WHAT’S INSIDE

CONCERTS Masterworks Chamber 30 Mozart in the Lowcountry 41 We’ll Always Have Paris 36 Pictures at an Exhibition 54 Holiday Strings 43 Rach 2

Pops Special Events 34 Music of the Movies 55 Holy City Messiah 60 Holiday Pops

Charleston Symphony Youth Orchestra 52 CSYS and CSYO Fall Concert

4 House Notes 18 CSO Chorus 8 Musicians 20 Letter from President 10 Guest Musician Sponsors 24 Educational Programs 11 Board of Directors 29 Musician Roster 12 Administration 65 Membership Benefits 13 Letter from Executive Director 66 Donor Recognition 14 Music Director 69 In Honor/In Memory 16 Principal Pops Conductor 72 Guest Musician Hosts/ 17 From the Orchestra In-Kind Gifts

ADVERTISING: Onstage Publications This playbill program template is published in association with Onstage Publications, 1612 Prosser 937-424-0529 | 866-503-1966 Avenue, Dayton, Ohio 45409. This playbill program template may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business!, e-mail: [email protected] Inc. Contents © 2019. All rights reserved. Printed in the U.S.A. www.onstagepublications.com

CharlestonSymphony.org 3 HOUSE NOTES

Thank you for attending this performance of the Charleston Symphony. Here are some tips and suggestions to enhance the concert experience for everyone.

TICKET INFORMATION STUDENT DISCOUNTS Students ages 6-22 may take advantage of the following discounts. Some concerts are excluded INDIVIDUAL CONCERT TICKETS or have special pricing noted on the Charleston Online: Symphony website. Purchase student discount www.CharlestonSymphony.org tickets at the Charleston Symphony box office (not Gaillard). College students must show their In Person: valid college ID card. Charleston Symphony Office: 2133 N. Hillside Drive (West Ashley) Monday thru Thursday, 9am $80 Gold Student Membership to attend to 5pm and Friday 9am to 12pm and beginning two 8 Masterworks, 4 Pops, and 3 Chamber hours prior to a performance at the concert venue. Music concerts. Half Price Student Tickets when purchased in Gaillard Center Box Office (for Masterworks advance. Available by phone only. and Pops concerts only): Monday through Friday, $10 Student Rush Tickets (subject to availability, 11am to 6pm and beginning two hours prior to at the box office on night of concert only.) a performance.

Will Call closes 30 minutes after FOR THE ENJOYMENT OF ALL performance begins. ELECTRONIC DEVICES By Phone: Please refrain from using personal electronic devices Charleston Symphony...... (843) 723-7528 during the performances. The Gaillard Center Box Office..... (843) 242-3099 LATE SEATING In consideration of both artists and audiences, latecomers will be seated at the discretion of the staff. Doors open one hour before the beginning of concerts and Will Call closes 30 minutes after concert starts.

As an added benefit for our subscribers, if you are unable to attend one SUBSCRIBER of your subscription concerts, visit the Charleston Symphony offices at 2133 N. Hillside Drive no less than 48 hours prior to the performance to EXCHANGES exchange tickets for a future concert (subject to availability).

4 CharlestonSymphony.org FOR YOUR COMFORT, CONVENIENCE, & SAFETY IMPORTANT INFO

PARKING CHARLESTON SYMPHONY Two paid parking garages are located near the PATRON SERVICES Gaillard Center: the Gaillard Parking Garage (843) 723-7528, ext. 110 (flat $5 fee) adjacent to the hall and the parking garage located at the end of Calhoun Street near ADDRESS the South Carolina Aquarium. Mail: PO Box 30818 Charleston, SC 29417 Physical: 2133 N. Hillside Drive Charleston, ACCESSIBILITY SC 29407 To purchase wheelchair-accessible tickets, please call Patron Services at (843) 723-7528 x110. OFFICE HOURS Monday–Thursday: 9am – 5pm RESTROOMS Friday: 9am – 12pm All restrooms in The Gaillard Center are handicap accessible. Restrooms are available on all levels, WEBSITE with the exception of the Dress Circle. www.CharlestonSymphony.org

FOR YOUR SAFETY DEVELOPMENT (843) 723-7528, ext. 115 In the event of an emergency, please use the exit nearest your seat. This is your shortest route out of CHARLESTON SYMPHONY E-NEWS the hall. Charleston Symphony staff members are Receive the latest news, information and special onsite at all performances. pricing opportunities by signing up for the CSO’s e-news at www.CharlestonSymphony.org. PLEASE HELP US RECYCLE SOCIAL MEDIA Please keep your program guide if you wish. Facebook: www.facebook.com/ We also encourage patrons to place your program CharlestonSymphony guide in the recycle baskets outside the entrances Instagram: CharlestonSymphonyOrchestra to the hall as you leave this performance for use Twitter: @ChsSymphony at future performances. YouTube: www.youtube.com/user/ChasSymphony Concerts, performers, dates, times, and locations are Use hashtag #CharlestonSymphony throughout subject to change. the season!

Your attendance constitutes consent for use of Concerts, performers, dates, times, your likeness and/or voice on all video and/or audio and locations are subject to change. recordings and in photographs made during Charleston Symphony events. Your attendance constitutes consent for use of your likeness and/or voice on all video and/or audio recordings and in photographs made during CSO events.

CharlestonSymphony.org 5

MUSICIANS CONDUCTORS

Ken Lam Yuriy Bekker Kellen Gray Music Director Principal Pops Conductor Assistant Conductor Sponsored by Herzman-Fishman Charitable Fund Sponsored by Valerie and John Luther Sponsorship Available and Carol H. Fishman CORE MUSICIANS

Yuriy Bekker Micah Gangwer Asako Kremer Alexander Boissonnault Concertmaster Assistant Concertmaster Assistant Principal Violin Co-sponsored by Mrs. Andrea Volpe and Sponsorship Available Second Violin Sponsored by Albert and Caroline Thibault Gerald and Gretchen Tanenbaum Sponsored by Dr. and Mrs. Mariano La Via

Jan-Marie Joyce Alexander Agrest Norbert Lewandowski Damian Kremer Principal Viola Assistant Principal Viola Principal Cello Assistant Principal Cello Sponsored by Ted and Joan Halkyard Sponsored by Dr. Jeffery and Sponsored by The Gray Foundation Sponsored by Barbara Chapman Mrs. Tammy Dorociak Principal Cello Chair permanently endowed by the CSOL®

8 CharlestonSymphony.org Thomas Bresnick Christopher Lindgren Thomas Joyce Beth Albert Principal Bass Principal Trombone Bass Trombone Principal Timpani Sponsored by Dr. James and Claire Allen Sponsored by Dr. Cynthia Cleland Austin Sponsored by Robert and Helen Siedell Permanently endowed by Dr. S. Dwane Thomas

Ryan Leveille Jessica Hull-Dambaugh Regina Helcher Yost Zachary Hammond Principal Percussion Principal Flute Second Flute & Piccolo Principal Oboe Sponsored by Anne P. Olsen Sponsored by Roger and Vivian Steel Sponsored by Paul and Becky Hilstad Co-sponsored by Miriam DeAntonio and Nicholas and Eileen D’Agostino, Jr.

Kari Kistler Charles Messersmith Gretchen Roper Quinn Delaney Second Oboe & English Horn Principal Clarinet Second Clarinet Principal Bassoon Sponsored in loving memory of Sponsored by Ilse Calcagno Sponsored by Ann and Henry Fralix Sponsored by Dr. and Mrs. John Frampton Maybank William T. Creasman

Katherine St. John Brandon Nichols Anne Holmi Antonio Marti Second Bassoon Prinicipal Horn Second Horn Principal Trumpet Sponsored by Rajan and Suman Govindan Sponsored by Cindy and George Hartley Sponsored by Ted and Tricia Legasey Sponsored in honor of Helen Faress Savard

CharlestonSymphony.org 9 GUEST MUSICIAN SPONSORS

he Charleston Symphony is very fortunate to have talented guest musicians from across the country who join our core orchestra to provide you with the best Tsymphonic experience. For a gift of $5,000 or more, you can help us by sponsoring one of these available guest musician chairs.

Flute In loving memory of Merinda Smith Percussion Available

Available Piano Mr. David Savard

Clarinet Available Violin William and Corinne Khouri

Oboe Ms. Katherine M. Huger Michael and Barbara Moody

Available Tracy and Billy Grooms

Bassoon Available Available x 4

Horn Ike and Betsy Smith Viola Ann and Lee Higdon

Available Available x 2

Trumpet MacDonald Carew Family Fund Cello Mr. and Mrs. Wayland H. Cato, Jr.

Available Friend of the CSO

Trombone Available Sue and Ken Ingram

Tuba Jon Olson and Anne Regan Elizabeth Rivers Lewine

Harp Available Available x 2

Bass Frank and Kathy Cassidy

Dr. and Mrs. Fritz Lorscheider

Available

To participate, please contact the Developmet Office at (843) 723-7528 ext. 115.

10 CharlestonSymphony.org 2019-2020 BOARD OF DIRECTORS EXECUTIVE COMMITTEE President: Robert Siedell – President, Japan and Australia/New Zealand Region Head, American Express International, Inc. (Retired) Treasurer: Michael Moody – Chairman and CEO, Force Protection, Inc. (Retired) Vice President, Development: Lee Higdon – President of Connecticut College (Retired) Vice President, Nominating & Governance: Carol H. Fishman – Attorney (Retired) and Community Volunteer Vice President, Artistic: Jerry Hudson Evans – Partner Attorney, Richardson, Patrick, Westbrook & Brickman, LLC Lenna Macdonald – Chairman/CAO, MedTrust Holding, Inc. Alex Boissonnault, Violin, Charleston Symphony Orchestra Lyn Magee – President, Charleston Symphony Orchestra League, Inc. DIRECTORS Clyde Hiers – Partner Emeritus, Daniel Island CPAs Wendi Huff – Strategic Partnership Professional and Community Volunteer Ann Hurd Fralix – Fundraising Professional (Retired), Charleston Symphony Advocate Natalie Ham – General Counsel, Charleston County School District Eddie Irions, M.D – Partner, Charleston GI Elizabeth Rivers Lewine – Community Advocate Cynthia Mabry – Charleston Symphony Advocate Jon W. Olson – Sr. Vice President & General Counsel, Blackbaud, Inc. Roy Owen – Partner, Deloitte Consulting (Retired) Jodi Rush – Management Consultant (Retired), Arts Advocate, Community Volunteer David Savard – Charleston Symphony, Charleston Symphony Orchestra League, Inc., and Artistic Community Advocate, Eaton Corporation (Retired) Susan Sullivan – President, Wright Communications, Inc. (Retired) VOTING EX-OFFICIO MEMBERS Robert G. Hill, Jr. – Banker (Retired) NON-VOTING EX-OFFICIO MEMBERS Mark Lazzaro – President, Charleston Symphony Orchestra Chorus Kyle Lahm – Cultural Arts Director, City of North Charleston Jennifer Luiken – Professor of Voice, Charleston Southern University Valerie Morris – Dean, School of the Arts, College of Charleston Kathleen Reid – Past President, Charleston Symphony Orchestra League, Inc. Mike Whack – Special Assistant to the Mayor, City of Charleston LIFE MEMBERS James Allen Max Hill, Jr. Marianne Mead Burt Schools Ted Halkyard Ted Legasey Eloise Pingry HONORARY TRUSTEE Ellen Dressler Moryl

CharlestonSymphony.org 11 ADMINISTRATION

Executive Director FINANCE OPERATIONS MARKETING Michael Smith Director of Finance General Manager Director of Marketing Jeff Irwin Kyle Lane Kate Gray Executive Assistant Personnel Manager Marketing Manager and Board Liaison DEVELOPMENT Thomas Joyce Mandie Ronick Karen Piraneo Director of Development Production Manager Alana Morrall EDUCATION PATRON SERVICES Mason Wills Development Coordinator Director of Education Director of Patron Hannah Charney Music Librarian and Community Services Rachel Gangwer Engagement Cynthia Branch Mitsuko Flynn

12 CharlestonSymphony.org EXECUTIVE DIRECTOR Michael Smith

hank you for joining us during the Charleston Symphony’s 2019- 2020 season. This is a particularly momentous time for the CSO, as we join our city and our community in commemorating the Tth 350 anniversary of Charleston’s founding. This anniversary marks a time for enjoyment as well as reflection. It is a time to ponder what kind of future we want going forward, and more importantly, how we lay the groundwork to get there.

I believe it is the unique responsibility of the artist to spark moments of thought and reflection during important times, and this is no exception. Be it through the powerful words of Abraham Lincoln set to music by Aaron Copland, the joyous rekindling of Gullah tradition by Ranky Tanky, or a brand new interpretation of Charleston’s history by composer Edward Hart, this season’s programming is intended to help you contemplate what growth and progress—as an individual as well as a community—mean to you.

I believe the future holds great potential for the city of Charleston as well as its symphony, but I know that we can only continue to provide the highest quality music with your support. Advocacy for the Charleston Symphony takes many forms beyond ticket sales and donations. By inviting your friends and family to join you at a concert, spreading the word about our performances on social media, or volunteering with the CSOL, you are helping ensure our future for years—hopefully generations—to come. We welcome and celebrate your support of any kind.

As I think about the Charleston my children and grandchildren will one day inherit, I can only say that I hope it continues to be filled with music. Only through your advocacy, your patronage, and your philanthropic support may we continue our work to unite the community in a way that entertains, heals, educates, inspires, and most importantly, provokes conversations about the sort of people and society that we want to be for the next 350 years.

Thank you for being here tonight. We hope to see you again soon.

Sincerely,

Michael Smith Executive Director

CharlestonSymphony.org 13 ABOUT THE MUSIC DIRECTOR Ken Lam

en Lam has been Music Director of the Charleston Symphony Ksince 2015. He has conducted throughout the U.S. and Asia. In recent seasons, he led performances with the symphony orchestras of Cincinnati, Baltimore, Detroit, Buffalo, Hawaii, Memphis, Meridien, as well as Hong Kong Sinfonietta, Hong Kong Philharmonic, Seongnam Philharmonic, Guiyang Symphony and the Taipei Symphony Orchestra, collaborating with many of the world’s leading artists including Leon Fleisher, Yo-Yo Ma, Stephen Hough, Sir James Galway, Ricky Skaggs, Neil Sedaka and Steep Canyon Rangers.

A keen supporter of living composers, Maestro Lam has commissioned several new works, notably an Oboe Concerto by the Greek composer Yiorgos Vassilandonakis (2019), a Charleston Concerto for string quartet and orchestra by Edward Hart (2020) and the tone poem Gate of Horn by Carl Schimmel (2019).

Winner of the 2011 Memphis Symphony Orchestra’s International Conducting Competition and a featured conductor in the League of American Orchestra’s 2009 Bruno Walter National Conductors Preview with the Nashville Symphony, Maestro Lam made his U.S. professional debut with the National Symphony Orchestra at the Kennedy Center in June 2008 as one of four conductors invited by Leonard Slatkin. Maestro Lam first came to Charleston in 2012, when he directed the opera Feng Yi Ting by Chinese composer Guo Wenjing at the Spoleto Festival.

Maestro Lam also holds the posts of Music Director of the Illinois Symphony Orchestra, Resident Conductor of the Brevard Music Center in North Carolina, Artistic Director of Hong Kong Voices and Conductor Laureate of the Baltimore Symphony Youth Orchestras. Previous positions have included posts as Associate Conductor for Education of the Baltimore Symphony Orchestra, Assistant Conductor of the Cincinnati Symphony Orchestra and Principal Conductor of the Hong Kong Chamber Orchestra.

Maestro Lam studied conducting with Gustav Meier and Markand Thakar at Peabody Conservatory. David Zinman and Murry Sidlin at the American Academy of Conducting at Aspen and Leonard Slatkin at the National Conducting Institute. He read economics at St. John’s College, Cambridge University and was an attorney specializing in international finance for ten years before becoming a conductor.

Maestro Lam is the recipient of the 2015 Johns Hopkins University Global Achievement Award, given to alumni who exemplify the university’s tradition of excellence and who have brought credit to the university and their profession in the international arena through their professional achievements.

14 CharlestonSymphony.org LETTER FROM THE MUSIC DIRECTOR Ken Lam

t the risk of sounding like a parent choosing a favorite child, I must admit that I am particularly excited for our 2019-2020 season. Classical music fans will notice many blockbuster pieces in the Alineup, including Rachmaninoff’s Second Piano Concerto, Rimsky-Korsakov’s Scheherazade, Bach’s Brandenburg Concertos, and Dvorˇák’s New World Symphony—but stellar repertoire is only one of the many things I’m looking forward to.

In October the CSO will perform Pictures at an Exhibition, a thematic concert that will feature the premiere of artist Mary Whyte’s collection, “We the People.” Whyte will present a series of 50 portraits, one veteran from each state in the U.S., while the CSO will play Copland’s Lincoln Portrait and Mussorgsky’s Pictures at an Exhibition.

In addition to excellent repertoire, we will also welcome back one of our all-time favorite guest artists, Conrad Tao. Tao performed with the CSO in 2018 to great acclaim, and in the time since has risen to a level of fame earned by few contemporary musicians or composers his age. Fresh off of performances with the New York Philharmonic (as both composer and soloist), Tao returns to perform Brahms’ First Piano Concerto with the CSO, and I for one cannot wait to collaborate with him again.

Lastly, our season finale is a special concert designed to pay tribute to Charleston’s 350th anniversary. The CSO will perform Dvorˇák’s New World Symphony, Edmund Thornton Jenkins’ Charlestonia, and the world premiere of Edward Hart’s A Charleston Concerto. We will welcome back the world-famous Shanghai Quartet to perform A Charleston Concerto, which Hart has written in honor of our city’s past, present, and future.

Please join us for the Charleston Symphony’s most exciting season of music yet. I cannot wait to share this with you.

Sincerely,

Ken Lam Music Director

CharlestonSymphony.org 15 PRINCIPAL POPS CONDUCTOR Yuriy Bekker

uriy Bekker, critically-acclaimed violinist and conductor, has led the Charleston Symphony Orchestra as Concertmaster Ysince 2007 and was named Principal Pops Conductor in 2016. Bekker served as the orchestra’s Acting Artistic Director from 2010- 2014 and Director of Chamber Orchestra from 2014-2015, playing a major role in the orchestra’s successful resurgence.

Mr. Bekker is an adjunct faculty member of the College of Charleston School of the Arts as a violin professor and as conductor of the College of Charleston Orchestra. He is Music Director of the Piccolo Spoleto Festival’s Spotlight Chamber Music Series and co-founder of the Charleston Chamber Music Institute. In the summer, he also serves on faculty of the Gingold Chamber Music Festival in Miami. Mr. Bekker was given the Outstanding Artistic Achievement award from the City of Charleston in 2011 to honor his cultural contributions to the community. Bekker has also held the position of concertmaster for the Orlando Philharmonic Orchestra and the AIMS Festival in Graz, Austria, and has held additional positions with the Houston Symphony and the Houston Grand Opera and Ballet orchestras.

Bekker has performed worldwide as a celebrated guest concertmaster, avid chamber musician, and critically-acclaimed soloist. In addition to over a dozen concertos with the Charleston Symphony, he has performed with the Vancouver Symphony (British Columbia), Ulster Orchestra in Northern Ireland, Buffalo Philharmonic, Chicago Chamber Music Society, European Music Festival Stuttgart (Germany), Pacific Music Festival (Japan), Spoleto Festival USA, Piccolo Spoleto Festival, Aspen Music Festival, at the Kennedy Center, and in cities including New York City, Los Angeles, Chicago, Miami, Orlando, Amarillo, El Paso, Missoula, Asheville, Flagstaff, Scottsdale, Barcelona, Spain and Graz, Austria. He has collaborated with Herbert Greenberg, Claudio Bohorquez, Alexander Kerr, Andres Cardenes, Andrew Armstrong, Robert DeMaine, Sara Chang, Gil Shaham, Ilya Kaler, Joshua Roman, JoAnn Falletta, and Andrew Litton. As Principal Pops Conductor of the Charleston Symphony, Bekker has worked with notable guests artists such as Ben Folds, Tony Desare, Ellis Hall, and Cirque de la Symphonie.

Bekker’s recent and upcoming engagements include conductor and violinist with the Amarillo Symphony, violinist on Tchaikovsky’s, Bruch’s, and Edward Hart’s Concertos for Violin with the Charleston Symphony, conductor of Mahler’s Symphony No. 6 at the Miami Music Festival, a chamber music appearance with the Fort-Worth Chamber Music Society, and a busy upcoming pops season packed with exciting repertoire and guest artists.

Bekker earned a Graduate Performance Diploma from the Peabody Conservatory under the tutelage of Herbert Greenberg. He also holds bachelor’s and master’s degrees from the Indiana University School of Music, where he studied violin with Nelli Shkolnikova and Ilya Kaler. Mr. Bekker has studied conducting with Christopher Wilkins, David Zinman, Imre Pallo and David Effron. His debut CD, Twentieth Century Duos, received world-wide acclaim and a nomination for the International Classical Music Awards. Born in Minsk, Belarus, Bekker is now a United States citizen, and is a proud husband and father to his wife, Jenny, their toddler son, Nathanael, and newborn daughter Charlotte. He performs on the 1638 Franz Degen Andrea Guarneri violin, generously on loan to him from an anonymous patron. Visit www.YuriyBekker.com for more information.

16 CharlestonSymphony.org FROM THE Orchestra

elcome to the 2019-2020 Charleston Symphony Season! My name is Gretchen Roper, and I play Second Clarinet. WThe Charleston Symphony is a fantastic ensemble to play in because it is full of dedicated and talented people who genuinely love playing music! The orchestra and staff take great care to bring our audiences the best performances possible, and this season is particularly exciting because so much of it celebrates our wonderful city of Charleston!

In 2006, when I joined the CSO and moved to Charleston, I quickly discovered the city’s unique blend of old and new that make it so special. Such care and pride is taken to preserve the city’s history, its charming downtown, beautiful beaches, quiet parks, and peaceful marshlands. At the same time, there is the new, “up and coming” side of the city showcasing incredible food, sophisticated nightlife, bold new construction projects, and of course, the exciting arts scene!

Knowing that the Charleston Symphony plays a large role in this city’s diverse culture makes me proud! During my time here, we’ve honored the city’s history with events like the concert at the Battery commemorating the Sesquicentennial of the Civil War. We’ve partnered with new craft breweries playing polka band music to celebrate Octoberfest. We’ve played chamber music at some of the area’s most historic plantations, and of course performed many concerts in the gorgeously renovated Gaillard Auditorium.

Themes of old and new will be reflected in this year’s season as well. We will bring you classic works written by composers such as Strauss, Brahms, Mussorgsky, and Mozart. We will also bring you exciting new music written by Charleston’s own composer Edward Hart, as well as a fun collaboration with Charleston based jazz quintet Ranky Tanky, the debut of portraits from local artist Mary Whyte, and several performances featuring your very own Charleston Symphony musicians! I know I speak for all of my colleagues when I say that we want you at every concert to celebrate and take pride in what we have here in Charleston!

We are so excited to play for you this season, and as always, are so thankful for your continued support. We would not be here without you!

Most Sincerely, Gretchen Roper

CharlestonSymphony.org 17 CSO CHORUS Dr. Robert Taylor, Director

he Charleston Symphony Orchestra Chorus is the premier all- volunteer Chorus in Lowcountry South Carolina. Composed Tof auditioned, volunteers drawn from the greater Charleston metropolitan area, the Chorus is an independent, non-profit organization under the direction of Dr. Robert Taylor, the Director of Choral Activities for the College of Charleston. Dedicated to the promotion, enjoyment, and appreciation of choral music, the Chorus performs a diverse choral repertoire presented in concerts of the highest musical excellence that seek to entertain and educate audiences of all generations as well as nurture and encourage young singers.

Founded by Emily Remington as the Charleston Singers Guild, the full, 120 voice Chorus has provided the choral component for a broad range of classical and modern choral Masterworks, Pops, and Spoleto USA concerts for the City of Charleston for four decades. Major work performances routinely include the voices of the College of Charleston Concert Choir and more recently the Charleston Southern Singers as well as area children’s choirs. The Chorus Chamber Singers, a select sub-division of the CSO Chorus, provides a smaller ensemble to perform works in the chamber repertoire, including three annual performances of Handel’s Messiah.

Calendar 2018 performances included two Charleston Symphony Masterworks appearances: Ralph Vaughn Williams Toward the Unknown Region and Benjamin Britten’s Saint Nicholas, the ever-popular Holiday Pops and Pops 4 which included presentations of six well known Italian opera choruses in a full evening of Italian opera music. The Chamber Chorus presented the traditional and popular Holy City Messiah performances in December. The Chorus concluded the spring 2019 symphony concert season to excellent critical reviews, performing Mozart’s Requiem along with the College of Charleston Concert Choir and Charleston Southern University Chorus. The Chorus’ performance season climaxed with an appearance in Spoleto USA along with the Westminster College Choir singing Bach’s St. John Passion.

The Chorus continues to seek skilled, experienced vocal talent and offers audition opportunities routinely in August and January. For additional information about the CSO Chorus or to register for an audition, please visit www.CSOChorus.com.

18 CharlestonSymphony.org CHORUS ROSTER

SOPRANO Emily Payton Amanda Mazzaro Steve Gurry Inga Agrest Rebecca (Becca) Peters Susan McAdoo Wayne Heckrotte Bethany Bates Carlen Quinn Lisa McClure Mark Lazzaro Mary Bell Meghan Ravenel Christe McCoy- Hank Martin Pat Benzien Silke Sida Lawrence Mike Mout Alexandra (Ali) Berry Danielle Simonian* Sarah Napier Richard Rathmann Susan Borick Cathy Sippell Sally Newell Theresa Robards Jenny Brennan Sharon Spruell Tara Noone Jordan Stoner Susan Chagrin Sharon Steffan Marianne Nubel McIver Watson Katherine (Katie) Clifton Meta Van Sickle Donna Padgette* Curtis Worthington Lilly Cooper Samantha Vandapuye Joyce Peach Gail Corvette Lena Vennstrom Faith Pecorella BASS Casey Cross Leah Whatley Nancy Pellegrini Tom Bracewell Maryileen Cumbaa Sarah Woods Kourtnee Pierson Stanley Chepenik Libby Davis Sophia Zimmermann Rachel Premo Thomas Churchill Helena Dilling Lauren Reynolds Kevin Crenshaw Ruth Dombrowski ALTO Jessica (Jessie) Bill Flack Tammy Dorociak Rennie All Schlotfeld Marlon Fox Anna Doyle Meghan Batson Taylor Seman Joe Gamboa Elizabeth Evans Ann Beauchamp Marybeth Sgambelluri Thomas Gerber Linda Gast Jean Breza Mary Ann Spivey David Hunt Susan Hoskins Eloise Brooks Jenna Tobin Stuart Kaufman Alexandra Houlbrooke Susan Cheves Eileen Vanhorn Lee Kohlenberg Laura Irick Sally Clemence Rachel Walls Wei-Kai (Bryan) Lai Hannah Jessup Mary Ellen Doyle Judy Warren Doug Ludlum Phyllis Jestice Logan Doyle Charlene Whalen Scott McBroom Danie Johnson Anna-Sian Eigen Sarah Woodall Nate Medford Elise Jorgens Julie Fenimore Christina Wynn Ed Mitchell Annie Kouba Sue Findlay Walter Moser Berita Martin Jaimie Flack TENOR Gary Nichols Donna Mastrandrea Lynne Flaugher Philip Amarendran Dick Pekruhn Mendy McGuire-Gray Melody (or Mel) Flowers Kirk Beckstrom Karl Peterson Yon Meyer Jiska Ford Jason (Jay) Bendezu John (Jack) Pitzer* Bethany Moebs Jennifer Foster Celeste Carlson Brandon Szustakowski Ru Monsell Savannah Gignac Gabriel Chavarria Stuart Terry Aimie Morris Carol Heckrotte Mitchell (Mitch) Cohen Bill Thornby Mary Moser Patricia Hoff Jeff Collins Keith Timmons Martina Mueller Celia Johnson Ralph D’Amico Dwight Williams Alyssa Nestman Judith Johnson Bill Gesin Kay Nickel Janice Kisling Terry Goans Allyssa (Ally) Noone Jean Kuhn Stevenson Griggs * section leaders

CharlestonSymphony.org 19 THE CSOL® A letter from our President

ear Fellow Music Lovers:

Welcome to the 83rd season of the Charleston Symphony. This also marks the 55th D ® year of the Charleston Symphony Orchestra League, Inc. (CSOL ). Our mission is to provide financial assistance to the orchestra through fundraising projects and to support our community through scholarships and music education programs.

During the past year, the CSOL held a successful Swanky Southern Soirée, where we honored Jonathan Green at an engaging gala dinner. We also conducted a record-setting Symphony Tour of Homes on Kiawah Island, one of our most popular yearly events. This past spring, we celebrated the success of our 42nd annual Designer Showhouse as well as our Car Sponsorship Program. Our fundraising season this year concluded with local celebrity chef Nathalie Dupree, the winner of the Pursuit of the Podium Contest, conducting the Charleston Symphony at the Sunset Serenade for the opening of the Piccolo Spoleto Festival. Plans for next year are already underway: On October 17, 2019, the Charleston Symphony Orchestra League will host an exciting luncheon that will combine the talents of the Charleston Symphony and renowned artist Mary Whyte—with a few surprises thrown in for good measure.

The CSOL is proud to be the largest institutional donor to the Charleston Symphony. Our fundraising projects last year enabled us to contribute close to $190,000 to the orchestra. In addition, we award $33,000 for music scholarships each year to musically talented youth from the Tri-County area as well as to members of the Charleston Symphony. The money we raise enables our young musicians as well as our professional musicians to expand their musical talents and experiences.

CSOL membership has grown close to 300 strong. We count on our hard-working volunteers to run our projects and raise the money needed to support the Charleston Symphony and our scholarship and music education programs. Please consider joining this spirited and talented group Working together, we will continue to support our mission of ‘keeping the music playing in the Lowcountry.’

For more information go to csolinc.org or you can contact me personally at [email protected].

20 CharlestonSymphony.org CharlestonSymphony.org 21 22 CharlestonSymphony.org CharlestonSymphony.org 23 EDUCATION AND COMMUNITY ENGAGEMENT he Charleston Symphony offers a variety of accessible educational programs for students and teachers to foster lifelong relationships with music, ranging from introductory performances for children that are Texperiencing music for the first time, to mentoring the region’s top instrumentalists of the Charleston Symphony Youth Orchestra. The CSO believes in the immense value of education through music, and it is our goal to reflect this belief in the mission of our educational programs—to inspire, challenge, and educate students through musical experiences. To fulfill our mission, create more opportunities for young people, and to make an impact in our community, the CSO invests over $350,000 annually in its educational initiatives.

ABOUT OUR INITIATIVES:

Musicians in Schools: When the CSO Musicians are Young People’s Concert: The Charleston Symphony not on stage, they are performing for students in partners with Carnegie Hall’s Link Up program to offer schools throughout the tri-county region at no cost a highly interactive concert experience for students in to the school, eliminating barriers of access such as grades K-5. Each concert program is designed with affordability and transportation. For many students, a curriculum that is taught in the classroom to all this is their first experience and only opportunity to participating students so that students can sing and see a live musical performance. Last season, CSO play recorder along with the CSO at the culminating ensembles gave 112 performances at 73 schools, concert. The CSO offers district accredited reaching over 15,000 students, 45% of whom are workshops on the Link Up curriculum for all educators from Title I schools. participating in the Young People’s Concert. Last season, the CSO performed The Orchestra Swings at Charleston Southern University’s Lightsey Chapel for 2,200 students from 23 schools.

24 CharlestonSymphony.org Residency Program: Throughout the season, CSO programs, please contact the CSO’s Director of Principal Timpanist, Beth Albert, and Principal Education and Community Engagement, Mitsuko Percussionist, Ryan Leveille visit the Allegro Charter Flynn, at [email protected] or call School of Music as part of an on-site residency (843) 723-7528 ext. 103. program. This highly collaborative program allows the CSO musicians to work closely with the music Special thanks to our Education Sponsors: teacher to enhance classroom curriculum and aims Anonymous Kiawah Seabrook to create long lasting impact of mentorship through Mr. and Mrs. Frank L. Exchange Club music. The CSO musicians work closely with Barkley, Jr. Janine Luke students to coach and mentor students on percussion The Bihun Family Cynthia S. and Foundation James C. Mabry technique and musicality. BlueCross BlueShield Macdonald Carew of South Carolina Family Fund Community Performances: The CSO partners with a Dr. Ivy Broder and Jack and Cathy McWhorter Dr. John F. Morrall III The Mark Elliott Motley variety of local organizations to bring the community City of Charleston Foundation performances such as Saltwater Sounds at the South Coastal Wealth Publix Super Markets Carolina Aquarium, Story Time at the Charleston Management Charities County of Charleston Michael Griffith and County Public Library, and performances at the local Charleston Symphony Donna Reyburn Farmers Markets. Orchestra League, Inc. Harriet Ripinsky Daniel Island Alesia and Scott Ross Community Fund Mr. David Savard Student Ticket Options: Steeply discounted student Dominion Energy South Carolina Arts tickets are available including $10 Student Rush Joanne and Commission tickets on the evening of all CSO performances, Christopher Eustis South State Bank Exchange Club Speedwell Foundation making musical experiences more accessible and of Charleston Albert and Caroline Thibault affordable for young people. Julie and John Fenimore The Kennedy-Herterich Judith Green and Foundation Dr. Michael Fritz Morgan and How do we do it? Richard and Ann Gridley Lauren Herterich The CSO is committed to serving our community Robert and Catherine Hill Dieter and Karyn and offers meaningful musical experiences to Sue and Ken Ingram Kennedy Herterich Mrs. Gail Kahn students through the generous support of donors, Kite Foundation Fund / corporate sponsors, and community partners. Nancye B. Starnes To learn more about how you can support these

CharlestonSymphony.org 25 EDUCATION AND COMMUNITY ENGAGEMENT Charleston Symphony Youth Orchestra

The Charleston Symphony Youth Orchestra (CSYO) program is a core educational program of the Charleston Symphony and one of the leading youth orchestras of South Carolina. Led by CSO Assistant Conductor, Kellen Gray, CSYO offers middle and high school musicians an opportunity to perform symphonic music with a high standard of musical excellence. The student musicians of the CSYO receive high quality musical instruction and have access to the resources of the Charleston Symphony such as mentorship by the CSO core musicians through sectional coachings, side-by-side rehearsals and concerts. CSYO is for advanced string, wind, brass, and percussion students ranging in grades 7-12 and is comprised of students from the tri-county.

This season, the Charleston Symphony has launched a new ensemble, the Charleston Symphony Youth Strings (CSYS). The all string ensemble led by conductor Ryan Silvestri, CSYS is for string students in grades 5-9 and aims to serve younger students to help sharpen ensemble skills.

The CSYO and CSYS rehearse on Sunday afternoons at the Charleston County School of the Arts and perform three concerts throughout the season. Please visit www.CharlestonSymphony.org/csyo for more information.

26 CharlestonSymphony.org MEET THE CSYO Team

Kellen Gray, Charleston Symphony Assistant Conductor and Charleston Symphony Youth Orchestra Music Director Kellen Gray has earned a reputation as a versatile and imaginative conductor through his enthusiasm for traditional, experimental, and integrative multimedia art programs. Presently, he serves as Assistant Conductor at the Charleston Symphony Orchestra and Music Director of the Charleston Symphony Youth Orchestra.

Prior to his Charleston appointment, Kellen was a Project Inclusion Freeman Conducting Fellow, and later, Assistant Conductor at Chicago Sinfonietta, under Music Director, Mei-Ann Chen, while also fulfilling duties as Associate Conductor of the Columbus Ballet (GA) from 2016-18. Before leaving Chicago, Kellen made his Chicago Symphony Center debut, which Jacob Davis of Chicago’s Picture This Post, described as, “...laser-like focus that allowed the entire orchestra to seem to become one organism.”

From 2014-16, Kellen was Assistant Conductor at the Valdosta Symphony Orchestra, under Music Director Howard Hsu, and Music Director of the Valdosta Symphony Youth Orchestra of Georgia. Also in 2016, he was one of eight Conducting Fellows selected to attend Eastern Music Festival, under the tutelage of Gerard Schwarz, Grant Cooper, and Jose-Luis Novo. Of his North Carolina debut at Eastern Music Festival, Peter Perret of the Classical Voice of North Carolina referred to Kellen as an “...gestures so smooth and polished they’re almost choreography...”

Kellen spoke on the 2018 League of American Orchestras conference discussion panel on the value of leadership pipelines in classical music based on diversity, inclusion, and equity. At a 2017 festival celebrating the 100th birthday of Georgia-born author, Carson McCullers, he was awarded the honor of guest-conducting a collaboration of the music of David Diamond and the premiere of Karen Allen’s debut film, “A Tree, A Rock, A Cloud.”

He earned an undergraduate degree in Violin Performance and an Artist’s Diploma in Orchestral Conducting from the Schwob School of Music at Columbus State University and Master’s degree in Orchestral Conducting from Valdosta State University.

Kellen’s recent and upcoming conducting endeavors include the Philadelphia Orchestra, Boston Symphony, Charlotte Symphony, Charlotte Ballet, Chicago Philharmonic, and Hilton Head Symphony Orchestra.

CharlestonSymphony.org 27 MEET THE CSYO Team

Ryan Silvestri, Charleston Symphony Youth Strings Conductor Ryan Silvestri is in his seventh year at Wando High School as Director of Orchestras. A native of Boardman, Ohio, Ryan earned a bachelor's degree in instrumental music education from Florida State University and a master's degree in violin performance from UNC-Greensboro. He completed his string education studies with the late Dr. Michael Allen, co-author of the Essential Elements for Strings series, as well as Dr. Rebecca MacLeod. As a violinist Ryan has performed with the Charleston, Greensboro, and Tallahassee Symphonies and also served as Concertmaster of the Brevard Music Center Sinfonia Orchestra. Primary violin teachers include Marjorie Bagley, Corinne Stillwell, Eliot Chapo, and John Wilcox.

Ryan has served as an adjudicator and guest clinician throughout South Carolina. Professional associations include the National Association for Music Education (NAfME) and the American String Teachers Association (ASTA). Mr. Silvestri has been published in the America String Teacher—a national string journal put out by the American String Teacher's Association. Under his direction, the Wando Orchestras have nearly tripled in size and consistently received Superior ratings at the South Carolina Music Educators Association (SCMEA) Concert Festival. In 2017, the Wando Honors Orchestra was invited to perform at the SCMEA state conference, and in 2018 competed in the ASTA National Orchestra Festival. Ryan lives in Mount Pleasant, SC with his wife and three children.

28 CharlestonSymphony.org MUSICIAN ROSTER

VIOLIN Nicole Moler OBOE Chris Imhoff Yuriy Bekker* Taliaferro Nash Zac Hammond* Jon Kaplan Alexander Boissonnault* Sadie Nichols Kari Kistler* Kyle Lane Micah Gangwer* Scott Rawls Megan Kyle Steve Leisring Asako Kremer* Daniel Sweaney Rachel Maczko Susan Messersmith Karel Abo Eve Tang Rebecca Nagel Kathleen Beard Benjamin Weiss Alexandra Shatalov TROMBONE Callie Brennan Chris Lindgren* Corine Brouwer CELLO ENGLISH HORN Carrie Bates Chi-Yin Chen Norbert Lewandowski* Kari Kistler* Adam Hanna Lydia Chernicoff Damian Kremer* Michael Robinson David Edwards Alvaro Angulo CLARINET Brian Santero Andrew Emmett Erin Ellis Charles Messersmith* Seth Gangwer Christopher Glansdorp Gretchen Roper* BASS TROMBONE Christen Greer Hilary Glen Andrew Warwick Thomas Joyce* David Goist Ismar Gomes Joseph Beverly Catherine Hazan Yuriy Leonovich TUBA Pam Hentges Johnny Mok BASS CLARINET Chris Bluemel Frances Hsieh Daniel Mumm Jeffrey Brooks Justin Clarkson Tomas Jakubek Elizabeth Murphy Jarrett McCourt Ha-Young Kim Daniel Pereira BASSOON Lenora Leggatt Dan Shomper Quinn Delaney* TIMPANI Margeaux Maloney Dusan Vukajlovic Katherine St. John* Beth Albert* Mayumi Nakamura Cameron Williams Nonoko Okada PERCUSSION BASS CONTRABASSOON Liviu Onofrei Sean Gordon Ryan Leveille* Thomas Bresnick* Anastasia Petrunina Nicholas Ritter Robert Burrows Nina Sandberg Michael Ashton Jeffrey Handel Stephanie Silvestri Maurice Belle HORN Nate Lee Michael Sutton Mark Chesanow Brandon Nichols* Ray McClain Marius Tabacila Andrew Chilcote Anne Holmi* Jesse Monkman Mary Taylor Ben DeKock AnneMarie Cherry Denis Petrunin Ryo Usami Joseph Farley Debra Sherrill-Ward Diana Sharpe Jenny Weiss Zach Hobin Katharine Caliendo Shr-Han Wu Ben Jensen Michael Daly HARP Christian Zamora Edward Kass Alex Depew Abigail Kent John Krause Vincent Kiray Jacqueline Marshall Josh Lambert VIOLA Chris Komer Tod Leavitt Jan-Marie Joyce* Grace Salyards KEYBOARD Alex Agrest* Jan Mixter Michael Braz Rebecca Boelzner Matthew Nelson TRUMPET Julia Harlow Josiah Coe Dylan Reckner Antonio Marti* Chee Hang See Meghan Yost-Coe Cody Rex Timothy Hudson Ghadi Shayban Kathryn Dark Paul Sharpe James Ackley Rachel Gangwer Eric Berlin Fitz Gary FLUTE/PICCOLO Alex Freund *Core Musician Stephen Goist Jessica Hull-Dambaugh* Jeremy Keinbaum Regina Yost* Lynn Laplante Tacy Edwards Melissa Melendez

CharlestonSymphony.org 29 MASTERWORKS September 27 and 28, 2019 • 7:30pm Gaillard Center

MOZART IN THE LOWCOUNTRY Yuriy Bekker, Violin Ken Lam, Conductor

George Walker (1922-2018) Lyric for Strings

Edward Hart (b. 1965) Under an Indigo Sky I. Fast Flowing Rivers – Columbia and the Midlands II. Warm Salt Air – Charleston and the Coast III. Misty Blue Horizon – Greenville and the Upstate Sponsored by Dr. Miriam DeAntonio

INTERMISSION

Wolfgang Amadeus Mozart (1756-1791) Symphony No. 39 in E-flat Major, K. 543 I. Adagio - Allegro II. Andante con moto III. Menuetto: Allegretto IV. Allegro

30 CharlestonSymphony.org PROGRAM NOTES Masterworks George Walker Edward Hart Lyric for Strings Under an Indigo Sky Concerto for Violin and Orchestra written for Yuriy Bekker A string of firsts dominated George Walker’s long life and career. He was the first African American Notes by the composer. graduate of the prestigious Curtis Institute of Music with a dual diploma in both piano and composition. It is a privilege to have your music played by an In 1945, he was the first African American to debut exceptionally gifted musician. It is especially with a solo recital at Manhattan’s Town Hall and the meaningful when that performer is your friend. That first to perform with the Philadelphia Orchestra as is why I am very thankful to have had the opportunity the soloist for Rachmaninoff’s Piano Concerto No. 3. to write this violin concerto for my friend, Yuriy In 1950, he became the first African American artist Bekker. Since first meeting some years ago, I wanted to sign with a major artist management company, to write him a substantial work not only because we and he spent the next several years playing a string are friends, but because he plays the violin the way of high-profile concerts in nearly every European I would want to if I could play. In short, he makes all capital. In 1956, Walker became the first African the right musical choices. I am also fortunate that American to graduate with a doctoral degree from we share much in common as it relates to musical the Eastman School of Music. In 1961, he was hired taste and style. by Smith College where he became the first tenured African American faculty member in any department. In a way, Under an Indigo Sky is a love letter to my And finally, in 1996, Walker was the first African home state, South Carolina. I am continually amazed American to be awarded the Pulitzer Prize for Music and thankful for the natural and cultural diversity in recognition of his composition Lilacs for voice and of this relatively small place. I have attempted to orchestra. At his death in August 2018, Walker was musically capture three distinct yet related regions of one of the most decorated and revered composers in our state with an eye not only to the landscapes, but American history. the feel and “soul” of the places.

Lyric for Strings was composed when Walker was only Movement I: Fast Flowing Rivers – 24 years old, but it has remained one of his most Columbia and the Midlands enduring compositions. The sound, structure, and The Broad, Congaree, and Saluda Rivers are an instrumentation of the piece are all clearly inspired by important part of the greater Columbia landscape. At the famous Adagio for Strings composed by Walker’s times, especially after heavy rain, these rivers move Curtis Institute classmate Samuel Barber in 1936. quickly creating an impressive natural display and Walker first conceived the music that became Lyric an interesting metaphor for Columbia’s role in our as a middle movement for his first string quartet state, a place of fast flowing and powerful political, and originally titled it “Lament” in dedication to his educational, and economic currents. At other times, grandmother who died the year prior. The piece fluidly these rivers can flow gracefully and gently through the and dramatically alternates between lush harmonies countryside reflecting the warm and genteel nature and stark solo passages which showcase the range of of the people of the Midlands. sounds possible in the string orchestra. In an interview not long before his death, Walker commented: “I never played a string instrument, but somehow strings have always fascinated me.” In Lyric, we hear the beginning of this life-long fascination.

CharlestonSymphony.org 31 PROGRAM NOTES Masterworks Movement II: Warm Salt Air – From its 17th- and early 18th-century origins in the Charleston and the Coast musical centers of Milan, Vienna, and Mannheim, With its coastal location and sub-tropical climate, the symphony was basically understood as a piece Charleston’s weather can sometimes resemble a of light entertainment music. The diversity of formal warm, wet, briny blanket. Though this might seem components in the three or four movements and uncomfortable to some, these qualities in the right the diversity of performing forces available in the measurements can produce a lush and magical orchestra meant that composers could create colorful atmosphere. Imagine a May sunset overlooking the and engaging music for state dinners, aristocratic water with just the right temperature and a sea breeze parties, or even as a kind of musical precursor to moving softly through the Palmetto trees. more serious works, usually opera. As late as the early nineteenth century, composers of the highest Movement III: Misty Blue Horizon – stature—including one of Mozart’s mentors, Franz Greenville and the Upstate Joseph Haydn—were still employing a whole range The Blue Ridge Mountains, which dominate the of gimmicks to convince audiences to truly focus Northern horizon, seem to give Greenville and the their attention on the music. Mozart’s final three upstate a cool verdant freshness found in no other symphonies are larger, more ambitious, and more region of South Carolina. The early morning light complex than any symphonies that had come before offers dramatic vistas filled with broad strokes of blue, and they represent a changing relationship between green and purple. This landscape elicits a sense of awe, composers and audiences. In the late works of wonder, and reverent reflection along with a sense of Mozart, we see how nineteenth-century composers gratitude toward its Creator. would start chasing the directives of their art rather than the whims of their audiences. Wolfgang Amadeus Mozart Symphony No. 39 In preparing his 2014 recording of the three final symphonies (Nos. 39, 40, and 41), conductor More than two years after he completed the so-called Nikolaus Harnoncourt put forward the theory that “Prague” Symphony No. 38, Wolfgang Amadeus Mozart may have conceived these three pieces as Mozart wrote his final three symphonies, Nos. 39, a kind of totality: an “instrumental oratorio” that 40, and 41, at a breakneck pace even for a composer employs the full gamut of emotion, formal structures, th as prodigiously productive as Mozart. He appears to and techniques available to 18 -century orchestral have completed all three pieces in a span of fewer composers. By this theory, Symphony No. 39 is a than six weeks during the summer of 1788. That kind of overture to the full set which is designed to summer, Mozart and his family had moved from their catch the audience’s attention and give a foretaste cramped apartment in central Vienna to a much of the complex musical ideas to come. One account larger home in the Viennese suburb of Alsergrund. from an early performance of Symphony No. 39 Following this prodigious period, he would not remarked: “The opening is so majestic that it so produce another symphony before his death three surprised even the coldest, most insensitive listener years later. These three symphonies do not simply and non-expert, that even if he wanted to chat, it mark the end of Mozart’s relationship with the genre. prevented him from being inattentive, and thus, so Rather, they seem to signal the end of the classical to speak, put him in a position to become all ears.” symphony as such. From the striking chromatic chords of the opening to the lively and surprisingly modest conclusion, you too will find yourself “all ears” for this one.

32 CharlestonSymphony.org

POPS October 12, 2019 • 7:30pm Gaillard Center Sponsored in part by Maryileen and Charlie Cumbaa MUSIC OF THE MOVIES Charleston Symphony Orchestra Chorus, Dr. Robert Taylor, Director College of Charleston Concert Choir, Dr. Robert Taylor, Director Yuriy Bekker, Conductor

Richard Strauss Opening for Also Sprach Zarathustra

Carl Orff “O Fortuna” from Carmina Burana

Richard Wagner “Ride of the Valkyries” from Die Walküre, WWV 86b

Edward Elgar “Nimrod” from Enigma Variations

Wolfgang Amadeus Mozart Requiem Introitus Dies Irae Confutatis

Max Steiner, arr. Bill Holcombe “Tara’s Theme” from Gone with the Wind

Edvard Grieg Peer Gynt: Suite No. 1, Op. 46 Morning In the Hall of the Mountain King

Jerry Bock, arr. John Williams Music from Fiddler on the Roof

34 CharlestonSymphony.org INTERMISSION

Bill Conti, arr. Bill Holcombe “Gonna Fly Now” (Theme from Rocky)

John Williams “Hymn for the Fallen” from Saving Private Ryan

Hans Zimmer, arr. John Wasson Music from Gladiator

James Horner, arr. John Moss Music from Titanic

Alan Silvestri, arr. Calvin Custer Forrest Gump: Suite

John Williams “Dry your Tears, Afrika” from Amistad

CharlestonSymphony.org 35 MASTERWORKS October 25 and 26, 2019 • 7:30pm Gaillard Center

PICTURES AT AN EXHIBITION The Honorable Mayor John Tecklenburg, Narrator Ken Lam, Conductor

Ottorino Respighi (1879-1936) Three Botticelli Pictures Spring Adoration of the Magi The Birth of Venus

Aaron Copland (1900-1990) Lincoln Portrait

INTERMISSION

Modest Mussorgsky (1839-1881), orchestrated Maurice Ravel (1875-1937) Pictures at an Exhibition Promenade I. Gnomes Promenade II. The Old Castle Promenade III. Tuileries Garden IV. Cattle Promenade V. Ballet of the Chicks in Their Shells VI. Samuel Goldenberg and Schmuyle VII. The Market Place at Limoges VIII. Catacombs With the dead in a dead language (Promenade) IX. The Hut on Fowl’s Legs X. The Great Gate of Kiev

36 CharlestonSymphony.org ABOUT THE ARTISTS Masterworks Mary Whyte, Watercolor Artist ary Whyte is an American watercolor artist who has received international recognition for her watercolor paintings of contemporary realism and Mportraiture. In 2016 the Portrait Society of America chose Mary Whyte as the recipient of the Society’s Gold Medal. The Gold Medal is the highest honor awarded by the Portrait Society with past recipients including iconic artists such as Andrew Wyeth, Jamie Wyeth, and Nelson Shanks. Whyte has been awarded the South Carolina Arts Commission’s prestigious Elizabeth O’Neill Verner Award, the highest honor for an artist given by the state of South Carolina. Mary Whyte presents her watercolor paintings in museum exhibitions throughout the United States and internationally.

In 2010, Mary Whyte set out on an inspirational seven-year mission to paint fifty large scale watercolor portraits of current day American veterans. WE THE PEOPLE: Portraits of Veterans in America is Whyte’s remarkable series depicting military veterans of all ages and in all walks of life. Images including a Missouri dairy farmer, Rhode Island lobsterman, Pennsylvania science teacher, South Carolina single mother, and 46 other moving portraits will be showcased together, culminating in a timeless portrayal of what it means to be an American veteran. PROGRAM NOTES Masterworks Ottorino Respighi from foreground to background as if carried on the Trittico Botticelliano waves. The piece ends with the gentle undulations of (Three Botticelli Pictures) the waves slowly receding as the goddess departs. Aaron Copland Though he was born in Bologna, the composer Ottorino Respighi is inevitably and forever associated Lincoln Portrait with Rome thanks to his so-called “Roman Trilogy” of orchestral tone poems: Fountains of Rome, During the final years of the Great Depression, Pines of Rome, and Roman Festivals. For his Trittico composer Aaron Copland was finding a new Botticelliano, however, we must travel north to sound. After spending his childhood years in the Tuscany and the Renaissance capital of Florence. Conservative Jewish milieu of Cobble Hill, Brooklyn, It was there at the Uffizi Gallery that Respighi Copland had received his musical training from encountered three paintings by Sandro Botticelli: famed composer and pedagogue Nadia Boulanger La Primavera (“Spring”), L’Adorazione dei Magi in Paris. When he returned to his hometown of (“The Adoration of the Magi”), and La Nascita di New York City in 1925, many of his compositions Venere (“The Birth of Venus”). These three pictures were imitations of the modernist French style don’t seem to have much in common other than he had learned during his years abroad. By the early the artist and gallery, but Respighi’s style, especially 1930s, Copland was increasingly disenchanted with in his tone poems, often thrives on juxtaposition the elitist institutions of classical music and desired and contrast and he uses their divergent subject to write simpler music with a broader appeal. He also matters to maximum effect here to create a dynamic wanted to create something in classical music that collection of snapshots. would be distinctly American. He experimented with these new sounds in a series of American-themed The opening movement provides an exuberant ballets, beginning with El Salón México in 1936. depiction of spring with the bassoon first introducing Copland certainly includes American folk melodies— a dance tune that is subsequently echoed and primarily drawn from collections of “cowboy songs” ornamented by the full ensemble. In addition to his he checked out of the New York Public Library— work as a composer, Respighi was also a scholar of but by the end of the sequence, he seems to do Italian music history, so it is no accident that his something more. Copland’s ballets and concert dance tune closely resembles one that might have pieces from this period actually begin to establish accompanied the Renaissance festivities of Botticelli’s a sound to the American landscape that would be day. The second movement is really the centerpiece copied and reproduced in almost every subsequent and is built around the ninth century Latin antiphon musical representation. The wide-open harmonies, “Veni Emmanuel,” better known to us as the tough lyricism, and rhythmic vitality of Copland’s advent hymn “O Come, O Come, Emmanuel.” The music provide a musical grammar that is used to mournful and mysterious opening gives way to more encapsulate the American experience even today. colorful musical textures as each of the three Magi arrive at the manger and present their gifts. Finally, Lincoln Portrait comes from this immensely productive the last movement attempts to capture Botticelli’s wartime period in which Copland was perfecting his most well-known painting in which the newly-born new American style. In just four years between 1942 goddess Venus stands nude inside an oversized and 1946, Copland would produce nearly all of his scallop shell. Respighi captures the birth through the most enduring compositions including ballet scores slowly coalescing melodic materials that seem to drift for Rodeo and Appalachian Spring as well as concert

38 CharlestonSymphony.org PROGRAM NOTES Masterworks pieces like Lincoln Portrait, Fanfare for the Common Boston Symphony, Ravel’s version became the Man, and Symphony No. 3. Each of these compositions definitive version of Pictures at an Exhibition, with seems designed to encourage and admonish a nation other candidates like British conductor Henry Wood at war to hold fast to its most sacred principles. It even going so far as to formally condemn their own seems natural, then, that Copland would look for arrangements after hearing Ravel’s. When inspiring inspiration to the president who had shepherded pianist Vladimir Horowitz wanted to play the piece the country through its most trying hours, Abraham in his solo piano recitals, he created a new version Lincoln. The piece hinges on a written part for narrator for solo piano based on a transcription of Ravel’s that includes excerpts from some of Lincoln’s most orchestration rather than the original piano score. famous speeches: his 1858 debates with Stephen Douglas, his 1862 State of the Union address, and But despite Ravel’s extraordinary gifts as an of course, the 1863 Gettysburg Address. Copland orchestral colorist, the contours of the piece belong remarked that he ultimately decided to include purely to Mussorgsky’s design. Mussorgsky wrote spoken words in the piece because “no composer the piece in honor of his friend, visual artist Victor could possibly hope to match in purely musical terms Hartmann, who died unexpectedly at the age of the stature of so eminent a figure.” In the orchestral thirty-nine. In the spring of 1874, for a memorial texture, Copland weaves his newly honed American show organized in Hartmann’s honor at a gallery in sound with clever melodic quotations of folk songs St. Petersburg, Mussorgsky selected eleven pictures and popular tunes from Lincoln’s day including as the basis for his collection of miniatures he referred “Camptown Races” and “On Springfield Mountain.” to as “an album series.” At first glance, this would seem to be a challenging ad hoc structure to carry Modest Mussorgsky off, especially with no clear themes to unify the orchestrated by Ravel disparate pictures into a single whole. But Mussorgsky Pictures at an Exhibition proved to be a skilled curator by building his composition around a recurring melodic idea that he designed to represent his own gait as he moved Given its unmistakable color and grandeur, it seems around the room considering each picture in turn. strange to think that Modest Mussorgsky originally The shorter movements at the beginning of the piece composed his masterpiece for solo piano. In fact, gradually grow and develop in complexity, bringing the thought of orchestrating Pictures at an Exhibition the listener forward through each successive picture seems never to have occurred to Mussorgsky before to a satisfying climax in the majestic finale. In the his death in 1881. Several composers attempted end, Pictures at an Exhibition is not only a colorful and to create a version for orchestra beginning in charming composition, it is also a touching tribute to 1891, but the piece existed primarily in its piano Mussorgsky’s friend who cannot have imagined that form for a half-century until French composer 150 years later, audiences might still be standing in Maurice Ravel produced his orchestral version in the shadow of his Great Gate of Kiev. 1922. Almost immediately upon its debut with the

CharlestonSymphony.org 39

CHAMBER November 15 and 16, 2019 • 7:30pm Charleston Library Society Sponsored in part by the Henry and Sylvia Yaschik Foundation WE’LL ALWAYS HAVE PARIS

Gabriel Fauré (1845-1924), arr. Jacques Larocque Berceuse, Op. 16 Zachary Hammond, Oboe | Jihye Chang, Piano

Marie Clémence de Grandval (1828-1907) Romance Zachary Hammond, Oboe | Damian Kremer, Violoncello | Jihye Chang, Piano

Jean Françaix (1912-1997) Trio for Oboe, Bassoon and Piano I. Adagio, allegro moderato II. Scherzo III. Andante IV. Finale Kari Kistler, Oboe | Quinn Delaney, Bassoon | Jihye Chang, Piano

César Franck (1822-1890) Piano Quintet in F minor I. Molto moderato quasi lento II. Lento, con molto sentiment III. Allegro non troppo ma con fuoco Yuriy Bekker and Asako Kremer, Violin | Jan-Marie Joyce, Viola | Norbert Lewandowski, Violoncello | Jihye Chang, Piano

CharlestonSymphony.org 41 onight's concert, Rach 2, is dedicated to the life of Dr. Samuel Dwane Thomas, who Tpassed away at age 84 on November 22, 2018. Dr. Thomas had two passions in life: medicine and music. He was a long-time friend and supporter of the Charleston Symphony. His generosity has made a tremendous impact for the CSO and that commitment continues to help the organization. In 2002, Dr. Thomas purchased new timpani for the CSO. He also purchased a Steinway Concert Grand for the orchestra in 2015 and had it restored.

The piano he donated is being played in tonight’s concert. We thank and remember Dr. Thomas for his steadfast support of the Charleston Symphony.

42 CharlestonSymphony.org MASTERWORKS November 22 and 23, 2019 • 7:30pm Gaillard Center Sponsored in loving memory of Dr. Samuel Dwane Thomas by Mr. Alan Watkins RACH 2 Natasha Paremski, Piano Saundra DeAthos, Soprano Alex Rosen, Baritone Charleston Symphony Orchestra Chorus, Dr. Robert Taylor, Director College of Charleston Concert Choir, Dr. Robert Taylor, Director Charleston Southern University Concert Singers, Dustin Ousley, Director Ken Lam, Conductor

Sir Hubert Parry (1848-1918) Blest Pair of Sirens

Sergei Rachmaninoff (1873-1943) Piano Concerto No. 2 in C minor, Op. 18 I. Moderato II. Adagio sostenuto III. Allegro scherzando

INTERMISSION

Gabriel Fauré (1845-1924) Requiem, Op. 48 I. Introit and Kyrie II. Offertorium III. Sanctus IV. Pie Jesu V. Agnus Dei VI. Libera me VII. In Paradisum

Sir Hubert Parry (1848-1918) Jerusalem

CharlestonSymphony.org 43 ABOUT THE ARTISTS Masterworks Natasha Paremski, Piano ith her consistently striking and dynamic performances, pianist Natasha Paremski reveals astounding virtuosity and Wvoracious interpretive abilities. She continues to generate excitement from all corners as she wins over audiences with her musical sensibility and powerful, flawless technique.

Natasha was awarded several prestigious prizes at a very young age, including the Gilmore Young Artists prize in 2006 at the age of eighteen, the Prix Montblanc in 2007, the Orpheum Stiftung Prize in Switzerland. In September 2010, she was awarded the Classical Recording Foundation’s Young Artist of the Year. Her first recital album was released in 2011 to great acclaim, topping the Billboard Classical Charts, and was re-released on the Steinway & Sons label in September 2016 featuring Islamey recorded on Steinway’s revolutionary new Spirio technology. In 2012 she recorded Tchaikovsky’s Piano Concerto No. 1 and Rachmaninoff’sPaganini Rhapsody with Royal Philharmonic Orchestra and Fabien Gabel on the orchestra’s label distributed by Naxos.

With a strong focus on new music, Natasha’s growing repertoire reflects an artistic maturity beyond her years. In the 2010-11 season, she played the world premiere of a sonata written for her by Gabriel Kahane, which was also included in her solo album.

44 CharlestonSymphony.org ABOUT THE ARTISTS Masterworks Saundra DeAthos, Lyric soprano yric soprano Saundra DeAthos has been heralded for the remarkable quality of both her vocal and dramatic presentations LSaundra has received rave reviews at Utah Festival Opera as Giorgetta in Il Tabarro and the title role in Suor Angelica. She “captures the emotional torment in both roles and her singing is breathtaking.” As Micaëla in Carmen with Denyce Graves for Opera Charleston, the Post and Courrier exclaimed, “DeAthos possessed a beautiful, sweet tone and made you want to shake some sense into José.” The Charleston City Paper added, she “melted hearts with her portrayal of Micaëla; her silvery, emotionally naked singing made me cry.”

Ms. DeAthos has graced the stages of many outstanding opera companies, such as San Francisco Opera, Western Opera Theater, Opera Theatre of St. Louis, and Boston Lyric Opera among others. In addition to her operatic activities, Ms. DeAthos performs regularly with symphony orchestras including the Charleston Symphony Orchestra where she was featured in Brahms’ Ein Deutsches Requiem, San Francisco Symphony, Philharmonia Baroque Orchestra, Sinfonia da Camera, Illinois Symphony Orchestra, Fresno Symphony Orchestra, Southeastern Pennsylvania Symphony Orchestra and the Elgin Symphony Orchestra among others.

Alex Rosen, Bass merican bass Alex Rosen is quickly finding a home in the concert, operatic, and song repertoire, in the U.S. and abroad. ARecent engagements include Haydn’s Creation with Orchestre National de Metz, Handel’s Radamisto with Opera Lafayette, and Bach’s St. John Passion with Les Arts Florissants and the Royal Concertgebouw Orchestra under the direction of William Christie. This year, his season includes Semele with Opera Philadelphia, L’orfeo with the Dutch Touring Opera, and L’incoronazione di Poppea with Opera Columbus and Festival Aix-en-Provence. In addition, Alex enjoys an ongoing collaboration with pianist Michał Biel, with whom he won 2nd prize in the 2018 International Hugo Wolf Academy Competition. As laureates of the Royaumont Foundation’s Art Song Academy, they will give recitals in some of Europe’s most prominent venues, including the Festival Lied Victoria de los Angeles in Barcelona, and Wigmore Hall in London. Alex is a native of La Cañada, California.

CharlestonSymphony.org 45 PROGRAM NOTES Masterworks Sir Hubert Parry placed increasing focus on his compositions and Blest Pair of Sirens; Jerusalem achieved his first unqualified success with Blest Pair of Sirens in 1887. At George Grove’s behest, the The story of classical music in England is often told piece is a setting of John Milton’s ode “At a Solemn with a two-hundred-year gap in the middle. After the Musick” and premiered in London as part of a concert early modern excesses of English masters like Thomas to mark the Golden Jubilee of Queen Victoria. Tallis and William Byrd give way to the Baroque stateliness of Henry Purcell, one often finds oneself Today Parry is unquestionably remembered best talking of composers at the turn of the 20th century for the simple hymn tune “Jerusalem” that he like Elgar, Vaughan Williams, or Holst without much wrote to accompany William Blake’s enigmatic consideration for how one might have followed from poem. Parry found inspiration in the Fight for Right the other. At least one figure who might fill in some of Movement, which sought to build support for British those gaps is Hubert Parry, who not only composed involvement in the First World War, but he was some very fine English music during the 19th century, quickly taken up by a host of other causes including but also served as mentor and model for many of the the National Union of Women’s Suffrage Societies, composers who carried the English tradition into the the Labour Party, and the British Liberal Assembly. 20th. Born into a wealthy family in Bournemouth, Upon hearing the orchestral version for the first time, Parry showed extraordinary musical promise from an King George V even remarked that he preferred early age that was encouraged by several organists Parry’s “Jerusalem” over the British national anthem and teachers he encountered in his teenage years and numerous efforts over the years have attempted at the aristocratic preparatory schools he attended. to give the song official status as the anthem of At age 17, he became the youngest person ever to England. In addition to use at myriad sporting and pass the Bachelor of Music examination at Oxford civic events, Parry’s “Jerusalem” is sung every year University and his examination exercise, a cantata by an audience of thousands at the end of The Proms titled “O Lord, Thou hast cast us out” so impressed summer concert series in the Royal Albert Hall. the music faculty that several arranged for it to be publicly performed and eventually published the Sergei Rachmaninoff following school year. Piano Concerto No. 2

Despite his musical prowess, Parry studied law and The premiere of Sergei Rachmaninoff’sPiano history at Oxford and took a job as an underwriter Concerto No. 2 in the fall of 1901 might literally at a prestigious London insurance firm upon have saved Rachmaninoff’s life and career. The graduation. Parry continued his musical studies premiere of his Symphony No. 1 in 1897 had been an on the side and just as he was ready to abandon unqualified disaster thanks to an under-rehearsed his underwriting job all together, he received an ensemble under the unreliable baton of his friend, opportunity to work alongside music scholar George composer Alexander Glazunov. Critics were Grove on his now famous Dictionary of Music and absolutely brutal, with fellow composer César Cui Musicians, contributing articles and providing editorial going so far as to say that the piece sounded like assistance. When Grove was appointed head of the the work of a star pupil at a “conservatory in Hell” newly-created Royal College of Music in 1883, he and that the Glazunov conducted performance appointed Parry to a professorship in composition would undoubtedly “delight the inhabitants of Hell” and music history. In the years that followed, Parry with its parade of horrible sounds. The unrelentingly

46 CharlestonSymphony.org PROGRAM NOTES Masterworks negative reception of the piece along with a broken Gabriel Fauré marriage engagement the following year crushed Requiem Rachmaninoff, who fell into a multi-year depression that severely impacted his productivity. Only Gabriel Fauré was appointed to his first church through a comprehensive course of physical and organist position at the Church of Saint-Sauveur at psychological treatment from a family friend and the age of twenty. By the time he started composing physician Dr. Nikolai Dahl did Rachmaninoff begin his Requiem at the age of forty-one, one can safely to recover and regain his desire to compose. This assume that he had played a lot of funerals. When concerto is the first piece he completed after his asked by an interviewer about his unconventional treatment and is lovingly dedicated to Dahl. The approach to the ancient text, Faure joked: “As piece premiered with the composer at the keyboard to my Requiem, perhaps I have also instinctively in November 1901 and was universally acclaimed, sought to escape from what is thought right and earning Rachmaninoff his first prestigious Glinka proper, after all the years of accompanying burial Award for Russian Music and restoring his national services on the organ! I know it all by heart. I wanted reputation as a skilled composer and performer. to write something different.” Fauré made unusual changes to the text, replacing the wrathful Dies Irae Like so much of Rachmaninoff’s music, Piano with the compassionate Pie Jesu and supplementing Concerto No. 2 strikes a balance between lush the end of the mass with the In Paradisum antiphon romanticism, lyrical melodies, and a fiercely technical typically reserved for the burial service. The Pie Jesu approach to the piano. From the dramatic tolling is a particular highlight with the child-like soprano bells in the opening chords of the first movement, it voice over the whispered strains of the organ and is tempting to imagine the maestro himself seated strings beseeching Jesus to grant his peace on at the keyboard and triumphantly announcing his those who have died. Fellow composer Camille return after several years in the wilderness. And Saint-Saëns, who also served as one of Fauré’s by the furious flourishes of the final movement, teachers in his late adolescence, famously remarked: his vindication is complete. Throughout this piece, “Just as Mozart’s is the only ‘Ave verum corpus,’ this is Rachmaninoff is at his melodic best and songwriters the only ‘Pie Jesu.’” over the years have definitely taken notice. No less than three different popular songs from the past 75 But whatever unconventional choices Fauré may have years have their roots in melodies directly adapted made, there are also many clear nods to tradition. from this concerto. “Full Moon and Empty Arms,” The instrumentation and structure of the work, cast made popular by the 1945 Frank Sinatra recording, in seven movements with a baritone and a soprano takes its melody from the second theme of the final soloist, are clear homages to Brahms’s German movement while Sinatra’s 1941 hit “I Think of You” Requiem. And the dramatic opening in D minor is taken from a theme in the middle of the first clearly evokes the beginning of Mozart’s Requiem. movement. But perhaps the most famous example Musically, the most striking feature is the use of comes several decades later with the use of the Fauré’s own instrument, the organ, which often middle movement’s main theme in Eric Carmen’s seems to supplant the orchestra by serving variously 1975 ballad “All by Myself.” In an interview in 1991, as soloist, accompanist, or reinforcement of the Carmen was asked why he borrowed Rachmaninoff choir. The organ allows Fauré the ability to marshal and he replied simply “[it’s] my favorite music.” After extraordinary color without sacrificing the serene, tonight’s performance, we hope you will see why. even austere, quality of the harmonies that seem just as indebted to Debussy as to Mozart.

CharlestonSymphony.org 47 PROGRAM NOTES Masterworks Several of Fauré’s contemporaries criticized returned to the Requiem frequently in the decade his Requiem as overly tender and sentimental, after its premiere revising and enlarging the an assessment that he forcefully rebutted in an orchestration until the publication of the final version interview: “It has been said that my Requiem does not in 1901. It should come as no surprise that Fauré express the fear of death and someone has called it requested the piece be performed at his own funeral a lullaby of death. But it is thus that I see death: as in the fall of 1924. The quiet dignity of the final strains a happy deliverance, an aspiration towards happiness of Requiem Aeternam pushed the composer forward above, rather than as a painful experience.” Fauré into his own eternity. LIBRETTO Masterworks

Sir Hubert Parry (1848-1918) Blest Pair of Sirens

Text from At a solemn Musick by John Milton (1608-1674) Blest pair of Sirens, pledges of Heav’n’s joy, Hymns devout and holy psalms Sphere-born harmonious sisters, Voice and Verse, Singing everlastingly: Wed your divine sounds, and mixed pow’r employ, That we on earth with undiscording voice Dead things with inbreathed sense able to pierce; May rightly answer that melodious noise; And to our high-raised phantasy present As once we did, till disproportioned sin That undisturbed song of pure content, Jarred against nature’s chime, and with harsh din Aye sung before the sapphire-coloured throne Broke the fair music that all creatures made To Him that sits thereon, To their great Lord, whose love their motion swayed With saintly shout, and solemn jubilee, In perfect diapason, whilst they stood Where the bright Seraphim in burning row In first obedience, and their state of good. Their loud uplifted angel-trumpets blow, O may we soon again renew that song, And the Cherubic host in thousand quires And keep in tune with Heav’n, till God ere long Touch their immortal harps of golden wires, To His celestial concert us unite, With those just Spirits that wear victorious palms, To live with Him, and sing in endless morn of light.

48 CharlestonSymphony.org LIBRETTO Masterworks

Sir Hubert Parry (1848-1918) Jerusalem

Text from Milton: a Poem in Two Books by William Blake (1757-1827) And did those feet in ancient time, Bring me my bow of burning gold: Walk upon England’s mountains green: Bring me my arrows of desire: And was the holy Lamb of God, Bring me my spear: O clouds unfold: On England’s pleasant pastures seen! Bring me my chariot of fire!

And did the countenance divine, I will not cease from mental fight, Shine forth upon our clouded hills? Nor shall my sword sleep in my hand: And was Jerusalem builded here, Till we have built Jerusalem, Among these dark satanic mills? In England’s green and pleasant land.

Gabriel Fauré (1846-1924) Requiem, Op. 48

Introït et Kyrie Introït et Kyrie Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis. and may perpetual light shine on them. Te decet hymnus, Deus, in Sion, To you, God, hymns of praise are sung in Sion, et tibi reddetur votum in Jerusalem: and unto you shall vows be performed in Jerusalem: exaudi orationem meam, hear my prayer, ad te omnis caro veniet. to you shall come all flesh.

Kyrie eleison. Lord have mercy. Christe eleison. Christ have mercy.

Offertoire Offertoire O Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, king of glory, libera animas defunctorum free the departed souls de poenis inferni et de profundo lacu, from the pains of hell and from the deep pit, de ore leonis, ne absorbeat tartarus: from the jaws of the lion, let them not be swallowed up, ne cadant in obscurum. nor vanish into darkness.

Hostias et preces tibi, Domine, Our sacrifice and prayers, Lord, laudis offerimus: we offer to you with praise: tu suscipe pro animabus illis, receive them on behalf of the souls, quarum hodie memoriam facimus: whom we remember today: fac eas, Domine, de morte transire ad vitam. make them, Lord, pass from death to life. Quam olim Abrahae promisisti et semini ejus. As you promised Abraham and his seed.

Amen. Amen.

CharlestonSymphony.org 49 LIBRETTO Masterworks Gabriel Fauré (1846-1924) Requiem, Op. 48 (continued)

Sanctus Sanctus Sanctus, Sanctus, Sanctus Holy, holy, holy Dominus Deus Sabaoth. Lord God of hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest.

Pie Jesu Pie Jesu Pie Jesu, Domine, Merciful Lord Jesus, dona eis requiem, grant them rest, sempiternam requiem. eternal rest.

Agnus Dei Agnus Dei Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem. grant them rest. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem, sempiternam requiem. grant them rest, eternal rest. Lux aeterna luceat eis, Domine. May perpetual light shine on them, Lord. Cum sanctis tuis in aeternum, quia pius es. With your saints throughout eternity, by your grace. Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis. and may perpetual light shine on them.

Libera me Libera me Libera me, Domine, de morte aeterna, Deliver me, Lord, from eternal death, in die illa tremenda, on that terrible day, quando coeli movendi sunt et terra; when earth and heaven are shaken; dum veneris judicare saeculum per ignem. when you come to judge all things by fire. Tremens factus sum ego, et timeo, I am trembling and afraid, dum discussio venerit, atque ventura ira. until the trial comes, and the wrath. Dies illa, dies irae, calamitatis et miseriae, Day of torment, day of wrath, calamity and misery, dies magna et amara valde. greatest and most bitter day. Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis. and may perpetual light shine on them.

In Paradisum In Paradisum In Paradisum deducant Angeli: May angels lead you into Paradise: in tuo adventu suscipiant te Martyres, may you be received by the martyrs, et perducant te in civitatem sanctam Jerusalem. and brought to the holy city of Jerusalem. Chorus Angelorum te suscipiat, May choirs of angels greet you, et cum Lazaro quondam pauper and with Lazarus, who was once lowly aeternam habeas requiem. may you find eternal rest.

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CHARLESTON SYMPHONY YOUTH ORCHESTRA November 23, 2019 • 2:00pm Gaillard Center CSYS AND CSYO FALL CONCERT Charleston Symphony Youth Strings Ryan Silvestri, Conductor

Jean Sibelius (1865-1957) Andante Festivo

J. S. Bach (1685-1750), arr. Merle Isaac (1898-1996) Brandenburg Concerto No. 5 in D Major, BWV 1050 I. Allegro

Soon Hee Newbold (b. 1974) American Landscape

Vaclav Nelhybel (1919-1996) Danza

INTERMISSION

52 CharlestonSymphony.org Charleston Symphony Youth Orchestra Kellen Gray, Music Director

Richard Strauss (1864-1949) Solemn Entrance of the Knights

Wolfgang Amadeus Mozart (1756-1791) The Magic Flute: Overture, K. 620

Samuel Coleridge-Taylor (1875-1912) Petit Suite de Concert, Op. 77 I. Le caprice de Nannette II. Demande et réponse III. Un sonnet d’amour IV. Le tarantelle fretillante

Hector Berlioz (1803-1869) The Damnation of Faust, Op. 24 “Hungarian March”

Conductor bios on page 29 & 30.

CharlestonSymphony.org 53 CHAMBER December 6 and 7, 2019 • 7:30pm Charleston Library Society

HOLIDAY STRINGS Yuriy Bekker and Micah Gangwer, Violin Jan-Marie Joyce, Viola Norbert Lewandowski, Violoncello

An annual tradition of Holiday works by Tchaikovsky, Bach, Vivaldi, Corelli, and others.

54 CharlestonSymphony.org SPECIAL EVENT December 12, 2019 • 7:30pm Summerall Chapel, The Citadel

HOLY CITY MESSIAH Awet Andemicael, Soprano | Allegra De Vita, Mezzo-Soprano Edward Mout, Tenor | Hans Tashjian, Bass Charleston Symphony Orchestra Chamber Chorus, Dr. Robert Taylor, Director Ken Lam, Conductor

No. 1 Sinfonia No. 24 Surely He Hath Borne Our Griefs No. 2 Comfort Ye, My People No. 27 All They That See Him Laugh No. 3 Ev’ry Valley Shall Be Exalted Him To Scorn No. 4 And the Glory of the Lord No. 28 He Trusted In God No. 5 Thus Saith The Lord No. 29 Thy Rebuke No. 6. But Who May Abide The Day No. 30 Behold, And See Of His Coming? No. 31 He Was Cut Off No. 7 And He Shall Purify No. 32 But Thou Didst Not Leave His Soul No. 8 Behold, A Virgin Shall Conceive In Hell No. 9 O Thou That Tellest Good Tidings No. 40 Why Do The Nations So Furiously To Zion Rage Together? No. 12 For Unto Us A Child Is Born No. 41 Let Us Break Their Bonds Asunder No. 14a There Were Shepherds In The Field No. 42 He That Dwelleth In Heaven No. 14b And Lo, The Angel Of The Lord No. 43 Thou Shalt Break Them No. 15 And The Angel Said Unto Them No. 44 Hallelujah No. 16 And Suddenly There Was With No. 45 I Know That My Redeemer Liveth The Angel No. 46 Since By Man Came Death No. 17 Glory To God No. 47 Behold, I Tell You A Mystery No. 18 Rejoice Greatly, O Daughter No. 48 The Trumpet Shall Sound Of Zion! No. 53 Worthy is the Lamb....Amen

CharlestonSymphony.org 55 SPECIAL EVENT December 14, 2019 • 7:30pm East Cooper Baptist Church Sponsored by Dr. Jeffrey and Mrs. Tammy Dorociak HOLY CITY MESSIAH Awet Andemicael, Soprano Allegra De Vita, Mezzo-Soprano Edward Mout, Tenor Hans Tashjian, Bass Charleston Symphony Orchestra Chamber Chorus, Dr. Robert Taylor, Director Ken Lam, Conductor

Part One No. 1 Sinfonia No. 2 Comfort Ye, My People No. 3 Ev’ry Valley Shall Be Exalted No. 4 And the Glory of the Lord No. 5 Thus Saith The Lord No. 6. But Who May Abide The Day Of His Coming? No. 7 And He Shall Purify No. 8 Behold, A Virgin Shall Conceive No. 9 O Thou That Tellest Good Tidings To Zion No. 10 For Behold, Darkness No. 11 The People That Walked In Darkness No. 12 For Unto Us A Child Is Born No. 13. PIFA “Pastoral Symphony” No. 14a There Were Shepherds In The Field No. 14b And Lo, The Angel Of The Lord No. 15 And The Angel Said Unto Them No. 16 And Suddenly There Was With The Angel No. 17 Glory To God No. 18 Rejoice Greatly, O Daughter Of Zion!

INTERMISSION

56 CharlestonSymphony.org SPECIAL EVENT December 15, 2019 • 4:00pm St. Theresa the Little Flower Catholic Church Sponsored by Barbara Chapman

Part Two No. 23 He Was Despised No. 24 Surely He Hath Borne Our Griefs No. 27 All They That See Him Laugh Him To Scorn No. 28 He Trusted In God No. 29 Thy Rebuke No. 30 Behold, And See No. 31 He Was Cut Off No. 32 But Thou Didst Not Leave His Soul In Hell No. 33 Lift Up Your Heads, O Ye Gates No. 36. Thou Art Gone Up On High No. 37. The Lord Gave The Word No. 38. How Beautiful Are The Feet No. 39. Their Sound Is Gone Out No. 40 Why Do The Nations So Furiously Rage Together? No. 41 Let Us Break Their Bonds Asunder No. 42 He That Dwelleth In Heaven No. 43 Thou Shalt Break Them No. 44 Hallelujah

Part Three No. 45 I Know That My Redeemer Liveth No. 46 Since By Man Came Death No. 47 Behold, I Tell You A Mystery No. 48 The Trumpet Shall Sound No. 53 Worthy is the Lamb....Amen

CharlestonSymphony.org 57 ABOUT THE ARTISTS Special Event Awet Andemicael, Soprano oy is the hallmark of soprano Awet Andemicael’s artistry. She has been acclaimed for her “sparkling solo verses” (Opera News), “vivid musical Jpersonality” (Boston Globe), “honeyed tone” (San Francisco Classical Voice), “fine comic interplay and […] superb singing” (Washington Times). Closely associated with De Falla’s El Retablo de Maese Pedro, she has sung the role of El Trujamán with numerous ensembles, including the Boston Symphony, San Francisco Symphony, Los Angeles Philharmonic, and, most recently, the Knights at the Tanglewood Festival.

Awet’s special affinity for eighteenth-century sacred music has been featured in concerts with the Bach Collegium Japan, the Handel and Haydn Society, at Carnegie Hall and the Ravinia and Aldeburgh Festivals, with the Symphonies of Pittsburgh, Nashville, Jacksonville, Richmond, and Memphis, and with the Sebastians Chamber Ensemble.

Awet is delighted to return to Charleston, after a wonderful experience performing Messiah with the Symphony Orchestra and Chorus last year. Awet will be back again later this season to sing Mozart’s Requiem with the CSO. In between, she performs with the acclaimed ensemble The Knights at the BRIC Festival in Brooklyn, as well as the Charlotte Master Chorale and the Colorado Bach Ensemble. For more information on Awet’s performance schedule and upcoming recordings, please visit her website: www.awetandemicael.com.

Allegra De Vita, Mezzo-Soprano llegra De Vita was recently seen as Rosina in The Barber of Seville (YAP), Tebaldo in Don Carlo, Ruggiero in Alcina (YAP), The Fox in The Little Prince, A Kate Pinkerton in Madame Butterfly, the title role in The Dictator’s Wife and Cherubino in The Marriage of Figaro (YAP) as a member of the Washington National Opera’s Domingo-Cafritz Young Artist Program. She performed the roles of Agrippina in Nero and the Fall of Lehman Brothers, Tancredi in Erminia, Arsemenes in Xerxes with Glimmerglass 2017, the title cover in Elizabeth Cree with Opera Philadelphia, Olga in Eugene Onegin with Syracuse Opera and Isaura/title cover in Tancredi with Opera Philadelphia and Mozart’s Requiem with The Choral Arts Society of Washington. Future engagements include Siebel in Faust with Washington National Opera.

While a resident artist at the Academy of Vocal Arts, she performed the roles of Zerlina in Don Giovanni and Charlotte in Werther and Zita in Gianni Schicchi. At the 2016 Glimmerglass Festival she performed Pippo in La Gazza Ladra as well as the role of Fulvio in the American premiere of Vivaldi’s Cato in Utica in their 2015 season. De Vita is a 2015 Metropolitan Opera National Council Auditions Grand Finalist and a 2nd prize at the 2016 Jensen Foundation Competition.

De Vita has also performed the roles of Ruggiero in Alcina, Ariodante in Ariodante, Dorabella in Così Fan Tutte, Erminella in Volpone, and Romeo in i Capuleti e i Montecchi. She earned her Master’s Degree in vocal performance at Rice University’s Shepherd School of Music under the direction of Dr. Stephen University.

58 CharlestonSymphony.org ABOUT THE ARTISTS Special Event Edward Mout, Tenor dward Mout is a tenor who has been praised for his entertaining stage presence and his “mellifluously youthful tenor”. From 2011-2019 he was Ea member of the ensemble of the Staatsoper Hannover, where he has performed numerous roles including Beppe/I pagliacci, Flute/A Midsummer Night’s Dream, Goro/Madame Butterfly, Shabby Peasant/Lady Macbeth of Mtsensk, Pedrillo/Die Entführung aus dem Serail, Mime/Das Rheingold, and Steuermann/ Der fliegende Holländer. In 2015, he worked with Glyndebourne Festival Opera and performed Bob Boles in Peter Grimes with Opéra de Nice. The following season, in 2016, he made his role and house debut with Staatstheater Nürnberg as Skuratov in Z mrtvého domu (From the House of the Dead) by Janacek. Edward has also performed extensively in the United States, where he has performed with the Minnesota Opera, Lyric Opera of Chicago, and Metropolitan Opera of New York, among others.

Edward can also be found on the concert stage, having made his European concert debut in Stravisky’s Les Noces in 2012. He expanded his experience in Germany in 2013 with a performance of Handel’s Messiah with Klassische Philharmonie Bonn, and his debut as Evangelist/Tenor Soloist in Bach’s Weihnachtsoratorium with Kantorei Herrenhausen. He has previously performed in the United States with the Peoria Symphony (Beethoven Symphony IX), San Diego Chamber Singers (Carmina Burana), and also with the Orquestra Sinfonica Nacional de Costa Rica in Bach’s B-Minor Mass under the baton of John Nelson. His work in 2015 included Mendelssohn’s Paulus with the Nürnberger Bach-Orchester and Jonathan Dove’s oratorio There was a Child with the La Jolla Symphony and Chorus.

Hans Tashjian, Bass ans Tashjian, a young bass of “firm resonance and gravid stage presence,” continues to impress as he hones his craft at the Yale School of Music. HMost recently seen as Gremin, in Tchaikovsky’s Eugene Onegin, Emperor, in Le Rossignol, (both with Yale Opera) and Podestà in La gazza ladra with Teatro Nuovo he’s shown the ability to consistently tackle principal repertoire with elegance and aplomb. Additional role credits include Baron Ochs in Strauss’ Der Rosenkavalier, Mephistopheles in Goudnod’s Faust, Daland in Wagner’s Der fliegende Hollander, King Rene in Tchaikovsky’s Iolanta, Seneca in L’incoronazione di Poppea, and many other stalwart bass characters. Company credits include Chautauqua Opera, Central City Opera, Sarasota Opera, OperaDelaware, Baltimore Concert Opera, Opera Southwest, Caramoor Music Festival, and other engagements yet to be announced. His concert credits include venues such as Carnegie Hall, and spans Baroque to Contemporary repertoire. During the 19-20 Season, Mr. Tashjian will sing Enrico in Anna Bolena at Baltimore Concert Opera and will debut with the Charleston Symphony as the bass soloist in Handel’s Messiah. Additionally, Mr. Tashjian has been conferred with several competition awards and is an alumnus of the Manhattan School of Music and Carnegie Mellon University.

CharlestonSymphony.org 59 POPS December 20 and 21, 2019 • 7:30pm Gaillard Center Sponsored by the Storey Foundation in Memory of Bert Storey HOLIDAY POPS Featuring Gracie & Lacy Charleston Symphony Orchestra Chorus, Dr. Robert Taylor, Director Cane Bay High School Choir, William Bennett, Director Yuriy Bekker, Conductor

Randol Alan Bass Gloria

Piotr Ilych Tchaikovsky Selections from The Nutcracker Waltz of the Flowers Mother Ginger Trepak

Robert Shaw, arr. Robert Russell Bennett The Many Moods of Christmas: Suite 1 Good Christian Men Rejoice Silent Night Pat-a-pan O Come All Ye Faithful

Poem by Clement Clarke Moore, arr. Bill Holcombe ‘Twas the Night Before Christmas

Flory Jagoda, arr. Joshua Jacobsen Ocho Kandelikas

George Frideric Handel “Hallelujah Chorus” from Messiah

60 CharlestonSymphony.org

INTERMISSION

Robert Wendel “Overture to a Merry Christmas” from Classical Christmas Suite

John Frederick Coots and Haven Gillespie, arr. Bill Holcombe Santa Claus Is Coming To Town

Irving Berlin, arr. Carmen Dragon White Christmas

James Stephenson A Charleston Christmas

Leroy Anderson Sleigh Ride

Traditional carol, arr. John Rutter 12 Days of Christmas

Traditional carols, arr. David Willcocks “The First Noel” and “Hark! The Herald Angels Sing” from Five Christmas Carols

CharlestonSymphony.org 61 ABOUT THE ARTISTS Pops Gracie and Lacy, ailed “one of the most celebrated teams” in the Lowcountry (Lowcountry Today) sisters Gracie & Lacy preserve the rich Hhistory, music and dance of the Golden Age of Hollywood through live performance. Their work has garnered recognition from composer Marvin Hamlisch and they have been honored with a Missouri Senatorial Resolution for their leadership in the arts. Known for their unusual backstory, their childhood “Broadway on the Driveway” shows began to draw hundreds, catching the attention of the local law enforcement! Taking the show on the road, they have become a highly sought after act for two decades, delivering powerhouse vocals, smooth-as-butter harmonies, comedy, and tap dancing in drop-dead-gorgeous costuming. From sold-out to staging-room-only in venues from New York to Chicago, Washington D. C. to Orlando, Gracie & Lacy continue to prove that CLASSIC never goes out of style!

Pops Sing A Long Hark! The Herald Angels Sing 1. Hark! The herald angels sing, Holiday Pops “Glory to the newborn King; The First Noel Peace on earth, and mercy mild, God and sinners reconciled!” 1. The First Noel, the Angels did say Joyful, all ye nations rise, Was to certain poor shepherds in fields as they lay Join the triumph of the skies; In fields where they lay keeping their sheep With th’angelic host proclaim, On a cold winter’s night that was so deep. “Christ is born in Bethlehem!” Noel, Noel, Noel, Noel Born is the King of Israel! Hark! the herald angels sing ”Glory to the new born King!” 4. This star drew nigh to the northwest O’er Bethlehem it took its rest 2. Christ, by highest Heav’n adored; And there it did both Pause and stay Christ the everlasting Lord; Right o’er the place where Jesus lay. Late in time, behold Him come, Noel, Noel, Noel, Noel Offspring of a virgin’s womb. Born is the King of Israel! Veiled in flesh the Godhead see; Hail th’incarnate Deity, 6. Then let us all with one accord Pleased with us in flesh to dwell, Sing praises to our heavenly Lord Jesus our Emmanuel. That hath made Heaven and earth of nought And with his blood mankind has bought. Hark! the herald angels… Noel, Noel, Noel, Noel Born is the King of Israel! 3. Hail the heav’nly Prince of Peace! Hail the Sun of Righteousness! Light and life to all He brings, Ris’n with healing in His wings. Mild He lays His glory by, Born that man no more may die. Born to raise the sons of earth, Born to give them second birth.

Hark! the herald angels…

HOW YOU CAN HELP THE CSO

“PHILANTHROPY LIES You are instrumental to our success! Did you know that ticket sales cover less than AT THE HEART OF 50% of the CSO’s annual operating expenses? As a 501(c)(3) nonprofit organization, we rely HUMAN GREATNESS.” on the generosity of our patrons to bridge —PATRICK J. RYAN that gap every year. You can play your part for the CSO by making a tax-deductible donation to help us achieve our mission of inspiring and engaging the community with exceptional musical performances and educational programs. A gift of any size makes a difference! WAYS TO GIVE Online: www.charlestonsymphony.org Check: Payable to Charleston Symphony Orchestra Mailing address: P.O. Box 30818, Charleston, SC 29417 Stock: Contact South State Investment Services at 843.566.3975 CSO Account Number: 5082-2715 | DTC Number: 0075 Required Minimum Distribution (RMD): Are you over the age of 70½? We hope you will consider making a tax-free gift to the CSO from your IRA account. A donation to the CSO counts as an RMD but does not increase your adjusted gross income. The CSO's Tax ID number is 57-6000192. COMPOSE YOUR LEGACY WITH PLANNED GIVING Ensure the gift of music remains accessible for future generations by including the Charleston Symphony in your estate plans. Leave a gift of cash or securities to the CSO in your will. Designate the CSO as a beneficiary of your retirement fund, life insurance policy, annuity, and more.

Opportunities to join the Legacy Society are endless—and you can eliminate significant tax-saving benefits as well!

Please visit our website or call our Development Office at (843) 723-7528 x 115 for more information.

64 CharlestonSymphony.org MEMBERSHIP BENEFITS 2019-2020 With appreciation for your annual support, the following special benefits and events are designed to enhance your connection with the CSO:

COMPOSER’S CLUB Bach Level Member ($100-$249) Subscription to E-Notes, the CSO’s digital newsletter for supporters Mozart Level Member ($250-$499) benefits above, plus: Donor recognition online and in the Annual Report Special invitation to CSOL Coffees with the Maestro Beethoven Level Member ($500-$999) benefits above, plus: Season-long recognition in Bravo Invitation to one working orchestra rehearsal Chopin Level Member ($1,000-$1,999) benefits above, plus: Invitation to the CSO’s Annual Meeting Invitation to two working orchestra rehearsals

SYMPHONY SOCIETY ($2,000-$4,999) benefits above, plus: Complimentary parking in the Charleston Gaillard garage Invitation to private donor receptions and special events throughout the concert season

MUSICIAN’S CIRCLE ($5,000-$9,999) benefits above, plus: Opportunity to sponsor a Guest Musician Chair Opportunity to sponsor a select “Overture” as part of a Masterworks performance Invitation to the Musician Donor Luncheon Invitation to sit on stage during open rehearsal events Invitation to Meet the Musicians receptions Reserved seating at the Sunset Serenade concert

ARTIST’S CIRCLE ($10,000-$14,999) benefits above, plus: Opportunity to sponsor a CSO Section Core Musician Opportunity to sponsor a featured Soloist/Guest Artist or a “Concerto” as part of a Masterworks performance Exclusive parking opportunities for one vehicle in the George Street lot Reserved seating for Chamber Music and Messiah performances

PRINCIPAL’S CIRCLE ($15,000-$24,999) benefits above, plus: Opportunity to sponsor a CSO Principal Musician Opportunity to sponsor a “Symphony” as part of a Masterworks performance

MAESTRO’S CIRCLE ($25,000+) benefits above, plus: Gifts at this leadership level demonstrate a tremendous dedication to the Charleston Symphony. To discuss benefits and personalized experiences that come with this level of commitment, please contact the Development office at 843.723.7528 ext. 115.

CharlestonSymphony.org 65 DONORS

MAESTRO’S CIRCLE ($50,000+) ARTIST’S CIRCLE ($10,000-$14,999) Gail and David Corvette Nicholas and Eileen D’Agostino, Jr. With special gratitude: Mrs. Sharon Balderson Daniel Island Community Fund Charleston Symphony Orchestra Ilse Calcagno Mary and John Degnan League, Inc. Barbara Chapman Keith and Susanne Emge City of Charleston Coastal Community Foundation Jerry H. Evans and Stephen T. Bajjaly Herzman-Fishman Charitable Fund Open Grants Dr. and Mrs. Frederick J. Goulding and Carol H. Fishman County of Charleston Rajan and Suman Govindan Speedwell Foundation Maryileen and Charlie Cumbaa Judith Green and Dr. Michael Fritz Kite Foundation Fund/ Dominion Energy Richard and Ann Gridley Nancye B. Starnes Dr. Jeffery and Mrs. Tammy Dorociak Tracy and Billy Grooms Mr. Ronald H. Fielding and Dr. William D. Gudger MAESTRO’S CIRCLE ($25,000-$49,999) Ms. Susan Lobell Henry & Sylvia Yaschik Gray Charitable Trust Foundation, Inc. Anonymous (2) Cindy and George Hartley John T. and Elizabeth K. Cahill Mr. and Mrs. Raymond D. Houlihan Clyde and Jill Hiers Ms. Katherine M. Huger Fund of Coastal Community Lee and Ann Higdon Foundation of SC Ilderton Contractors Robert and Catherine Hill Sue and Ken Ingram Mr. and Mrs. Mark Gernand Paul and Becky Hilstad Ted and Joan Halkyard Dr. Eddie Irions Henry and Ann Hurd Fralix Mrs. Gail Kahn Martha Rivers Ingram Advised Fund Dr. and Mrs. Mariano F. La Via of The Community Foundation of William and Corinne Khouri Mr. and Mrs. Edward E. Legasey Elizabeth Rivers Lewine Middle Tennessee Mrs. Phyllis Miller Peter R. & Cynthia K. Kellogg Endowment of Coastal Barbara and Michael Moody Community Foundation of SC Foundation Larry and Eilene Nunnery The Kennedy-Herterich Foundation Dr. and Mrs. Fritz Lorscheider Anne P. Olsen Mrs. Katherine Maybank Morgan and Lauren Herterich Mr. and Mrs. G. Richard Query and Dieter and Karyn Jon Olson and Anne Regan Michael Griffith and Donna Reyburn Ellen and Mayo Read Kennedy Herterich David Savard and Helen Savard Robert Bosch Corporation Paul and Mary Jane Roberts Helen and Robert Siedell Claire and Joseph Schady South Carolina Arts Commission Roger and Vivian Steel Storey Foundation Thomas and Alison Schneider Mr. M. Edward Sellers and MUSICIAN’S CIRCLE ($5,000-$9,999) PRINCIPAL’S CIRCLE ($15,000-$24,999) Dr. Suzan D. Boyd Anonymous (2) Ike and Betsy Smith Claire and James Allen Mary Jo and Fred Armbrust Mrs. Merinda Smith Family Foundation Tricia and Tom Bliss South State Bank Dr. Cynthia Cleland Austin Dr. Ivy Broder and Susan W. and James V. Sullivan BlueCross BlueShield of Dr. John F. Morrall III Albert and Caroline Thibault South Carolina Frank and Kathy Cassidy Ms. Ann Wessel Dr. and Mrs. William T. Creasman Mr. and Mrs. Wayland H. Cato, Jr. Dr. Miriam DeAntonio Lucia Childs SYMPHONY SOCIETY ($2,000-$4,999) Macdonald Carew Family Fund Dr. James L. and Judy E. Chitwood – Gerald and Gretchen Tanenbaum Dr. and Mrs. Baker Allen Chitwood Family Fund Mr. and Mrs. Brady and Mrs. Andrea Volpe Eliza Chrystie Mr. Alan Watkins Betty Anderson L. John and Judy Clark Mr. Ivan V. Anderson and Colbert Family Fund of Coastal Dr. Renee Dobbins Anderson Community Foundation of SC Dr. Charles A. Andrus

66 CharlestonSymphony.org THE CHARLESTON SYMPHONY gratefully acknowledges supporters from the following individual, corporate, foundation, and government entities for their commitment to moving the mission of the CSO forward. Listed below are gifts received between July 1, 2018 and June 30, 2019.

Dr. Bobby and Julie Baker Mrs. Patricia Mesel Sharon Fratepietro and Charles and Sharon Barnett Bill and Sheila Prezzano Herb Silverman Jodi Rush and Jon Baumgarten Dr. and Mrs. A. Bert Pruitt Richard J. Friedman, M.D. and The Bihun Family Foundation Publix Super Markets Charities Sandra Brett Henry M. Blackmer Foundation, Inc. Mr. and Mrs. William J. Raver Dr. Robert Gant Mr. and Mrs. Thomas W. Boswell Mr. and Mrs. Donald S. Reid John and Pamela Gerstmayr William and Mary Buckley Foundation Robert S. and Sylvia K. Reitman Arthur and Betty Glenn Mr. and Mrs. T. G. Burke Family Foundation Rick Goldmeyer Jean F. Carlton Royall Ace Hardware, Inc. Fran Griffiths Dr. Malcolm C. Clark Nancy N. Rudy Dick and Eleanor Hale Sally and Colin Cuskley Gretchen and Fritz Saenger Joseph and Elaine Heckelman Ellen and Tommy Davis Ms. Mindelle Seltzer and Mr. and Mrs. Peter Hempstead Mrs. Clementina Edwards Dr. Robert Lovinger Paul and Joanne Hennessy Nancy and Ralph Edwards Enoch and Annette Sherman Abby and Frederick T. Himmelein Julie and John Fenimore Mr. and Mrs. Michael Sommer Bill and Ruth Hindman William and Prudence Finn Byron Stahl Sherry and Kenneth Hirsch Charitable Trust Elizabeth and Charles Sullivan Dr. and Mrs. Joseph M. Jenrette, III Richard and Neva Gadsden Synovus David Jump Joe and Sylvia Gamboa Marilyn and George Taylor Kiawah Seabrook Exchange Club Gaylord and Dorothy Donnelley Foster and Betty Thalheimer Anne and Cisco Lindsey Foundation The Mark Elliott Motley Foundation The Jack and Joanne Martin Kathy and Pete Gaynor Mr. and Mrs. D. Sykes Wilford Charitable Foundation Joyce and Gerry Gherlein Drs. Deborah Williamson and Gene and Susan Massamillo David and Patricia Hannemann David Garr David and Louise Maybank Charles and Celia Hansult Christine and Richard Yriart Mr. Ralph Mills Mr. James C. Hare, Jr. Mr. and Mrs. Stephen Ziff Dr. Martina Mueller The James and Pamela Hentges Margalit and Gary Neiman Charitable Fund Chopin Level Members ($1,000-$1,999) Loretta "Dolly" Nethercot Nelson Hicks Mr. and Mrs. Howard Phipps, Jr. Bob and Marcia Hider Jill and Richard Almeida Ms. Pamela Pollitt Katherine Kelsey Lou and Karen Attanasi James and Kathleen Ramich Bettie and Jim Keyes Anonymous (2) Family Fund Dr. Michael S. Kogan Mrs. Nella G. Barkley Elizabeth and James Ravenel Mr. and Mrs. Karl Kuester Kenneth and Lori Bate Mark Reinhardt Mrs. Joan S. Ladd Anne and Philip Bergan Mr. and Mrs. William R. Mr. and Mrs. Michael Laughlin Mr. and Mrs. R. Jeffrey Bixler Richardson, Jr. Susan and Bob Leggett The Boatwright Family Mr. John M. Rivers, Jr. Mr. and Mrs. Fulton D. Lewis Charitable Fund of National Ms. Kathleen H. Rivers Richard and Lasca Lilly Christian Foundation Alesia and Scott Ross John H. Longmaid and Ruth Monsell Dr. and Mrs. H. Fred Butehorn, Jr. Mr. Robert M. Schlau Janine Luke Mr. and Mrs. James A. Cathcart, III Bill and Gloria Seaborn Cynthia S. and James C. Mabry Dr. Harry and Mrs. Jennifer Clarke Elaine and Bill Simpson Lyn Magee and Ron Schildge Coastal Wealth Management Mrs. Maurice Thompson Dr. and Mrs. Michael Maginnis Joseph R. Cockrell, MD Gregory Van Schaack Capt. and Mrs. Nat Malcolm Dr. and Mrs. Haskell S. Ellison Mr. and Mrs. John H. Warren, III Profs. Bill and Carolyn Matalene Joanne and Christopher Eustis Mary Ellen and Charles S. Way Mr. and Mrs. David H. Maybank, Jr. Exchange Club of Charleston Jack and Cathy McWhorter The Francis Marion Hotel

CharlestonSymphony.org 67 DONORS CONT’D

Beethoven Level Members ($500-$999) Gail and Tim Hughes Mr. and Mrs. Clark L. Remsburg Dr. John Jasina and Dr. Eunjung Choi Harriet Ripinsky Dr. Sy Baron and Gloria Adelson Riley Rogers Kash Mr. and Mrs. Claron A. Robertson Mr. and Mrs. James P. Anderson Mr. and Mrs. Michael Kirk Alesia and Scott Ross Anonymous (2) Mr. Michael and Mr. and Mrs. James Rovito Susan Parsons and Angus Baker Dr. Dianne Kochamba Mr. and Mrs. Robert K. Schafer Mr. and Mrs. Frank L. Barkley, Jr. John and Shea Kuhn Bill and Ruth Schwartz Dr. and Mrs. William Y. Buchanan Dr. Edmund LeRoy Mr. and Mrs. Stephen Schwartz Dr. and Mrs. G. Stephen Buck Charles and Joan Lipuma Mr. and Mrs. Kenneth Seeger James and Barbara Buckley Mr. George J. Pothering and Herk and Sherry Sims Paul and Polly Cathcart Ms. Maria V. Lundell Mr. and Mrs. George W. Smyth, Jr. Richard Clapp Ms. Lane Howell MacAvoy Duane and Lee Spong Margaret Comfort Mr. and Mrs. Emory Main Thomas and Jane Steele Michael and Sally Connelly Dr. and Mrs. John C. Maize Tim and Mary Strand Jill Davidge Cathy Marino Mr. and Mrs. Harold Talbot Gary and Susan DiCamillo Gary and Donna Mastrandrea Lavinia M. Thaxton Dr. Carol Drowota Mr. Tony Mazurkiewicz Drs. Terri Thomas and Alex Kent Eaton Corporation Mr. and Mrs. Thomas McDermott Anne and Ken Tidwell Mrs. Virginia Ennis Mary Anne Michael Ann and Peter Trees Mr. and Mrs. Fair Susan and Larry Middaugh Mr. and Mrs. Martin J. Vincentsen The Fink Family Dr. and Mrs. Terence N. Moore Gero and Linda vonGrotthuss Jaimie and Bill Flack Helen and Gerd D. Mueller John and Cecily Ward Paula and Eugene Freed Helen and Donald Muglia Ms. Jane Waring Sallie and Stephen Fuerth Patrick and Agnes Murphy Betty and Leo Weber Jane and Jack Gelston Virgil and Pam Niesslein Constance West Mr. and Mrs. Cliff Genatt Anthony R. Oglietti Mr. Joseph L. Wright, Jr. Veronica D. and Peter B. Goodrich Mr. and Mrs. Bob Omahne Dr. and Mrs. Arnie Zaks Mrs. Faye F. Griffin Owen/McClinton Family Fund Jodie-Beth Galos and Joanne Hawkins Dr. and Mrs. Leonard L. Peters Michael Zwerling Aileen Hedrick Ms. Eloise Pingry Richard and Nancy Heiss Foundation Ms. Helen Powell Kandace and William Higley Dr. Harold J. Quinn Mr. and Mrs. Edward C. Holscher, Jr. Robert and Judith Rainear

68 CharlestonSymphony.org IN HONOR / IN MEMORY

IN HONOR IN MEMORY Yuriy Becker Sheila Christie Judith Green and Dr. Michael Fritz Dr. James L. and Judy E. Chitwood – Marilyn Hoffman Chitwood Family Fund Harold Talbot Septima Poinsette Clark Mark Edwards Elizabeth Poinsette-Fisher Gwen Greenwalt Dr. Hal and Jo Fallon Jerry Evans Charleston Restorative and Daniel Brownstein Cosmetic Dentistry, LLC Dr. James L. and Judy E. Chitwood – Carol Fishman Chitwood Family Fund Dr. Sy Baron and Gloria Adelson Robert and Catherine Hill Dr. and Mrs. Fritz Lorscheider Reverend Deane Kemper Harbor View Presbyterian Church John F. Maybank David H. Maybank Mariano and June La Via Mrs. Katherine Maybank Joseph R. Cockrell, MD Mr. John M. Rivers, Jr. Preston Lee Dorothy Irene Carson Rhett Sandra Lee Rev. Dr. William P. Rhett, Jr. Elizabeth Rivers Lewine Linda Ripinksy Martha Rivers Ingram Advised Fund of Harriet Ripinsky Community Foundation of Middle Tennessee Ann Rudick Drs. Paul and Mary Jane Roberts Mr. and Mrs. Alfred L. Malabre, Jr. Bryan Smalley Edward Heriot Sparkman Gordon Strauss Marcia and Raul Farroch Sam and Judi Deturo Julia Lamson-Scribner John H. Warren III Esq. Mr. Robert L. Pratt Henry M. Blackmer Foundation, Inc. Mr. and Mrs. Claron A. Robertson

Johnny Warren Dr. Samuel Dwane Thomas Weesie and Tradd Newton Alan Watkins

Christopher, Julia and Layla Mary Finnegan Cabezas

CharlestonSymphony.org 69 SPECIAL RECORDING PROJECT

he Charleston Symphony is excited to announce a special project that will showcase the orchestra’s artistic excellence, both locally and abroad. This season the CSO will be recording two works written by TCharleston composer, Edward Hart; Under an Indigo Sky, a violin concerto featuring Yuriy Bekker, and a newly-commissioned world-premiere, A Charleston Concerto for String Quartet and Orchestra, featuring the renowned Shanghai Quartet.

These works will be recorded live during the Masterworks season premiere and finale weekends, with additional patch sessions scheduled around the performances. We are thrilled to have the unique opportunity to produce a commercial recording of music celebrating Charleston, especially during it’s 350th anniversary year, that will be available for future world-wide release.

We believe that this project will serve to significantly elevate the reputation of the Charleston Symphony beyond the Lowcountry.

With appreciation to the following supporters who, as of July 1, 2019, have supported this initiative to make the project a reality:

Anonymous Ken and Sue Ingram Patricia Ann Abraham John and Shea Kuhn Brady and Betty Anderson June and Mariano La Via Jon Baumgarten and Jodi Rush Elizabeth Rivers Lewine James L. and Judy E. Chitwood Valerie and John Luther Anne and Will Cleveland Lenna Macdonald and Robert Carew Carol H. Fishman INDIGO BOOKS from Nat & Linda Malcolm Jaimie and Bill Flack Mrs. Katherine Maybank Jodie-Beth Galos and Michael Zwerling Phyllis P. Miller Rajan and Suman Govindan Kathleen J. Reid Cindy and George Hartley Sylvia and Bob Reitman Lee and Ann Higdon David Savard Robert and Catherine Hill Helen and Robert Siedell Paul and Becky Hilstad Susan W. and James V. Sullivan Marilyn Hoffman Gerald and Gretchen Tanenbaum

We are extremely grateful to those who have contributed so far. As of July 1, 2019, we are about halfway to our goal of raising $60,000. If you are interested in making a special one-time gift to be part of this exciting initiative, please contact Alana Morrall at 843-723-7528 ext. 115 or [email protected]. Benefits include recognition as a sponsor on the CD booklet, an invitation to the CD Release Party, special events, receptions with the artists, and more.

Visit our website www.charlestonsymphony.org to learn more.

70 CharlestonSymphony.org BRING THE CHARLESTON SYMPHONY INTO YOUR HOME — LITERALLY! Join the many members of the Charleston Symphony family who already provide housing for visiting guest musicians.

Get to know some of the wonderful musicians who travel to Charleston to bring you great music, and at the same time have a direct impact on the quality of the music-making on-stage!

Host only when it is convenient for you, and all you need to provide is a private room. We are looking for hosts (or unused vacation rental property, we will pay any fees) in all areas of greater Charleston.

For more information on this program, contact: Tom Joyce, Personnel Manager [email protected] 843-469-4274 cell

CharlestonSymphony.org 71 GUEST MUSICIAN HOSTS & IN-KIND GIFTS GUEST MUSICIAN HOSTS J. Kirkland Grant Dr. and Mrs. Basil Papaharis Tracy and Billy Grooms Dr. Vincent and Rev. Nancy Pellegrini Bill & Susan Anonie Bob Habig Joyce and Paul Perocchi Ann Beauchamp Edith Haman Helen C. Powell Jenny and Yuriy Bekker Zac Hammond Lorraine Perry and Ford Reese Ledlie Bell Celia and Chuck Hansult Claudia Porter and Stuart Hotchkiss Anne and Andrew Benbow Ellen and Ed Harley Donna Reyburn and Michael Griffith Linda Bergman Jo and Ray Hauck Faith and Herb Russell Mr. and Mrs. J. Sidney Boone, Jr. Louise Heikes and Roy Liebman Bill and Amy Sage Mr. and Mrs. Thomas W. Boswell Eric and Margaret Herzlich Barbara Sanders Bowers Family Ron and Linda Hicks Beth and Mitchell Sherr Sharon and Nigel Bowers Becky and Paul Hilstad Fran and Jeff Sills Tom Bradford and Susan Bass Abby and Fred Himmelein Helen Snow Doug and Verna Bunao-Weeks Frances Hsieh and Katherine and Michael St. John Dr. and Mrs. Phil Buscemi Richard Krenmayer Carol Spitznas Mary Bridget Cabezas Connie and Lowry Hughes Nancy Eaton Stedman Jean Carlton Rochelle and Andy Iserson Roger and Vivian Steel Judy and Bill Casey Glenn and Judy Jackson Dianna Stern Stuart and Susan Chagrin Marijayne Jensvold Char and Cece Stricklin Joan and Richard Chardkoff Colin Johnson Deborah A. Swan Lydia Chernicoff and Jaan Rannik Kurt and Vicki Johnson Mr. and Mrs. Gerald S. Tanenbaum L. John and Judy Clark Christina Jones and Sam Lynah Albert and Caroline Thibault Anne Cline Jan-Marie and Tom Joyce Jim and Carol Thiesing Judy Collins Michael and Joy Ellen Kauffman Laurie and Frank Thigpen Ann and Paul Comer Cheryl and Jerry Kaynard Ms. Kathleen Tresnak and Carol M Conklin Sally and Tim Key Mr. William Reehl Jeanne Anne Coplestone Kari Kistler Richard and Martha Ulmer Ms. Carolyne Cox James and Heide Klein Meta Van Sickle Bill and Erble Creasman Marlene and Bruce Koedding Jenny and Ben Weiss April and Terry Cullen Asako and Damian Kremer Ann Wessel Nancy and Steven Cunningham Peggy and Franklin LaBelle Mr. and Mrs. D Sykes Wilford Allen Curry June and Mariano La Via Jim and Debby Willis Jill Rabon Davidge Liz and Phil Leffel The Winther Family Giulio and Donatella Della Porta Susan and Bob Leggett Regina and Dr. Jeffrey Yost Dr. Jeffery and Mrs. Tammy Dorociak Ms. Linda Leonard Julie and Stephen Ziff Ms. Karen Durand Penelope Leighton and Ms. Mary Zimerle Tacy and Darrell Edwards John Hurshman Mr. and Mrs. Roger Embry Courtenay and Norbert Lewandowski In-Kind Gift Donors: Andrew Emmett Chris Licata and Jennifer Blevins Susan Fasola Rachel Ruth Lindsay Belva’s Flower Shop Gail and Evan Firestone Dr. and Mrs. Michael Maginnis Carnegie Hall Mitsuko Flynn and Daniel Mumm Marjorie T. McManus Charleston County School of the Arts Kate Fortney and Heschel Falek Georgia H. Meagher Charleston Southern University Ann Hurd Fralix Janice and Jay Messeroff College of Charleston Joe and Sylvia Gamboa Susan and Charles Messersmith Fox Music House Rachel and Micah Gangwer Ed and Clare Meyer Gibbes Museum of Art Jackie and Sam Gawthrop Wayne and Anna Mickiewicz Greek Orthodox Church Bob and Ornella Gebhardt Elizabeth Murphy of the Holy Trinity Jenny and Jack Gelston Terri and Bob Musor James Island Cleaners Pam and John Gerstmayr Anne Nietert John Wesley Methodist Church Suman and Rajan Govindan Barbara and Tom Pace St. Philip’s Church

72 CharlestonSymphony.org