CIRCLE Tomcinoh Fund* Nancy and Ed Rosenthal Sandra Rivers Gifts of $15,000–$24,999 Mr. and Mrs. James M. Zimmerman Martha and Lee Schimberg Ann Ruchhoft Mr. Anatole Alper Anonymous (2) Jeffrey S. Schloemer and Marcia A. Banker Mr. and Mrs. Thomas R. Ruthman Rosemary H. and Frank Bloom Mike and Digi Schueler Elizabeth Schulenberg David and Abby Schwartz Special Fund *§ CONCERTMASTER’S Mr. and Mrs. William A. Starr Dr. and Mrs. John and Mr. Murray Sinclaire Bunny and Frank Szecskay Suzanne Bossert § CIRCLE Elizabeth C. B. and Paul G. Sittenfeld Sarah Thorburn Dr. and Mrs. Alvin Crawford Gifts of $5,000–$9,999 Mr. and Mrs. Gerald Skidmore § Robert and Audrey Varley § Dennis W. and Cathy Dern Dr. Norita Aplin and Stanley Ragle § Michael and Donnalyn Smith Christopher and Nancy Virgulak Nancy and Steve Donovan Thomas P. Atkins Delle E. Taylor Dr. Barbara R. Voelkel Marjorie Drackett Mr. and Mrs. William T. Bahlman, Jr. § Nancy C. Wagner § Mr. and Mrs. James L. Wainscott Priscilla Garrison Haffner § Mrs. Katy Barclay Patricia M. Wagner § Jim and George Ann Wesner Mrs. Philip O. Geier § Robert L. Bogenschutz Mrs. James W. Wilson, Jr. JoAnn Wieghaus Marvin P. Kolodzik § Chris and Karen Bowman Vance and Peggy Wolverton Anonymous (2)
Patty and Nancy Wagner with Trey Devey at the Stan Ragle and Norita Aplin visiting with Elaine Semancik and Jane Oberschmidt at the Schippers Society breakfast on June 10. Patricia Nott at the Schippers Society Schippers Society breakfast. breakfast.
cincinnatisymphony.org | FANFARE CINCINNATI | 63 FINANCIAL SUPPORT
Anne Drackett Thomas with her son, Tom Garber, at the 2016 Guests of Fifth Third Bank with CSO Principal Trombonist Cristian Orchestra Gala, Hot Havana Nights, on September 9. Ganicenco (second from left) at the 2016 Orchestra Gala.
ENCORE CIRCLE Mrs. Nicholas Giannestras Dr. Raymond H. Rolwing Mr. and Mrs. Kenneth Borisch Gifts of $1,500–$2,999 L. Timothy Giglio Marianne Rowe § Chris and Tom Buchert Mr. and Mrs. Richard N. Adams Mary and Jack Gimpel James Rubenstein and Bernadette Unger Donald L. and Kathleen Field Burns William and Janet Albertson Mrs. Jocelyn Glass James and Mary Russell Stephen and Diedra Burns Mr. and Mrs. Richard H. Allen John B. Goering 'UDQG0UV0LFKDHO6FKHIÀHU John Byczkowski Romola N. Allen § Dr. and Mrs. Glenn S. Gollobin Mr. and Mrs. Peter A. Schmid Ms. Deborah Campbell § Arne and Sharon Almquist H. Drewry Gores and George Warrington James Schubert Shannon and Lee Carter Dr. Victor and Dolores Angel Joseph N. Green Mr. and Mrs. David V. Schwab Amy and Robert Catanzaro Dr. Bruce Aronow Mr. and Mrs. Gary Greenberg Pamela Scott Mike and Shirly Chaney Ms. Laura E. Atkinson Dr. and Mrs. Jack Hahn Dr. and Mrs. Carl M. Sedacca Catharine W. Chapman § Mr. and Mrs. Thomas B. Avril Dr. Donald and Laura Harrison Mrs. Mildred J. Selonick § Leland M. and Carol C. Cole § Robert and Janet Banks Mr. John L. Harrison Mrs. Robert B. Shott § Dr. Margaret Conradi Mr. and Mrs. Robert T. Betz Emma D. Hartkemeier Sue and Glenn Showers Mr. and Mrs. Patrick Cunningham Rexford and Sharon Bevis Ms. Elizabeth A. Harty Mr. Edgar L. Smith, Jr. Mr. and Mrs. Charles E. Curran III § Jane Birckhead Irmgard and Horst Hehmann William A. and Jane Smith John and Lynne Curtiss Drs. Bennett and Helene Blitzer Mr. and Mrs. John S. Heldman § Ellen and Clark Sole Mr. and Mrs. Henry F. Dabek, Jr. Rebecca Bolce and Keith Wood Dr. Bernard Hertzman Jeff and Juddy Solomon Fund* Stephen and Cynthia DeHoff Mr. and Mrs. John P. Boorn Ms. Janet Hickman Harold and Faye Sosna Robert B. Dick, Ph.D. Cynthia Booth Ruth C. Holthaus Howard and Nancy Starnbach Jeannie Donaldson Glenn and Donna Boutilier Elizabeth and Lawrence Hoyt Bill and Lee Steenken Shirley and Roy Duff Dr. and Mrs. William Bramlage In Memory of Benjamin C. Hubbard § Elizabeth A. Stone Mr. and Mrs. John G. Earls § Thomas A. Braun III § Doug and Melanie Hynden Brett Stover § Ms. Ruth Engel Rachelle Bruno and Stephen Bondurant Barbara M. Johnson Patricia Strunk § Hardy and Barbara Eshbaugh Linda Busken and Andrew M. Jergens § Mr. Timothy Juenke Ralph C. Taylor § Barbara Esposito-Ilacqua Anna K. and G. Gibson Carey Don and Kathy King Kathy Teipen Mr. Laughton Fine Joan Carlin Jeff and Mary Ann Knoop Susan and John Tew Mrs. Nancy Finke Paul and Judy Carlson Carol Louise Kruse Mr. and Mrs. Ronald Tinklenberg Ashley and Bobbie Ford Tom Carpenter and Lynne Lancaster Rita and Pete LaPresto Mr. William Trach Gregrick A. Frey and Karen L. Frey Dr. Julia H. Carter Richard and Susan Lauf Nydia C. Tranter § Linda P. Fulton Becky and Sam Cassidy Mary Mc and Kevin Lawson Dick and Jane Tuten § Ms. Louise J. Gissendaner Mr. and Mrs. Martin Chambers Philip and Judy Leege Mrs. Ronald F. Walker Dr. and Mrs. Charles J. Glueck Mrs. Jackson L. Clagett III § Mrs. Jean E. Lemon § Robert and Antoinette Warden Donn Goebel and Cathy McLeod Michael and Minnie Clements Mr. Peter F. Levin § Dr. and Mrs. Galen R. Warren Shelley and Steven Goldstein Susan and Burton Closson Drs. Douglas Linz and Ann Middaugh Mr. and Mrs. Warren Weber Ms. Arlene Golembiewski Drs. David and Nina Clyne Ms. Merlanne Louney Donna A. Welsch Thomas W. Gougeon Dr. and Mrs. John M. Collins Mr. and Mrs. Clement H. Luken, Jr. Mary E. West Mr. Don Gray Dr. Pearl J. Compaan Jacqueline M. Mack and Virginia Wilhelm Lesha and Samuel Greengus Mr. and Mrs. Richard J. Coomes Dr. Edward B. Silberstein Sheila Williams and Bruce Smith Kathy Grote § in loving memory of Randy K. and Nancy R. Cooper Mandare Foundation Cathy S. Willis Robert Howes Dr. Youssef and Suzanne Costandi Mr. and Mrs. Donald Marshall Ronna and James Willis Mr. Louis Guttman Robin Cotton and Cindi Fitton David Martin Gene Wilson William P. Hackman § Martha and David Crafts /\QQDQG*OHQ0D\¿HOG Andrea Wiot William and Joanne Harvey Mr. and Mrs. John A. Crittenden Eleanor S. McCombe Mrs. Barbara A. Witte § Deborah Hauger, MD Drs. Fuheid and Ingrid Daoud Ms. Amy McDiffett Steve and Katie Wolnitzek Mr. and Mrs. Donald L. Henson Mr. and Mrs. James Dealy Stephanie McNeill Wright Brothers, Inc. Dr. James and Ms. Susan Herman George Deepe and Kris Orsborn Charles and JoAnn Mead Don and Carol Wuebbling Mr. and Mrs. Stephen Hicks Red and Jo Deluse Mary Ann Meanwell Mr. Tyrone K. Yates Karlee L. Hilliard § Bedouin and Randall Dennison Miami University College of Creative Arts Dr. and Mrs. Marvyn H. Youkilis Mr. and Mrs. Terence Horan Jon and Susan Doucleff § Mrs. Patricia Misrach Mr. and Mrs. Dan Zavon 0U'DYLG+XEHU¿HOG Mrs. Jack E. Drake Mr. and Mrs. David Moccia § Anonymous (6) Mr. and Mrs. Bradley G. Hughes Patricia Dudsic Mrs. Sally A. More Mr. and Mrs. Michael C. Hughes Rev. Virginia A. Duffy Judith and David Morgan SYMPHONY CIRCLE Mrs. Thomas Huheey Ms. Maureen Dunne Dr. and Mrs. William H. Newell Gifts of $750–$1,499 Mr. and Mrs. Marshall C. Hunt, Jr. Dr. and Mrs. Stewart B. Dunsker Dr. Cora Ogle Mr. and Mrs. James R. Adams § Yuzo and Shinobu Imoto The Dyer Family Mr. and Mrs. Eric Oliver Tracy Agyemang and Ebow Ivory Vroom Dr. Maralyn M. Itzkowitz Mr. Jimmy C. Edwards Patricia and Morris Passer Drs. Frank and Mary Albers Heidi Jark and Steve Kenat Jerome H. and Jean K. Eichert Poul D. and Jo Anne Pedersen Jeff and Keiko Alexander § Mr. and Mrs. Robert Judd Mrs. Joyce Elkus Mr. and Mrs. George Perbix Helen T. Andrews Susan Kamon and David Blazer David and Kari Ellis Fund* Alice and Burton Perlman Nancy J. Apfel Holly H. Keeler Mr. Erwin F. Erhardt III Alice and David Phillips Carole J. Arend § Mr. and Mrs. Geoffrey Keenan Dr. and Mrs. Alberto Espay 3KLOOLSDQG.DUHQ3ÀDXPHU David Axt and Susan Wilkinson Dr. Robert W. Keith and Gail F. Forberg § Mr. and Mrs. David A. Powell Robert and Beth Baer Ms. Kathleen Thornton Ms. Jacqueline S. Francis Michael and Katherine Rademacher Mr. and Mrs. Carroll R. Baker Dr. Patrick G. Kirk and Richard Freshwater Dr. and Mrs. Leonard M. Randolph, Jr. Mrs. Polly M. Bassett Mrs. Mary M. Vondrak Yan Fridman Marjorie and Louis Rauh Judy A. Bean John and Lynn Klahm Frank and Tara Gardner James W. Rauth § Dava L. Biehl § Marie and Sam Kocoshis Mr. and Mrs. James R. Gardner Mrs. Robert S. Read Dabby Blatt Steven Kohler Theresa Deters Gerrard Dr. and Mrs. Robert Reed Randal and Peter Bloch Diane and Matt Kolleck Dr. and Mrs. Ralph Gianella Diane and Alex Resly Lucille and Dutro Blocksom § Kathleen B. and Michael C. Krug Fund* Dr. and Mrs. Jack F. Rohde Martha Bolognini Patricia Lambeck
64 | FANFARE CINCINNATI | cincinnatisymphony.org FINANCIAL SUPPORT
Mrs. Joseph A. Lane Mr. and Mrs. Robert A. Sanders Mr. and Mrs. Robert L. Wilson, Jr. Nancy C. Wagner Charles and Jean Lauterbach Ms. Pamela Schneider Mrs. Richard Wurzelbacher Patricia M. Wagner Dr. and Mrs. Brad Lemberg Mr. George Schober Mr. John M. Yacher Ms. Molly Wellmann Dr. and Mrs. Lynn Y. Lin Timothy W. Schraw David and Sharon Youmans Mr. and Mrs. Gary West Mr. and Mrs. James A. Link Mary D. Schweitzer Carlos Zavala Paula and Nick Link Martha S. Seaman § Mr. and Mrs. Robert L. Zierolf List as of September 1, 2016 Mrs. Marianne Locke Alfred and Carol Shikany John and Mary Ann Zorio * Denotes a fund of The Greater Cincinnati Al and Mary Lopez Mr. Eli E. Shupe, Jr. Mrs. Beth Zwergel Foundation Mr. and Mrs. David B. Lopez Rennie and David Siebenhar Anonymous (17) § Denotes members of The Thomas Marshall and Nancy Macks Kenneth and Janet Smith Schippers Society. Individuals who have Mr. and Mrs. Dean Matz Dr. and Mrs. Robert Sefton Smith GIFTS IN-KIND made a planned gift to the Cincinnati Drs. Brian and Janice McConville Dr. and Mrs. Roger D. Smith Mrs. Charles Fleischmann III Symphony Orchestra and Cincinnati Dr. Janet P. McDaniel David and Sonja Snyder Comics 2 Games Pops are eligible for membership in The Mr. and Mrs. Michael McDonnell Phillip and Karen Sparkes FRCH Design Worldwide Thomas Schippers Society. For more Robert and Heather McGrath Matt and Shannon Stautberg Dr. and Mrs. Edward H. Hake information, please contact Ron Cropper Daniel and Elizabeth McMullen Mr. and Mrs. Timothy Stautberg Lightborne 513.744.3365. Dr. and Mrs. C. Nelson Melampy John Steele, Sr. Scottish Rite Valley of Cincinnati Dr. and Mrs. Richard A. Meyer Dr. Jean and Mrs. Anne Steichen The Phoenix Dr. Stanley R. Milstein § Mark and Anne Stepaniak Taft Stettinius & Hollister Ms. Mary Lou Motl Ms. Judy H. Stewart David and Beth Muskopf Stephanie and Joseph Stitt Mr. William Naumann Mr. and Mrs. Richard Stradling, Jr. Jim and Marty Neumeister Amy Summerville and Michael Wolfram Dr. James Newberne Mrs. Robert D. Swanson The Cincinnati Symphony Orchestra is grateful for Cheryl and Roy Newman Carol Thaman Matt Nitzberg and Family Mr. and Mrs. Alexander Thomson the support of the following: Mr. and Mrs. John Noelcke Cliff and Diane Thornsburg Gary Oppito Janet Todd Mr. and Mrs. Joe Orndorff Neil Tollas and Janet Moore Dr. and Mrs. Thomas W. Osborn, III Fran Turner Marilyn Z. Ott Dr. Tammy Turner-Vorbeck and Paul and Roberta Pappenheimer Mr. Dave Vorbeck Dr. Manisha Patel and Dr. Michael Curran Stephen F. Voellmecke Family Mr. and Mrs. Robert T. Pike Mr. and Mrs. Jason R. Waggoner Sandy Pike § Mary and Jack Wagner § Mr. Paul E. Potter Sarella Walton Mr. Phillip Potter Chad and Betsy Warwick Barbara S. Reckseit § Elizabeth Weber David and Marilyn Reichert § In Memory of Milton and Helen Weber Dr. Robert Rhoad Greg and Diane Wehrman Becky and Ted Richards Ted and Mary Ann Weiss Mr. and Mrs. Marcus Rose E. E. West Ryan and Kara Rybolt Franklin H. White Mrs. Richard B. Salzer Dianne Whitten
7+(2)),&,$/3,$122)7+(&,1&,11$7,6<03+21<25&+(675$ The Return of Opus One October 23 & 24
Back by popular demand Opus One returns to perform a program that features both the classics and the new. Pianist Anne-Marie McDermott, violinist Ida Kavafian, violist Steven Tenenbom, and cellist Peter Wiley perform quartets by Beethoven, Dvořák, and Roberto Sierra’s Fuego de ángel for Violin, Viola, Cello, & Piano. Two intimate settings in Cincinnati and Loveland
:,//,6086,&&27UXVWHG6LQFH '$<721&,1&,11$7,1257+(51.(178&.< ZZZVWHLQZD\FLQFLQQDWLFRP Visit LintonMusic.org or call 513.381.6868
cincinnatisymphony.org | FANFARE CINCINNATI | 65 FINANCIAL SUPPORT THE THOMAS SCHIPPERS LEGACY SOCIETY
Thomas Schippers was Music Director from 1970 to 1977. He left not only wonderful musical ǰȱȱȱȱęȱȱ¢ȱ ȱȱȱȱȱȱǯȱȱȱ ȱ¢ȱ¢ȱ£ȱȱ ȱȱȱȱȱ ȱȱȱ gift. We thank these members for their foresight and generosity. For more information on leaving your own legacy, contact Ron Cropper at 513.744.3365.
Mrs. Jay Harris * Melody Sawyer Richardson Carrie & Peter Throm* Dr. & Mrs. Morton L. Harshman ** Ellen Rieveschl Dr. & Mrs. Thomas Todd * Mary J. Healy* Elizabeth & Karl Ronn Nydia Tranter* Frank G. Heitker* Moe & Jack Rouse* Dick & Jane Tuten * Anne Heldman * Marianne Rowe * Mr. & Mrs. Robert Varley * Dr. Ira & Linda Abrahamson * Betty & John Heldman * Solveiga Rush Thomas M. Vaughn* Mr. & Mrs. James R. Adams * John Hermanies * Ms. Emalee Schavel ** Mr. & Mrs. Randolph Wadsworth, Jr. * Jeff & Keiko Alexander * Ms. Roberta Hermesch * Rosemary & Mark Schlachter ** Jack K. & Mary V. Wagner Mrs. Robert H. Allen * Karlee L. Hilliard* Mr. & Mrs. Arthur F. Schmitt * Nancy C. Wagner * Mrs. Charles William Anness Mr. & Mrs. Joseph W. Hirschhorn Mrs. William R. Seaman Patricia M. Wagner * Dr. Norita Aplin & Stanley Ragle Daniel J. Hoffheimer ** Dr. & Mrs. William Blake Selnick * Mr. & Mrs. Paul Ward * Jean L. Appenfelder Mr. & Mrs. Edward A. Hogan * Mrs. Mildred J. Selonick* Debie Crosset Warkany * Carole J. Arend * Kenneth L. Holford * Joyce Seymour Jo Anne & Fred Warren* Donald C. Auberger, Jr. * Mr. & Mrs. Terence L. Horan ** Mrs. Robert B. Shott * Anne M. Werner * Dr. Diane Schwemlein Babcock Evelyn V. Hess Howett, M.D. Sarah Garrison Skidmore Gary & Diane West * Mr. & Mrs. William T. Bahlman, Jr. ** Mrs. Benjamin C. Hubbard Adrienne A. Smith Mary West Henrietta Barlag Isabelle F. Hugo* Roberta L. Sontag * Charles Wilkinson Peggy Barrett Carolyn R. Hunt Marie Speziale Sarah E. Wilkinson Jane & Ed Bavaria * Mrs. William H. Hutcherson, Jr. Mr. & Mrs. Christopher L. Sprenkle* Harriet C. Wilson * Dava L. Biehl * Mary Ellen Hutton Michael M. Spresser Mrs. Monte Witte * Walter Blair * Julia M. F. B. Jackson * Susan Stanton * Mrs. Joan R. Wood Lucille & Dutro Blocksom * Michael & Kathleen Janson * Barry & Sharlyn Stare Harris Wright ** Rosemary & Frank Bloom ** Andrew MacAoidh Jergens Mrs. Edward P. Staubitz * Betsy & Alex C. Young ** Fay Boeh * Jean C. Jett Dee & Tom Stegman* Dr. & Mrs. Daryl Zeigler Dr. John and Suzanne Bossert Mrs. Morse Johnson * Mary & Bob Stewart * Anonymous (28) Mollie H. Bowers-Hollon Frank Jordan Brett Stover & Christopher Hassall Ronald Bozicevich Margaret H. Jung Dr. Robert & Jill Strub * * Schippers Society Member Thomas A. Braun, III Rosalind Juran * Patricia M. Strunk for 10 or more years Joseph Brinkmeyer Mace C. Justice ** Ralph & Brenda Taylor * ** Schippers Society Member Mr. & Mrs. Frederick Bryan, III * Karen Kapella* Conrad F. Thiede for 20 or more years Mary Alice Heekin Burke * Dr. & Mrs. Steven Katkin * Minda F. Thompson New Schippers members are in bold Deborah Campbell & Eunice M. Wolf Paul C. Keidel * Dimitra A. Campbell ** Dr. Robert A. Kemper * Myra Chabut ** Mrs. Paul N. Kibler* Catharine W. Chapman Alan and Jill Kinstler Jean & Matthew Chimsky Rachel Kirley and Joseph Jaquette Mrs. Jackson L. Clagett III* Marvin Kolodzik * Norma L. Clark Randolph & Patricia Krumm Lois and Philip Cohen Mrs. Theresa M. Kuhn Stanley & Frances Cohen * Owen & CiCi Lee * Leland M. & Carol C. Cole Audrey Kuethe Leeser* Grace A. Cook * Mrs. Jean E. Lemon Jack and Janice Cook Mr. & Mrs. Peter F. Levin * Mr. & Mrs. Charles Cordes ** George & Barbara Lott ** Peter G. Courlas & Nick Tsimaras ** Mr. & Mrs. Ronald Lyons * Mr. & Mrs. Charles E. Curran III** Marilyn J. Maag Amy & Scott Darrah Margot Marples Meredith & Will Darrah, children Allen & Judy Martin Caroline H. Davidson Mrs. Thomas H. McCrary * Harrison R.T. Davis* Laura Kimble McLellan Miriam Deshon* Dr. Stanley R. Milstein Amy & Trey Devey Mrs. William K. Minor Robert W. Dorsey Mr. & Mrs. D.E. Moccia Jon & Susan Doucleff Mr. & Mrs. James Monroe * Mr. & Mrs. John Earls * Mrs. Arthur E. Motch, Jr. * Dale & Lillian Eickman * Kristin and Stephen Mullin Linda and Harry Fath Ms. Maryjane N. Musser * Alan Flaherty Christopher & Susan Muth Mrs. Richard A. Forberg Patti Myers Guy & Marilyn Frederick ** Anne Nethercott* Susan Friedlander ** Susan & Kenneth Newmark* Mr. & Mrs. Nicholas Fry* Dr. & Mrs. Theodore Nicholas Mrs. Charles W. Fryer* Patricia Grignet Nott H. Jane Gavin Jane & Erv Oberschmidt * Mrs. Philip O. Geier * Julie & Dick Okenfuss * Kenneth A. Goode** Jack & Marilyn Osborn * Clifford J. Goosmann & Andrea M. Wilson The Palmer Family—Cletus and Mrs. Madeleine H. Gordon Mary Lou, David and Kathy, J. Frederick & Cynthia Gossman* Bill and Jamie * Kathy Grote Mrs. Gerald C. Petersen * Esther B. Grubbs, Marci Bein, Mindi Hamby Sandy Pike * William Hackman* Mrs. Harold F. Poe ** Priscilla Garrison Haffner Anne M. Pohl* David G. Hakes* Mr. & Mrs. Robert C. Porter, Jr. Vincent C. Hand & Ann E. Hagerman Irene & Daniel Randolph * Tom and Jan Hardy James W. Rauth William L. Harmon Barbara S. Reckseit Bill Harnish & John Harnish Edward J. Requardt *
66 | FANFARE CINCINNATI | cincinnatisymphony.org ADMINISTRATION
OFFICE OF THE PRESIDENT Carol Dary Dunevant Ron Cropper PATRON SERVICES Trey Devey Ensembles & Musician Training Director of Special Campaigns Supervisors President Coordinator Jordan Rush Teresa N. Ahrenholz Mathew White Lauren Roberson COMMUNICATIONS Philanthropy Assistant Executive Assistant to the President Representatives Christopher Pinelo Penny Hamilton Vice President of Communications Elizabeth Fricke ARTISTIC ADMINISTRATION & Philanthropy Assistant John Geiger PRODUCTION Meghan Berneking Meredith Green Robert McGrath Director of Communications FINANCE Danielle Mahone Vice President & General Manager Richard Freshwater Nathaniel Minor Lee Snow Vice President & Elizabeth Schmidt Zan Burkhardt Digital Communications Manager &KLHI)LQDQFLDO2I¿FHU Jennifer Slaght Production Assistant Melissa Knueven Scott Eckner Jessica Smithorn Heather L. Stengle Communications Assistant IT Manager Matthew Swanson Director of Operations Andrea Vos Rochefort PHILANTHROPY Will McCoy Ann Wolff Alex Magg Mary McFadden Lawson Systems Support Specialist Operations Project Coordinator Vice President of Philanthropy Kyle Wynk RIVERBEND MUSIC CENTER/ PNC PAVILION/TAFT Sam Strater Rachel B. Kirley Human Resources Manager Director of Artistic Administration, THEATRE/MUSIC & EVENT Director of Individual Giving Megan Inderbitzin-Tsai MANAGEMENT INC. Cincinnati Pops Orchestra and Donor Services Payroll Administrator The Hulbert Taft, Jr. Isaac Thompson Emily Selzer Center for the Director of Artistic Administration, Judy Prinz Leadership Giving Manager Receptionist Performing Arts, J. Ralph Corbett CSO Pavilion Pamela Taylor Melissa Scott Marissa Goodman Individual Giving Manager PNC Pavilion at Assistant Artistic Administrator Director of Data Systems Riverbend Music Center Kristi Reed Kathleen Curry Ahmad Mayes Grants Manager Michael Smith Director of Education & Community Data Entry Clerk Vice President of Project Engagement Sarah Anne Slaby Sharon D. Grayton Development & Riverbend Corporate Relations Manager Music Center Charmaine Moore Data Services Manager Community Engagement and Hannah Johnson Tara Williams Matthew Dunne Diversity Manager Director of Events Data Entry Analyst General Manager Logan Kelly Sarah Maguire Eric Smith Amy Dahlhoff Manager of Education Programs Volunteer Manager Controller Concessions Manager & Special Events Coordinator Monica Putnick Accounting Manager Ryan Jaspers Event/Operations Manager Rosie Rothhaar Accounting Clerk James Kirby Assistant Operations Manager Kelly Saylor Accounting Clerk Lane Kolkmeyer FOR TICKETS: Assistant Marketing Manager 513.421.3555 OR www.ensemblecincinnati.org MARKETING & SALES Michele Ferrara Sherri Prentiss Corporate Sales Manager Vice President of Marketing OUR 2016-2017 SEASON Rosemarie Moehring CONTINUES... M. Todd Bezold Marketing Manager Director of Marketing, Subscriptions BROWNSVILLE SONG Ed Morrell Amy E. Catanzaro General Manager (B-SIDE FOR TRAY) Director of Sales by Kimber Lee Jennifer Schoonover OCT 11 – 30 Erica Keller Premium Seat Program Manager Director of Audience Engagement CINDERELLA: Kelly Benhase Erica Minton AFTER EVER AFTER %R[2I¿FH0DQDJHU by Joseph Mcdonough, David Kisor & Fitz Patton Director of Marketing, Special Projects NOV 30 – DEC 30 Holly Dickman Jared Webster $VVLVWDQW%R[2I¿FH0DQDJHU FIRST DATE Director of Marketing, Monty Wolf book by Austin Winsberg music & lyrics by Alan Zachary & Michael Weiner Single Tickets Plant Operations Manager JAN 17 – FEB 5 Heather Brown Rick McCarty %R[2I¿FH0DQDJHU WHEN WE WERE Marketing Director YOUNG & UNAFRAID Katie Murry Joan Wright by Sarah Treem Marketing Manager, Subscriptions Receptionist FEB 21 – MARCH 12 Andrew Duncan
An Iliad An BLOOMSDAY Marketing Manager by Steven Dietz Ellen Graham APRIL 4 – 23 Group Sales Manager Bruce Cromer in Bruce Cromer Ricardo Mesina
SEASON PRESENTING SPONSOR Graphic Designer Michelle Lewandowski Subscription Coordinator SEASON FUNDER OPERATING SUPPORT 513.421.3555 ENSEMBLECINCINNATI.ORG
cincinnatisymphony.org | FANFARE CINCINNATI | 67 CODA by Chris Pinelo
his is a groundbreaking initiative garner- ȱȱȱȱȱ¢ǰȱȃȱȱȱȱ ȱĴȱȱȱȱ¢ǯ ȱ ȱȱȱ¢ȱȱǯȱ ȱ ȱȱ ȱ ȱȱęȱȱȱ ȱ ȱȱ¢ȱȱĚȱȱȱȱ ȱȱȦȱ¢ȱ ȱ ȱȱǰȱȱǰȱȱȱȱ Tȱȱȱȱȱȱȱ¢Ȃȱ¢ȱȱȱ ȱǯȄ ȱȱȱȱȱȱȂȱ ȱȱ¢ȱȱ ȱȱ Ȃȱ ȱȱȱȂȱȱ¢- ȱȱȱȱȱȱȱȱȱ ȱ ¢ȱȱ¢ȱȱ·ȯȱȱ ȱ ǯȱȱȱȱȱȱ ȱ met with thunderous applause and rave reviews. ǯȱȱȱȱȱȱ¡ȱȱ ȱȱǰȱȱȱȱȱ ȱ ȱȱ ¢ȱ ǯȱȱęȱȱȱȱ Ȭ¢ȱ ǰȱȱȱ¢ȱ ȱǰȱȱęȱȱȱ ȱȱȱ¢Ȃȱ ȱȱȱȱȱȱȱȱ Ȭ ȱǰȱȱ¢¢ǯȦ ¢ȱ¢ȱȱ ȱȱȱȱ¢ȱȱ ǯ ȱȱȱȱ¢ȱȱęǯȱ¢ȱ ȱ¡¢ȱȱȱ ȱȱ ȱȱȱȱȱǰȱȱęȱ- ȱȱȱȱȱȱ¢ȱȱ ȱȱȱ¢ȱȱȱ¢ȱȱ ȱ¢ȱȱȱȬ¢ȱȱ ȱǻǼȱȱ¢ȱȱȱȱȂȱȱ or artist diploma. According to a Stringsȱ£ȱȱȱȱ ȱǰȱȃȱȱȱȱȱȱȱ ¢ȱȱǯȱȱȱŝŘȱȱȱ ȱȱȱ ¢ȱȱ¢ȱȱŘŖŗŜǰȱŗŘȱ The CSO/CCM Diversity Fellows with CSO mentors and Music ȱȱȱȱȱȱęȱȱȱ¢ǯȄȱ Director Louis Langrée after their debut on Sept. 8
THIS NOVEMBER AT OUR
68 | FANFARE CINCINNATI | cincinnatisymphony.org THE MARKET HAD A BAD DAY. QUICK, DON’T DO SOMETHING.
OR
Remaining focused on the long term.
Medically speaking, checking one’s reflexes Raymond James advisor employs a slow and is an important test of the nervous system. steady approach to financial planning. It’s a However, in our overly deliberate opinion, rigorously thorough process in which every the doctor’s office is the only place decision is made with the long where knee-jerk reactions should term in mind. When you sit down be considered a positive. Especially with a Raymond James financial when it comes to investing. We advisor, they will take the time to realize that it’s only natural to want tailor a plan just for you. And help Holding on during the to react impulsively to a down day or ups and downs. Typically you stick to it during the ups. And a sound strategy. two, but we believe remaining stead- downs. For over 50 years, our advisors fast is the more prudent financial decision. have quietly served clients differently. Go to And while there is a time and place to take lifewellplanned.com to learn more. It’s time action, it should be done thoughtfully. As to find out what a Raymond James financial opposed to rapidly. Which is why every advisor can do for you. LIFE WELL PLANNED.
John Ryan Managing Director Investments, Complex Manager
201 East Fifth Street, Suite 2500 Cincinnati, OH 45202 T (513) 287-6763 // F: (513) 287-6788 [email protected] // raymondjames.com/johnryancapitaladvisory
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