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Marin Alsop, Music Director<br />
<strong>September</strong>–<strong>October</strong> <strong>2013</strong><br />
A magazine for <strong>the</strong> patrons <strong>of</strong> <strong>the</strong> Baltimore Symphony Orchestra<br />
The<br />
Harmony<br />
Benjamin Britten’s stirring<br />
War Requiem is<br />
part <strong>of</strong> <strong>the</strong> season’s <strong>the</strong>me <strong>of</strong><br />
music written for healing.<br />
H PE<br />
Jean-Yves Thibaudet<br />
challenges<br />
classical music<br />
stereotypes<br />
Rheda Becker:<br />
Pay attention<br />
to <strong>the</strong> woman<br />
behind <strong>the</strong> curtain<br />
C. Fraser Smith<br />
on Scheherazade<br />
and transcendent<br />
moments
“<br />
Being a musician<br />
is like being an<br />
elite athlete...<br />
You eat, brea<strong>the</strong>,<br />
and sleep music.”<br />
Madeline Adkins, Associate Concertmaster<br />
Read Madeline Adkins’ story at<br />
BSOmusic.org/MadelineAdkins
contents<br />
Departments<br />
2) Letter from <strong>the</strong> President & CEO<br />
4) In Tempo: News Of Note<br />
6) BSO Live: Calendar <strong>of</strong> Events<br />
12) Orchestra Roster<br />
37) Donors List<br />
44) Impromptu: Rheda Becker,<br />
BSO Narrator<br />
Program Notes<br />
13) Scheherazade<br />
& 1812 <strong>Overture</strong><br />
<strong>September</strong> 20 & 22<br />
10<br />
{Hope Eternal.<br />
Benjamin Britten’s War Requiem was<br />
composed for St. Michael’s Ca<strong>the</strong>dral<br />
in Coventry, England, which was<br />
bombed by <strong>the</strong> Germans in 1940.<br />
18) Thibaudet Plays Bernstein<br />
<strong>September</strong> 27 & 28<br />
22) The Streisand Songbook<br />
<strong>October</strong> 11, 12 & 13<br />
6<br />
44<br />
24) Romantic Tchaikovsky<br />
<strong>October</strong> 18 & 20<br />
30) Brahms’ Third Symphony<br />
<strong>October</strong> 25 & 26<br />
Features<br />
8) One on One:<br />
Jean-Yves Thibaudet<br />
by Christianna McCausland<br />
The award-winning pianist talks about fashion, films<br />
and his quest to find <strong>the</strong> perfect beach.<br />
10) Harmony <strong>of</strong> Hope<br />
by Martha Thomas<br />
Benjamin Britten’s stirring War Requiem is part <strong>of</strong> this season’s<br />
<strong>the</strong>me <strong>of</strong> music written for healing.<br />
On <strong>the</strong> Cover<br />
John Britten’s Waters piece is comes performed to <strong>the</strong> by Meyerh<strong>of</strong>f. <strong>the</strong> BSO Nov. 14–15<br />
Photography mark <strong>the</strong> anniversary by Cory Donovan. <strong>of</strong> <strong>the</strong> Coventry Make-up by bombing Rachel and Hirsch. <strong>the</strong><br />
Hair centennial by Vanessa <strong>of</strong> <strong>the</strong> Moser. composer’s birth.<br />
Be Green: Recycle Your Program!<br />
Please return your gently used program to <strong>the</strong> <strong>Overture</strong> racks<br />
in <strong>the</strong> lobby. Want to keep reading at home? Please do!<br />
Just remember to recycle it when you’re through.<br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 1
overture<br />
The Baltimore<br />
Symphony Orchestra<br />
2012–<strong>2013</strong> Season<br />
410.783.8000<br />
BSOmusic.org<br />
The Baltimore<br />
SyMphony ORchestra<br />
Marin Alsop<br />
Music Director<br />
Kenneth W. DeFontes, Jr.<br />
Chairman<br />
Paul Meecham<br />
President & CEO<br />
Eileen Andrews<br />
Vice President, Marketing<br />
& Communications<br />
Alyssa Porambo<br />
Public Relations &<br />
Publications Coordinator<br />
Janet E. Bedell<br />
Program Annotator<br />
Baltimore magazine<br />
Design and Print Division<br />
Director<br />
Ken Iglehart<br />
Art Director<br />
Vicki Dodson<br />
Senior Graphic Artist<br />
Michael Tranquillo<br />
Contributing Writers<br />
Laura Farmer<br />
Christianna McCausland<br />
Martha Thomas<br />
Research<br />
Rebecca Kirkman<br />
Advertising<br />
Account Representatives<br />
Lynn Talbert<br />
ltalbert58@gmail.com<br />
443.974.6892<br />
Julie Wittelsberger<br />
gazellegrp@comcast.net<br />
443.275.2687<br />
Baltimore magazine<br />
Design and Print Division<br />
1000 Lancaster Street, Suite 400<br />
Baltimore, MD 21202<br />
410 . 752. 4200<br />
{ From <strong>the</strong> President<br />
Welcome<br />
As always, it’s my great pleasure to welcome you to <strong>the</strong> start <strong>of</strong> ano<strong>the</strong>r exciting BSO season.<br />
You’ll forgive me if I wax nostalgic for a moment … I still remember vividly <strong>the</strong> opening <strong>of</strong><br />
Marin Alsop’s inaugural season in 2007. The Hall was packed with patrons and buzzing with<br />
media. The electricity in <strong>the</strong> air was palpable as <strong>the</strong> first female music director <strong>of</strong> a major American<br />
orchestra took <strong>the</strong> podium and led <strong>the</strong> BSO<br />
Such a commitment<br />
lends great<br />
stability to <strong>the</strong><br />
BSO as we approach<br />
our centennial<br />
celebrations in 2016<br />
musicians in a riveting performance <strong>of</strong> Mahler’s<br />
Fifth Symphony.<br />
Fast-forward to <strong>2013</strong> as we begin Maestra<br />
Alsop’s seventh season as music director, which<br />
she opens with characteristic flair with a new<br />
saxophone concerto by <strong>the</strong> most-performed<br />
American composer, John Adams. As we have<br />
discovered, Marin Alsop’s inspiring leadership<br />
from <strong>the</strong> podium is matched by her passion to<br />
engage and invigorate our community through music. These multi-faceted qualities are rare<br />
and <strong>the</strong> BSO is fortunate to have secured her continued leadership through <strong>the</strong><br />
2020–2021 season. Such a commitment lends great stability to <strong>the</strong> BSO as<br />
we approach our centennial celebrations in 2016 and beyond, and enables<br />
Marin Alsop to continue to shepherd <strong>the</strong> innovative landmark programs<br />
launched during her tenure, including OrchKids and <strong>the</strong> BSO Academy.<br />
And with Maestra Alsop at <strong>the</strong> helm, you can also expect more inspiring<br />
programming, such as Benjamin Britten’s pr<strong>of</strong>ound War Requiem, which<br />
<strong>the</strong> BSO will perform this November. You can read more about this<br />
stirring work on page 10 <strong>of</strong> this <strong>issue</strong>.<br />
Finally, I want to encourage you to support one or more <strong>of</strong> <strong>the</strong><br />
runners participating in <strong>the</strong> BOLT for <strong>the</strong> BSO run (or walk!)<br />
in <strong>the</strong> Baltimore Running Festival on <strong>October</strong> 12. You can<br />
visit BSOmusic.org/BOLT and make a donation to<br />
support your favorite BSO runner and its programs.<br />
We have so much to celebrate as we begin ano<strong>the</strong>r<br />
season. I look forward to seeing you at <strong>the</strong> Meyerh<strong>of</strong>f!<br />
Paul Meecham<br />
President and CEO, Baltimore Symphony Orchestra<br />
Life is Better with Music.<br />
The BSO is actively redefining <strong>the</strong> role <strong>of</strong> an orchestra<br />
in <strong>the</strong> 21 st century, with an increased focus on access<br />
and relevance in <strong>the</strong> community. Your support is vital to<br />
<strong>the</strong> BSO’s continued progress. For more information on<br />
how to support <strong>the</strong> music that builds communities and<br />
transforms lives, please contact our membership <strong>of</strong>fice.<br />
410.783.8124 BSOmusic.org/donate<br />
Dean Alexander<br />
2 <strong>Overture</strong> | www.bsomusic.org
Art by renowned illustrator Alex nabaum.<br />
REnOwnEd INSIGHT<br />
Our innovative thinking is grounded in a century <strong>of</strong> experience. which is why families, corporations, and institutions<br />
turn to us with <strong>the</strong>ir most complex wealth and financial matters. For access to <strong>the</strong> highest caliber people in <strong>the</strong><br />
business, call Kevin Burke at 410-244-4900, email kevin.burke@wilmingtontrust.com, or visit wilmingtontrust.com.<br />
WEALTH ADVISORY | INVESTMENT MANAGEMENT | GLOBAL CAPITAL MARKETS | RETIREMENT PLAN SERVICES<br />
©<strong>2013</strong> Wilmington Trust Corporation. An M&T Company.
{<br />
in<br />
t e m p o<br />
news <strong>of</strong> note<br />
{In <strong>the</strong> Spir it}<br />
On Scheherazade and o<strong>the</strong>r transcendent moments<br />
C. Fraser Smith<br />
WYPR-FM<br />
One night several years ago, sitting in Row D, Seat 103 at<br />
<strong>the</strong> Joseph Meyerh<strong>of</strong>f Symphony Hall, I heard Scheherazade<br />
for <strong>the</strong> first time.<br />
Actually, I had heard <strong>the</strong> piece many times. But for some<br />
reason on this night I heard <strong>the</strong> melodies with every sensory<br />
portal open, every emotional receptor embracing <strong>the</strong> sound.<br />
If it wasn’t <strong>the</strong> music <strong>of</strong> <strong>the</strong> spheres, it was as close as I may<br />
get to that experience in this life.<br />
And <strong>the</strong>re was more to <strong>the</strong> moment.<br />
It led to some not so magical thinking: Music like this could<br />
be an antidote to meanness and ill feeling—even violence.<br />
A big leap? Maybe, but isn’t this idea at <strong>the</strong> heart <strong>of</strong> <strong>the</strong> hopedfor<br />
connection between <strong>the</strong> arts and real life? We believe in this<br />
connection. We believe that music and painting and sculpture<br />
and literature improve <strong>the</strong> quality <strong>of</strong> life. We have to imagine<br />
we are making <strong>the</strong> world safe for <strong>the</strong> next Rimsky-Korsakov or<br />
Debussy or a Jay-Z or Piaf—or you and me?<br />
So whatever thoughts may follow your transcendent moments<br />
<strong>of</strong> BSO listening, you may want to have <strong>the</strong>m as <strong>of</strong>ten as possible.<br />
It’s not a remote possibility when your orchestra is <strong>the</strong> BSO.<br />
I come with high expectations. I’m never disappointed. The<br />
quality—a reflection <strong>of</strong> pr<strong>of</strong>essionalism and love <strong>of</strong> music at<br />
least as high as mine—is <strong>the</strong> guarantee. Even if <strong>the</strong> program is<br />
not entirely to my liking, I love <strong>the</strong> idea <strong>of</strong> an orchestra willing<br />
to stretch and experiment. It’s that arts thing again: I may<br />
not love <strong>the</strong> “Man-Woman” statue in front <strong>of</strong> Baltimore’s Penn<br />
Station (actually I do like it), but I do love <strong>the</strong> idea that our city<br />
welcomes <strong>the</strong> artist’s vision.<br />
A year or so ago, I stood in <strong>the</strong> middle <strong>of</strong> <strong>the</strong> Meyerh<strong>of</strong>f<br />
for a rehearsal <strong>of</strong> <strong>the</strong> Orch-Kids Nation, now <strong>the</strong> an<strong>the</strong>m <strong>of</strong> this<br />
program’s very own ode to joy. Commissioned by Maestra<br />
Marin Alsop, that short piece is based on <strong>the</strong> testimony <strong>of</strong> <strong>the</strong><br />
kids <strong>the</strong>mselves. I was <strong>the</strong>re recording it for WYPR’s “The<br />
Signal.” A bonus for me, as it turns out: I have a CD to be played<br />
when <strong>the</strong> mood demands.<br />
In July, I heard Concertmaster Jonathan Carney and a<br />
Baroque-sized orchestra play two <strong>of</strong> Vivaldi’s Four Seasons,<br />
“Summer” and “Winter.” Carney led with his usual precision and<br />
flare. Ano<strong>the</strong>r all-time session for me.<br />
We are, <strong>of</strong> course, blessed here in Baltimore to have such<br />
quality players. They are <strong>the</strong> ones who give us moments <strong>of</strong><br />
incandescent brilliance. For 80 to 100 <strong>of</strong> us doing something<br />
so well and so uplifting is a phenomenon <strong>of</strong> human striving.<br />
It is <strong>the</strong> definition <strong>of</strong> symphony.<br />
Except for <strong>the</strong> brilliance, I have no idea why things come<br />
into alignment for me so on any given evening. You can’t know<br />
when that moment is coming for you.<br />
So you just have to be <strong>the</strong>re.<br />
C. Fraser Smith is senior news analyst for WYPR-FM. He is a member <strong>of</strong> <strong>the</strong> BSO’s Governing Members.<br />
4 <strong>Overture</strong> | www.bsomusic.org
{In History}<br />
On <strong>October</strong> 6, 1869, Johannes Brahms’ Liebeslieder Waltzes made its<br />
premiere in Karlsruhe, Germany. Hermann Levi conducted and Clara Schumann,<br />
wife <strong>of</strong> composer Robert Schumann, performed as <strong>the</strong> pianist.<br />
{In Step}<br />
Musicians, Staff and Fans<br />
alike, Bolt for <strong>the</strong> BSO!<br />
Bolt for <strong>the</strong> BSO is a running team that will represent <strong>the</strong> Baltimore<br />
Symphony Orchestra for <strong>the</strong> fourth year in a row at <strong>the</strong> Baltimore<br />
Running Festival on <strong>October</strong> 12. The team consists <strong>of</strong> musicians, supporters,<br />
staff members, and fans who will give <strong>the</strong> BSO a running start<br />
to <strong>the</strong> <strong>2013</strong>–2014 season. Funds raised from Bolt for <strong>the</strong> BSO contribute<br />
to <strong>the</strong> delivery <strong>of</strong> <strong>the</strong> BSO’s world-class artistry, affordable ticket pricing<br />
and immersive education and community programs for all ages.<br />
Pioneered by Cindy Renn, a BSO Governing Member, and <strong>the</strong> BSO’s development<br />
staff, last year’s Bolt team had 150 runners who raised more than $60,000, contributing<br />
to Bolt’s $125,000 fundraising total. This year, <strong>the</strong> team will be challenged to set <strong>the</strong>ir<br />
own fundraising goal with individual pledges from each participant. Much more than<br />
a fundraiser, Bolt has given fans <strong>the</strong> opportunity to engage with musicians and staff<br />
outside <strong>of</strong> <strong>the</strong> Meyerh<strong>of</strong>f, getting involved with <strong>the</strong> BSO on a personal level.<br />
Last year’s Bolt for <strong>the</strong> BSO events leading up to<br />
<strong>the</strong> race gave runners <strong>the</strong> chance to get to know<br />
<strong>the</strong> BSO’s musicians, as well as each o<strong>the</strong>r.<br />
The pinnacle <strong>of</strong> <strong>the</strong> team’s spirit was centralized<br />
at <strong>the</strong> tent in <strong>the</strong> celebration village on<br />
race day—all Bolt runners came toge<strong>the</strong>r as<br />
<strong>the</strong>y walked to <strong>the</strong> starting line and cheered<br />
each o<strong>the</strong>r on at <strong>the</strong> race’s end.<br />
How to Donate:<br />
Can’t make it to race day but still<br />
want to support Bolt? Go to<br />
www.Razoo.com/team/<br />
Bolt-For-The-Bso<strong>2013</strong><br />
to make a donation and see<br />
a full list <strong>of</strong> team members<br />
and musicians, or send a check<br />
to <strong>the</strong> BSO with “Bolt” written<br />
on <strong>the</strong> memo line.<br />
Contact Megan Beck<br />
at 410.783.8035 or<br />
mbeck@bsomusic.org with any<br />
questions or for more information.<br />
It's not too late to join <strong>the</strong> <strong>2013</strong> team!<br />
Races are available for all runner levels.<br />
Sign up at BSOmusic.org/bolt.<br />
{In Play}<br />
The Envelope,<br />
Please.<br />
Dariusz<br />
Skoraczewski<br />
BSO<br />
principal cellist<br />
For its fourth consecutive year, <strong>the</strong> Baker Artist Award celebrates<br />
Baltimore’s rich and diverse cultural achievements. Funded by <strong>the</strong> William J. Baker<br />
Jr. Memorial Fund, this $25,000 award is presented to three Baltimore artists and<br />
musicians who have proven <strong>the</strong>ir ability to stand out from <strong>the</strong> crowd.<br />
Among this year’s winners <strong>of</strong> <strong>the</strong> prize is Dariusz Skoraczewski, <strong>the</strong> BSO’s<br />
principal cellist, who has recently been working on a complete recording <strong>of</strong> <strong>the</strong><br />
Bach Cello Suites. Going against convention, Skoraczewski is self-recording,<br />
producing and editing <strong>the</strong>se suites in <strong>the</strong> basement <strong>of</strong> his own home, drawing on<br />
his self-taught expertise in audio production.<br />
Skoraczewski plans on using <strong>the</strong> funds to complete his recording <strong>of</strong> <strong>the</strong><br />
suites, while also treating himself to a new cello.<br />
Along with <strong>the</strong> monetary prize, winners are also featured on <strong>the</strong> Baker Artist<br />
Award website and in a special exhibition at <strong>the</strong> Baltimore Museum <strong>of</strong> Art.<br />
For more information on <strong>the</strong>se awards, visit bakerartistawards.org.<br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 5
BSOlive }<br />
upcoming key events<br />
November/December All concerts are held at <strong>the</strong> Joseph Meyerh<strong>of</strong>f Symphony Hall unless o<strong>the</strong>rwise noted.<br />
Ryan McKinny<br />
The Planets<br />
THU, NOV 7, <strong>2013</strong>, 8 pm<br />
SUN, NOV 10, <strong>2013</strong>, 3 pm<br />
Marin Alsop, conductor<br />
Leila Josefowicz, violin<br />
Baltimore Choral Arts Society,<br />
women’s chorus<br />
J.S. Bach (arr. Stokowski): Toccata<br />
& Fugue in D Minor<br />
Stravinsky: Violin Concerto<br />
Holst: The Planets<br />
Majestic in its scope and dazzling in<br />
its sound, <strong>the</strong>re is nothing to match<br />
<strong>the</strong> experience <strong>of</strong> hearing The<br />
Planets live in concert. Experience<br />
<strong>the</strong> ultimate trip through <strong>the</strong> galaxy<br />
as Marin Alsop conducts this sonic<br />
celestial showpiece, complete with<br />
high-definition imagery. Hailed as<br />
“a world-class player” by London’s<br />
The Observer, showstopper Leila<br />
Josefowicz performs Stravinsky’s<br />
exhilarating Violin Concerto.<br />
Off <strong>the</strong> Cuff<br />
The Planets<br />
SAT, NOV 9, <strong>2013</strong>, 7pm<br />
Marin Alsop, conductor<br />
Baltimore Choral Arts Society,<br />
women’s chorus<br />
Holst: The Planets<br />
The Planets influenced many recent<br />
composers including John Williams,<br />
Ralph Vaughan Williams and Howard<br />
Shore, and you can hear some <strong>of</strong><br />
Holst’s influences in <strong>the</strong> music <strong>of</strong> Star<br />
Wars, The Lord <strong>of</strong> <strong>the</strong> Rings and<br />
The Gladiator. This program explores<br />
<strong>the</strong> ageless, timeless mystery <strong>of</strong><br />
<strong>the</strong> planets through music and<br />
high-definition imagery — from <strong>the</strong><br />
associations with ancient gods to<br />
The Planets’ powerful cinematic<br />
sound. It’s nothing short <strong>of</strong> epic!<br />
War Requiem<br />
THU, NOV 14, <strong>2013</strong>, 8 pm<br />
FRI, NOV 15, <strong>2013</strong>, 8 pm<br />
Marin Alsop, conductor<br />
Tamara Wilson, soprano<br />
Nicholas Phan, tenor<br />
Ryan McKinny, baritone<br />
(BSO Debut)<br />
University <strong>of</strong> Maryland<br />
Concert Choir<br />
Peabody Children’s Chorus<br />
Britten: War Requiem<br />
The specter <strong>of</strong> two world wars, both<br />
<strong>the</strong> lives and <strong>the</strong> losses, would inspire<br />
Benjamin Britten’s most pr<strong>of</strong>ound and<br />
powerful music. Marin Alsop leads<br />
Britten’s deeply affecting War Requiem,<br />
joined by gifted soloists and two<br />
choruses, in celebration <strong>of</strong> <strong>the</strong> 100th<br />
anniversary <strong>of</strong> <strong>the</strong> composer’s birth.<br />
BSO SuperPops:<br />
Preservation Hall<br />
Jazz Band<br />
FRI, NOV 29, <strong>2013</strong>, 8 pm<br />
SAT, NOV 30, <strong>2013</strong>, 8 pm<br />
SUN, DEC 1, <strong>2013</strong>, 3 pm<br />
Preservation Hall Jazz Band<br />
Hailed as “<strong>the</strong> best jazz band in <strong>the</strong><br />
land” by The San Francisco Examiner,<br />
Preservation Hall Jazz Band brings<br />
Preservation Hall<br />
Jazz Band<br />
<strong>the</strong>ir turn-<strong>of</strong>-<strong>the</strong>-century New<br />
Orleans sound to contemporary<br />
audiences nationwide! The musicians,<br />
who range in age from 29<br />
to 88, are known for <strong>the</strong>ir unique<br />
blend <strong>of</strong> traditional American spirit<br />
and high energy, crowd-satisfying<br />
arrangements. Note: The BSO does<br />
not perform on this program.<br />
Handel’s Messiah<br />
FRI, DEC 6, <strong>2013</strong> at 7:30 pm<br />
SAT, DEC 7, <strong>2013</strong> at 7:30 pm<br />
Edward Polochick, conductor<br />
Concert Artists <strong>of</strong> Baltimore<br />
Symphonic Chorale<br />
Handel: Messiah<br />
The greatest story ever told.<br />
The most magnificent music ever<br />
conceived. It wouldn’t be <strong>the</strong> holidays<br />
without Handel’s inspiring Messiah.<br />
The BSO continues its tradition <strong>of</strong><br />
ushering in <strong>the</strong> holiday season with<br />
an all-star performance <strong>of</strong> Handel’s<br />
glorious oratorio featuring <strong>the</strong><br />
“Hallelujah Chorus,” music’s most<br />
powerful message <strong>of</strong> faith.<br />
Family Series Concert<br />
The Snowman<br />
SAT, DEC 7, <strong>2013</strong>, 11 am<br />
Ken Lam, conductor<br />
Rheda Becker, narrator<br />
A winter wonderland comes to life<br />
in this timeless story <strong>of</strong> a young boy’s<br />
magical friendship with a snowman.<br />
Get into <strong>the</strong> spirit <strong>of</strong> <strong>the</strong> holiday<br />
season and create lasting memories<br />
in this enchanting program featuring<br />
<strong>the</strong> BSO.<br />
Holiday Cirque<br />
WED, DEC 11, <strong>2013</strong>, 2 pm<br />
FRI, DEC 13, <strong>2013</strong>, 2 pm<br />
FRI, DEC 13, <strong>2013</strong>, 7:30 pm<br />
SAT, DEC 14, <strong>2013</strong>, 2 pm<br />
SAT, DEC 14, <strong>2013</strong>, 7:30 pm<br />
SUN, DEC 15, <strong>2013</strong>, 2 pm<br />
Bob Bernhardt, conductor<br />
Cirque Musica (BSO Debut)<br />
Holiday Cirque will get you into<br />
<strong>the</strong> spirit <strong>of</strong> <strong>the</strong> season! Bring<br />
<strong>the</strong> entire family to hear holiday<br />
favorites while experiencing<br />
an awe-inspiring<br />
performance by <strong>the</strong><br />
majestic Cirque Musica.<br />
Stunning aerial feats, strongmen<br />
and mind-boggling contortionists<br />
will take your<br />
breath away in this<br />
ultimate holiday<br />
extravaganza.<br />
Cirque Musica<br />
The Nutcracker<br />
Modell Center for <strong>the</strong> Performing<br />
Arts at <strong>the</strong> Lyric<br />
FRI, DEC 20, <strong>2013</strong>, 7:30 pm<br />
SAT, DEC 21, <strong>2013</strong>, 2 pm<br />
SAT, DEC 21, <strong>2013</strong>, 7:30 pm<br />
SUN, DEC 22, <strong>2013</strong>, 3 pm<br />
Andrew Grams, conductor<br />
Barry Hughson, choreographer<br />
Baltimore School for <strong>the</strong> Arts,<br />
dancers<br />
Tchaikovsky: The Nutcracker<br />
Experience Tchaikovsky’s classic tale<br />
about a young girl who is whisked<br />
away by a dashing Nutcracker doll to<br />
magical lands <strong>of</strong> Sugar Plum Fairies!<br />
Shannon Brinkman Simon Pauly<br />
6 <strong>Overture</strong> | www.bsomusic.org
The<br />
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Clay Ball<br />
Gala & Art Auction<br />
B&O Railroad Museum<br />
Saturday, <strong>September</strong> 28<br />
6-11PM<br />
Dancing and live music by<br />
MaMbo CoMbo<br />
Named best Latin music group 2007<br />
$185 Ticket: includes<br />
open bar, seated dinner, live<br />
& silent auction<br />
$45 After-Party Ticket:<br />
includes wine, beer & silent<br />
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For information and tickets<br />
visit baltimoreclayworks.org<br />
or call 410 578 1919 x10<br />
<strong>2013</strong> Gala Sponsors:
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Piano Man<br />
From <strong>the</strong> keyboard to his wardrobe, Jean-Yves<br />
Thibaudet challenges classical-music stereotypes.<br />
by Christianna McCausland<br />
Jean-Yves Thibaudet, a native <strong>of</strong> Lyon, France who has<br />
played <strong>the</strong> piano since age five, has released more than<br />
50 albums and was <strong>the</strong> soloist on <strong>the</strong> Oscar and Golden<br />
Globe-award-winning soundtrack to <strong>the</strong> film Atonement<br />
and <strong>the</strong> Oscar-nominated Pride & Prejudice. Here he talks<br />
about fashion, films, and his quest to find <strong>the</strong> perfect beach,<br />
and why it’s important to “always be nice to your audience.”<br />
Your repertoire <strong>of</strong> work is so<br />
diverse. How has your interest<br />
in music evolved?<br />
Thibaudet: I like to discover and try<br />
new things. The worst that can happen<br />
is that if you don’t like something, you<br />
don’t do it again. With music, it’s <strong>the</strong><br />
same. I’ve always been curious about<br />
every kind <strong>of</strong> music. When I was a child,<br />
classical music was what I knew with<br />
maybe a little pop because I would hear<br />
that in my older sister’s room. When I<br />
was a teenager, I discovered jazz, which<br />
became an important part <strong>of</strong> my musical<br />
life, and o<strong>the</strong>r music like world music.<br />
I started playing chamber music when<br />
I was 11, which was eye-opening for<br />
me because you have to listen to o<strong>the</strong>r<br />
musicians — as a pianist, you could very<br />
well spend life as just you and your piano.<br />
Accompanying singers came later in my<br />
life and I fell in love with that. I think<br />
it’s <strong>the</strong> most beautiful and intimate<br />
music-making experience. Then, out <strong>of</strong><br />
<strong>the</strong> blue, a filmmaker asked me to play<br />
in one <strong>of</strong> his movies and I thought ‘Oh,<br />
that will be fun.’ I did it and became<br />
completely fascinated.<br />
What is unique about making<br />
music for film?<br />
Thibaudet: When you’re playing<br />
a concert, you play <strong>the</strong> way you want<br />
and follow your own story. You can be<br />
completely free to interpret <strong>the</strong> way you<br />
want. When you play for a soundtrack<br />
— I don’t like <strong>the</strong> pejorative, but <strong>the</strong><br />
music becomes like a slave to <strong>the</strong> story.<br />
In fact, you play with a monitor in front<br />
<strong>of</strong> you, and we have a script we follow<br />
as well so you arrive at exactly <strong>the</strong> right<br />
time [in <strong>the</strong> scene]. Timing is <strong>the</strong> most<br />
important thing, but you also have to<br />
convey a feeling, an atmosphere, to<br />
add to what’s happening on <strong>the</strong> screen.<br />
When you watch a movie, a scene without<br />
music is so flat.<br />
Are <strong>the</strong>re o<strong>the</strong>r reasons you find<br />
film scores rewarding?<br />
Thibaudet: It’s a unique way to reach<br />
© Decca/Kasskara<br />
8 <strong>Overture</strong> | www.bsomusic.org
a number <strong>of</strong> people we’d never reach<br />
with our classical careers. That’s terribly<br />
important. I see audience [members] at<br />
my concerts who will tell me, ‘We know<br />
you through Pride & Prejudice and we<br />
love that album. We saw you were playing<br />
in town and this is our first classical<br />
concert.’ That’s fantastic if you can bring,<br />
through <strong>the</strong> movies, new people to classical<br />
music concerts. And most <strong>of</strong> <strong>the</strong>m<br />
are young people, which is what we are<br />
looking for because we need to attract<br />
younger audiences.<br />
Do you have a favorite composer?<br />
Thibaudet: Right now I’m attracted<br />
to <strong>the</strong> Romantic period, which was <strong>the</strong><br />
richest and most successful period for<br />
piano literature. That embraces Chopin,<br />
Liszt, Brahms, Schumann and all <strong>the</strong> way<br />
to Rachmanin<strong>of</strong>f. And, <strong>of</strong> course, Ravel.<br />
I also love to commission composers to<br />
write pieces for me, which I think is very<br />
important. I try every two or three years<br />
to have a new concerto written for me<br />
that I premiere. We’ve actually done quite<br />
a bit <strong>of</strong> that with Marin [Alsop] because<br />
she’s also a pioneer <strong>of</strong> new music.<br />
Who have been some <strong>of</strong> your mentors?<br />
Thibaudet: If I could name only<br />
one, I would say Arthur Rubenstein. I<br />
was very lucky to meet him twice when<br />
I was a child. The second time, I spent<br />
15 minutes in his dressing room sitting<br />
on his lap. I was seven and it stayed with<br />
me my whole life. He was such an inspiration<br />
because he had that incredible joy<br />
<strong>of</strong> life, which I think is <strong>the</strong> most wonderful<br />
quality a human being can have. Of<br />
course, music and piano were his life,<br />
but he enjoyed having a good meal,<br />
good wine, a good cigar, and he had<br />
so many wives and mistresses. He<br />
really enjoyed life, and you could feel<br />
that in his music as well.<br />
Did he give you any advice?<br />
Thibaudet: He asked me what I<br />
wanted to do when I grew up and I, <strong>of</strong><br />
course, said ‘Be a pianist like you.’ He<br />
said, ‘Remember to always be nice to<br />
your audience and make time for <strong>the</strong>m,<br />
because, without our audience, we don’t<br />
exist.’ This is so true and I still think <strong>of</strong><br />
that now. If <strong>the</strong>y’re able to organize it,<br />
I’ll always have a table in <strong>the</strong> lobby after<br />
concerts and sign whatever people want<br />
and meet every person <strong>the</strong>re who wants<br />
to meet me. Growing up, I loved to meet<br />
artists at a concert, and <strong>the</strong>re was nothing<br />
worse for me than to go running backstage<br />
and say I want to meet Mr. So-and-<br />
So and be told he’s not receiving anyone<br />
because he’s tired. I said I would never<br />
do that. Sometimes, it could take just<br />
30 seconds to change <strong>the</strong> life <strong>of</strong> someone.<br />
Currently your performance<br />
wardrobe is by designer Vivienne<br />
Westwood. Do you see fashion as<br />
part <strong>of</strong> your performance?<br />
Thibaudet: I’ve always been interested<br />
in fashion, so it’s a pleasure for<br />
me, and I’ve done this for many years,<br />
with Versace and quite a few fantastic<br />
designers. It all started because I thought<br />
<strong>the</strong> dress code in <strong>the</strong> concert hall for<br />
men was so boring. For <strong>the</strong> last 300<br />
years, we’ve been wearing <strong>the</strong> same tails<br />
with white ties. It makes it so dusty<br />
and traditional. Again, how can young<br />
people relate? I thought this was one way<br />
to address <strong>the</strong>m and give a more modern<br />
image to classical music.<br />
What is something unexpected <strong>the</strong><br />
BSO audience might want to learn<br />
about you?<br />
Thibaudet: If I’m on holiday, I will<br />
be on <strong>the</strong> beach — not in <strong>the</strong> mountains<br />
or wherever. I love beaches and I’ve been<br />
to some incredible islands around <strong>the</strong><br />
world, but I’m still looking for <strong>the</strong> perfect<br />
beach. The sand must be as white as<br />
possible, with no rocks, like sugar. And<br />
everything completely pristine.<br />
Jean-Yves Thibaudet joins Maestra Alsop<br />
and BSO on Friday, <strong>September</strong> 27 and<br />
Saturday, <strong>September</strong> 28 for ”Thibaudet<br />
Plays Bernstein.”<br />
WHERE THE<br />
STARS ALIGN<br />
AND PERFORM<br />
FOR YOU<br />
JOIN US<br />
Sundays at 5:30 pm<br />
for our <strong>2013</strong>–2014<br />
Concert Season<br />
MISCHA MAISKY, CELLO<br />
LILY MAISKY, PIANO<br />
<strong>October</strong> 6, <strong>2013</strong><br />
MUSICIANS FROM<br />
MARLBORO<br />
<strong>October</strong> 20, <strong>2013</strong><br />
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November 17, <strong>2013</strong><br />
MIRÓ QUARTET<br />
SHAI WOSNER, PIANO<br />
December 15, <strong>2013</strong><br />
GERALD FINLEY,<br />
BASS-BARITONE<br />
JULIUS DRAKE, PIANO<br />
February 9, 2014<br />
GIL SHAHAM, VIOLIN<br />
February 23, 2014<br />
SCHAROUN<br />
ENSEMBLE BERLIN<br />
March 16, 2014<br />
TINE THING HELSETH,<br />
TRUMPET<br />
HÅVARD GIMSE, PIANO<br />
April 6, 2014<br />
EMANUEL AX, PIANO<br />
May 11, 2014<br />
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<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 9
The Harmony <strong>of</strong><br />
Hope<br />
Benjamin Britten’s stirring War Requiem<br />
is part <strong>of</strong> <strong>the</strong> season’s <strong>the</strong>me<br />
<strong>of</strong> music written for healing.<br />
By Martha Thomas<br />
On November 14, 1940, <strong>the</strong> German Luftwaffe bombed<br />
St. Michael’s Ca<strong>the</strong>dral in Coventry, England, leaving only<br />
<strong>the</strong> spire rising nearly 300 feet into <strong>the</strong> sky. But <strong>the</strong> preserved<br />
ruins remain in remembrance, <strong>the</strong> highest point in <strong>the</strong> city, and<br />
a new, modern structure was built adjacent to <strong>the</strong> original. It was consecrated<br />
in 1962, with Benjamin Britten’s War Requiem composed for <strong>the</strong> occasion.<br />
Britten’s piece (to be performed by <strong>the</strong><br />
BSO Nov. 14–15 to mark <strong>the</strong> anniversary<br />
<strong>of</strong> <strong>the</strong> bombing and <strong>the</strong> centennial <strong>of</strong> <strong>the</strong><br />
composer’s birth) uses a full orchestra with<br />
a mixed choir, soloists and children’s chorus.<br />
The Latin requiem mass is interspersed<br />
with poetry by Wilfred Owen, a British<br />
soldier who was killed in World War I.<br />
“The ca<strong>the</strong>dral became a symbol<br />
<strong>of</strong> <strong>the</strong> purposeless destruction during<br />
World War II,” says Mat<strong>the</strong>w Spivey, vice<br />
president <strong>of</strong> artistic operations for <strong>the</strong><br />
BSO. And <strong>the</strong> Requiem, composed by a<br />
man who was a lifelong pacifist, was meant<br />
to symbolize <strong>the</strong> rebirth <strong>of</strong> <strong>the</strong> ca<strong>the</strong>dral,<br />
at <strong>the</strong> same time reflecting <strong>the</strong> words that<br />
<strong>the</strong> provost at <strong>the</strong> time <strong>of</strong> <strong>the</strong> bombing had<br />
etched above <strong>the</strong> ruined altar in 1940:<br />
“Fa<strong>the</strong>r Forgive.”<br />
The overarching <strong>the</strong>me <strong>of</strong> <strong>the</strong> Baltimore<br />
Symphony Orchestra’s current season,<br />
says Music Director Marin Alsop, is “music<br />
as solace and as a symbol <strong>of</strong> reconciliation.”<br />
She points to Leonard Bernstein’s Second<br />
Symphony “Age <strong>of</strong> Anxiety” (performed<br />
by <strong>the</strong> BSO Sept. 27–28) as a work that,<br />
like Britten’s, was written as a “quest for<br />
faith” in response to World War II. “When<br />
Grant Leighton (Alsop); Chris Lee (BSO).<br />
Music<br />
that<br />
Mends<br />
10 <strong>Overture</strong> | www.bsomusic.org<br />
Benjamin Britten’s War Requiem and John Adams’ Transmigration<br />
<strong>of</strong> Souls, both part <strong>of</strong> <strong>the</strong> BSO’s <strong>2013</strong>–2014 season, were written with<br />
solace in mind, but many o<strong>the</strong>r compositions have come to serve<br />
—by design or not—as a means for healing.<br />
After consulting with a couple <strong>of</strong> colleagues, Judah E. Adashi, a<br />
composer as well as director and founder <strong>of</strong> <strong>the</strong> Evolution Contemporary<br />
Music Series at <strong>the</strong> Peabody Institute <strong>of</strong> <strong>the</strong> Johns Hopkins University,<br />
helped us put toge<strong>the</strong>r a list <strong>of</strong> compositions with a similar purpose.<br />
◗ Samuel Barber’s Adagio<br />
for Strings is <strong>the</strong> subject <strong>of</strong><br />
a book called “The Saddest<br />
Music Ever Written.”<br />
Composed in 1936, it began<br />
as <strong>the</strong> second movement <strong>of</strong> his<br />
String Quartet, opus 11, but<br />
has grown to become one <strong>of</strong><br />
<strong>the</strong> most popular pieces <strong>of</strong><br />
20 th century classical music.
Music Director<br />
Marin Alsop conducts<br />
Benjamin Britten’s War<br />
Requiem Nov. 14–15<br />
at <strong>the</strong> Meyerh<strong>of</strong>f.<br />
Counterclockwise from<br />
left: Maestra Alsop,<br />
St. Michaels Ca<strong>the</strong>dral,<br />
Wilfred Owen, Benjamin<br />
Britten, <strong>the</strong> Baltimore<br />
Symphony Orchestra.<br />
people are hurting and need comfort,”<br />
Alsop says, “music can be a refuge.” Alsop<br />
herself says that some <strong>of</strong> her most memorable<br />
experiences in performance “have<br />
been in <strong>the</strong> wake <strong>of</strong> tragedy.”<br />
Music is “<strong>the</strong> language <strong>of</strong> emotions,”<br />
says Spivey. “It helps us to mourn, to honor<br />
those who have died. But most importantly,<br />
it helps us find hope.”<br />
The human response to a work like Britten’s<br />
War Requiem can happen on many<br />
levels. “The Britten piece is immersed in<br />
context,” says Spivey. “If you aren’t up to<br />
speed on its history,” he says, “a quick read<br />
<strong>of</strong> <strong>the</strong> program notes is all you need to<br />
appreciate what is happening.”<br />
At <strong>the</strong> same time, even without historical<br />
context, listeners may be moved<br />
emotionally. “The hallmark <strong>of</strong> a great<br />
composer is one who can create a musical<br />
language,” says Spivey, who understands<br />
that a sequence <strong>of</strong> chords can evoke<br />
tragedy or triumph, love or longing.<br />
Some <strong>of</strong> <strong>the</strong>se responses happen at a<br />
purely neurological level, says Solomon<br />
Snyder, a pr<strong>of</strong>essor <strong>of</strong> neuroscience<br />
at The Johns Hopkins<br />
Medical School and a member<br />
<strong>of</strong> <strong>the</strong> BSO board. Music, he<br />
says, “can affect you emotionally<br />
before you even realize what<br />
it’s doing.” Sound ranks high<br />
in <strong>the</strong> hierarchy <strong>of</strong> emotional<br />
triggers, says Snyder, coming<br />
in close on <strong>the</strong> heels <strong>of</strong> smell,<br />
taste—think Marcel Proust’s famous<br />
madeleines—and touch.<br />
Music can also go straight<br />
to <strong>the</strong> emotional center <strong>of</strong> <strong>the</strong><br />
brain, bypassing <strong>the</strong> cognitive:<br />
Tests done with infants reveal that music<br />
composed to touch <strong>the</strong> emotions does just<br />
that. Says Snyder, “The emotional areas <strong>of</strong><br />
<strong>the</strong>ir brains will light up.”<br />
Spivey points to ano<strong>the</strong>r piece planned<br />
for this season that invokes an emotional<br />
response: Samuel Barber’s Adagio for<br />
Strings, (Jan. 9 and 12) with Maestra<br />
Alsop conducting. “There’s something in<br />
<strong>the</strong> sequence <strong>of</strong> harmonies, texture and<br />
“Music is<br />
<strong>the</strong> language<br />
<strong>of</strong> emotions,<br />
It helps us<br />
to mourn, to<br />
honor those<br />
who have died.<br />
But most<br />
importantly,<br />
it helps us<br />
find hope.”<br />
orchestration,” says Spivey, that “never fails<br />
to conjure tremendous emotion on <strong>the</strong><br />
part <strong>of</strong> <strong>the</strong> listener.”<br />
When neurologist Snyder was five<br />
years old, he played a piano piece called<br />
Happy Days on an amateur radio show.<br />
He remembers <strong>the</strong> announcer calling out,<br />
“Here comes Solly, he’s walking like an old<br />
man!” when <strong>the</strong> little boy entered <strong>the</strong> studio.<br />
Snyder went on to study mandolin and<br />
classical guitar, and has been a supporter<br />
<strong>of</strong> <strong>the</strong> guitar department at Peabody Conservatory,<br />
where he serves on <strong>the</strong> board.<br />
“Whenever I hear that piece <strong>of</strong> music, it’s<br />
very moving,” says Snyder, “and it’s not<br />
a very good piece.”<br />
While Snyder’s connection to his piano<br />
piece is highly personal, o<strong>the</strong>r<br />
works can touch audiences<br />
collectively. John Adams’ On<br />
<strong>the</strong> Transmigration <strong>of</strong> Souls,<br />
(June 5–8), was commissioned<br />
by <strong>the</strong> New York Philharmonic<br />
in response to <strong>the</strong> attacks on<br />
<strong>the</strong> World Trade Center. It premiered<br />
in <strong>September</strong> 2002,<br />
a year after <strong>the</strong> twin towers<br />
fell. Like Britten, Adams uses<br />
words—in this case, recorded<br />
voices reading names <strong>of</strong> <strong>the</strong><br />
victims—and, like <strong>the</strong> War<br />
Requiem, Transmigration uses<br />
both adult and children’s choruses. The<br />
piece is on <strong>the</strong> program with Beethoven’s<br />
Ninth, <strong>the</strong> composer’s last major symphony,<br />
completed in 1824. Also known<br />
as <strong>the</strong> “Choral,” <strong>the</strong> piece includes one <strong>of</strong><br />
Beethoven’s best known melodies, “Ode<br />
to Joy,” based on a Frederich Schiller<br />
poem. The chorus, in <strong>the</strong> uplifting final<br />
movement, sings <strong>of</strong> an embrace to <strong>the</strong><br />
world from an eternal creator.<br />
◗ The “Nimrod” movement<br />
from Elgar’s Enigma Variations<br />
is <strong>of</strong>ten cited as <strong>the</strong> English<br />
analogue to Barber’s Adagio.<br />
◗ Arvo Pärt’s Tabula Rasa,<br />
written in 1977, literally means<br />
“Clean Slate.” But according<br />
to <strong>the</strong> New Yorker’s Alex Ross,<br />
<strong>the</strong> piece has brought comfort<br />
to many who are terminally ill.<br />
In Ross’s words, Pärt uses “<strong>the</strong><br />
power <strong>of</strong> music to obliterate <strong>the</strong><br />
rigidities <strong>of</strong> space and time.”<br />
◗ John Corigliano wrote his<br />
Symphony No. 1 to commemorate<br />
friends lost to AIDS,<br />
and <strong>the</strong> piece was inspired by<br />
<strong>the</strong> AIDS Memorial Quilt.<br />
◗ Brian Eno recently created<br />
a work entitled “Quiet Room<br />
for Montefiore,” a fixed<br />
composition at <strong>the</strong> Montefiore<br />
hospital in Hove, England, as<br />
well as a soundscape inspired<br />
by Florence Nightingale in <strong>the</strong><br />
hospital’s reception area.<br />
◗ Peabody faculty member and<br />
composer Kevin Puts was commissioned<br />
by <strong>the</strong> Míro Quartet<br />
to write about <strong>the</strong> lighter side<br />
<strong>of</strong> America, but Puts didn’t<br />
see how he could. His piece,<br />
Credo, is about “finding solace<br />
in <strong>the</strong> strangest places.”<br />
◗ Jennifer Higdon composed<br />
Blue Ca<strong>the</strong>dral, a tonal poem<br />
in one movement, soon after<br />
her bro<strong>the</strong>r died <strong>of</strong> cancer. The<br />
piece has become one <strong>of</strong> <strong>the</strong><br />
most <strong>of</strong>ten-performed works by<br />
a living composer.<br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 11
THe Baltimore Symphony Orchestra }<br />
<strong>2013</strong>–2014<br />
Season<br />
Roster<br />
Marin Alsop: Music Director,<br />
Harvey M. and Lyn P. Meyerh<strong>of</strong>f Chair<br />
Jack Everly: Principal Pops Conductor<br />
Yuri Temirkanov: Music Director Emeritus<br />
Alexandra Arrieche: BSO-Peabody Conducting Fellow<br />
{Music Dir ector}<br />
Marin Alsop<br />
Marin Alsop is an inspiring and<br />
powerful voice in <strong>the</strong> international<br />
music scene, a music director <strong>of</strong> vision<br />
and distinction who passionately<br />
believes that “music has <strong>the</strong> power to<br />
change lives.” She is recognized across<br />
<strong>the</strong> world for her innovative approach<br />
to programming and for her deep<br />
commitment to education and to <strong>the</strong><br />
development <strong>of</strong> audiences <strong>of</strong> all ages.<br />
Marin Alsop made history with her<br />
appointment as <strong>the</strong> 12 th music director<br />
<strong>of</strong> <strong>the</strong> Baltimore Symphony Orchestra<br />
(BSO). With her inaugural concerts in<br />
<strong>September</strong> 2007, she became <strong>the</strong> first<br />
woman to head a major American<br />
orchestra. She also holds <strong>the</strong> title <strong>of</strong><br />
conductor emeritus at <strong>the</strong> Bournemouth<br />
Symphony in <strong>the</strong> United Kingdom,<br />
where she served as <strong>the</strong> principal<br />
conductor from 2002–2008.<br />
Her success as <strong>the</strong> BSO’s music<br />
director has garnered national and<br />
international attention for her innovative<br />
programming and artistry. Additionally,<br />
her success was recognized when, in<br />
<strong>2013</strong>, her tenure was extended to <strong>the</strong><br />
2020–2021 season. Alsop took up <strong>the</strong><br />
post <strong>of</strong> chief conductor <strong>of</strong> <strong>the</strong> São Paulo<br />
Symphony Orchestra in 2012, where<br />
she steers <strong>the</strong> orchestra in its artistic<br />
and creative programming, recording<br />
ventures and its education and<br />
outreach activities.<br />
In <strong>the</strong> summer <strong>of</strong> 2011, Maestra<br />
Alsop served her 20 th season as music<br />
director <strong>of</strong> <strong>the</strong> acclaimed Cabrillo<br />
Festival <strong>of</strong> Contemporary Music in<br />
California. Musical America, which<br />
named Maestra Alsop <strong>the</strong> 2009<br />
Conductor <strong>of</strong> <strong>the</strong> Year, recently said,<br />
“[Marin Alsop] connects to <strong>the</strong> public<br />
as few conductors today can.”<br />
First Violins<br />
Jonathan Carney<br />
Concertmaster, Ruth<br />
Blaustein Rosenberg<br />
Chair<br />
Madeline Adkins<br />
Associate<br />
Concertmaster,<br />
Wilhelmina Hahn<br />
Waidner Chair<br />
Igor Yuzefovich*<br />
Assistant Concertmaster<br />
Rui Du<br />
Acting Assistant<br />
Concertmaster<br />
James Boehm<br />
Kenneth Goldstein<br />
Wonju Kim<br />
Gregory Kuperstein<br />
Mari Matsumoto<br />
Gregory Mulligan<br />
Rebecca Nichols<br />
E. Craig Richmond<br />
Ellen Pendleton Troyer<br />
Andrew Wasyluszko<br />
Second Violins<br />
Qing Li<br />
Principal, E. Kirkbride<br />
and Ann H. Miller Chair<br />
Ivan Stefanovic<br />
Associate Principal<br />
Angela Lee<br />
Assistant Principal<br />
Leonid Berkovich<br />
Leonid Briskin<br />
Julie Parcells<br />
Christina Scroggins<br />
Wayne C. Taylor<br />
James Umber<br />
Charles Underwood<br />
Melissa Zaraya<br />
Minsun Choi**<br />
Violas<br />
Richard Field<br />
Principal, Peggy<br />
Meyerh<strong>of</strong>f Pearlstone<br />
Chair<br />
Noah Chaves<br />
Associate Principal<br />
Karin Brown<br />
Assistant Principal<br />
Rebekah Newman<br />
Peter Minkler<br />
Sharon Pineo Myer<br />
Delmar Stewart<br />
Jeffrey Stewart<br />
Mary Woehr<br />
Cellos<br />
Dariusz Skoraczewski<br />
Acting Principal<br />
Chang Woo Lee<br />
Associate Principal<br />
Bo Li<br />
Acting Assistant<br />
Principal<br />
Seth Low<br />
Susan Evans<br />
Es<strong>the</strong>r Mellon<br />
Kristin Ostling<br />
Paula Skolnick-Childress<br />
Pei Lu**<br />
Basses<br />
Robert Barney<br />
Principal, Willard and<br />
Lillian Hackerman<br />
Chair<br />
Hampton Childress<br />
Associate Principal<br />
Owen Cummings<br />
Arnold Gregorian<br />
Mark Huang<br />
Jonathan Jensen<br />
David Sheets<br />
Eric Stahl<br />
Flutes<br />
Emily Skala<br />
Principal, Dr. Clyde<br />
Alvin Clapp Chair<br />
Marcia Kämper<br />
Piccolo<br />
Laurie Sokol<strong>of</strong>f<br />
Oboes<br />
Ka<strong>the</strong>rine Needleman<br />
Principal, Robert H.<br />
and Ryda H. Levi Chair<br />
Michael Lisicky<br />
English Horn<br />
Jane Marvine<br />
Kenneth S. Battye and<br />
Legg Mason Chair<br />
Clarinets<br />
Steven Barta<br />
Principal, Anne Adalman<br />
Goodwin Chair<br />
Christopher Wolfe<br />
Assistant Principal<br />
William Jenken<br />
E-flat Clarinet<br />
Christopher Wolfe<br />
Bassoons<br />
Fei Xie<br />
Principal<br />
Julie Green Gregorian<br />
Assistant Principal<br />
Benjamin Greanya**<br />
Contrabassoon<br />
David P. Coombs<br />
Horns<br />
Philip Munds<br />
Principal, USF&G<br />
Foundation Chair<br />
Gabrielle Finck<br />
Associate Principal<br />
Lisa Bergman<br />
Mary C. Bisson<br />
Bruce Moore<br />
Trumpets<br />
Andrew Balio<br />
Principal, Harvey M. and<br />
Lyn P. Meyerh<strong>of</strong>f Chair<br />
Rene Hernandez<br />
Assistant Principal<br />
Nathaniel Hepler<br />
Trombones<br />
Joseph Rodriguez**<br />
Acting Principal<br />
James Olin<br />
Co-Principal<br />
John Vance<br />
Bass Trombone<br />
Randall S. Campora<br />
Tuba<br />
David T. Fedderly<br />
Principal<br />
Timpani<br />
James Wyman<br />
Principal<br />
Christopher Williams<br />
Assistant Principal<br />
Percussion<br />
Christopher Williams<br />
Principal, Lucille<br />
Schwilck Chair<br />
John Locke<br />
Brian Prechtl<br />
Harp<br />
Sarah Fuller**<br />
Piano<br />
Lura Johnson**<br />
Sidney M. and Miriam<br />
Friedberg Chair<br />
Director <strong>of</strong><br />
Orchestra<br />
Personnel<br />
Marilyn Rife<br />
Assistant<br />
Personnel<br />
Manager<br />
Christopher Monte<br />
Librarians<br />
Mary Carroll Plaine<br />
Principal, Constance A.<br />
and Ramon F. Getzov<br />
Chair<br />
Raymond Kreuger<br />
Associate<br />
Stage Personnel<br />
Ennis Seibert<br />
Stage Manager<br />
Todd Price<br />
Assistant Stage<br />
Manager<br />
Charles Lamar<br />
Audio Engineer<br />
Mario Serruto<br />
Lighting Director<br />
*On leave<br />
**Guest Musician<br />
The musicians who perform<br />
for <strong>the</strong> Baltimore Symphony<br />
Orchestra do so under<br />
<strong>the</strong> terms <strong>of</strong> an agreement<br />
between <strong>the</strong> BSO and<br />
Local 40-543, AFM.<br />
Dean Alexander<br />
12 <strong>Overture</strong> | www.bsomusic.org
program notes}<br />
Marin Alsop<br />
For Marin Alsop’s bio., please see pg. 12.<br />
Joseph Meyerh<strong>of</strong>f Symphony Hall<br />
Baltimore Symphony Orchestra<br />
Marin Alsop<br />
Music Director • Harvey M. And Lyn P. Meyerh<strong>of</strong>f Chair<br />
Scheherazade & 1812 <strong>Overture</strong><br />
Friday, <strong>September</strong> 20, <strong>2013</strong> — 8 p.m.<br />
Sunday, <strong>September</strong> 22, <strong>2013</strong> — 3 p.m.<br />
Presenting Sponsor:<br />
Marin Alsop, Conductor<br />
Tim McAllister, Saxophone<br />
U.S. Navy Band Sea Chanters<br />
John Stafford Smith<br />
Arranged by James Lee III<br />
The Star Spangled Banner<br />
Arrangement commissioned<br />
by <strong>the</strong> Baltimore Symphony Orchestra<br />
nikolai Rimsky-Korsakov Scheherazade, opus 35<br />
largo e maestoso – Allegro non troppo<br />
lento – Allegro molto<br />
andantino quasi allegretto<br />
allegro molto<br />
John Adams<br />
Intermission<br />
Saxophone Concerto (U.S. Premiere)<br />
animato<br />
molvo vivace<br />
TIM MCALLISTER<br />
Piotr Ilyich Tchaikovsky 1812, <strong>Overture</strong> solonelle, opus 49<br />
u.S. NAVY BAND SEA CHANTERS<br />
The concert will end at approximately 10 p.m. on Friday and 5 p.m. on Sunday.<br />
John Adams' Saxophone Concerto is co-commissioned by<br />
<strong>the</strong> Baltimore Symphony Orchestra, Sydney Symphony Orchestra,<br />
Saint Louis Symphony and <strong>the</strong> Orchestra Sinfonica<br />
do Estado de São Paulo.<br />
Support for <strong>the</strong> BSO’s commissioning <strong>of</strong> new works is provided by<br />
a generous legacy gift from Mr. and Mrs. Randolph S. Rothschild.<br />
RR Jones<br />
Tim McAllister<br />
Acclaimed soloist<br />
and member <strong>of</strong> <strong>the</strong><br />
renowned PRISM<br />
Quartet, Timothy<br />
McAllister is one <strong>of</strong> America’s premier<br />
concert saxophone performers and a<br />
champion <strong>of</strong> contemporary music. His<br />
solo, orchestral and chamber music<br />
recordings appear on <strong>the</strong> Naxos, Albany,<br />
Summit, OMM, New Focus, Centaur,<br />
Equilibrium and Innova labels. He has<br />
been featured on National Public Radio,<br />
Dutch National Radio, BBC, WQXR-<br />
NYC, WFMT-Chicago and various PBS<br />
affiliates throughout <strong>the</strong> U.S. Credited<br />
with more than 150 premieres <strong>of</strong> new<br />
compositions by eminent and emerging<br />
composers worldwide, his celebrated work<br />
is highlighted in <strong>the</strong> Deutsche Grammophon<br />
DVD release <strong>of</strong> <strong>the</strong> world premiere<br />
<strong>of</strong> John Adams’ City Noir, filmed as part<br />
<strong>of</strong> Gustavo Dudamel’s inaugural concert<br />
as music director <strong>of</strong> <strong>the</strong> Los Angeles Philharmonic.<br />
Prior to <strong>the</strong> U.S. Premiere with<br />
<strong>the</strong> Baltimore Symphony Orchestra, he<br />
gave <strong>the</strong> world premiere <strong>of</strong> John Adams’<br />
Saxophone Concerto with <strong>the</strong> Sydney<br />
Symphony Orchestra under <strong>the</strong> baton <strong>of</strong><br />
<strong>the</strong> composer in <strong>the</strong> Sydney Opera House.<br />
McAllister has recently appeared as<br />
soloist with <strong>the</strong> Albany Symphony Orchestra,<br />
Cabrillo Festival Orchestra, Reno<br />
Philharmonic, Boston Modern Orchestra<br />
Project, United States Navy Band, Dallas<br />
Wind Symphony, Hong Kong Wind<br />
Philharmonia, Pacific Symphony and<br />
<strong>the</strong> Nashville Symphony, among o<strong>the</strong>rs.<br />
In 2010, he toured with <strong>the</strong> Los Angeles<br />
Philharmonic including performances in<br />
San Francisco, Phoenix, Chicago, Philadelphia,<br />
Washington, D.C. and New York’s<br />
Lincoln Center.<br />
He serves as pr<strong>of</strong>essor <strong>of</strong> saxophone and<br />
co-director <strong>of</strong> <strong>the</strong> Institute for New Music<br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 13
{ Program Notes<br />
Proudly Staffing <strong>the</strong><br />
Baltimore/DC area.<br />
Lumper and<br />
Warehouse services<br />
H<br />
sanitation<br />
H<br />
administration<br />
staffing<br />
Brian Goline<br />
president<br />
H H H<br />
Americanlumperservices.com<br />
(301) 639-4929<br />
f<br />
What?<br />
you’re not in<br />
<strong>Overture</strong>?<br />
you’re<br />
missing out,<br />
hon.<br />
Reach over 100,000 educated,<br />
affluent patrons <strong>of</strong> <strong>the</strong> BSO five times<br />
a year in <strong>Overture</strong>, a program that’s<br />
about more than just beautiful music.<br />
Design<br />
Printing<br />
AD sAles<br />
to advertise, ContaCt:<br />
Ken Iglehart: iken@baltimoremagazine.net<br />
Lynn Talbert: ltalbert58@gmail.com<br />
Julie P. Wittelsberger: gazellegrp@comcast.net<br />
Advertising proceeds go to <strong>the</strong> BSO, not Baltimore magazine<br />
at Northwestern University’s Bienen<br />
School <strong>of</strong> Music, and has attained visiting<br />
positions at <strong>the</strong> University <strong>of</strong> Michigan<br />
School <strong>of</strong> Music, <strong>the</strong> Conservatoire National<br />
Supérieur de Musique <strong>of</strong> Paris, and<br />
Tokyo’s Kunitachi College <strong>of</strong> Music.<br />
Tim McAllister is making his<br />
BSO debut.<br />
U.S. Navy Band Sea Chanters<br />
The Navy Band Sea Chanters is <strong>the</strong><br />
United States Navy’s <strong>of</strong>ficial chorus.<br />
The ensemble performs a variety <strong>of</strong><br />
music ranging from traditional choral<br />
music to opera, Broadway and contemporary<br />
music. Under <strong>the</strong> leadership<br />
<strong>of</strong> Chief Musician Adam Tyler, <strong>the</strong><br />
Sea Chanters perform for <strong>the</strong> public<br />
throughout <strong>the</strong> United States. At home<br />
in Washington, <strong>the</strong>y perform for <strong>the</strong><br />
president, vice president and numerous<br />
congressional, military and foreign dignitaries.<br />
In 1956, Lt. Harold Fultz, <strong>the</strong>n<br />
<strong>the</strong> band’s assistant leader, organized a<br />
group from <strong>the</strong> Navy School <strong>of</strong> Music<br />
to sing chanteys and patriotic songs<br />
for <strong>the</strong> State <strong>of</strong> <strong>the</strong> Nation dinner. An<br />
immediate success, Adm. Arleigh Burke<br />
transferred <strong>the</strong>m to <strong>the</strong> Navy Band,<br />
named <strong>the</strong>m <strong>the</strong> Sea Chanters and<br />
tasked this all-male chorus with perpetuating<br />
<strong>the</strong> songs <strong>of</strong> <strong>the</strong> sea. In 1980,<br />
<strong>the</strong> group added women to <strong>the</strong>ir ranks<br />
and expanded <strong>the</strong>ir repertoire to include<br />
everything from Brahms to Broadway.<br />
They have appeared at <strong>the</strong> Kennedy<br />
Center Honors and with <strong>the</strong> National<br />
Symphony Orchestra for <strong>the</strong> National<br />
Memorial Day Concerts at <strong>the</strong> U.S.<br />
Capitol. The group has also appeared on<br />
U.S. Navy Band<br />
Sea Chanters<br />
Larry King Live and CBS This Morning<br />
as well as at <strong>the</strong> premiere <strong>of</strong> <strong>the</strong> movie<br />
Pearl Harbor. In 2008, <strong>the</strong> Sea Chanters<br />
performed with <strong>the</strong> Mormon Tabernacle<br />
Choir under <strong>the</strong> direction <strong>of</strong> Mack Wilburg.<br />
O<strong>the</strong>r notable orchestral appearances<br />
include <strong>the</strong> Kansas City Symphony, <strong>the</strong><br />
Boston Pops Esplanade Orchestra, <strong>the</strong> Baltimore<br />
Symphony and <strong>the</strong> Cincinnati Pops<br />
Orchestra. The Sea Chanters have enjoyed<br />
a great reputation performing with such<br />
stars as Perry Como, Marian Anderson,<br />
Kenny Rogers and Lionel Richie.<br />
U.S. Navy Band Sea Chanters last<br />
appeared with <strong>the</strong> BSO in June 2012,<br />
performing at <strong>the</strong> Star-Spangled<br />
Symphony concert, as part <strong>of</strong> <strong>the</strong> 2912<br />
Star-Spangled Sailabration.<br />
About <strong>the</strong> concert:<br />
Scheherazade<br />
Nikolai Rimsky-Korsakov<br />
Born in Tikhvin, Russia, March 18, 1844; died in<br />
Lyubensk, near St. Petersburg, June 21, 1908<br />
Rimsky-Korsakov’s Scheherazade is as<br />
intoxicating and seductive as <strong>the</strong> alluring<br />
storyteller for whom it is named. A joy<br />
for both audiences and musicians, it is<br />
music to make one fall in love with <strong>the</strong><br />
symphony orchestra itself: its power,<br />
its delicacy, and its limitless palette <strong>of</strong><br />
instrumental colors. In fact, Scheherazade<br />
could well be called a “concerto for orchestra,”<br />
with <strong>the</strong> solo violin, representing<br />
<strong>the</strong> Persian enchantress, <strong>the</strong> leader<br />
<strong>of</strong> a company <strong>of</strong> individual soloists and<br />
sections playing as ensemble soloists.<br />
Rimsky—a leader among <strong>the</strong> St.<br />
Petersburg-based “Mighty Handful” <strong>of</strong><br />
Russian nationalist composers—was<br />
indeed one <strong>of</strong> <strong>the</strong> greatest orchestrators<br />
in history and a major influence on<br />
orchestration in <strong>the</strong> 20 th century. Not<br />
only did he inspire his pupils Prok<strong>of</strong>iev<br />
and Stravinsky, but also Ravel, Debussy,<br />
and Respighi.<br />
Created during <strong>the</strong> summer <strong>of</strong> 1888,<br />
Scheherazade was inspired by <strong>the</strong> Persian<br />
legend <strong>of</strong> <strong>the</strong> cruel Sultan who ordered<br />
all his wives to be put to death after <strong>the</strong>ir<br />
14 <strong>Overture</strong> | www.bsomusic.org
wedding night, and <strong>of</strong> Scheherazade who<br />
so beguiled him with her 1,001 tales that<br />
he kept postponing her execution until<br />
finally she won his love. But Rimsky<br />
does not tell any <strong>of</strong> her stories in detail.<br />
And he urged audiences not to take his<br />
movement titles too literally: “I meant<br />
<strong>the</strong>se hints to direct slightly <strong>the</strong> hearer’s<br />
imagination on <strong>the</strong> path which my own<br />
fancy had traveled, and to leave more …<br />
particular conceptions to <strong>the</strong> … mood <strong>of</strong><br />
each [listener].”<br />
Rimsky used only a few exotic melodies<br />
to build this lengthy work, and,<br />
depending on <strong>the</strong>ir context, tempo, and<br />
orchestral guise, <strong>the</strong>y play different roles<br />
in different movements. He did, however,<br />
set a framework around <strong>the</strong> work.<br />
At <strong>the</strong> beginning, we hear <strong>the</strong> Sultan<br />
gruffly ordering Scheherazade to begin<br />
her first story in a loud, harsh orchestral<br />
unison. After “once-upon-a-time” chords<br />
in <strong>the</strong> woodwinds, <strong>the</strong> solo violin enters<br />
as <strong>the</strong> voice <strong>of</strong> Scheherazade. Rimsky<br />
again returns to <strong>the</strong> violinist/heroine to<br />
open <strong>the</strong> second movement, and, as he<br />
begins <strong>the</strong> final one, we hear <strong>the</strong> Sultan’s<br />
voice, now rapid and impatient, begging<br />
for ano<strong>the</strong>r story. At work’s end, <strong>the</strong><br />
Sultan’s <strong>the</strong>me has been transformed: he<br />
is putty in Scheherazade’s hands as she<br />
floats a harmonic high E at <strong>the</strong> top <strong>of</strong> <strong>the</strong><br />
violin’s range.<br />
The four movements are essentially<br />
self-explanatory. In <strong>the</strong> first, after Scheherazade’s<br />
introduction come surging<br />
arpeggios in <strong>the</strong> cellos and violas: we are<br />
on <strong>the</strong> high seas with Sinbad <strong>the</strong> Sailor.<br />
The second movement, “The Story <strong>of</strong> <strong>the</strong><br />
Kalander Prince,” is built around an exotic<br />
Middle Eastern-style melody introduced<br />
by <strong>the</strong> solo bassoon; kalanders were<br />
magicians in Middle Eastern courts. The<br />
fourth movement is <strong>the</strong> most complex: it<br />
begins with <strong>the</strong> riotous color and swirling<br />
activity <strong>of</strong> “The Festival <strong>of</strong> Baghdad,”<br />
and <strong>the</strong>n, at <strong>the</strong> festival’s height, sends us<br />
suddenly back to Sinbad’s seas, as <strong>the</strong> low<br />
strings billow and a fierce storm screams<br />
overhead in <strong>the</strong> woodwinds. With a huge<br />
timpani crash, <strong>the</strong> ship is wrecked, and we<br />
return to <strong>the</strong> Sultan ready to live happily<br />
ever after with Scheherazade and her<br />
marvelous stories.<br />
50th Annual Delaware Antiques Show<br />
N O V E M B E R 8 – 1 0<br />
Chase Center on <strong>the</strong> Riverfront<br />
Wilmington, Delaware<br />
Enjoy Tax-Free Shopping<br />
Details at winterthur.org/das or 800.448.3883.<br />
<strong>the</strong><br />
LOOK <strong>of</strong><br />
LOVEEYE<br />
MINIATURES<br />
FROM<br />
THE<br />
SKIER<br />
COLLECTION<br />
SEPTEMBER 21, <strong>2013</strong>–JANUARY 5, 2014<br />
IN THE WINTERTHUR GALLERIES<br />
For information, call 800.448.3883 or visit winterthur.org/look<strong>of</strong>love.<br />
Organized by <strong>the</strong> Birmingham Museum <strong>of</strong> Art. The installation at Winterthur is sponsored by Dr. Richard C. Weiss and Dr. Sandra R.<br />
Harmon-Weiss, with additional assistance from Pam and Jim Alexander, Laurel Riegel, and Coleman and Susan Townsend.<br />
Winterthur is nestled in Delaware’s beautiful Brandywine Valley on Route 52, between I-95 and Route 1. Take I-95 to Exit 7 in Delaware.<br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 15
{ Program Notes<br />
Instrumentation: Two flutes, two piccolos,<br />
two oboes, English horn, two clarinets, two<br />
bassoons, four horns, two trumpets, three<br />
trombones, tuba, timpani, percussion,<br />
harp and strings.<br />
Saxophone Concerto<br />
John Adams<br />
Born in Worcester, Massachusetts, February 15,<br />
1947; now living in Berkeley, California<br />
“My Saxophone Concerto was composed<br />
in early <strong>2013</strong>, <strong>the</strong> first work to follow <strong>the</strong><br />
huge, three-hour oratorio, “The Gospel<br />
According to <strong>the</strong> O<strong>the</strong>r Mary.” Despite<br />
<strong>the</strong>ir very different atmospheres and<br />
subject matter, both “O<strong>the</strong>r Mary” and<br />
<strong>the</strong> Saxophone Concerto share peculiar<br />
affinities, particularly in <strong>the</strong> use <strong>of</strong><br />
modal scales and <strong>the</strong> way <strong>the</strong>y color <strong>the</strong><br />
emotional ambience <strong>of</strong> <strong>the</strong> music. Both<br />
works are launched by a series <strong>of</strong> ascending<br />
scales that energetically bounce back<br />
and forth among various modal harmonies.<br />
This new concerto has as its source<br />
my life-long exposure to <strong>the</strong> great jazz<br />
saxophonists, from <strong>the</strong> swing era through<br />
<strong>the</strong> likes <strong>of</strong> Coltrane, Eric Dolphy and<br />
Wayne Shorter.<br />
American audiences know <strong>the</strong> saxophone<br />
almost exclusively via its use in<br />
jazz, soul, and pop music. The instances<br />
<strong>of</strong> <strong>the</strong> saxophone in <strong>the</strong> classical repertory<br />
are rare, and <strong>the</strong> most famous appearances<br />
amount to only a handful <strong>of</strong> solos<br />
in works by Ravel, Milhaud, Prok<strong>of</strong>iev,<br />
Rachmanin<strong>of</strong>f, and Bernstein. It is ironic<br />
that an instrument so seldom encountered<br />
in classical music ended up as <strong>the</strong> transformative<br />
vehicle for vernacular music (jazz,<br />
rock, blues and funk) in <strong>the</strong> 20 th century.<br />
Having grown up hearing <strong>the</strong> sound <strong>of</strong><br />
<strong>the</strong> saxophone virtually every day—my<br />
fa<strong>the</strong>r had played alto in swing bands<br />
during <strong>the</strong> 1930’s and our family record<br />
collection was well stocked with albums<br />
by <strong>the</strong> great jazz masters—I never<br />
considered <strong>the</strong> saxophone an alien instrument.<br />
My 1987 opera Nixon in China is<br />
almost immediately recognizable by its<br />
sax quartet, which gives <strong>the</strong> orchestration<br />
its special timbre. I followed Nixon<br />
with ano<strong>the</strong>r work, Fearful Symmetries,<br />
that also features a sax quartet in an even<br />
more salient role. In 2010, I composed<br />
City Noir, a jazz-inflected symphony that<br />
featured a fiendishly difficult solo part<br />
for alto sax: a trope indebted to <strong>the</strong> wild<br />
and skittish styles <strong>of</strong> <strong>the</strong> great bebop and<br />
post-bop artists such as Charlie Parker,<br />
Lennie Tristano, and Eric Dolphy. Finding<br />
a sax soloist who could play in this<br />
style but who was sufficiently trained to<br />
be able to sit in <strong>the</strong> middle <strong>of</strong> a modern<br />
symphony orchestra was a difficult<br />
assignment. But fortunately I met Tim<br />
McAllister, who is quite likely <strong>the</strong> reigning<br />
master <strong>of</strong> <strong>the</strong> classical saxophone —<br />
an artist who while rigorously trained is<br />
also aware <strong>of</strong> <strong>the</strong> jazz tradition.<br />
While <strong>the</strong> concerto is not<br />
meant to sound jazzy<br />
per se, its jazz influences<br />
lie only slightly below<br />
<strong>the</strong> surface.<br />
When one evening during a dinner<br />
conversation Tim mentioned that during<br />
high school he had been a champion stunt<br />
bicycle rider, I knew that I must compose<br />
a concerto for this fearless musician<br />
and risk-taker. His exceptional musical<br />
personality had been <strong>the</strong> key ingredient<br />
in performances and recordings <strong>of</strong> City<br />
Noir, and I felt that I’d only begun to<br />
scratch <strong>the</strong> surface <strong>of</strong> his capacities with<br />
that work.<br />
A composer writing a violin or piano<br />
concerto can access a gigantic repository<br />
<strong>of</strong> past models for reference, inspiration,<br />
or even cautionary models. But <strong>the</strong>re<br />
are precious few worthy concertos for<br />
saxophone, and <strong>the</strong> extant ones did not<br />
especially speak to me. But I knew many<br />
great recordings from <strong>the</strong> jazz past that<br />
could form a basis for my compositional<br />
thinking, among <strong>the</strong>m Focus, a 1961<br />
album by Stan Getz for tenor sax and an<br />
orchestra <strong>of</strong> harp and strings arranged by<br />
Eddie Sauter. Although clearly a “studio”<br />
creation, this album featured writing for<br />
<strong>the</strong> strings that referred to Stravinsky,<br />
Bartók and Ravel. Ano<strong>the</strong>r album, Charlie<br />
Parker and Strings, from 1950, although<br />
more conventional in format, none<strong>the</strong>less<br />
helped to set a scenario in my mind<br />
for way <strong>the</strong> alto sax could float and soar<br />
above an orchestra. Ano<strong>the</strong>r album that<br />
I’d known since I was a teenager, New<br />
Bottle Old Wine, with Canonball Adderley<br />
and that greatest <strong>of</strong> all jazz arrangers Gil<br />
Evans, remained in mind throughout <strong>the</strong><br />
composing <strong>of</strong> <strong>the</strong> new concerto as a model<br />
to aspire to.<br />
Classical saxophonists are normally<br />
taught a “French” style <strong>of</strong> producing a<br />
sound with a fast vibrato very much at<br />
odds with <strong>the</strong> looser, grittier style <strong>of</strong> a<br />
jazz player. Needless to say, my preference<br />
is for <strong>the</strong> latter “jazz” style playing,<br />
and in <strong>the</strong> discussions we had during<br />
<strong>the</strong> creation <strong>of</strong> <strong>the</strong> piece, I returned over<br />
and over to <strong>the</strong> idea <strong>of</strong> an “American”<br />
sound for Tim to use as his model. Such<br />
a change is no small thing for a virtuoso<br />
schooled in an entirely different style <strong>of</strong><br />
playing. It would be like asking a singer<br />
used to singing Bach cantatas to cover a<br />
Billy Holiday song.<br />
While <strong>the</strong> concerto is not meant to<br />
sound jazzy per se, its jazz influences lie<br />
only slightly below <strong>the</strong> surface. I make<br />
constant use <strong>of</strong> <strong>the</strong> instrument’s vaunted<br />
agility as well as its capacity for a lyrical<br />
utterance that is only a short step away<br />
from <strong>the</strong> human voice. The form <strong>of</strong> <strong>the</strong><br />
concerto is a familiar one for those who<br />
know my orchestral pieces, as I’ve used it<br />
in my Violin Concerto, in City Noir and<br />
in my piano concerto Century Rolls. It<br />
begins with one long first part combining<br />
a fast movement with a slow, lyrical<br />
one. This is followed by a shorter second<br />
part: a species <strong>of</strong> funk-rondo with a fast,<br />
driving pulse.<br />
The concerto lasts roughly 32 minutes,<br />
making it an unusually expansive statement<br />
for an instrument that is still looking<br />
for its rightful place in <strong>the</strong> symphonic<br />
repertory.”— John Adams, July <strong>2013</strong><br />
Instrumentation: Two flutes, piccolo, three<br />
oboes, English horn, two clarinets, bass clarinet,<br />
two bassoons, three horns, two trumpets,<br />
harp, piano, celesta and strings.<br />
16 <strong>Overture</strong> | www.bsomusic.org
Program Notes }<br />
Festival <strong>Overture</strong>: The Year 1812<br />
Piotr Ilyich Tchaikovsky<br />
Born in Votkinsk, Russia, May 7, 1840; died in<br />
St. Petersburg, Russia, November 6, 1893<br />
The year 1812 was <strong>the</strong> beginning <strong>of</strong> <strong>the</strong><br />
end for Napoleon Bonaparte and his<br />
dreams <strong>of</strong> conquering Europe, and <strong>the</strong><br />
country that thwarted him was Russia.<br />
On <strong>September</strong> 7, 1812, Napoleon’s army<br />
met <strong>the</strong> massive Russian forces under<br />
General Kutuszov in <strong>the</strong> Battle <strong>of</strong> Borodino,<br />
which ended indecisively with more<br />
than 80,000 casualties. Kutusvov cleverly<br />
withdrew his forces behind Moscow, and<br />
when Napoleon arrived <strong>the</strong>re, he found<br />
<strong>the</strong> city in flames, nothing to win, and no<br />
food or supplies for his troops. The brutal<br />
Russian winter did <strong>the</strong> rest <strong>of</strong> <strong>the</strong> work,<br />
and Napoleon limped out <strong>of</strong> Russia with<br />
his troops decimated.<br />
Nearly 70 years later in 1880, Tchaikovsky<br />
was asked by his friend Nikolai<br />
Rubinstein, director <strong>of</strong> <strong>the</strong> Moscow<br />
Conservatory, to write a patriotic piece<br />
for <strong>the</strong> opening <strong>of</strong> <strong>the</strong> Russian Exhibition<br />
<strong>of</strong> Industry and <strong>the</strong> Arts, and more<br />
specifically for <strong>the</strong> consecration <strong>of</strong> <strong>the</strong><br />
Ca<strong>the</strong>dral <strong>of</strong> Christ <strong>the</strong> Savior, which had<br />
been commissioned in 1812. But, though<br />
Tchaikovsky accepted <strong>the</strong> assignment, he<br />
wasn’t happy about it. “There is nothing<br />
less to my liking than composing for <strong>the</strong><br />
sake <strong>of</strong> some festivities,” he wrote. “What,<br />
for instance, can you write on <strong>the</strong> occasion <strong>of</strong><br />
<strong>the</strong> opening <strong>of</strong> an exhibition except banalities<br />
and generally noisy passages?” Begrudging<br />
<strong>the</strong> necessary labor, Tchaikovsky ripped <strong>the</strong><br />
composition out in just a week and finished<br />
<strong>the</strong> orchestral scoring one month later.<br />
Though an outdoor setting complete with<br />
cannon fire was originally contemplated,<br />
it was ultimately premiered in a new hall<br />
built for <strong>the</strong> exhibition on August 20, 1882<br />
without <strong>the</strong> artillery contribution.<br />
Tchaikovsky’s speed in turning out what<br />
is probably today his most famous composition<br />
was aided by his stitching <strong>the</strong> work<br />
toge<strong>the</strong>r from a number <strong>of</strong> pre-existing<br />
melodies. In a slow, brooding introduction,<br />
it opens with a beautiful, traditional<br />
Russian Orthodox chant “Save, Lord, Thy<br />
People,” deep in <strong>the</strong> strings. This opening<br />
section also introduces a dashing militarysignal-style<br />
tune representing <strong>the</strong> Russian<br />
army, which will play an important role in<br />
<strong>the</strong> work’s conclusion. The main Allegro<br />
section introduces <strong>the</strong> French national<br />
hymn “La Marseillaise,” which battles with<br />
<strong>the</strong> Russian <strong>the</strong>mes. A quieter lyrical section<br />
uses a swaying melody from Tchaikovsky’s<br />
early opera The Voyevoda, as well<br />
as a traditional Russian folk-dance song “At<br />
<strong>the</strong> Gates.” Finally, a grandiose coda salutes<br />
<strong>the</strong> Russian victory with an imposing statement<br />
<strong>of</strong> <strong>the</strong> Russian imperial hymn “God<br />
Save <strong>the</strong> Tsar.”<br />
Instrumentation: Two flutes, piccolo, two oboes,<br />
English horn, two clarinets, two bassoons, four<br />
horns, four trumpets, three trombones, tuba,<br />
timpani, percussion and strings.<br />
Notes by Janet E. Bedell, Copyright ©<strong>2013</strong><br />
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FAll <strong>2013</strong><br />
Open HOuse<br />
sCHedule<br />
Wednesday, <strong>October</strong> 9, 9:00am H Sunday, <strong>October</strong> 27, 2:00 pm<br />
Wednesday, November 13, 9:00am H Sunday, November 17, 2:00 pm<br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 17
{ Program Notes<br />
Marin Alsop<br />
For Marin Alsop’s bio., please see pg. 12.<br />
Joseph Meyerh<strong>of</strong>f Symphony Hall<br />
Baltimore Symphony Orchestra<br />
Marin Alsop<br />
Music Director • Harvey M. And Lyn P. Meyerh<strong>of</strong>f Chair<br />
Thibaudet Plays Bernstein<br />
Friday, <strong>September</strong> 27, <strong>2013</strong> — 8 p.m.<br />
Saturday, <strong>September</strong> 28, <strong>2013</strong> — 8 p.m.<br />
Presenting Sponsor:<br />
Marin Alsop, Conductor<br />
Jean-Yves Thibaudet, Piano<br />
George Gershwin<br />
Leonard Bernstein<br />
Maurice Ravel<br />
Maurice Ravel<br />
Intermission<br />
Cuban <strong>Overture</strong><br />
Symphony No. 2, The Age <strong>of</strong> Anxiety<br />
Part I:<br />
The Prologue: Lento moderato<br />
The Seven Ages: Variations 1–7<br />
The Seven Stages: Variations 8–14<br />
Part II:<br />
The Dirge: Largo<br />
The Masque: Extremely fast<br />
The Epilogue:<br />
l’istesso tempo – Adagio –<br />
andante - con moto<br />
JEAN-YVES THIBAUDET<br />
Piano Concerto in G Major<br />
allegramente<br />
adagio assai<br />
Presto<br />
JEAN-YVES THIBAUDET<br />
Suite No. 2 from Daphnis et Chloé<br />
lever du jour<br />
Pantomime<br />
Danse générale<br />
The concert will end at approximately 10 p.m.<br />
© Decca/Kasskara<br />
Jean-Yves<br />
Thibaudet<br />
Jean-Yves Thibaudet,<br />
“one <strong>of</strong> <strong>the</strong> best<br />
pianists <strong>of</strong> our time”<br />
(New York Sun), has <strong>the</strong> rare ability to<br />
combine poetic musical sensibilities with<br />
dazzling technical prowess. His talent at<br />
coaxing subtle and surprising colors and<br />
textures from even old favorites has led<br />
<strong>the</strong> New York Times to exclaim “ … every<br />
note he fashions is a pearl … <strong>the</strong> joy, brilliance<br />
and musicality <strong>of</strong> his performance<br />
could not be missed.” Thibaudet, who<br />
has performed around <strong>the</strong> world for more<br />
than 30 years and recorded more than 40<br />
albums, has a depth and natural charisma<br />
that have made him one <strong>of</strong> <strong>the</strong> most<br />
sought-after soloists by today’s foremost<br />
orchestras, conductors and festivals. In<br />
2010, <strong>the</strong> Hollywood Bowl honored<br />
Thibaudet for his musical achievements<br />
by inducting him into its Hall <strong>of</strong> Fame.<br />
A recording artist for Decca, he has<br />
won <strong>the</strong> Schallplattenpreis, <strong>the</strong> Diapason<br />
d’Or, Choc du Monde de la Musique, a<br />
Gramophone Award, two Echo Awards,<br />
and <strong>the</strong> Edison Prize. In 2010, Thibaudet<br />
released his latest CD, Gershwin, featuring<br />
“big jazz band” orchestrations <strong>of</strong> Rhapsody<br />
in Blue, Variations on “I Got Rhythm,”<br />
and Concerto in F live with <strong>the</strong> Baltimore<br />
Symphony and its music director, Marin<br />
Alsop. In 2012, Jean-Yves recorded <strong>the</strong><br />
soundtrack <strong>of</strong> <strong>the</strong> film, Extremely Loud<br />
& Incredibly Close, composed by Alexandre<br />
Desplat. Known for his style and<br />
elegance, Thibaudet wears a concert wardrobe<br />
designed by Vivienne Westwood.<br />
Jean-Yves Thibaudet last appeared with<br />
<strong>the</strong> BSO in November 2009, performing<br />
Gershwin’s Rhapsody in Blue, Concerto<br />
in F and Liszt’s Totentanz, with Marin<br />
Alsop conducting.<br />
18 <strong>Overture</strong> | www.bsomusic.org
Program Notes }<br />
About <strong>the</strong> concert:<br />
Cuban <strong>Overture</strong><br />
George Gershwin<br />
Born in Brooklyn, New York,<br />
<strong>September</strong> 26, 1898; died in Beverly Hills,<br />
California, July 11, 1937<br />
George Gershwin was very conscious <strong>of</strong><br />
his lack <strong>of</strong> early formal musical training<br />
and in adulthood studied with various<br />
teachers to remedy it whenever his frenetic<br />
schedule allowed. Although he’d allowed<br />
Ferde Gr<strong>of</strong>é to score Rhapsody in Blue, he<br />
orchestrated all his subsequent concert<br />
pieces himself and bristled at journalists<br />
who periodically accused him <strong>of</strong> letting<br />
o<strong>the</strong>rs polish his work. Just how sophisticated<br />
his mastery <strong>of</strong> <strong>the</strong> orchestra became<br />
can be heard in his Cuban <strong>Overture</strong>,<br />
written in 1932.<br />
At that time, Gershwin was studying<br />
<strong>the</strong>ory and composition with Joseph<br />
Schillinger, a graduate <strong>of</strong> <strong>the</strong> St. Petersburg<br />
Conservatory, and this piece grew<br />
from his lessons in counterpoint (<strong>the</strong> art <strong>of</strong><br />
weaving toge<strong>the</strong>r multiple musical lines).<br />
It was also inspired by a vacation he’d<br />
taken in Cuba that winter; he became<br />
fascinated with Cuban dance music and<br />
returned with several Cuban percussion<br />
instruments in his luggage—bongo<br />
drums, Cuban sticks or claves, gourd, and<br />
maracas—that received prominent parts<br />
in his new work. By <strong>the</strong> summer <strong>of</strong> 1932,<br />
he was rapidly completing <strong>the</strong> <strong>Overture</strong><br />
for a mammoth all-Gershwin concert<br />
held outdoors at New York’s Lewisohn<br />
Stadium on August 16. That concert<br />
was a spectacular success, with 18,000 in<br />
attendance and thousands more turned<br />
away at <strong>the</strong> gates. Gershwin called it “<strong>the</strong><br />
most exciting night I ever had.”<br />
Cuban <strong>Overture</strong> is in three sections,<br />
opening and closing with <strong>the</strong> fast, intricate<br />
rumba music featuring <strong>the</strong> indigenous<br />
Cuban instruments. In <strong>the</strong> middle, a<br />
lengthy slow section shows Gershwin’s ability<br />
to create a subtle, haunting atmosphere<br />
conjuring a tropical night. The brilliant<br />
orchestration throughout suggests <strong>the</strong><br />
composer had learned a thing or two from<br />
his friend Maurice Ravel, but <strong>the</strong> verve and<br />
melodic inspiration are pure Gershwin.<br />
Instrumentation: Three flutes, piccolo, two<br />
oboes, English horn, two clarinets, bass<br />
clarinet, two bassoons, contrabassoon, four<br />
horns, three trumpets, three trombones, tuba,<br />
timpani, percussion and strings.<br />
Symphony No. 2,<br />
“The Age <strong>of</strong> Anxiety”<br />
Leonard Bernstein<br />
Born in Lawrence, Massachusetts, August 25,<br />
1918; died in New York City, <strong>October</strong> 14, 1990<br />
None <strong>of</strong> <strong>the</strong> three works Leonard Bernstein<br />
labeled as symphonies in any way resembles<br />
a conventional orchestral symphony.<br />
Symphony No. 1, “Jeremiah,” includes<br />
a singer and chorus and is built around<br />
Old Testament texts in Hebrew. Symphony<br />
No. 3, “Kaddish,” which <strong>the</strong> BSO<br />
performed last season, combines choruses,<br />
vocal soloist, and a spoken text to express<br />
what is essentially Bernstein’s very personal<br />
argument with God. And inspired by W.<br />
H. Auden’s long poem <strong>of</strong> <strong>the</strong> same name,<br />
Symphony No. 2, “The Age <strong>of</strong> Anxiety,”<br />
which we will hear at <strong>the</strong>se concerts, is a<br />
highly dramatic work that resembles both<br />
a tone poem and a piano concerto. As <strong>the</strong><br />
composer himself candidly admitted: “If<br />
<strong>the</strong> charge <strong>of</strong> ‘<strong>the</strong>atricality’ in a symphonic<br />
work is a valid one, I am willing to plead<br />
guilty. I have a deep suspicion that every<br />
work I write, for whatever medium, is really<br />
<strong>the</strong>atre music in some way.”<br />
Though not a word is spoken or sung<br />
in <strong>the</strong> Second Symphony, it is as much<br />
tied to a literary text as are “Jeremiah” and<br />
“Kaddish.” Bernstein was an insatiable<br />
reader, and he was utterly captivated by<br />
Auden’s Pulitzer Prize-winning poem,<br />
Leonard Bernstein<br />
The Leonard Bernstein Office<br />
which he discovered soon after its publication<br />
in 1947. “From that moment, <strong>the</strong><br />
composition <strong>of</strong> a symphony … acquired<br />
an almost compulsive quality,” Bernstein<br />
remembered, “and I worked on it steadily<br />
… in Taos, in Philadelphia, in Richmond,<br />
Mass., in Tel Aviv, in planes, in hotel lobbies.”<br />
The orchestration was done in <strong>the</strong><br />
midst <strong>of</strong> a tour with <strong>the</strong> Pittsburgh Symphony,<br />
during which Bernstein conducted<br />
25 concerts in 28 days. As was to happen<br />
throughout his life, <strong>the</strong> need to compose<br />
was already in conflict with <strong>the</strong> demands <strong>of</strong><br />
his exploding conducting career.<br />
Bernstein based his hybrid work closely<br />
on <strong>the</strong> six-part format <strong>of</strong> <strong>the</strong> poem and its<br />
focus on <strong>the</strong> conversations <strong>of</strong> three men<br />
and a woman during a long, alcohol-fueled<br />
night in a wartime New York City bar.<br />
In his words, “The essential line <strong>of</strong> <strong>the</strong><br />
poem (and <strong>of</strong> <strong>the</strong> music) is a record <strong>of</strong> our<br />
difficult search for faith. In <strong>the</strong> end, two<br />
<strong>of</strong> <strong>the</strong> characters enunciate <strong>the</strong> recognition<br />
<strong>of</strong> this faith … at <strong>the</strong> same time revealing<br />
an inability to relate to it in <strong>the</strong>ir daily<br />
lives, except through blind acceptance.”<br />
Bernstein explained that “<strong>the</strong> conception<br />
<strong>of</strong> a symphony with piano solo emerges<br />
from <strong>the</strong> personal indentification <strong>of</strong> myself<br />
with <strong>the</strong> poem. In this sense, <strong>the</strong> pianist<br />
provides an autobiographical protagonist,<br />
set against an orchestral mirror.” Appropriately,<br />
Bernstein himself played <strong>the</strong> solo part<br />
at “Age <strong>of</strong> Anxiety’s” premiere performance<br />
on April 8, 1949 with <strong>the</strong> Boston Symphony<br />
conducted by Serge Koussevitzky.<br />
Here are Bernstein’s own descriptions <strong>of</strong> <strong>the</strong><br />
Symphony’s six sections:<br />
Part I:<br />
“The Prologue finds four lonely characters,<br />
a girl and three men, in a Third Avenue<br />
bar, all <strong>of</strong> <strong>the</strong>m insecure and trying,<br />
through drink, to detach <strong>the</strong>mselves from<br />
<strong>the</strong>ir conflicts or, at best, to resolve <strong>the</strong>m.<br />
They … begin a kind <strong>of</strong> symposium on<br />
<strong>the</strong> state <strong>of</strong> man. Musically, <strong>the</strong> Prologue<br />
is a very short section consisting <strong>of</strong> a lonely<br />
improvisation by two clarinets … followed<br />
by a long descending scale which acts as a<br />
bridge into <strong>the</strong> realm <strong>of</strong> <strong>the</strong> unconscious,<br />
where most <strong>of</strong> <strong>the</strong> poem takes place.<br />
“The Seven Ages. The life <strong>of</strong> man is<br />
reviewed from <strong>the</strong> four personal points <strong>of</strong><br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 19
{ Program Notes<br />
view. This is a series <strong>of</strong> variations, which<br />
differ from conventional variations in that<br />
<strong>the</strong>y do not vary any one common <strong>the</strong>me.<br />
Each variation seizes upon some feature<br />
<strong>of</strong> <strong>the</strong> preceding one and develops it,<br />
introducing … some counter-features upon<br />
which <strong>the</strong> next variation seizes. …<br />
“The Seven Stages. The variation form<br />
continues for ano<strong>the</strong>r set <strong>of</strong> seven, in which<br />
<strong>the</strong> characters go on an inner symbolic<br />
journey … leading back to a point <strong>of</strong> comfort<br />
and security. The four try every means,<br />
going singly and in pairs, exchanging<br />
partners, and always missing <strong>the</strong> objective.<br />
When <strong>the</strong>y awaken from this dreamodyssey,<br />
<strong>the</strong>y are closely united through a<br />
common experience (and through alcohol)<br />
and begin to function as one organism.<br />
This set <strong>of</strong> variations begins to show activity<br />
and drive and leads to a hectic, though<br />
inconclusive, close.”<br />
Part II:<br />
“The Dirge is sung by <strong>the</strong> four as <strong>the</strong>y sit<br />
in a cab en route to <strong>the</strong> girl’s apartment<br />
for a nightcap. They mourn <strong>the</strong> loss <strong>of</strong> <strong>the</strong><br />
‘colossal Dad,’ <strong>the</strong> great leader who can<br />
alway give <strong>the</strong> right orders, find <strong>the</strong> right<br />
solution, shoulder <strong>the</strong> mass responsibility,<br />
and satisfy <strong>the</strong> universal need for a<br />
fa<strong>the</strong>r-symbol. This section employs, in<br />
a harmonic way, a twelve-tone row out<br />
<strong>of</strong> which <strong>the</strong> main <strong>the</strong>me evolves. There<br />
is a contrasting middle section <strong>of</strong> almost<br />
Brahmsian romanticism, in which can<br />
be felt <strong>the</strong> self-indulgent aspect <strong>of</strong> this<br />
strangely pompous lamentation.<br />
“The Masque finds <strong>the</strong> group in <strong>the</strong> girl’s<br />
apartment, weary, guilty, determined to<br />
have a party, each one afraid <strong>of</strong> spoiling <strong>the</strong><br />
o<strong>the</strong>rs’ fun by admitting that he should be<br />
home in bed. This is a scherzo for piano<br />
and percussion alone … The party ends in<br />
anticlimax and <strong>the</strong> dispersal <strong>of</strong> <strong>the</strong> actors<br />
… Thus a kind <strong>of</strong> separation <strong>of</strong> <strong>the</strong> self<br />
from <strong>the</strong> guilt <strong>of</strong> escapist living has been<br />
effected, and <strong>the</strong> protagonist is free again to<br />
examine what is left beneath <strong>the</strong> emptiness.<br />
“The Epilogue. What is left, it turns out,<br />
is faith. The trumpet intrudes its statement<br />
<strong>of</strong> ‘something pure’ upon <strong>the</strong> dying pianino<br />
[upright piano in <strong>the</strong> orchestra]; <strong>the</strong> strings<br />
answer in a melancholy reminiscent <strong>of</strong> <strong>the</strong><br />
Prologue … All at once, <strong>the</strong> strings accept<br />
<strong>the</strong> situation in a sudden statement <strong>of</strong> <strong>the</strong><br />
newly recognized faith … The way is open,<br />
but at <strong>the</strong> conclusion, is still stretching long<br />
before <strong>the</strong> [protagonist].”<br />
Instrumentation: Three flutes, piccolo, two<br />
oboes, English horn, two clarinets, bass<br />
clarinet, two bassoons, contrabassoon, four<br />
horns, three trumpets, three trombones, tuba,<br />
timpani, percussion and strings.<br />
An elegant demonstration<br />
<strong>of</strong> this belief, <strong>the</strong> Concerto<br />
in G was enormously<br />
successful at its premiere in<br />
Paris on January 14, 1932.<br />
Piano Concerto in G Major<br />
Daphnis et Chloé Suite No. 2<br />
Maurice Ravel<br />
Born in Ciboure, Basses-Pyrenées,<br />
France, March 7, 1875; died in Paris,<br />
December 28, 1937<br />
Maurice Ravel was a masterful composer<br />
for both <strong>the</strong> orchestra and <strong>the</strong> piano.<br />
Strangely he did not combine <strong>the</strong>se sonorities<br />
until quite late in his career, when he<br />
wrote two remarkable concertos: <strong>the</strong> Concerto<br />
for <strong>the</strong> Left Hand and <strong>the</strong> Concerto<br />
in G Major for both hands.<br />
The impetus for <strong>the</strong> Concerto in G was<br />
Ravel’s need for a work to show <strong>of</strong>f his<br />
performing skills during a North American<br />
tour in 1928, but this painstakingly slow<br />
creator did not manage to launch <strong>the</strong> concerto<br />
before his boat left. It was finally written<br />
between 1929 and 1931. Opposed to<br />
<strong>the</strong> heavy Teutonic approach <strong>of</strong> Beethoven<br />
and Brahms, Ravel declared: “The music<br />
<strong>of</strong> a concerto should, in my opinion, be<br />
light-hearted and brilliant, and not aim at<br />
pr<strong>of</strong>undity or at dramatic effects.”<br />
An elegant demonstration <strong>of</strong> this belief,<br />
<strong>the</strong> Concerto in G was enormously successful<br />
at its premiere in Paris on January<br />
14, 1932. Its first movement mixes a<br />
timeless exoticism, arrayed in Ravel’s most<br />
sparkling orchestral hues, with a percussive,<br />
jazz-driven 20 th -century pace. The<br />
opening is arresting: <strong>the</strong> crack <strong>of</strong> a whip<br />
sets <strong>of</strong>f dazzling, bell-like music with <strong>the</strong><br />
pianist playing white keys in <strong>the</strong> right hand<br />
against clashing black keys in <strong>the</strong> left. The<br />
piccolo whirls through a piquant melody,<br />
inspired by <strong>the</strong> folk melodies <strong>of</strong> Ravel’s native<br />
Basque country. Then <strong>the</strong> tempo slows<br />
to a bluesy mood, with wailing clarinet<br />
and muted trumpet melodies that George<br />
Gershwin himself might have penned.<br />
Jazz takes a rest during <strong>the</strong> delicately<br />
beautiful slow movement, which is in <strong>the</strong><br />
antique style <strong>of</strong> <strong>the</strong> composer’s famous<br />
Pavane for a Dead Princess. Playing alone,<br />
<strong>the</strong> piano sings a long, pensive melody with<br />
sensitive woodwind commentary. Later <strong>the</strong><br />
English horn reprises this melody while<br />
<strong>the</strong> piano shimmers around it. The finale<br />
brings back <strong>the</strong> world <strong>of</strong> jazz with a ligh<strong>the</strong>arted,<br />
high-speed chase.<br />
Ravel’s score for <strong>the</strong> ballet Daphnis et<br />
Chloé is generally acknowledged to be<br />
his greatest work.Yet as <strong>the</strong> <strong>of</strong>fspring <strong>of</strong><br />
clashing artistic temperaments, it had a<br />
painful birth.<br />
In 1909, Sergei Diaghilev presented <strong>the</strong><br />
first season <strong>of</strong> his Ballets Russes in Paris,<br />
and his spectacular dancers—including<br />
<strong>the</strong> incomparable male star Nijinsky—<br />
daring choreography, and eye-filling sets by<br />
Leon Bakst captivated <strong>the</strong> Parisian public.<br />
Thus when Diaghilev approached Ravel<br />
for a ballet score for <strong>the</strong> company’s next<br />
season, <strong>the</strong> composer readily agreed. Ravel,<br />
Diaghilev, and his brilliant choreographer<br />
Michel Fokine chose to set <strong>the</strong> story <strong>of</strong> <strong>the</strong><br />
shepherd-lovers Daphnis and Chloé from<br />
<strong>the</strong> third-century A.D. pastoral romance by<br />
<strong>the</strong> Greek writer Longus. But <strong>the</strong>re agreement<br />
ended. Fokine and Bakst envisioned<br />
a primitive Greece with imagery based on<br />
<strong>the</strong> stylized figures <strong>of</strong> ancient Greek pottery.<br />
Ravel instead saw <strong>the</strong> ancient setting<br />
in more idealized terms: “a vast musical<br />
fresco, concerning itself less with archaic<br />
fidelity, than with fidelity to <strong>the</strong> Greece <strong>of</strong><br />
my dreams, which in many ways resembled<br />
that … depicted by <strong>the</strong> French artists <strong>of</strong> <strong>the</strong><br />
18 th century.”<br />
This artistic conflict, combined with<br />
Ravel’s slow, meticulous method <strong>of</strong> composition<br />
and linguistic difficulties between<br />
Fokine who spoke little French and Ravel<br />
who claimed “I only know how to swear in<br />
20 <strong>Overture</strong> | www.bsomusic.org
Russian,” delayed <strong>the</strong> production for several<br />
seasons. The premiere finally came on<br />
June 8, 1912, with Nijinsky and <strong>the</strong> great<br />
Tamara Karsavina dancing <strong>the</strong> title roles<br />
and Pierre Monteux conducting.<br />
Ravel extracted two concert suites from<br />
<strong>the</strong> score, and <strong>the</strong> Second Suite —which<br />
comprises <strong>the</strong> ballet’s third and final tableau<br />
—is by far <strong>the</strong> more <strong>of</strong>ten performed.<br />
It has three interlocking movements:<br />
“Dawn,” “Pantomine,” and “Final Dance.”<br />
Earlier in <strong>the</strong> story, Daphnis and Chloé’s<br />
love has been tested by rivals, and Chloé<br />
has been abducted by pirates, but she is<br />
rescued by <strong>the</strong> miraculous intervention <strong>of</strong><br />
<strong>the</strong> god Pan.<br />
The third act opens with “probably <strong>the</strong><br />
most famous dawn in all music” (Robin<br />
Holloway). Master orchestrator that he<br />
was, Ravel paints <strong>the</strong> sunrise with all<br />
<strong>the</strong> Technicolor sounds he can conceive:<br />
<strong>the</strong> ripple <strong>of</strong> brooks, <strong>the</strong> chatter <strong>of</strong> birds,<br />
and from deep in <strong>the</strong> orchestral strings a<br />
magnificent song portraying <strong>the</strong> rising sun,<br />
finally gleaming al<strong>of</strong>t in <strong>the</strong> violins. Daphnis<br />
awakes, searches frantically for Chloé,<br />
and at <strong>the</strong> crest <strong>of</strong> <strong>the</strong> second crescendo<br />
sees her returning with a party <strong>of</strong> shepherdesses.<br />
Seeing <strong>the</strong> crown on her head, he<br />
realizes that Pan has saved her in memory<br />
<strong>of</strong> his love for <strong>the</strong> nymph Syrinx. Daphnis<br />
and Chloé <strong>the</strong>n mime <strong>the</strong> courtship <strong>of</strong> Pan<br />
and Syrinx and Pan’s invention <strong>of</strong> <strong>the</strong> flute,<br />
celebrated in a glorious extended flute<br />
solo. The two lovers swear <strong>the</strong>ir eternal<br />
fidelity to solemn, brass-dominated music.<br />
Nymphs and shepherds surround <strong>the</strong>m for<br />
a joyously pagan dance. Here Ravel’s 18 th -<br />
century ideal seems at last to yield to <strong>the</strong><br />
full-blooded style <strong>of</strong> his Russian colleagues.<br />
Instrumentation for Concerto in G: Flute, piccolo,<br />
oboe, English horn, clarinet, piccolo clarinet,<br />
two bassoons, two horns, trumpet, trombone,<br />
timpani, percussion, harp and strings.<br />
Instrumentation for Daphpnis et Chloe Suite<br />
No. 2: Two flutes, two piccolos, alto flute, two<br />
oboes, English horn, two clarinets, bass clarinet,<br />
piccolo clarinet, three bassoons, contrabassoon,<br />
four horns, four trumpets, three trombones, tuba,<br />
timpani, percussion, two harps, celesta and strings.<br />
“I have been able to share my passion for<br />
<strong>the</strong> arts with o<strong>the</strong>rs and explore new ways<br />
<strong>of</strong> expressing my creativity.”<br />
Fujie Twilling, Living at Willow Valley Since 2004<br />
Willow Valley is more than a senior living community.<br />
It’s a way <strong>of</strong> life. It’s a beautiful home, exceptional cuisine,<br />
lovely landscaping, and meticulously-maintained campuses.<br />
It’s also a mind-body-spirit approach to wellness and<br />
welcoming neighbors who make <strong>the</strong> most <strong>of</strong> every day.<br />
And it’s Lifecare, a wise and valuable investment that<br />
provides long-term care, should you need it.<br />
Visit us. Explore some <strong>of</strong> our 80+ floorplans. Get to know<br />
people from 37+ states who make Willow Valley home.<br />
Meet our team members who, for nearly 30 years, have<br />
created one <strong>of</strong> <strong>the</strong> region’s most innovative, financially<br />
strong, senior living communities. Willow Valley is a<br />
place to engage, learn, enjoy.<br />
800 770 5445 | Lancaster, PA | WillowValleyCommunities.org<br />
Life Lived Forward<br />
Notes by Janet E. Bedell, Copyright ©<strong>2013</strong><br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 21
{ Program Notes<br />
Michael Tammaro<br />
Joseph Meyerh<strong>of</strong>f Symphony Hall<br />
Baltimore Symphony Orchestra<br />
Marin Alsop<br />
Music Director • Harvey M. And Lyn P. Meyerh<strong>of</strong>f Chair<br />
Jack Everly, Conductor<br />
Ann Hampton Callaway, Vocalist<br />
Jon Kalbfleisch, Piano<br />
Hampton Childress, Rhythm Bass<br />
Steve Hanna, Drums<br />
Berlin<br />
arranged by Ades<br />
Porter<br />
arranged by Dragon<br />
Styne<br />
orchestrated by Spencer<br />
Jack Everly<br />
Principal Pops Conductor<br />
The Streisand Songbook<br />
with Ann Hampton Callaway<br />
Friday, <strong>October</strong> 11, <strong>2013</strong> — 8 p.m.<br />
Saturday, <strong>October</strong> 12, <strong>2013</strong> — 8 p.m.<br />
Sunday, <strong>October</strong> 13, <strong>2013</strong> — 3 p.m.<br />
Series Presenter:<br />
A Tribute to Irving Berlin<br />
“Just One <strong>of</strong> Those Things”<br />
<strong>Overture</strong> to Funny Girl<br />
Ms. Callaway will announce her program from <strong>the</strong> stage.<br />
Jack Everly<br />
Jack Everly is <strong>the</strong> principal<br />
pops conductor<br />
<strong>of</strong> <strong>the</strong> Baltimore and<br />
Indianapolis Symphony<br />
Orchestras, Naples Philharmonic<br />
Orchestra and National Arts Centre Orchestra<br />
(Ottawa), and <strong>the</strong> music director<br />
<strong>of</strong> <strong>the</strong> National Memorial Day Concert<br />
and A Capitol Fourth on PBS. He has been<br />
This program will include a 20 minute intermission.<br />
The concert will end at approximately 10:10 p.m.<br />
on stage with <strong>the</strong> Los Angeles Philharmonic<br />
at <strong>the</strong> Hollywood Bowl, <strong>the</strong> New<br />
York Pops at Carnegie Hall and appears<br />
regularly with The Cleveland Orchestra<br />
at Blossom Music Center. His frequent<br />
guest conducting engagements include<br />
<strong>the</strong> orchestras <strong>of</strong> Pittsburgh, Edmonton,<br />
Oklahoma City and this season with<br />
The Philadelphia Orchestra at The<br />
Mann Center.<br />
Bill Westmoreland<br />
Everly is <strong>the</strong> music director <strong>of</strong> Yuletide<br />
Celebration, now a 26-year tradition.<br />
These <strong>the</strong>atrical symphonic holiday concerts<br />
are presented annually in December<br />
in Indianapolis and are seen by more than<br />
40,000 concert-goers. He led <strong>the</strong> ISO in<br />
its first Pops recording, Yuletide Celebration,<br />
Volume One, that included three <strong>of</strong><br />
his own arrangements.<br />
Originally appointed by Mikhail<br />
Baryshnikov, Everly was conductor <strong>of</strong><br />
<strong>the</strong> American Ballet Theatre for 14 years,<br />
where he served as music director. In addition<br />
to his ABT tenure, he teamed with<br />
Marvin Hamlisch in Broadway shows that<br />
Hamlisch scored including, The Goodbye<br />
Girl, They’re Playing Our Song and A Chorus<br />
Line. He conducted Carol Channing<br />
hundreds <strong>of</strong> times in Hello, Dolly! in two<br />
separate Broadway productions.<br />
Everly has conducted <strong>the</strong> songs for<br />
Disney’s animated classic The Hunchback<br />
<strong>of</strong> Notre Dame and led <strong>the</strong> Czech<br />
Philharmonic on <strong>the</strong> recordings In <strong>the</strong><br />
Presence, featuring tenor Daniel Rodriguez<br />
and Sandi Patty’s 2011 release Broadway<br />
Stories. He also conducted <strong>the</strong> criticallypraised<br />
Everything’s Coming Up Roses:<br />
The Complete <strong>Overture</strong>s <strong>of</strong> Broadway’s Jule<br />
Styne, and was music director for numerous<br />
Broadway cast recordings.<br />
In 1998, Everly created <strong>the</strong> Symphonic<br />
Pops Consortium, serving as music<br />
director. The Consortium, based in<br />
Indianapolis, produces new <strong>the</strong>atrical<br />
pops programs, and in <strong>the</strong> past 13 years,<br />
more than 250 performances <strong>of</strong> SPC<br />
programs have taken place across <strong>the</strong><br />
U.S. and Canada.<br />
Maestro Everly holds an Honorary<br />
Doctorate <strong>of</strong> Arts from Franklin College<br />
in his home state <strong>of</strong> Indiana. When not on<br />
<strong>the</strong> podium or arranging, Maestro Everly<br />
indulges in his love for films, Häagen-<br />
Dazs and a pooch named Max.<br />
Ann Hampton<br />
Callaway<br />
One <strong>of</strong> <strong>the</strong> leading<br />
champions <strong>of</strong><br />
<strong>the</strong> great American<br />
Songbook, Ann Hampton Callaway<br />
has made her mark as a singer, pianist,<br />
22 <strong>Overture</strong> | www.bsomusic.org
Featureflash / Shutterstock.com<br />
Barbra Streisand<br />
composer, lyricist, arranger, actress,<br />
educator, TV host and producer. She won<br />
<strong>the</strong> Theater World Award and received a<br />
Tony nomination for her starring role in<br />
<strong>the</strong> Broadway musical Swing! Callaway<br />
made her Hollywood screen debut in<br />
Robert DeNiro’s The Good Shepherd and<br />
was featured in <strong>the</strong> soundtrack <strong>of</strong> Queen<br />
Latifah’s Last Holiday. She’s written more<br />
than 250 songs, including two platinum<br />
award-winning hits for Barbra Streisand<br />
and <strong>the</strong> <strong>the</strong>me for <strong>the</strong> hit TV series The<br />
Nanny. Callaway produced and hosted<br />
two TV specials called “Singer’s Spotlight”<br />
with guests Liza Minnelli and<br />
Christine Ebersole and is in <strong>the</strong> planning<br />
stages for a radio series.<br />
She performs <strong>the</strong> critically acclaimed<br />
acts “Sibling Revelry” and “Boom!” with<br />
Broadway star and sister Liz Callaway<br />
and <strong>the</strong>ir CD Boom! Live at Birdland was<br />
released to rave reviews debuting at #25<br />
on The Billboard Jazz Chart. This year,<br />
Callaway has taken <strong>the</strong> symphony world<br />
by storm with her tribute to her legendary<br />
mentor in The Streisand Songbook<br />
which she premiered with The Boston<br />
Pops and will be touring nationwide<br />
throughout <strong>2013</strong>–2014. Callaway has<br />
recorded 12 solo CDs including <strong>the</strong><br />
celebrated “At Last” and is a guest artist<br />
on more than 45 CDs.<br />
For more information, see<br />
www.annhamptoncallaway.com.<br />
Ann Hampton Callaway<br />
last performed with <strong>the</strong> BSO in <strong>the</strong><br />
December 2009 Holiday Spectacular,<br />
with Jack Everly conducting.<br />
EXPLOSIVE LIVE PERFORMANCES<br />
A L L T I C K E T S N O W $ 2 0<br />
MAESTRO SERIES FOR ORChEStRA & ChORuS<br />
POWER AND GLORY | Sat., Oct. 26, <strong>2013</strong> | 8pm *<br />
SPON. by thE hENRy ANd Ruth bLAuStEIN ROSENbERg FOuNdAtION<br />
SCHUBERT: Unfinished Symphony and Mass in G<br />
RACHMANINOFF: Selections from Vespers<br />
PROKOFIEV: Piano Concerto No. 3<br />
Mark Markham, Piano<br />
MANSION SERIES ChAMbER MuSIC At thE<br />
gARREtt-jACObS MANSION, thE ENgINEERS CLub<br />
SPONSOREd by MR. ANd MRS. ChARLES h. bERRy jR.<br />
CHRISTMAS CHEER<br />
Sat., Dec. 14, <strong>2013</strong> | 1pm & Sun., Dec. 15, <strong>2013</strong> | 2:30pm °<br />
CO-SPONSOREd by kIM ANd FRANk FILLMORE, thE FILLMORE gROuP<br />
The annual sell-out performances continue in one <strong>of</strong><br />
Baltimore’s most opulent mansions, with both classical and<br />
lighter arrangements <strong>of</strong> seasonal favorites. Come early for an<br />
optional brunch and stay late for a sing-a-long at <strong>the</strong> piano.<br />
FAMILY FUN CONCERT | Sun., Nov. 17, <strong>2013</strong> | 3pm *<br />
SPONSOREd by thE PEggy ANd yALE gORdON tRuSt<br />
Enjoy family activities and music for a fun learning experience about<br />
instruments and classical music for <strong>the</strong> young and young at heart.<br />
LYCEUM SERIES CONVERSAtIONS AbOut thE<br />
MuSIC hELd IN bEAutIFuL MOuNt VERNON hOMES<br />
SCHUBERT - FINISHED & UNFINISHED<br />
Thurs., Oct. 10, <strong>2013</strong> | 7pm<br />
VIVALDI AND THE FOUR SEASONS<br />
Thurs., Nov. 21, <strong>2013</strong> | 7pm<br />
* Gordon Center For Performing Arts, Owings Mills<br />
° The Engineers Club, 11 W. Mt. Vernon Place<br />
27TH SEASON<br />
EDWARD POLOCHICK<br />
Artistic Director<br />
FOR TICKETS 410.625.3525<br />
WWW.CABALTO.ORG<br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 23
{ Program Notes<br />
Joseph Meyerh<strong>of</strong>f Symphony Hall<br />
Baltimore Symphony Orchestra<br />
Arild<br />
Remmereit<br />
In 2005, Norwegian<br />
conductor Arild<br />
Remmereit made<br />
five dramatic debuts with <strong>the</strong> Pittsburgh<br />
Symphony, Baltimore Symphony, Milan’s<br />
Filarmonica della Scala, Munich Philharmonic<br />
and <strong>the</strong> Vienna Symphony, quickly<br />
Marin Alsop<br />
Music Director • Harvey M. And Lyn P. Meyerh<strong>of</strong>f Chair<br />
Romantic Tchaikovsky<br />
Friday, <strong>October</strong> 18, <strong>2013</strong> — 8 p.m.<br />
Sunday, <strong>October</strong> 20, <strong>2013</strong> — 3 p.m.<br />
Presenting Sponsor:<br />
Edvard Grieg<br />
Karen Tanaka<br />
Arild Remmereit, Conductor<br />
Nobuyuki Tsujii, Piano<br />
Suite from Peer Gynt<br />
Prelude<br />
Ingrid's Lament<br />
arabian Dance<br />
morning Mood<br />
Åse’s Death<br />
Peer Gynt’s Homecoming<br />
Solveig’s Song<br />
anitra’s Dance<br />
In <strong>the</strong> Hall <strong>of</strong> <strong>the</strong> Mountain King<br />
Water <strong>of</strong> Life<br />
Intermission<br />
Piotr Ilyich Tchaikovsky Piano Concerto No. 1 in B-Flat Minor, opus 23<br />
allegro non troppo e molto maestoso<br />
andantino semplice<br />
allegro con fuoco<br />
noBUYUKI TSUJII<br />
The concert will end at approximately 9:50 p.m. on Friday and 4:50 p.m. on Sunday.<br />
establishing himself as a major talent on<br />
<strong>the</strong> international scene. Remmereit was<br />
immediately re-engaged in Pittsburgh, Vienna,<br />
Milan and Baltimore and has since<br />
returned to a number <strong>of</strong> o<strong>the</strong>r prominent<br />
orchestras, including England’s Halle<br />
Orchestra, <strong>the</strong> Detroit Symphony, Dallas<br />
Symphony, Seattle Symphony, Rochester<br />
Philharmonic, New Jersey Symphony<br />
Yuji Hori<br />
and <strong>the</strong> Seoul Philharmonic, among<br />
many o<strong>the</strong>rs.<br />
The 2012–<strong>2013</strong> season included return<br />
engagements with <strong>the</strong> Pittsburgh Symphony<br />
and Ottawa's National Arts Centre<br />
Orchestra, in subscription and on tour,<br />
and debuts with <strong>the</strong> Naples Philharmonic,<br />
Orchestre Symphonique de Québec and<br />
Mexico National Symphony. Upcoming<br />
engagements include <strong>the</strong> Buffalo Philharmonic<br />
and <strong>the</strong> Baltimore Symphony.<br />
Born in Norway, Remmereit began<br />
piano lessons at <strong>the</strong> age <strong>of</strong> six, studied<br />
trumpet and performed as a boy soprano.<br />
In 1986, he graduated from <strong>the</strong> Norwegian<br />
Conservatory <strong>of</strong> Music, earning<br />
master degrees in voice, piano (jazz and<br />
classical) and composition. It was at a<br />
conducting seminar in 1985 at <strong>the</strong> Aspen<br />
Music Festival that he was inspired to<br />
change his focus. He has studied conducting<br />
under <strong>the</strong> direction <strong>of</strong> Pr<strong>of</strong>. Karl<br />
Österreicher at <strong>the</strong> Hochschule für Musik<br />
und Darstellende Kunst, where he also<br />
participated in a master class with Zubin<br />
Mehta. Remmereit studied with Leonard<br />
Bernstein at <strong>the</strong> Orchestra dell’Accademia<br />
Nazionale di Santa Cecilia in Rome,<br />
and assisted him in several recordings in<br />
Vienna between 1987 and 1990.<br />
Arild Remmereit last appeared with <strong>the</strong><br />
BSO in November 2007, performing<br />
Berwald's Tragic <strong>Overture</strong> from Estrella de<br />
Soria, Mendelssohn's Violin Concerto and<br />
Schumann's Symphony No. 1.<br />
Nobuyuki Tsujii<br />
Blind since birth,<br />
Nobuyuki Tsujii<br />
was joint Gold<br />
Medal winner at<br />
<strong>the</strong> 2009 Van Cliburn International<br />
Piano Competition.<br />
An inspirational musician with a formidable<br />
technique and a natural gift for<br />
pianistic colour, he has earned international<br />
recognition in recent years for <strong>the</strong><br />
excitement <strong>of</strong> his live performances.<br />
As a concerto soloist, he has appeared<br />
with <strong>the</strong> Mariinsky Orchestra and Valery<br />
Gergiev, <strong>the</strong> Philharmonia Orchestra<br />
and Vladimir Ashkenazy, <strong>the</strong> BBC<br />
24 <strong>Overture</strong> | www.bsomusic.org
Philharmonic and Yutaka Sado and <strong>the</strong><br />
Orchestra della Svizzera Italiana and<br />
Thierry Fischer among o<strong>the</strong>rs. Future<br />
engagements include his Carnegie Hall<br />
orchestral debut with <strong>the</strong> Orpheus<br />
Chamber Orchestra, his debut with <strong>the</strong><br />
Seattle Symphony under Ludovic Morlot<br />
and a major Japanese tour with <strong>the</strong> BBC<br />
Philharmonic, Yutaka Sado conducting.<br />
As a recitalist, he gave a sold-out solo<br />
performance at Carnegie Hall’s Stern<br />
Auditorium in 2011, and has also given<br />
recitals at <strong>the</strong> Aspen and Ravinia Festivals<br />
and in Washington, D.C, Boston, Berlin<br />
and Munich.<br />
In his home country, he has appeared<br />
as a soloist with all <strong>the</strong> major Japanese<br />
orchestras including NHK Symphony,<br />
Yomiuri Nippon Symphony, Tokyo Symphony,<br />
Japan Philharmonic and Orchestra<br />
Ensemble Kanazawa. He records exclusively<br />
for Avex Classics, and has made a<br />
number <strong>of</strong> best-selling discs in recent years<br />
including Rachmanin<strong>of</strong>f’s Piano Concerto<br />
No. 2 with DSO Berlin, an all-Chopin<br />
recital disc, Tchaikovsky's Piano Concerto<br />
No. 1 with Yukata Sado and <strong>the</strong> BBC<br />
Philharmonic, and Mussorgsky’s Pictures<br />
at an Exhibition. A live DVD recording <strong>of</strong><br />
his 2011 Carnegie Hall recital has recently<br />
been released and is distributed by Naxos<br />
in <strong>the</strong> U.S. and Euroarts in Europe.<br />
Nobuyuki Tsujii’s international tours<br />
are supported by All Nippon Airways<br />
(ANA), and he gratefully acknowledges<br />
<strong>the</strong>ir assistance.<br />
Nobuyuki Tsujii is making his<br />
BSO Debut.<br />
Find out how to turn your assets into a charitable<br />
resource that will last forever.<br />
Call 410.332.4171 or visit www.bcf.org/dmitri to learn more.<br />
Baltimore Community Foundation<br />
2 East Read Street | Baltimore, MD | Tel. 410.332.4171 | www.bcf.org<br />
Peabody Conservatory Students and Faculty<br />
Shine in Orchestral Concerts in <strong>2013</strong>-2014<br />
Don’t miss performances by<br />
<strong>the</strong> Peabody Symphony Orchestra,<br />
Peabody Concert Orchestra<br />
and Peabody Modern Orchestra,<br />
as well as <strong>the</strong> Adalman Faculty<br />
Chamber Music Series.<br />
Subscriptions as low as $40 and all<br />
new Flex Passes available now.<br />
About <strong>the</strong> concert:<br />
Suite from Peer Gynt<br />
Edvard Grieg<br />
Born in Bergen, Norway, June 15, 1843;<br />
died in Bergen, <strong>September</strong> 4, 1907<br />
Edvard Grieg’s great-grandfa<strong>the</strong>r, Alexander<br />
Greig (as <strong>the</strong> family name was originally<br />
spelled) was an independent-minded<br />
Scotsman who emigrated to Norway<br />
from his native Aberdeen in <strong>the</strong> 1760s<br />
Visit<br />
www.peabody.jhu.edu<br />
or call 410-234-4800<br />
for more information.<br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 25
WHAT IS<br />
YOUR<br />
HEART<br />
TELLING<br />
YOU?<br />
Hearing loss occurs<br />
54% more <strong>of</strong>ten in<br />
people with heart<br />
disease than<br />
those without.<br />
Are you<br />
at risk?<br />
The Hearing and<br />
Speech Agency<br />
helping Baltimore<br />
communicate better<br />
since 1926<br />
Call (410) 318-6780<br />
for an appointment or<br />
visit www.hasa.org<br />
to take <strong>the</strong> quiz.<br />
{ Program Notes<br />
after <strong>the</strong> Scottish clans were destroyed.<br />
There he prospered as a fish merchant,<br />
and 100 years later, his great-grandson<br />
became Norway’s greatest composer.<br />
In January 1874, Norway’s preeminent<br />
playwright, Henrik Ibsen<br />
(1828–1906), asked <strong>the</strong> now 30-year-old<br />
composer if he would be willing to compose<br />
incidental music for Ibsen’s latest<br />
drama Peer Gynt. Grieg at first hesitated<br />
—he initially declared <strong>the</strong> play “<strong>the</strong><br />
most unmusical <strong>of</strong> all subjects”— but<br />
ultimately threw himself into <strong>the</strong> task <strong>of</strong><br />
creating more than 20 musical numbers<br />
for <strong>the</strong> work’s <strong>the</strong>atrical premiere. Despite<br />
<strong>the</strong> fact that <strong>the</strong> two men’s creative<br />
styles were extremely different—<br />
Grieg was a Romantic master <strong>of</strong> lyrical<br />
melody while Ibsen wrote starkly<br />
uncompromising dramas with an almost<br />
contemporary viewpoint—<strong>the</strong>ir joint<br />
efforts triumphed at <strong>the</strong> play’s premiere<br />
on February 24, 1876. Eventually, <strong>the</strong><br />
composer fashioned two suites <strong>of</strong> Peer<br />
Gynt music that rivaled his Piano Concerto<br />
in popularity.<br />
After his narrow escape<br />
from <strong>the</strong> trolls, Peer decides<br />
it’s time to get out <strong>of</strong><br />
Norway, but first he visits<br />
home for <strong>the</strong> last time.<br />
With its fantastic globetrotting plot,<br />
Peer Gynt, despite Grieg’s early reservations,<br />
lends itself very well to musical<br />
treatment. Based on an actual person<br />
living in southwestern Norway in <strong>the</strong> early<br />
19 th century, Peer is no solid, hardworking<br />
Norwegian, but an unreliable yet lovable<br />
scamp who gets into plenty <strong>of</strong> trouble in<br />
his home village and <strong>the</strong>n abandons his<br />
swee<strong>the</strong>art, Solveig, to seek adventure in<br />
<strong>the</strong> wider world.<br />
Arild Remmereit has chosen nine excerpts,<br />
several <strong>of</strong> which may be discoveries<br />
for audience members. Though in this<br />
concert we will hear <strong>the</strong> individual numbers<br />
in a slightly different order, here <strong>the</strong>y<br />
are listed as <strong>the</strong>y occur in <strong>the</strong> story.<br />
The BSO<br />
Invited to a neighborhood wedding,<br />
Peer commits his first crime by abducting<br />
<strong>the</strong> bride, Ingrid. One <strong>of</strong> <strong>the</strong> most powerful<br />
yet poignant numbers, “The Abduction<br />
<strong>of</strong> <strong>the</strong> Bride — Ingrid’s Lament,”<br />
is <strong>the</strong> prelude to Act II. The furious music<br />
that frames this sequence represents Peer<br />
berating <strong>the</strong> hapless Ingrid before abandoning<br />
her on a mountain pass.<br />
Next Peer is attracted to a mysterious<br />
woman, who turns out to be <strong>the</strong><br />
daughter <strong>of</strong> <strong>the</strong> King <strong>of</strong> <strong>the</strong> Trolls. He<br />
follows her to her subterranean home,<br />
where her fa<strong>the</strong>r and a rowdy group <strong>of</strong><br />
trolls are Her "Dance <strong>of</strong> <strong>the</strong> Mountain<br />
King's Daughter" is a comical mix <strong>of</strong><br />
heavy, galumphing rhythms and exotically<br />
barbaric scoring. “In <strong>the</strong> Hall <strong>of</strong><br />
<strong>the</strong> Mountain King” is rightfully one<br />
<strong>of</strong> Grieg’s most famous pieces. Starting<br />
pianissimo in <strong>the</strong> orchestra’s lowest instruments,<br />
this relentless dance uses one<br />
menacing little melody to build a steady<br />
acceleration and crescendo as <strong>the</strong> trolls<br />
threaten <strong>the</strong> intruder.<br />
After his narrow escape from <strong>the</strong> trolls,<br />
Peer decides it’s time to get out <strong>of</strong> Norway,<br />
but first he visits home for <strong>the</strong> last time.<br />
“Åsa’s Death” is <strong>the</strong> pr<strong>of</strong>oundly sorrowful<br />
music for <strong>the</strong> death <strong>of</strong> his adored<br />
mo<strong>the</strong>r. Built from a simple, poignant<br />
melody, it is scored for strings with mutes<br />
attached to veil <strong>the</strong>ir sound.<br />
Though “Morning Mood” may sound<br />
like morning dawning over a Norwegian<br />
fiord, this exquisite lyrical melody actually<br />
depicts sunrise shimmering on <strong>the</strong> sands<br />
<strong>of</strong> Nor<strong>the</strong>rn Africa at <strong>the</strong> beginning <strong>of</strong> Act<br />
IV. Anitra is a desert beauty with whom<br />
Peer falls in love; she eventually abandons<br />
Chris Lee<br />
26 <strong>Overture</strong> | www.bsomusic.org
Program Notes }<br />
him after robbing him <strong>of</strong> all <strong>the</strong> riches he<br />
has acquired. She and her companions<br />
perform <strong>the</strong> “Arabian Dance” to lure<br />
him. Its prominent use <strong>of</strong> shrill piccolos<br />
and flutes, drums and tambourine makes<br />
use <strong>of</strong> an exotic style known as “Turkish<br />
music,” which Mozart and Beethoven also<br />
used in several <strong>of</strong> <strong>the</strong>ir scores. Anitra also<br />
performs a solo dance (“Anitra’s Dance”);<br />
pizzicato strings add to <strong>the</strong> delicacy <strong>of</strong> this<br />
alluringly feminine music.<br />
At <strong>the</strong> beginning <strong>of</strong> Act V, Peer, now a<br />
penniless old man, is returning at last to<br />
his homeland. But <strong>the</strong> North Sea throws<br />
one <strong>of</strong> its not uncommon tempests at him,<br />
and he barely escapes with his life. The<br />
brief tone poem “Peer Gynt’s Homecoming:<br />
Stormy Night at Sea” vividly<br />
describes <strong>the</strong> raging winds and waters.<br />
In Peer’s home village, <strong>the</strong> devoted<br />
Solveig loves Peer despite his many<br />
faults and has waited patiently over <strong>the</strong><br />
decades for his return; at <strong>the</strong> play’s conclusion,<br />
<strong>the</strong>y are reunited as old people<br />
near death. “Solveig’s Song,” originally<br />
scored for soprano and so characteristic<br />
<strong>of</strong> Grieg in its gentle melancholy, is a<br />
superb example <strong>of</strong> <strong>the</strong> composer’s gifts<br />
as a songwriter.<br />
Instrumentation: Two flutes, two piccolos, two<br />
oboes, two clarinets, two bassoons, four horns,<br />
two trumpets, three trombones, tuba, timpani,<br />
percussion, harp, piano and strings.<br />
Water <strong>of</strong> Life<br />
Karen Tanaka<br />
Born in Tokyo, Japan, April 7, 1961; now living<br />
in Los Angeles, California<br />
The beautiful, delicately colored music <strong>of</strong><br />
Japanese composer Karen Tanaka makes<br />
its Baltimore Symphony debut at <strong>the</strong>se concerts.<br />
Now living in Los Angeles and teaching<br />
composition at <strong>the</strong> California Institute<br />
<strong>of</strong> <strong>the</strong> Arts, Tanaka is a pianist as well as<br />
a composer, and many <strong>of</strong> her works have<br />
been created for <strong>the</strong> piano, among <strong>the</strong>m her<br />
recent Our Planet Earth, a series <strong>of</strong> exquisite<br />
short pieces meditating on aspects <strong>of</strong> nature<br />
and designed expressly for young pianists.<br />
Indeed, Tanaka’s love <strong>of</strong> nature and concern<br />
for <strong>the</strong> environment have influenced<br />
many <strong>of</strong> her works, including Water <strong>of</strong> Life,<br />
which was commissioned by <strong>the</strong> Rochester<br />
Philharmonic and premiered in Rochester<br />
just this past May.<br />
Born in Tokyo, where she began formal<br />
piano and composition lessons as a child,<br />
Tanaka studied composition at Tokyo’s<br />
Gakuen School <strong>of</strong> Music. In 1986, she<br />
moved to Paris to study with Tristan<br />
Murail and work in electronic music at<br />
IRCAM. The next year, she won <strong>the</strong><br />
Gaudeamus Prize at <strong>the</strong> International<br />
Music Week in Amsterdam. Her works<br />
have been commissioned and performed<br />
by distinguished orchestras and ensembles<br />
worldwide, including <strong>the</strong> Los Angeles<br />
Philharmonic, <strong>the</strong> BBC Symphony, <strong>the</strong><br />
Finnish Radio Symphony, and <strong>the</strong> Kronos<br />
and Brodsky quartets.<br />
Karen Tanaka explains Water <strong>of</strong> Life<br />
as follows:<br />
A SeASon <strong>of</strong><br />
Choral Masterworks<br />
<strong>2013</strong>-14 se ason<br />
Bach B Minor Mass<br />
Sunday, october 27, <strong>2013</strong> at 3 pm<br />
Kraushaar Auditorium at Goucher College<br />
Tom Hall leads <strong>the</strong> Chorus and Orchestra<br />
and vocal soloists in this beloved masterpiece.<br />
Christmas with Choral Arts<br />
Tuesday, December 10, <strong>2013</strong> at 7:30 pm<br />
Ca<strong>the</strong>dral <strong>of</strong> Mary our Queen<br />
Tom Hall leads <strong>the</strong> Chorus and Orchestra<br />
in this festive holiday program.<br />
Sing-Along Messiah<br />
friday, December 20, <strong>2013</strong> at 7:30 pm<br />
Kraushaar Auditorium at Goucher College<br />
Tom Hall will be your guide as you sing<br />
<strong>the</strong> choruses from Handel’s “Messiah.”<br />
Or just enjoy <strong>the</strong> surround-sound!<br />
Christmas for Kids<br />
Saturday, December 21, <strong>2013</strong> at 11 am<br />
Kraushaar Auditorium at Goucher College<br />
A holiday family program featuring Ronnie<br />
<strong>the</strong> Reindeer, Pepito <strong>the</strong> Clown, and more!<br />
From Madrigals to Musicals<br />
Sunday, March 9, 2014 at 3 pm<br />
Towson United Methodist Church<br />
501 Hampton Lane<br />
Renowned soprano Janice Chandler Eteme<br />
is featured in this program which includes<br />
choral favorites from <strong>the</strong> 16th century to<br />
<strong>the</strong> modern musical.<br />
Call 410-523-7070 or visit BaltimoreChoralArts.org<br />
Tom Hall, Music Director<br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 27
{ Program Notes<br />
Dave H<strong>of</strong>fmann<br />
“When I was composing Water <strong>of</strong><br />
Life, I had two things in mind. The first<br />
is biblical references about ‘water’ and<br />
‘water <strong>of</strong> life.’ I have served as a church<br />
organist for many years, and verses<br />
about life-giving water have always<br />
inspired me.<br />
“ ‘Then <strong>the</strong> angel showed me <strong>the</strong> river<br />
<strong>of</strong> <strong>the</strong> water <strong>of</strong> life, as clear as crystal,<br />
flowing from <strong>the</strong> throne <strong>of</strong> God and <strong>of</strong><br />
<strong>the</strong> Lamb … ’—Revelations 22:1<br />
“The second is ‘water’ in nature. I<br />
wanted to project images <strong>of</strong> various phases<br />
<strong>of</strong> water and shimmering light with<br />
orchestral sounds. The music gradually<br />
changes just as <strong>the</strong> water flows continuously<br />
and never in <strong>the</strong> same phase.<br />
“The beginning <strong>of</strong> <strong>the</strong> piece played<br />
by harp and strings suggests <strong>the</strong> birth<br />
<strong>of</strong> pure water. The music <strong>the</strong>n flows<br />
freely with a pleasant feeling <strong>of</strong> pulse.<br />
It gradually grows into turbulence and<br />
muddiness that, in <strong>the</strong> end, becomes<br />
filtered into purity.<br />
“Water <strong>of</strong> Life is a prayer for <strong>the</strong> tsunami<br />
victims in Japan.”<br />
Instrumentation: Two flutes, oboe, English<br />
horn, two clarinets, two bassoons, four horns,<br />
two trumpets, three trombones, percussion,<br />
harp, piano, celesta and strings.<br />
The BSO<br />
Piano Concerto No. 1 in B-flat<br />
Minor, opus 23<br />
Piotr Ilyich Tchaikovsky<br />
Born in Votkinsk, Russia, May 7, 1840; died in<br />
St. Petersburg, Russia, November 6, 1893<br />
If one had to pick one work that epitomizes<br />
<strong>the</strong> Romantic piano concerto, it<br />
would have to be Tchaikovsky’s First.<br />
Written in 1874–1875, it was <strong>the</strong> first<br />
Russian piano concerto to enter <strong>the</strong><br />
standard concert repertoire, and it has<br />
remained perhaps <strong>the</strong> most popular<br />
concerto ever written. Even Rachmanin<strong>of</strong>f’s<br />
celebrated piano concertos<br />
were closely modeled on it.<br />
But <strong>the</strong> first person to hear it pronounced<br />
it a failure. This was Nikolai<br />
Rubinstein, renowned pianist and<br />
conductor, founder <strong>of</strong> <strong>the</strong> Moscow<br />
Conservatory, and usually Tchaikovsky’s<br />
staunch friend and supporter.<br />
Not being a concert pianist himself,<br />
Tchaikovsky had brought <strong>the</strong> concerto<br />
to Rubinstein on Christmas Eve, 1874<br />
for advice as to how to make <strong>the</strong> solo<br />
part most effective. This is how <strong>the</strong><br />
composer remembered <strong>the</strong> occasion:<br />
“I played <strong>the</strong> first movement. Not a<br />
single word, not a single comment!<br />
… I summoned all my patience and<br />
played through to <strong>the</strong> end. Still silence.<br />
I stood up and asked, ‘Well?’ “<br />
“Then a torrent poured forth from<br />
Nikolai Gregorievich’s mouth … My<br />
concerto, it turned out, was worthless<br />
and unplayable —passages so fragmented,<br />
so clumsy, so badly written as<br />
to be beyond rescue — <strong>the</strong> music itself<br />
was bad, vulgar —here and <strong>the</strong>re I had<br />
stolen from o<strong>the</strong>r composers — only<br />
two or three pages were worth preserving<br />
—<strong>the</strong> rest must be thrown out or<br />
completely rewritten. … This was censure,<br />
indiscriminate, and deliberately<br />
designed to hurt me to <strong>the</strong> quick. … ‘I<br />
shall not alter a single note,’ I replied.<br />
‘I shall publish <strong>the</strong> work exactly as it<br />
stands!’ And this I did.”<br />
Although this episode threw Tchaikovsky<br />
into a depression, he still had<br />
energy and faith enough in his work<br />
to submit <strong>the</strong> concerto to Hans von<br />
Bülow, a German pianist-conductor as<br />
famous as Rubinstein who was looking<br />
for a new showpiece for his upcoming<br />
American tour. Von Bülow took on <strong>the</strong><br />
work with enthusiasm and played its<br />
world premiere on <strong>October</strong> 25, 1875<br />
in Boston. The Bostonians gave it a<br />
tumultuous reception, and <strong>the</strong> First<br />
Piano Concerto never looked back.<br />
This is a concerto in which gorgeous,<br />
inventive orchestral writing meets one<br />
<strong>of</strong> <strong>the</strong> great virtuoso piano parts <strong>of</strong><br />
<strong>the</strong> repertoire. And it is enriched by a<br />
cornucopia <strong>of</strong> marvelous Tchaikovskian<br />
melodies, <strong>the</strong> first <strong>of</strong> which forms<br />
<strong>the</strong> introduction to movement one.<br />
Launched by Tchaikovsky’s beloved<br />
horns, it sweeps grandly through <strong>the</strong><br />
orchestra. The pianist makes his presence<br />
strongly felt with massive chords<br />
ringing from bottom to top <strong>of</strong> <strong>the</strong><br />
keyboard. This big Romantic opening<br />
eventually fades, and a melody that<br />
most composers would kill for is gone,<br />
never to return.<br />
In <strong>the</strong> first <strong>of</strong> several dramatic mood<br />
shifts, <strong>the</strong> pianist now attacks a quick,<br />
skittish tune, based on a Ukrainian<br />
folksong, which is <strong>the</strong> movement’s actual<br />
principal <strong>the</strong>me. In ano<strong>the</strong>r emotional<br />
shift, clarinets introduce a new melody,<br />
28 <strong>Overture</strong> | www.bsomusic.org
Center for Performing Arts<br />
International talent. Local venue.<br />
Experience Baltimore County’s Premiere Performing Arts Center<br />
Tchaikovsky<br />
lovely and ra<strong>the</strong>r melancholy, which gives<br />
<strong>the</strong> pianist opportunity to show his poetic<br />
side. After <strong>the</strong> middle development<br />
section, this melancholy <strong>the</strong>me appears<br />
again, now soaring rhapsodically.<br />
Movement two rocks gently on a<br />
poignant, lullaby-like <strong>the</strong>me, introduced<br />
by <strong>the</strong> flute. Sparkling, high-speed music<br />
fills <strong>the</strong> movement’s middle section.<br />
Its rollicking tune, introduced by <strong>the</strong><br />
violins, is from a French song popular<br />
in Russia at <strong>the</strong> time, “Il faut s’amuser,<br />
danser et rire” (“One should enjoy<br />
oneself, dance and laugh”). This was a<br />
favorite <strong>of</strong> <strong>the</strong> Belgian singer Désirée<br />
Artôt, <strong>the</strong> only woman Tchaikovsky<br />
ever fell in love with.<br />
The spirited rondo finale features a<br />
dashing refrain <strong>the</strong>me whose emphatic<br />
rhythms stress <strong>the</strong> second beat <strong>of</strong> each<br />
measure. It alternates with a rapturous<br />
waltz melody, introduced by <strong>the</strong><br />
violins. A broad concluding coda energetically<br />
combines <strong>the</strong>se <strong>the</strong>mes, with<br />
<strong>the</strong> waltz ultimately dominating. And<br />
now comes one <strong>of</strong> <strong>the</strong> most famous <strong>of</strong><br />
all virtuoso piano passages: a flight <strong>of</strong><br />
fast double-fisted octaves, sweeping up<br />
and down <strong>the</strong> keyboard. This leads to<br />
a grand apo<strong>the</strong>osis <strong>of</strong> <strong>the</strong> waltz, before<br />
<strong>the</strong> pianist and orchestra urge each<br />
o<strong>the</strong>r on to a blazing finish.<br />
Instrumentation: Two flutes, two oboes,<br />
two clarinets, two bassoons, four horns,<br />
two trumpets, three trombones, timpani<br />
and strings.<br />
Notes by Janet E. Bedell, Copyright ©<strong>2013</strong><br />
David Broza<br />
Fall <strong>2013</strong> season features:<br />
David Broza, Nov. 21<br />
Spanish, Hebrew & English music for <strong>the</strong> soul<br />
Cinefest, Oct. 3, 6, 9, & 14<br />
Jewish-<strong>the</strong>med films from around <strong>the</strong> world<br />
Shirlala, Oct. 20<br />
Mama Doni, Dec. 1<br />
Spirited music<br />
for young families<br />
Visit gordoncenter.com<br />
or call 410-356-7469<br />
Kaleidoscope<br />
Lifelong Learning at<br />
Roland Park Country School<br />
Fall programs for everyone<br />
who enjoys learning!<br />
oã<br />
Expand your horizons!<br />
Language Adventures<br />
Cultural Arts<br />
Culinary Arts<br />
Military History<br />
Fitness Classes<br />
Children/Family Matters<br />
Multi-Day Trips<br />
Book Talks<br />
Technology<br />
Creative Pursuits<br />
For information, please call 410-323-5500, ext. 3091 or<br />
visit us on-line at www.rpcs.org<br />
RPCS • 5204 RoLAnD Avenue • BALTiMoRe, MD 21210<br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 29
{ Program Notes<br />
Joseph Meyerh<strong>of</strong>f Symphony Hall<br />
Baltimore Symphony Orchestra<br />
Marin Alsop<br />
Music Director • Harvey M. And Lyn P. Meyerh<strong>of</strong>f Chair<br />
Brahms’ Third Symphony<br />
Friday, <strong>October</strong> 25, <strong>2013</strong> — 8 p.m.<br />
Saturday, <strong>October</strong> 26, <strong>2013</strong> — 8 p.m.<br />
Jun Märkl, Conductor<br />
Johannes Moser, Cello<br />
Antonín Dvořák Serenade in E Major, opus 22<br />
moderato<br />
Tempo di valse<br />
Scherzo: Vivace<br />
larghetto<br />
Finale: Allegro vivace<br />
Piotr Ilyich Tchaikovsky Variations on a Rococo Theme, opus 33<br />
JOHANNES MOSER<br />
Intermission<br />
Johannes Brahms Symphony No. 3 in F Major, opus 90<br />
allegro con brio<br />
andante<br />
Poco allegretto<br />
allegro<br />
The concert will end at approximately 9:50 p.m.<br />
DHMH RSA # R24924<br />
Supporting Sponsor:<br />
WWW.ELIZABETHCOONEYAGENCY.COM<br />
TRUST, INTEGRITY &<br />
EXCELLENCE SINCE 1957<br />
Jean-Baptiste Millot<br />
Jun Märkl<br />
Jun Märkl has long<br />
been known as a<br />
highly respected<br />
interpreter <strong>of</strong> <strong>the</strong><br />
core Germanic repertoire from both<br />
<strong>the</strong> symphonic and operatic traditions,<br />
and more recently for his refined and<br />
idiomatic Debussy, Ravel and Messiaen.<br />
His long-standing relationships at <strong>the</strong><br />
state operas <strong>of</strong> Vienna, Berlin, Munich<br />
and Semperoper Dresden have in recent<br />
years been complemented by his music<br />
directorships <strong>of</strong> <strong>the</strong> Orchestre National de<br />
Lyon (2005–2011) and MDR Symphony<br />
Orchestra Leipzig (to 2012). He guests<br />
guest conducts with <strong>the</strong> world’s leading<br />
orchestras, including: Cleveland Orchestra,<br />
Philadelphia Orchestra, NHK Symphony<br />
Orchestra, Czech Philharmonic,<br />
30 <strong>Overture</strong> | www.bsomusic.org
Munich Philharmonic, Oslo Philharmonic<br />
and Tonhalle Orchester Zürich.<br />
Märkl is an accomplished recording<br />
artist, having recorded Mahler and <strong>the</strong><br />
complete Schumann symphonies live<br />
with <strong>the</strong> NHK Symphony, Dvořák on<br />
Telarc, Mendelssohn with MDR and<br />
a highly acclaimed nine-disc Debussy<br />
set with ONL on Naxos. In recognition<br />
<strong>of</strong> his tenure in Lyon and his hugely<br />
successful recordings <strong>of</strong> French music,<br />
in 2012 he was honoured by <strong>the</strong> French<br />
Ministry <strong>of</strong> Culture with <strong>the</strong> Chevalier<br />
de l’Ordre des Arts et des Lettres.<br />
Jun Märkl last appeared with <strong>the</strong> BSO<br />
in April 2012, conducting von Weber’s<br />
Euryan<strong>the</strong> <strong>Overture</strong>, Beethoven’s Violin<br />
Concerto with soloist Arabella Steinbacher,<br />
and Schumann’s Symphony No. 3.<br />
Johannes<br />
Moser<br />
Cellist Johannes<br />
Moser has performed<br />
with many <strong>of</strong> <strong>the</strong><br />
world’s leading orchestras, including <strong>the</strong><br />
Berlin Philharmonic, New York Philharmonic,<br />
Concertgebouw Orchestra,<br />
Tokyo Symphony and Israel Philharmonic.<br />
He works regularly with conductors<br />
<strong>of</strong> <strong>the</strong> highest level including Riccardo<br />
Muti, Lorin Maazel, Zubin Mehta and<br />
Paavo Jarvi. He has also performed with<br />
<strong>the</strong> Chamber Orchestra <strong>of</strong> Europe, <strong>the</strong><br />
Frankfurt Radio Symphony Orchestra<br />
and will be returning to <strong>the</strong> Los Angeles<br />
Philharmonic. This season, Moser performs<br />
with <strong>the</strong> Baltimore Symphony<br />
Orchestra, Deutshces Symphonie-Orchester<br />
Berlin and is making his debut with<br />
<strong>the</strong> London Philharmonic Orchestra.<br />
Besides performing on his Andrea<br />
Guaneri Cello from <strong>the</strong> year 1694, Moser<br />
is an enthusiastic advocate for <strong>the</strong> electric<br />
cello. In 2011, he premiered <strong>the</strong> electric<br />
cello concerto Magnetar by Enrico Chapela<br />
with <strong>the</strong> Los Angeles Philharmonic.<br />
Also a dedicated chamber musician,<br />
Moser has performed with Emanuel Ax,<br />
James Ehnes, Midori and Jonathan Biss<br />
and at <strong>the</strong> Verbier, Colorado and Brevard<br />
music festivals, as well as <strong>the</strong> Mehta<br />
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<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 31
{ Program Notes<br />
The BSO<br />
Dave Harp<br />
Chamber Music Festival. He combines<br />
almost every engagement with ei<strong>the</strong>r<br />
outreach or masterclasses, reaching out<br />
to young audiences from kindergarten to<br />
college and beyond.<br />
Born into a musical family in 1979 as<br />
a dual citizen <strong>of</strong> Germany and Canada,<br />
Moser was <strong>the</strong> top prize winner at <strong>the</strong><br />
2002 Tchaikovsky Competition. He<br />
now holds a pr<strong>of</strong>essorship in Cologne,<br />
Germany. An avid outdoorsman, New<br />
York-based Johannes Moser has crossed<br />
<strong>the</strong> Alps on his mountain bike.<br />
Johannes Moser is making his<br />
BSO debut.<br />
About <strong>the</strong> concert:<br />
Serenade for Strings in E Major,<br />
opus 22<br />
Antonín Dvořák<br />
Born in Nelahozeves, Bohemia, now Czech<br />
Republic, <strong>September</strong> 8, 1841; died in Prague,<br />
May 1, 1904<br />
Written in May 1875,<br />
Dvořák’s gorgeous<br />
Serenade for Strings<br />
reflects <strong>the</strong> joy <strong>of</strong> <strong>the</strong> new<br />
opportunities awaiting him.<br />
Antonín Dvořák might have languished<br />
far longer in Bohemian obscurity had he<br />
not come to <strong>the</strong> attention <strong>of</strong> Johannes<br />
Brahms in <strong>the</strong> mid-1870s. The wellestablished<br />
Brahms was <strong>the</strong>n serving<br />
on a committee to award stipends to<br />
talented but undiscovered composers<br />
living in outlying provinces <strong>of</strong> <strong>the</strong><br />
Austrian Empire. Deeply impressed by<br />
Dvořák’s submitted compositions, he<br />
not only voted for him to receive <strong>the</strong><br />
prize money but also went to his own<br />
publisher Simrock to urge that it take<br />
on <strong>the</strong> young composer. Thus began a<br />
pr<strong>of</strong>itable relationship with <strong>the</strong> Berlin<br />
publishing house, and Dvořák was on<br />
his way to becoming a household name<br />
among European music lovers.<br />
Written in May 1875, Dvořák’s gorgeous<br />
Serenade for Strings reflects <strong>the</strong><br />
joy <strong>of</strong> <strong>the</strong> new opportunities awaiting<br />
him. There are strong relationships<br />
between this work and Tchaikovsky’s<br />
better-known Serenade for Strings:<br />
both feature an enchanting waltz as a<br />
second movement and both bring back<br />
<strong>the</strong>ir beautiful first-movement <strong>the</strong>mes<br />
in closing. But, in fact, Dvořák did it<br />
first, composing his Serenade five years<br />
before Tchaikovsky’s.<br />
Dvořák’s Serenade handsomely<br />
displays two <strong>of</strong> his finest compositional<br />
gifts. First, as an accomplished string<br />
player himself—for years he supported<br />
his family as principal violist <strong>of</strong> Prague’s<br />
opera house —he wrote superbly for<br />
string instruments. And, secondly, he<br />
was one <strong>of</strong> <strong>the</strong> greatest melodists classical<br />
music has ever produced.<br />
As a demonstration <strong>of</strong> this, <strong>the</strong> first<br />
movement, in a relaxed Moderato<br />
tempo, features a principal <strong>the</strong>me <strong>of</strong><br />
32 <strong>Overture</strong> | www.bsomusic.org
warm, serene loveliness. Moving to C-<br />
sharp minor, <strong>the</strong> second movement is<br />
a gracefully spinning waltz. Somewhat<br />
surprisingly, its middle or trio section<br />
is more passionate, more emotionally<br />
complex, and— despite moving to a<br />
major key— darker in mood.<br />
In a Vivace tempo, <strong>the</strong> third movement<br />
is a high-spirited Scherzo, whose<br />
principal <strong>the</strong>me is chased in canon between<br />
<strong>the</strong> instruments. A lyrical ascending<br />
melody calms its vigorous dance,<br />
and a soaring trio section also provides<br />
luscious contrast.<br />
Loveliest <strong>of</strong> all is <strong>the</strong> wonderful<br />
fourth-movement Larghetto in A<br />
major: a dreaming nocturne that exploits<br />
<strong>the</strong> richness <strong>of</strong> string colors to <strong>the</strong><br />
fullest. Its quick-silver middle section<br />
resembles Mendelssohn’s fairy music in<br />
his A Midsummer Night’s Dream.<br />
The Allegro vivace finale is <strong>the</strong> most<br />
rhythmically and <strong>the</strong>matically playful <strong>of</strong><br />
<strong>the</strong> five movements. It is calmed briefly<br />
during <strong>the</strong> development section by a<br />
return <strong>of</strong> <strong>the</strong> Larghetto’s beautiful <strong>the</strong>me<br />
in <strong>the</strong> cellos. But <strong>the</strong> most important<br />
reprise is that <strong>of</strong> <strong>the</strong> first movement’s<br />
serene <strong>the</strong>me, which brings <strong>the</strong> Serenade<br />
to a satisfying full-circle close.<br />
Instrumentation: Strings only.<br />
Variations on a Rococo Theme<br />
Piotr Ilyich Tchaikovsky<br />
Born in Votkinsk, Russia, May 7, 1840; died in<br />
St. Petersburg, Russia, November 6, 1893<br />
The year 1876 was one <strong>of</strong> low spirits for<br />
Tchaikovsky. Restless and irritable, he<br />
traveled about Europe in search <strong>of</strong> <strong>the</strong><br />
creative muse. The first work he finally<br />
wrote late in <strong>the</strong> year, <strong>the</strong> tempestuous<br />
tone poem Francesca da Rimini, reflected<br />
his mood, but <strong>the</strong> one that followed<br />
in December, Variations on a Rocco<br />
Theme for cello and orchestra, certainly<br />
did not. For in this lovely work <strong>the</strong><br />
composer retreated to <strong>the</strong> 18 th -century<br />
world <strong>of</strong> his favorite composer Mozart<br />
and <strong>the</strong> quality <strong>of</strong> balance it always<br />
gave his spirit. “I don’t just like Mozart,<br />
I idolize him,” he wrote a little later to<br />
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<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 33
Jon Powers u Kathy Bosin<br />
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Brahms<br />
SEPT 22 OCT 20 NOV 24<br />
Valet Seven Days A Week<br />
his patroness Nadezhda von Meck. “Perhaps<br />
it is just because — being a child <strong>of</strong><br />
my time — I feel broken and spiritually<br />
out <strong>of</strong> joint, that I find consolation and<br />
rest in <strong>the</strong> music <strong>of</strong> Mozart, music in<br />
which he gives expression to that joy in<br />
life that was part <strong>of</strong> his sane and wholesome<br />
temperament.”<br />
“Rococo,” from <strong>the</strong> Italian word for<br />
“shell,” was originally <strong>the</strong> name for a<br />
shell-like ornament used for interior<br />
decoration in mid-18 th -century palaces;<br />
its popularity eventually gave name to<br />
an entire cultural style <strong>of</strong> delicate ornamentation<br />
and ligh<strong>the</strong>artedness. Tchaikovsky<br />
adopted <strong>the</strong> rococo spirit here in<br />
his simple, graceful <strong>the</strong>me, in <strong>the</strong> charm<br />
and fancifulness <strong>of</strong> his variations, and in<br />
<strong>the</strong> use <strong>of</strong> a small 18 th -century orchestra,<br />
with only pairs <strong>of</strong> woodwinds plus<br />
strings to support <strong>the</strong> cello soloist.<br />
In <strong>the</strong> seven variations that follow <strong>the</strong><br />
cello’s presentation <strong>of</strong> <strong>the</strong> <strong>the</strong>me, Tchaikovsky<br />
sticks closely to <strong>the</strong> melody so<br />
that we never forget its original shape.<br />
The heart <strong>of</strong> <strong>the</strong> work is <strong>the</strong> lengthy<br />
third variation: a soulful, slow-tempo<br />
song for <strong>the</strong> cello that is a masterpiece <strong>of</strong><br />
heartfelt lyricism. Variation five shows<br />
<strong>of</strong>f <strong>the</strong> soloist’s virtuosity with chains <strong>of</strong><br />
trills, an extremely wide range (Tchaikovsky<br />
emphasizes <strong>the</strong> cello’s highest<br />
notes throughout this work), and rapid<br />
figurations. The sixth variation moves<br />
into <strong>the</strong> minor mode with a darkly<br />
melancholy Russian melody, exquisitely<br />
34 <strong>Overture</strong> | www.bsomusic.org
accompanied by pizzicato strings and<br />
woodwind solos.<br />
Instrumentation: Two flutes, two oboes, two<br />
clarinets, two bassoons, two horns and strings.<br />
The first movement opens<br />
with three rising chords that<br />
spell out F–A (flat)–F,<br />
a personal motto for<br />
Brahms that pervades much<br />
<strong>of</strong> <strong>the</strong> symphony.<br />
Symphony No. 3 in F Major<br />
Johannes Brahms<br />
Born in Hamburg, Germany, May 7, 1833; died<br />
in Vienna, Austria, April 3, 1897<br />
Most <strong>of</strong> <strong>the</strong> major works <strong>of</strong> Johannes<br />
Brahms’ maturity were composed in summertime<br />
in beautiful rural settings overlooking<br />
tranquil lakes and alpine peaks.<br />
But during <strong>the</strong> summer <strong>of</strong> 1883, his Third<br />
Symphony was written in a more urban<br />
location: a l<strong>of</strong>ty studio overlooking <strong>the</strong><br />
German Rhineland city <strong>of</strong> Wiesbaden.<br />
The urge to create this work had come on<br />
<strong>the</strong> composer while visiting Wiesbaden<br />
and, ra<strong>the</strong>r than lose inspiration traveling<br />
to a vacation retreat, he stayed on.<br />
And <strong>the</strong>re was ano<strong>the</strong>r compelling reason<br />
to stay: a rich-voiced contralto named<br />
Hermine Spies. Brahms had just met her<br />
and was captivated by her marvelous voice<br />
and vivacious personality. Ano<strong>the</strong>r <strong>of</strong> this<br />
confirmed bachelor’s romantic friendships<br />
ensued, even though Fräulein Spies<br />
was young enough to be <strong>the</strong> 50-year-old<br />
Brahms’ daughter. He wrote many songs<br />
for her, and she became his favorite interpreter<br />
<strong>of</strong> <strong>the</strong> Alto Rhapsody.<br />
And so even without mountain views,<br />
<strong>the</strong> summer <strong>of</strong> 1883 was a particularly<br />
happy one, and <strong>the</strong> Third Symphony, his<br />
shortest, was born with ease. The least<br />
<strong>of</strong>ten performed <strong>of</strong> Brahms’ four, it is<br />
his most refined and densely constructed<br />
symphony: one in which he distills <strong>the</strong><br />
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DGD162912-13<br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 35
{ Program Notes<br />
Inspiring <strong>the</strong> best<br />
in every boy.<br />
OPEN HOUSE<br />
<strong>October</strong> 20 at 11am<br />
Grades K–12, Parents & Students<br />
THE BOYS’ LATIN SCHOOL<br />
OF MARYLAND<br />
822 West Lake Avenue Baltimore, MD 21210<br />
www.boyslatinmd.com<br />
Chris Lee<br />
The BSO<br />
maximum possibilities from every<br />
motive and <strong>the</strong>me, even bringing <strong>the</strong>m<br />
back in new guises in later movements.<br />
This sturdy intellectual foundation<br />
is overlaid with some <strong>of</strong> his loveliest<br />
melodies, clo<strong>the</strong>d in exquisite orchestral<br />
colors. But it is easier for conductors and<br />
orchestras to dazzle audiences with <strong>the</strong><br />
o<strong>the</strong>r symphonies than with this subtle<br />
creation, all four <strong>of</strong> whose movements<br />
end quietly.<br />
The first movement opens with<br />
three rising chords that spell out F-A<br />
(flat)-F, a personal motto for Brahms<br />
that pervades much <strong>of</strong> <strong>the</strong> symphony.<br />
Years earlier, Brahms and his close<br />
friend, violinist Joseph Joachim, had<br />
experimented with musical mottos<br />
symbolizing <strong>the</strong>ir bachelor status.<br />
Joachim’s was F-A-E for “Frei aber<br />
einsam” (“Free but lonely”), and he<br />
soon married. Brahms countered with<br />
F-A-F, “Frei aber froh” (“Free but<br />
happy”). But now in his Third Symphony,<br />
<strong>the</strong> A has become A-flat, shifting<br />
<strong>the</strong> F-major home tonality to minor.<br />
Is <strong>the</strong>re perhaps a hint <strong>of</strong> ambiguity<br />
about his motto as Brahms pays court<br />
to Hermine Spies?<br />
The F-A-F motto spawns a ruggedly<br />
masculine principal <strong>the</strong>me, striding<br />
across a big range. But soon <strong>the</strong> music<br />
becomes more subdued and proposes<br />
a romantic waltz, led by clarinet and<br />
bassoon, as <strong>the</strong> second <strong>the</strong>me. This<br />
melody is later taken up in <strong>the</strong> development<br />
section, which also features a<br />
brooding treatment <strong>of</strong> <strong>the</strong> first <strong>the</strong>me<br />
led by <strong>the</strong> first horn. The movement’s<br />
concluding coda begins big, but surprisingly,<br />
<strong>the</strong> masculine <strong>the</strong>me turns<br />
tender and lyrical for a hushed close.<br />
Brahms scholar Malcolm MacDonald<br />
calls <strong>the</strong> second movement “one <strong>of</strong><br />
Brahms’ most inspired sublimations <strong>of</strong><br />
folksong style.” Clarinets and bassoons<br />
introduce <strong>the</strong> principal melody “<strong>of</strong><br />
simple gravity and hymn-like seriousness.”<br />
But pay special attention to<br />
<strong>the</strong> second <strong>the</strong>me: a melancholy duet<br />
for clarinet and bassoon emphasizing<br />
triplet rhythms and accompanied by a<br />
persistent short-long rhythm; this<br />
music will appear again in <strong>the</strong> finale.<br />
The movement’s closing coda is exceedingly<br />
beautiful, exploiting <strong>the</strong> orchestra’s<br />
most diaphanous colors.<br />
Ano<strong>the</strong>r intermezzo-style movement,<br />
<strong>the</strong> third-place Poco allegretto,<br />
features one <strong>of</strong> Brahms’ loveliest tunes,<br />
sung first by <strong>the</strong> cellos; it is a bittersweet<br />
mix <strong>of</strong> Romantic yearning and regret so<br />
characteristic <strong>of</strong> this composer. Brahms<br />
gives it many variants, with radiant<br />
new orchestrations.<br />
The struggle between minor and<br />
major becomes fierce in <strong>the</strong> sonataform<br />
finale, which resolves all that<br />
has gone before. It opens in F minor<br />
with a mysterious, scurrying <strong>the</strong>me.<br />
This is followed by a solemn new<br />
version <strong>of</strong> <strong>the</strong> clarinet-bassoon duet<br />
<strong>the</strong>me from movement two. The<br />
development section tackles <strong>the</strong> first<br />
<strong>the</strong>me in moods both meditative and<br />
heroic, but most <strong>of</strong> <strong>the</strong> drama is saved<br />
for <strong>the</strong> duet <strong>the</strong>me, its short-long<br />
rhythm grown monumental. In <strong>the</strong><br />
closing coda, this <strong>the</strong>me is transformed<br />
yet again: played very slowly<br />
in <strong>the</strong> woodwinds over shimmering<br />
strings. From this miraculously floats<br />
<strong>the</strong> F-A-F motto and <strong>the</strong> work’s bold<br />
opening <strong>the</strong>me; serenely, it ripples<br />
down through <strong>the</strong> orchestra like a<br />
benediction.<br />
Instrumentation: Symphony No. 3: Two flutes,<br />
two oboes, two clarinets, two bassoons,<br />
contrabasoon, four horns, two trumpets, three<br />
trombones, timpani and strings.<br />
Notes by Janet E. Bedell, Copyright ©<strong>2013</strong><br />
36 <strong>Overture</strong> | www.bsomusic.org
The Baltimore Symphony Orchestra<br />
Symphony fund Honor Roll<br />
April 27, 2012 – June 27, <strong>2013</strong><br />
We are proud to recognize <strong>the</strong> BSO’s Symphony Fund Members whose generous gifts<br />
to <strong>the</strong> Annual Fund between April 27, 2012 – June 27, <strong>2013</strong> helped <strong>the</strong> Baltimore<br />
Symphony Orchestra fur<strong>the</strong>r its mission: “To make music <strong>of</strong> <strong>the</strong> highest quality,<br />
to enhance Baltimore and Maryland as a cultural center <strong>of</strong> interest, vitality and<br />
importance and to become a model <strong>of</strong> institutional strength.”<br />
The Century CLub<br />
The BSO is funded by an operating grant from <strong>the</strong><br />
Maryland State Arts Council, and agency dedicated to<br />
cultivate a vibrant cultural community where <strong>the</strong> arts thrive.<br />
The Baltimore Symphony Orchestra is deeply grateful to <strong>the</strong> individual, corporate, foundation and governmental donors whose cumulative<br />
annual giving <strong>of</strong> $100,000 or more plays a vital role in sustaining <strong>the</strong> Orchestra’s magnificent tradition <strong>of</strong> musical excellence.<br />
Marin Alsop<br />
The Baltimore Orioles<br />
Georgia and Peter Angelos<br />
The Baltimore Symphony Associates<br />
Marge Penhallegon, President<br />
Mayor and City Council <strong>of</strong> Baltimore<br />
The Citizens <strong>of</strong> Baltimore County<br />
Joseph and Jean Carando*<br />
BGE<br />
Kenneth W. DeFontes, Jr.<br />
and Donna C. DeFontes<br />
Adalman-Goodwin Foundation<br />
Hilda Perl and Douglas* Goodwin,<br />
Trustees<br />
Hecht-Levi Foundation<br />
Ryda H. Levi* and Sandra<br />
Levi Gerstung<br />
Maryland Department <strong>of</strong> Business<br />
and Economic Development<br />
Maryland State Arts Council<br />
The Andrew W. Mellon Foundation<br />
Harvey M. Meyerh<strong>of</strong>f<br />
Joseph & Harvey Meyerh<strong>of</strong>f<br />
Family Charitable Funds<br />
Robert E. Meyerh<strong>of</strong>f and<br />
Rheda Becker<br />
Arts and Humanities Council<br />
<strong>of</strong> Montgomery County and<br />
Montgomery County Maryland<br />
National Endowment<br />
for <strong>the</strong> Arts<br />
Linda and Stanley* Panitz<br />
PNC<br />
Henry and Ruth Blaustein Rosenberg<br />
Foundation and <strong>the</strong> Estate <strong>of</strong> Ruth<br />
Marder*<br />
Howard A. and Rena S. Sugar*<br />
The Whiting-Turner Contracting<br />
Company<br />
Mr. and Mrs. Willard Hackerman<br />
Individuals founders circle<br />
$50,000 or more<br />
The Bozzuto Family Charitable Fund<br />
Jessica and Michael Bronfein<br />
Mr. and Mrs. Mark Joseph<br />
Mr. and Mrs. William Mulligan<br />
Alison and Arnold Richman<br />
Es<strong>the</strong>r and Ben Rosenbloom<br />
Foundation, Michelle G. and<br />
Howard Rosenbloom<br />
Mr. and Mrs. Stephen D. Shawe<br />
Dr. and Mrs. Solomon H. Snyder<br />
Ms. Ellen Yankellow<br />
$25,000 or more<br />
Mr. and Mrs. George L. Bunting, Jr.<br />
Caswell J. Caplan Charitable<br />
Income Trusts, Constance R. Caplan<br />
Mr. and Mrs. Robert Coutts<br />
Dr. Perry A. Eagle*, Ryan M. Eagle, and<br />
Bradley S. Eagle<br />
Sandra Levi Gerstung<br />
Mr. and Mrs. Kingdon Gould<br />
Mr. and Mrs. Benjamin H. Griswold, IV<br />
Mr. Joseph P. Hamper, Jr.*<br />
Mr. Howard Hansen<br />
The Sandra and Fred Hittman<br />
Philanthropic Fund<br />
The Hue<strong>the</strong>r-McClelland Foundation<br />
George and Ca<strong>the</strong>rine McClelland<br />
David and Marla Oros<br />
Scott Phares and Judy Witt Phares<br />
Dr. and *Mrs. Thomas Pozefsky<br />
Rifkin, Livingston, Levitan<br />
and Silver, LLC<br />
Mr. and Mrs. Alan M. Rifkin<br />
Bruce and Lori Laitman Rosenblum<br />
The Honorable Steven R. Schuh<br />
David and Chris Wallace<br />
Ellen W.P. Wasserman<br />
Individuals maestra’s circle<br />
$15,000 or more<br />
Anonymous (2)<br />
Donna and Paul Amico<br />
Herbert Bearman Foundation, Inc.<br />
Dr. Sheldon and Arlene Bearman<br />
The Dopkin-Singer-Dannenberg<br />
Foundation, Inc.<br />
Mrs. Margery Dannenberg<br />
George and Ka<strong>the</strong>rine Drastal<br />
Alan and Carol Edelman<br />
Ms. Susan Esserman and<br />
Mr. Andrew Marks<br />
Sara and Nelson Fishman<br />
Mr. and Mrs. Douglas Hamilton<br />
Michael G. Hansen and<br />
Nancy E. Randa<br />
Barbara Katz<br />
Mr. and Mrs. Stephen M. Lans<br />
Sarellen and Marshall Levine<br />
Hilary B. Miller and<br />
Dr. Ka<strong>the</strong>rine N. Bent<br />
Mr. and Mrs. Michael P. Pinto<br />
Arnold and Alison Richman<br />
Mr. George A. Roche<br />
Lainy LeBow-Sachs and<br />
Leonard R. Sachs<br />
Dr. and Mrs. Charles I. Shubin<br />
Richard C. and Julie I. Vogt<br />
Mr. and Mrs. William Wagner<br />
$10,000 or more<br />
Diane Abel<strong>of</strong>f and Emile A. Bendit<br />
“In honor <strong>of</strong> Margery Pozefsky”<br />
In memory <strong>of</strong> James Gavin Manson<br />
Anonymous (4)<br />
A&R Development Corporation<br />
Mr. and Mrs. Douglas Becker<br />
Mr. and Mrs. James Berg<br />
Mr. and Mrs. Ed Bernard<br />
Mr. and Mrs. A.G.W. Biddle, III<br />
Mr. Robert H. Boublitz<br />
Diane and Leland Brendsel<br />
Ms. Kathleen A. Chagnon and<br />
Mr. Larry Nathans<br />
Judith and Mark Coplin<br />
Mr. and Mrs. H. Chace Davis, Jr.<br />
Chapin Davis Investments<br />
Rosalee C. and Richard Davison<br />
Foundation<br />
Mr. and Mrs. Anthony Deering<br />
Mr. and Mrs. James L. Dunbar<br />
Ms. Mary Haub<br />
Mr. and Mrs. H. Thomas Howell<br />
Drs. Riva and Marc Kahn<br />
Dr. and *Mrs. Murray Kappelman<br />
Mrs. Barbara Kines<br />
Mrs. Mary H. Lambert<br />
Therese* and Richard Lansburgh<br />
Dr. and Mrs. Yuan C. Lee<br />
Susan Liss and Family<br />
Mr. and Mrs. Samuel G. Macfarlane<br />
Howard Majev and Janet Brandt Majev<br />
Sally S. and Decatur H. Miller<br />
Drs. Virginia and Mark Myerson<br />
Mr. and Mrs. Bill Nerenberg<br />
Dr. Selvin Passen<br />
Arnold and Diane Polinger<br />
Mrs. Violet G. Raum<br />
Gar and Migsie Richlin<br />
Rona and Arthur Rosenbaum<br />
Alena and David M. Schwaber<br />
The Honorable and Mrs.<br />
James T. Smith, Jr.<br />
Joanne Gold and Andrew A. Stern<br />
Mr. and Mrs. Gideon N. Stieff, Jr.<br />
The Louis B. Thalheimer and Juliet A.<br />
Eurich Philanthropic Fund<br />
The Zamoiski-Barber-Segal Family<br />
Foundation<br />
* Deceased<br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 37
The Baltimore Symphony Orchestra<br />
{ Program Notes<br />
Carolyn Mills and Anne O’Hare join<br />
BSO Contrabassoonist David Coombs<br />
at a donor event in June.<br />
New Governing Members Elizabeth Jones<br />
and Steven Collier at a BSO dinner in<br />
Howard County.<br />
Donors enjoy a pre-concert meal at <strong>the</strong> last<br />
Allegretto Dinner <strong>of</strong> <strong>the</strong> season.<br />
Beverly Sager, Kate Caldwell, and Charles and<br />
Bernice Kelber attend <strong>the</strong> post-concert reception<br />
after <strong>the</strong> BSO’s Carnegie Hall performance.<br />
Governing Members<br />
Platinum, $7,500 or more<br />
Ms. Amy Elin Anderson<br />
Deborah and Howard M. Berman<br />
Drs. Sonia and Myrna Estruch<br />
Mr. Walter Budko<br />
Ms. Margaret Ann Fallon<br />
Mrs. Anne Hahn<br />
Mr. William La Cholter<br />
Sayra and Neil Meyerh<strong>of</strong>f<br />
Dr. and Mrs. Lawrence C. Pakula<br />
Dr. and Mrs. Anthony Perlman<br />
Helene and Bill Pittler<br />
Miss Joan M. Pristas*<br />
Neil J. and JoAnn N. Ru<strong>the</strong>r<br />
Dr. and Mrs.* John H. Sadler<br />
Mr. and Mrs. W. Danforth Walker<br />
Mr. and Mrs. Loren Western<br />
Governing Members<br />
Gold, $5,000 or more<br />
“In Memory <strong>of</strong> Carole L. Maier,<br />
Artist”<br />
Anonymous (1)<br />
Dr. and Mrs. Thomas E. Allen<br />
Mr. Frederick Apfel and Ms.<br />
Meredith Pattin<br />
Dr. and Mrs.* Wilmot C. Ball, Jr.<br />
Barry D. and Linda F. Berman<br />
John and Bonnie Boland<br />
Steven and Ann Loar Brooks<br />
Ms. Mary Ca<strong>the</strong>rine Bunting<br />
Mr. and Mrs. Robert Butler<br />
Mr. and Mrs. Arthur Chomas<br />
Nathan and Suzanne Cohen<br />
Foundation<br />
Mr. and Mrs. Albert R.<br />
Counselman, The RCM&D<br />
Foundation and RCM&D, Inc.<br />
Mr. and Mrs. Bernard Davis<br />
Faith and Marvin Dean<br />
Ronald E. Dencker<br />
Mr. Mark Fetting<br />
Andrea and Samuel Fine<br />
Susan W. Flanigan<br />
John Gidwitz<br />
Mr. Robert Gillison and Ms.<br />
Laura L. Gamble<br />
Sandra and Barry Glass<br />
Frances Goelet Charitable Trust<br />
Dr. and Mrs. Philip Goelet<br />
Betty E. and Leonard H.<br />
Golombek<br />
Sandra and Thomas Hess<br />
Mr. and Mrs. Richard E. Hug*<br />
Susan and David Hutton<br />
Susan and Stephen Immelt<br />
F. Reed and Kathleen Johnson<br />
Beth J. Kaplan and Bruce P. Sholk<br />
Mr. and Mrs. Harry Kaplan<br />
Eileen A. and Joseph H. Mason<br />
Dan and Agnes Mazur<br />
Norfolk Sou<strong>the</strong>rn Foundation<br />
Drs. William and Deborah<br />
McGuire<br />
Margot and Cleaveland Miller<br />
Jolie and John Mitchell<br />
Elizabeth Moser<br />
Mr. and Mrs. Peter Muncie<br />
Mrs. Joy Munster<br />
Louise and Alvin Myerberg* /<br />
Wendy and Howard* Jachman<br />
Dr. A. Harry Oleynick<br />
Dr. and Mrs. David Paige<br />
Mrs. Margaret Penhallegon<br />
Dr. Todd Phillips and Ms. Denise<br />
Hargrove<br />
Dr. Jonas Rappeport and Alma<br />
Smith<br />
Dr. Scott and Frances Rifkin<br />
Jacob S. Shapiro Foundation<br />
Jane and Stan Rodbell, and<br />
James Shapiro<br />
Dr. John Rybock and Ms. Lee<br />
Kappelman<br />
Dr.* and Mrs. Marvin M. Sager<br />
Mr. and Mrs. J. Mark Schapiro<br />
M. Sigmund and Barbara K.<br />
Shapiro Philanthropic Fund<br />
Francesca Siciliano and Mark<br />
Green<br />
The Sidney Silber Family<br />
Foundation<br />
Mr. and Mrs. Harris J. Silverstone<br />
Melissa and Philip Spevak<br />
Ms. Patricia Stephens<br />
Dr. and Mrs. Carvel Tiekert<br />
Mr. and Mrs. Peter Van Dyke<br />
Mr. Edward Wiese<br />
Susan Wolman<br />
Aaron and Joanie Young<br />
Laurie S. Zabin<br />
Danielle and Jeffrey Zoller<br />
Governing Members<br />
Silver, $2,500 or more<br />
“In memory <strong>of</strong> John T.<br />
Ricketts, III”<br />
“In memory <strong>of</strong> Reverend Howard<br />
G. Norton and Charles O.<br />
Norton”<br />
Anonymous (4)<br />
Dr. and Mrs. Robert J. Adams<br />
Julianne and George Alderman<br />
Mr. and Mrs. Edward J. Adkins<br />
Ms. Susan Angell<br />
Mr.* and Mrs. Alexander<br />
Armstrong<br />
Jackie and Eugene Azzam<br />
Mr. and Mrs. Thomas H.G.<br />
Bailliere, Jr.<br />
Susan and David Balderson<br />
Ms. Penny Bank<br />
Donald L. Bartling<br />
Dr. and Mrs. Theodore M.<br />
Bayless<br />
Mr. and Mrs. Stanley Ber<br />
Max Berndorff and<br />
Annette Merz<br />
Alan and Bunny Bernstein<br />
Dr. and Mrs. Mordecai P.<br />
Blaustein<br />
Mr. James D. Blum<br />
Dr. and Mrs. Paul Z. Bodnar<br />
Ms. Carol Bogash<br />
Robert L. Bogomolny and<br />
Janice Toran<br />
Carolyn and John Boitnott<br />
Mr. and Mrs. John M. Bond, Jr.<br />
Ava Lias-Booker and Earl Booker<br />
Dr. Helene Breazeale<br />
Dr. Rudiger and Robin<br />
Breitenecker<br />
Mr. and Mrs. Thomas H.<br />
Broadus, III<br />
Dr. and Mrs. Donald D. Brown<br />
Laura Burrows<br />
Loretta Cain<br />
Mr. and Mrs. S. Winfield Cain<br />
Campbell & Company<br />
James N. Campbell M.D. and<br />
Regina Anderson M.D.<br />
Cape Foundation<br />
Turner and Judy Smith<br />
Michael and Kathy Carducci<br />
Mr. and Mrs. Arthur Chomas<br />
Ms. Susan Chouinard<br />
Geri and David Cohen<br />
Mr. Harvey L. Cohen and Ms.<br />
Martha Krach<br />
Mrs. Miriam M. Cohen and Dr.<br />
Martin Taubenfeld<br />
Joan Piven-Cohen and Samuel T.<br />
Cohen<br />
Dr. and Mrs. Stephen P. Cohen<br />
Mr. and Mrs. Elbert Cole<br />
Wandaleen and Emried Cole<br />
Mr. and Mrs. John W. Conrad, Jr.<br />
David and Ellen Cooper<br />
Mrs. Rebecca M. Cowen-Hirsch<br />
Mr. and Mrs. William H.<br />
Cowie, Jr.<br />
Alan and Pamela Cressman<br />
Michael R. Crider<br />
Mr. and Mrs. Edward A.<br />
Dahlka, Jr.<br />
Dr. and Mrs. Cornelius Darcy<br />
Mr. and Mrs. William F. Dausch<br />
Dr. Karlotta M. Davis<br />
Richard A. Davis and Edith<br />
Wolp<strong>of</strong>f-Davis<br />
James H. DeGraffenreidt and<br />
Mychelle Y. Farmer<br />
Kari Peterson, Benito R.<br />
and Ben DeLeon<br />
Ms. Geraldine Diamond<br />
Drs. Susan G. Dorsey and<br />
Cynthia L. Renn in honor <strong>of</strong><br />
Doris A. and Paul J. Renn, III<br />
Mr. and Mrs. A. Eric Dott<br />
Dr. and Mrs. Daniel Drachman<br />
Mr. and Mrs. Larry D. Droppa<br />
Bill and Louise Duncan<br />
Mr. and Mrs. Laurence Dusold<br />
The Eddie C. and C. Sylvia<br />
Brown Family Foundation<br />
Donna Z. Eden and<br />
Henry Goldberg<br />
Michaeline Fedder and Susan<br />
Arisman<br />
Mr. and Mrs. Maurice R. Feldman<br />
Mr. Stephen W. Fisher<br />
Winnie and Bill Flattery<br />
Dr. and Mrs. Jerome L. Fleg<br />
Ms. Lois Flowers<br />
Mr. and Mrs. John C. Frederick<br />
Mr. and Mrs. Kenneth Freed<br />
Jo Ann and Jack Fruchtman, Jr.<br />
John Galleazzi and Elizabeth<br />
Hennessey<br />
Constance A. Getzov<br />
Mrs. Ellen Bruce Gibbs<br />
Mr. and Mrs. Joseph S.<br />
Gillespie, Jr.<br />
Mr. Louis Gitomer<br />
Evee and Bertram Goldstein<br />
Brian and Gina Gracie<br />
Mrs. Ann Greif<br />
Dr. Diana Griffiths<br />
William and Barbara Gross<br />
Ms. Mary Therese Gyi<br />
Carole Hamlin and C. Fraser<br />
Smith<br />
Mr. Gary C. Harn<br />
Mr. James F. Hart<br />
Melanie and Donald Heacock<br />
Mr. John Healy<br />
Mr. and Mrs. Edward Heine<br />
Mr. Thomas Hicks<br />
Betty Jean and Martin* S.<br />
Himeles, Sr.<br />
Barbara and Sam Himmelrich<br />
Gina and Daniel Hirschhorn<br />
Bruce and Caren Beth H<strong>of</strong>fberger<br />
Ms. Marilyn J. H<strong>of</strong>fman<br />
Betsy and Len Homer<br />
Mr. and Mrs. J. Woodford<br />
Howard, Jr.<br />
Mr. and Mrs. A.C. Hubbard, Jr.<br />
Donald W. and Yvonne M.<br />
Hughes<br />
Mr. and Mrs. William Hughes<br />
Elayne and Benno Hurwitz<br />
Mrs. Wendy Jachman<br />
Dr. Richard T. Johnson<br />
Richard and Brenda Johnson<br />
Carrie Johnston<br />
Susan B. Katzenberg<br />
Louise and Richard Kemper<br />
Kent Family Foundation<br />
Suzan Russell Kiepper<br />
Mr. and Mrs. Young Kim<br />
Ms. Deborah Kissinger<br />
Mr. Richard Kitson<br />
Mr. Daniel Klein<br />
Dr. and Mrs. Richard A. Kline<br />
Paul and Susan Konka<br />
Dr. Morton D. Kramer<br />
Ms. Patricia Krenzke and Mr.<br />
Michael Hall<br />
Miss Dorothy B. Krug<br />
Mrs. Elaine Lebar<br />
Sandy and Mark Laken<br />
Dr. and Mrs. Donald Langenberg<br />
Andrew Lapayowker and Sarah<br />
McCafferty<br />
The Lavagnino Family<br />
Anna and George Lazar<br />
Claus Lei<strong>the</strong>rer and Irina<br />
Fedorova<br />
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Become a member and receive exclusive benefits. Calll 410.783.8124 or email membership@BSOmusic.org<br />
38 <strong>Overture</strong> | www.bsomusic.org
Symphony fund Honor Roll<br />
Ruth and Jay Lenrow<br />
Dr. Harry Letaw, Jr. and Mrs.<br />
Joyce W. Letaw<br />
Mr. Richard W. Ley<br />
Mr. and Mrs. Vernon L. Lidtke<br />
Dr. Frances and Mr. Edward<br />
Lieberman<br />
Darielle and Earl Linehan<br />
Ms. Louise E. Lynch<br />
Louise D. and Morton J. Macks<br />
Family Foundation, Inc.<br />
Genine Macks Fidler<br />
and Josh Fidler<br />
Dr. Frank C. Marino Foundation<br />
Diane and Jerome Markman<br />
Mr. and Mrs. Abbott Martin<br />
Donald and Lenore Martin<br />
Dr. Marilyn Maze and Dr.<br />
Holland Ford<br />
Drs. Edward and Lucille<br />
McCarthy<br />
Mrs. Kenneth A. McCord<br />
Mr. and Mrs. Scott A.<br />
McWilliams<br />
Paul Meecham and Laura Leach<br />
John Meyerh<strong>of</strong>f, MD and Lenel<br />
Srochi-Meyerh<strong>of</strong>f<br />
Sheila J. Meyers<br />
Judy and Martin Mintz<br />
Nor<strong>the</strong>rn Pharmacy and<br />
Medical Equipment<br />
Jacqueline and Sidney W. Mintz<br />
Ms. Patricia J. Mitchell<br />
Drs. Dalia and Alan Mitnick<br />
Mr. and Mrs. Charles O. Monk, II<br />
Dr. and Mrs. C.L. Moravec<br />
Dr. Mellasenah Y. Morris<br />
Mr. and Mrs. Rex E. Myers<br />
Roy and Gillian Myers<br />
Phyllis Neuman, Ricka Neuman<br />
and Ted Niederman<br />
David Nickels and Gerri Hall<br />
Mr. and Mrs. Roger F.<br />
Nordquist<br />
In memory <strong>of</strong> <strong>the</strong> Rev Howard G.<br />
Norton and Charles O. Norton<br />
Number Ten Foundation<br />
Kevin and Diane O’Connor<br />
Drs. Erol and Julianne Oktay<br />
Ms. Margaret O'Rourke and Mr.<br />
Rudy Apodaca<br />
Mrs. Bodil Ottesen<br />
Mr. and Mrs. Frank Palulis<br />
Ellen and Stephen* Pattin<br />
Drs. Hans Pawlisch and Takayo<br />
Hatakeyama<br />
William and Kathleen Pence<br />
Beverly and Sam Penn<br />
Mr. and Mrs. James Piper<br />
Peter E. Quint<br />
Ms. Nancy Kohn Rabin<br />
Reverend and Mrs. Johnny<br />
Ramsey<br />
Mr. and Mrs. Frederick<br />
Rheinhardt<br />
Nathan and Michelle Robertson<br />
Mr. and Mrs. Richard Roca<br />
Stephen Root and Nancy Greene<br />
Mr. and Mrs. Charles Rowins<br />
Robert and Leila Russell<br />
Norm and Joy St. Landau<br />
Ilene and Michael Salcman<br />
Dr. Henry N. Sanborn<br />
Ms. Doris Sanders<br />
Lois Schenck and Tod Myers<br />
Marilyn and Herb* Scher<br />
Carol and James Scott<br />
Cynthia Scott<br />
Ida & Joseph Shapiro Foundation<br />
and Diane and Albert* Shapiro<br />
Mr. Stephen Shepard<br />
Dr. and Mrs. Ronald F. Sher<br />
Mr. Thom Shipley and Mr.<br />
Christopher Taylor<br />
Francine and Richard Shure<br />
Dr. and Mrs. Frederick Sieber<br />
Drs. Ruth and John Singer<br />
Ellwood and Thelma Sinsky<br />
David and Lesley Punshon-Smith<br />
Ms. Leslie J. Smith<br />
Ms. Nancy E. Smith<br />
Mr. and Mrs. Lee M. Snyder<br />
Dr. and Mrs. John Sorkin<br />
Dr. and Mrs. Charles S. Specht<br />
Joan and Thomas Spence<br />
Anita and Mickey Steinberg<br />
Mr. Edward Steinhouse<br />
James Storey and Janice Collins<br />
Mr. and Mrs. Dale Strait<br />
Ms. Harriet Stulman<br />
Susan and Brian Sullam<br />
Mr. and Mrs. Robert Taubman<br />
Dr. Ronald J. Taylor<br />
Mr. and Mrs. Terence Taylor<br />
Ms. Susan B. Thomas<br />
Paul and Karen Tolzman<br />
Dr. Jean Townsend and Mr.<br />
Larry Townsend<br />
In Memory <strong>of</strong> Jeffrey F. Liss,<br />
Dr. and Mrs. Henry Tyrangiel<br />
Martha and Stanley Weiman<br />
Mr. and Mrs. David Weisenfreund<br />
Ms. Beverly Wendland and Mr.<br />
Michael McCaffery<br />
Mr. and Mrs. Christopher West<br />
Ms. Camille B. Wheeler and Mr.<br />
William B. Marshall<br />
Ms. Louise S. Widdup<br />
Mr. and Mrs. Barry F. Williams<br />
Mr. and Mrs. T. Winstead, Jr.<br />
Laura and Thomas Witt<br />
Mr. and Mrs. Richard Wolven<br />
Drs. Yaster and Zeitlin<br />
Chris and Carol Yoder<br />
Mr. and Mrs. Aaron Young<br />
Mr. and Mrs. Michael Young<br />
Dr. and Mrs. Robert E. Zadek<br />
Symphony Society<br />
Gold, $1,500 or more<br />
David and Ursula Unnewehr<br />
“In memory <strong>of</strong> Laurel Jean<br />
Unnewehr”<br />
Mrs. Frank A. Bosworth Jr.<br />
“In honor <strong>of</strong> Marin Alsop”<br />
Anonymous (3)<br />
George and Frances Alderson<br />
Robert and Dorothy Bair<br />
Monsignor Arthur W. Bastress<br />
Patricia and Michael J. Batza, Jr.<br />
The Becker Family Fund<br />
Mr. and Mrs. John W. Beckley<br />
Dr. Robert P. Burchard<br />
Mr. and Mrs. John Carey<br />
Marilyn and David Carp<br />
Ms. Dawna Cobb and Mr. Paul<br />
Hulleberg<br />
Mr. and Mrs. Jonas M.L. Cohen<br />
Dr. and Mrs. Robert A. Cordes<br />
Nicholas F. Diliello<br />
Ms. Lynne Durbin<br />
Mrs. Nancy S. Elson<br />
Deborah and Philip English<br />
Kenneth and Diane Feinberg<br />
Mr. Ken French<br />
Mr. and Mrs. Leland Gallup<br />
Mr. and Mrs. Stanford Gann, Sr.<br />
Mr. Jonathan Gottlieb<br />
Sandra and Edward J. Gutman<br />
Mr.* and Mrs. E. Phillips<br />
Hathaway<br />
Mr. and Mrs. George B. Hess, Jr.<br />
Dr. Helmut Jenkner and Ms.<br />
Rhea I. Arnot<br />
Mr. Max Jordan<br />
Gloria B. and Herbert M.<br />
Katzenberg Fund<br />
Ms. Margaret F. Keane<br />
Colonel William R. Lee<br />
Ms. Gail G. and F. Landis<br />
Markley<br />
The Estate <strong>of</strong> Ms. Lauretta R.<br />
Maisel<br />
Mr. and Mrs. Jordon Max<br />
Mrs. Anne Miller<br />
Mr. Charles Miller<br />
Mrs. Mildred S. Miller<br />
Ms. Marita Murray<br />
Howard Needleman<br />
Mr. and Mrs. Robert C. Neiman<br />
Ms. Irene E. Norton and Dr.<br />
Hea<strong>the</strong>r T. Miller<br />
Steven and Sherri O'Donnell<br />
Mr. and Mrs. Thomas Parr<br />
Mr. and Mrs. Richard Parsons<br />
Mrs. J. Stevenson Peck<br />
Mr. and Mrs. Stephen Petrucci<br />
Mr. and Mrs. John Brentnall<br />
Powell<br />
Thomas Powell, M.D.<br />
Mr. Charles B. Reeves, Jr.<br />
Ms. Dorothy Reynolds<br />
Margaret and Lee Rome<br />
Joellen and Mark Roseman<br />
Dr. and Mrs. Saul D. Roskes<br />
Mr.* and Mrs. Nathan G. Rubin<br />
John B. Sacci and Nancy Dodson<br />
Sacci<br />
Beryl and Philip Sachs<br />
Mrs. Barbara K. Scherlis<br />
Ronnie and Rachelle Silverstein<br />
Ms. Sandra Sundeen<br />
Mr. and Mrs. Richard Swerdlow<br />
Ms. Joan Wah and Ms. Ka<strong>the</strong>rine<br />
Wah<br />
Mr. Charles E. Walker<br />
Janna Wehrle<br />
Mr. and Mrs. Sean Wharry<br />
Dr. and Mrs. E.F. Shaw Wilgis<br />
Dr. Richard Worsham and Ms.<br />
Deborah Geisenkotter<br />
Symphony Society<br />
Silver, $1,000 or more<br />
Dr. John Boronow and Ms.<br />
Adrienne Kols<br />
“In memory <strong>of</strong> John R.H. and<br />
Charlotte Boronow”<br />
Anonymous (6)<br />
Mr. and Mrs. Ronald Abrams<br />
Virginia K. Adams and Neal M.<br />
Friedlander, M.D.<br />
David and Bonnie Allan<br />
Mr. Paul Araujo<br />
Mr. and Mrs. Maurice Arsenault<br />
Leonard and Phyllis Attman<br />
Mrs. Jean Baker<br />
Balder Foundation<br />
Dr. and Mrs. Bruce Barnett<br />
Mr. and Mrs. Charles Berry, Jr.<br />
Mr. and Mrs. Albert Biondo<br />
Mr. Roy Birk<br />
Mr. and Mrs. John Blodgett<br />
Mr. and Mrs. Charles R. Booth<br />
Ms. Elizabeth W. Botzler<br />
Mr. and Mrs. Harry H. Boublitz<br />
David E. and Alice R. Brainerd<br />
M. Susan Brand and John Brand<br />
Shirley Brandman and Howard<br />
Shapiro<br />
Dr. and Mrs. Mark J. Brenner<br />
Barbara and Ed Brody<br />
Jean B. Brown<br />
Mr. Robert Brown<br />
Ms. Elizabeth J. Bruen<br />
Ms. Jeanne Brush<br />
Membership Benefits<br />
<strong>2013</strong>–2014 season<br />
A contribution to <strong>the</strong> Baltimore Symphony Orchestra<br />
qualifies you to special events and exclusive opportunities<br />
to enhance your BSO experience throughout <strong>the</strong> season:<br />
$75+ Bach Level Members<br />
• Two complimentary tickets to <strong>the</strong> Annual Donor Appreciation Event (R)<br />
• Opportunity to purchase tickets prior to public sale*<br />
• BSO Membership Card – 10% discount on music, books and gifts<br />
at <strong>the</strong> Symphony Store and An Die Musik<br />
• Invitation to one Open Rehearsal (R)<br />
$150+ Beethoven Level Members<br />
All <strong>of</strong> <strong>the</strong> above, plus…<br />
• Invitation to an additional Open Rehearsal (R)<br />
• Two complimentary drink vouchers<br />
$250+ Brahms Level Members<br />
All <strong>of</strong> <strong>the</strong> above, plus…<br />
• 10% discount on tickets to BSO performances*<br />
• Two additional complimentary tickets to <strong>the</strong> Annual Donor<br />
Appreciation Event (R)<br />
$500+ Britten Level Members<br />
All <strong>of</strong> <strong>the</strong> above, plus…<br />
• Invitation to <strong>the</strong> Premium “Evening” Open Rehearsal (R)<br />
• Donor recognition in one <strong>issue</strong> <strong>of</strong> <strong>Overture</strong> magazine<br />
• Two additional complimentary drink vouchers<br />
• Four complimentary dessert vouchers<br />
• Invitation to Opening Night Celebration Cast Party (R)<br />
• NEW! Exclusive access to Musician Appreciation Events<br />
$1,000+ Symphony Society Members<br />
All <strong>of</strong> <strong>the</strong> above, plus…<br />
• Invitations to all Cast Parties, featuring BSO musicians and guest artists (R)<br />
• Year-long donor recognition in <strong>Overture</strong> magazine<br />
• Two complimentary passes to <strong>the</strong> Baltimore Symphony Associates’<br />
Decorators’ Show House<br />
• Two one-time passes to <strong>the</strong> Georgia and Peter G. Angelos<br />
Governing Members Lounge<br />
• Invitation to Season Opening Gala (R/$)<br />
• Invitation to a Musicians’ Appreciation Event<br />
• NEW! Reduce rates for select BSO events<br />
$2,500+ Governing Members<br />
All <strong>of</strong> <strong>the</strong> above, plus…<br />
• Invitations to Governing Members On-Stage Rehearsals (R)<br />
• Governing Member exclusive pre-concert Allegretto Dinners (R/$)<br />
• Complimentary parking upon request through <strong>the</strong> Ticket Office<br />
• Season-long access to <strong>the</strong> Georgia and Peter G. Angelos<br />
Governing Members Lounge<br />
• VIP Ticket Concierge service including complimentary ticket exchange<br />
• Opportunity to participate in exclusive Governing Member<br />
trips and upcoming domestic tours (R/$)<br />
• Candlelight Conversations, intimate pre-concert dinners<br />
with stars from <strong>the</strong> BSO family (R/$)<br />
• Invitation to join Music Director Marin Alsop and Board Chairman<br />
at <strong>the</strong> BSO Electoral Meeting<br />
• Priority Box Seating at <strong>the</strong> Annual Donor Appreciation Concert<br />
$5,000+ Governing Members Gold<br />
All <strong>of</strong> <strong>the</strong> above, plus…<br />
• Complimentary copy <strong>of</strong> upcoming BSO recording signed<br />
by Music Director (one per season)<br />
• Exclusive events including Meet & Greet opportunities with BSO musicians<br />
and guest artists<br />
$10,000+ Maestra’s Circle<br />
All <strong>of</strong> <strong>the</strong> above, plus…<br />
• Exclusive and intimate events catered to this special group including<br />
post-concert receptions with some <strong>of</strong> <strong>the</strong> top artists in <strong>the</strong> world who<br />
are performing with <strong>the</strong> BSO<br />
• Formal Salon Dinner- Be our guests at <strong>the</strong> Springtime Soiree:<br />
Chamber Music & Dinner with Maestra Alsop & <strong>the</strong> BSO.<br />
Enjoy an Exclusive Maestra Circle event at a very special location.<br />
• One complimentary use <strong>of</strong> <strong>the</strong> GM Lounge facilities for hosting<br />
personal or business hospitality events ($)<br />
Support BSO and make a donation today!<br />
Email membership@BSO music.org<br />
or Call 410.783.8124<br />
(R) Reservation required $ Admission Fee * Some and concerts excluded<br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 39
The Baltimore Symphony Orchestra<br />
Bohdan and Constance Bulawka<br />
Mrs. Edward D. Burger<br />
Dr. and Mrs. Arthur L. Burnett<br />
Mr. and Mrs. Bradley Callahan<br />
Mr. and Mrs. David Callahan<br />
Ms. Judy Campbell<br />
Ms. Marla Caplan<br />
Mr. and Mrs. Claiborn Carr<br />
Mr. James T. Cavanaugh, III<br />
Mr. David P. Chadwick and Ms.<br />
Rosalie Lijinsky<br />
Carey and Ann Cohen<br />
John and Donna Cookson<br />
Ms. Claudia Copeland<br />
Mr. and Mrs. Charles C.<br />
Counselman, Jr.<br />
Ms. Sally Craig<br />
Mr. and Mrs. Reagan Miller<br />
Crawford<br />
Mr. and Mrs. Jeffrey Crooks<br />
Mr. James Daily<br />
Mr. David O. Dardis<br />
Mr. and Mrs. Thomas Darr<br />
Mr. and Mrs. William C. Dee<br />
Reverend and Ms. DeGarmo<br />
Dr. and Mrs. Thomas DeKornfeld<br />
Dr. Alfred J. DeRenzis<br />
Mr. and Mrs. Mathias J. DeVito<br />
Walter B. Doggett, III<br />
Mrs. Marcia K. Dorst<br />
Dr. Sylvester Dziuba<br />
Mr. and Mrs. Stuart Elsberg and<br />
<strong>the</strong> Elsberg Family Foundation<br />
Mr. John Farrell<br />
Mr. Roy Ferguson<br />
Mr. and Mrs. Arthur Flach<br />
Dr. Charles W. Flexner and Dr.<br />
Carol Trapnell<br />
Ms. Patricia Foerster<br />
Dr. and Mrs. William Fox<br />
Kenneth Frank<br />
Virginia K. Adams and Neal M.<br />
Friedlander, M.D.<br />
Ms. E<strong>the</strong>l W. Galvin<br />
Mr. George Garmer<br />
Mr. and Mrs. Austin George<br />
Mr. Ron Gerstley and Ms. Amy<br />
Blank<br />
Dr. and Mrs. Frank A.<br />
Giargiana, Jr.<br />
Mr. Price and Dr. Andrea Gielen<br />
Dr. and Mrs. Morton Goldberg<br />
Mr. Bruce Yale Goldman<br />
Mr. David A. Goldner<br />
Patrick and Ca<strong>the</strong>rine Goles<br />
Ms. Judith A. Gottlieb<br />
Mr. Alexander Graboski<br />
Robert Greenfield<br />
Donna and Gary Greenwald<br />
Mr. Charles H. Griesacker<br />
Ms. Fredye Wright Gross<br />
Mary and Joel Grossman<br />
Mr. and Mrs. Stuart Grossman<br />
Mr. and Mrs. Donald Gundlach<br />
Ms. Stephanie Hack<br />
Kenneth and Arlene Haddock<br />
Ms. Louise A. Hager<br />
Ms. Faith Hagerty<br />
Ms. Mary Hambleton<br />
Ms. Gloria Shaw Hamilton<br />
Ms. Paulette Hammond<br />
Dr. and Mrs. S. Elliott Harris<br />
Alexander Harvey, II<br />
Mr. Loring Hawes<br />
Mr. David Heckman<br />
Lloyd Helt and Ruth Gray<br />
Dr. Stephen L. Hilbert<br />
Mr. and Mrs. Martin Himeles<br />
Dr. R. Gary Hollenbeck<br />
Mr. Herbert H. Hubbard<br />
Ms. Elizabeth Huttar<br />
Drs. Paul and Deborah<br />
Young-Hyman<br />
Mr. and Mrs. Scott Jacobs<br />
Ms. Cecilia Januszkiewicz and Mr.<br />
M. Albert Figinski<br />
Dr. Helmut Jenkner and Ms.<br />
Rhea I. Arnot<br />
Ann H. Kahan<br />
Elizabeth Kameen<br />
Leon and Mary Buckley Kaplan<br />
Mrs. Harry E. Karr*<br />
Richard M. Kastendieck and Sally<br />
J. Miles<br />
Mr. Andrew Klein<br />
George and Ca<strong>the</strong>rine Klein<br />
Barbara and Marcel Klik<br />
Mr. and Mrs. Stewart Kohl<br />
Mr. and Mrs. Lawrence Koppelman<br />
Dr. and Mrs. Jeffrey Kremen<br />
Francine and Allan Krumholtz<br />
Mr. Charles Kuning<br />
Ms. Bonnie D. Kutch<br />
Dr. and Mrs. James LaCalle<br />
Ms. Rebecca Lawson<br />
Mr. Peter Leffman<br />
Mr. and Mrs. Charles F. Legters<br />
Nkiambi J. Lema<br />
Mr. Ronald P. Lesser<br />
Len and Cindy Levering<br />
Bernice and Donald S. Levinson<br />
Dr. and Mrs. Bernard Levy<br />
Ms. Joanne Linder<br />
Mr. and Mrs. K. Wayne Lockard<br />
Drs. David and Sharon Lockwood<br />
Mr. and Mrs. Arthur Lynch<br />
Ms. Mary MacDonald<br />
Susan J. Mathias<br />
Mrs. Linda M. McCabe<br />
McCarthy Family Foundation<br />
Mr. Chris McGeachy<br />
Ms. Michael R. McMullan<br />
Mr. Richard C. McShane<br />
David and Betty Meese<br />
Mr. Timothy Meredith<br />
Mr. Alan Merenbloom<br />
Daniel and Anne Messina<br />
Benjamin Michaelson, Jr.<br />
Mr. and Mrs. Gary Miller<br />
Caroline B. Mills and Dr. John A.<br />
Snyder<br />
Noah and Carol C. O'Connell<br />
Minkin<br />
Lester and Sue Morss<br />
Mr. Howard Moy<br />
Dr. William W. Mullins<br />
Ms. Marita Murray<br />
Jessica and David Nizam<strong>of</strong>f<br />
Anne M. O'Hare<br />
Mr. Garrick Ohlsson<br />
Mrs. S. Kaufman Ottenheimer<br />
Ms. Janet Parente<br />
Dr. and Mrs. Arnall Patz<br />
Dr. and Mrs. Frederick Pearson<br />
Mr. and Mrs. Morton B. Plant<br />
Robert E. and Anne L. Prince<br />
The Progress Family<br />
Foundation Inc.<br />
Dr. and Mrs. Richard Radmer<br />
Dr. G. Edward Reahl, Jr.<br />
Mr. Arend Reid<br />
Mr.and Mrs. B. Preston Rich<br />
Mr. Thomas Rhodes<br />
Mr. and Mrs. Thomas P. Rice<br />
Preston and Pamela Rich<br />
Carl and Bonnie Richards<br />
Mrs. Randall S. Robinson<br />
Margaret and Lee Rome<br />
Ann and Frank Rosenberg<br />
Mr. and Mrs. Robert Rosenberg<br />
Colonel Joseph H. Rouse<br />
Mr. and Mrs. Gilbert Sandler<br />
Mr. and Mrs. Benjamin Schapiro<br />
Mr. and Mrs. Albert S.<br />
Schlachtmeyer<br />
Ronald and Cynthia Schnaar<br />
Dr. Deborah Schwengel<br />
Ronald and Cathi Shapiro<br />
Mr. and Mrs. Robert W. Sharp<br />
Ms. Martha K. Shelhoss<br />
Mr. and Mrs. Daniel Shykind<br />
Elizabeth A. Skinner<br />
Mr. and Mrs. Robert Smelkinson<br />
Mr. and Mrs. Miles T. Smith<br />
Mr. and Mrs. Norman Smith<br />
Mr. and Mrs. Scott Smith<br />
Karen and Richard Soisson<br />
Mr. and Mrs. Jeffrey L. Staley<br />
Mr. Allan E. Starkey<br />
Herb and Constance Stiles<br />
Mr. and Mrs. Bruce Stuart<br />
Mrs. Janis Swan<br />
Mr. Brenan Swartz<br />
Lisa Tate<br />
Patricia Thompson and Edward<br />
Sledge<br />
Reid and Elizabeth Thompson<br />
William and Rosemary Toohey<br />
Dr. Robert E. Trattner<br />
Mr. and Mrs. David Traub<br />
Mr. and Ms. August Treff<br />
Dr. and Mrs. Eli Velder<br />
Robert and Sharonlee Vogel<br />
Mr. Richard Wachter<br />
Ms. Mary Frances Wagley<br />
Mr. and Mrs. Kent Walker<br />
Dr. Philip D. Walls<br />
Dr. Robert F. Ward<br />
Marilyn and David<br />
Warshawsky<br />
Mr. and Mrs. Jay Weinstein<br />
Drs. Susan and James Weiss<br />
Mr. John Hunter Wells<br />
Mrs. Margaret Wheeler<br />
Dr. Barbara White<br />
Mr. Michael White<br />
Jennifer and Leonard Wilcox<br />
Fred and Judy Wilpon<br />
Dr. and Mrs. Donald E. Wilson<br />
Mr. John W. Wood<br />
Dr. S. Lee Woods<br />
Dr. Richard Worsham and Ms.<br />
Deborah Geisenkotter<br />
Ms. Anne Worthington<br />
Ms. Jean Wyman<br />
Upcoming Member Events<br />
Opening Night<br />
Cast Party<br />
Friday, <strong>September</strong> 20<br />
Immediately following<br />
<strong>the</strong> performance<br />
Symphony Society Silver Members<br />
and higher ($1,200+)<br />
Celebrate <strong>the</strong> opening <strong>of</strong> our season<br />
after <strong>the</strong> BSO performs<br />
Rimsky-Korsakov’s Scheherazade<br />
and Tchaikovsky’s 1812 <strong>Overture</strong>!<br />
Join Maestra Marin Alsop and <strong>the</strong><br />
U.S. Navy Band Sea Chanters<br />
Chorus in <strong>the</strong> Meyerh<strong>of</strong>f Lounge.<br />
On-Stage Rehearsal<br />
Thursday, <strong>October</strong> 17<br />
1:15pm Light refreshments<br />
2pm Rehearsal<br />
Governing Members Silver<br />
and higher ($3,000+)<br />
Sit beside your favorite musicians<br />
as <strong>the</strong> Orchestra rehearses<br />
Tchaikovsky’s Piano Concerto No. 1,<br />
with Arild Remmereit conducting<br />
and Nobuyuki Tsujii on piano.<br />
Allegretto Dinner<br />
Saturday, <strong>October</strong> 26<br />
6pm Cocktails<br />
6:30pm Dinner<br />
in The Second Space<br />
Symphony Society Gold Members<br />
and higher ($2,000+), $50 per person<br />
Featuring more BSO musicians and<br />
a reduced price this concert season!<br />
Join us for an evening <strong>of</strong> cocktails<br />
and appetizers, an elegant dinner,<br />
and your favorite BSO musicians<br />
prior to <strong>the</strong> performance <strong>of</strong><br />
Brahms’ Third Symphony.<br />
Events subject to change. Please RSVP to MemberEvents@BSOmusic.org or 410.783.8074.<br />
40 <strong>Overture</strong> | www.bsomusic.org
Symphony fund Honor Roll<br />
Drs. Paul and Deborah<br />
Young-Hyman<br />
Dr. and Mrs. Jeffrey Zaller<br />
Corporations<br />
$10,000 or more<br />
American Trading & Production<br />
Corporation<br />
Bank <strong>of</strong> America<br />
Beltway Fine Wines<br />
DLA Piper US LLP<br />
IWIF<br />
Macy’s Foundation<br />
Saul Ewing LLP<br />
Travelers Foundation<br />
Wells Fargo Foundation<br />
$25,000 or more<br />
Paul M. Angell Family<br />
Foundation<br />
Jacob and Hilda Blaustein<br />
Foundation<br />
The Morris and Gwendolyn<br />
Cafritz Foundation<br />
Ann and Gordon Getty<br />
Foundation<br />
The Goldsmith Family<br />
Foundation, Inc.<br />
Peggy & Yale Gordon Trust<br />
Young Artist Sponsor<br />
The William J. and Dorothy<br />
O’Neill Foundation<br />
The Salmon Foundation<br />
Corporate SPonsors<br />
$100,000 or more<br />
$5,000 or more<br />
D. F. Dent & Company<br />
Venable Foundation<br />
Zuckerman Spaeder LLP<br />
$2,500 or more<br />
Ellin + Tucker, Chartered<br />
Federal Parking, Inc.<br />
Georgetown Paper Stock <strong>of</strong><br />
Rockville<br />
S. Kann Sons Company<br />
Foundation<br />
Amelie and Bernei Burgunder<br />
The Washington Post<br />
$1,000 or more<br />
Constantine Commercial<br />
Construction<br />
Eagle C<strong>of</strong>fee Company, Inc.<br />
Eyre Bus, Tour & Travel<br />
Gailes’ Violin Shop<br />
Harford Mutual Insurance<br />
Companies<br />
Johns Hopkins University<br />
Independent Can Company<br />
J.G. Martin Company, Inc.<br />
Mercer<br />
PSA Insurance and Financial<br />
Services<br />
Rosenberg Martin Greenberg, LLP<br />
SC&H Group, LLC<br />
Towson University<br />
Von Paris Moving & Storage<br />
Foundations<br />
$50,000 or more<br />
William G. Baker, Jr. Memorial<br />
Fund, Creator <strong>of</strong> <strong>the</strong> Baker<br />
Artist Award<br />
www.bakerartistawards.org<br />
The Hearst Foundation, Inc.<br />
Hecht-Levi Foundation<br />
Ryda H. Levi* and Sandra<br />
Levi Gerstung<br />
Ensign C. Markland Kelly, Jr.<br />
Memorial Foundation<br />
The Andrew W. Mellon<br />
Foundation<br />
Joseph & Harvey Meyerh<strong>of</strong>f<br />
Family Charitable Funds<br />
Henry and Ruth Blaustein<br />
Rosenberg Foundation and <strong>the</strong><br />
Estate <strong>of</strong> Ruth Marder*<br />
The Sheridan Foundation<br />
The Charles T. Bauer Foundation<br />
The Kenneth S. Battye<br />
Charitable Trust<br />
“In Honor <strong>of</strong><br />
Kenneth S. Battye*”<br />
$10,000 or more<br />
Anonymous (1)<br />
The Arts Federation<br />
Baltimore Women’s<br />
Giving Circle<br />
Clayton Baker Trust<br />
Bunting Family Foundation<br />
Ruth Carol Fund<br />
The Annie E. Casey<br />
Foundation<br />
Deering Family Foundation<br />
Degenstein Foundation<br />
The Getty Education and<br />
Community Investment Grant<br />
Program, Supported by The<br />
League <strong>of</strong> American Orchestras<br />
and The Ann and Gordon<br />
Getty Foundation<br />
Francis Goelet Charitable Lead<br />
Trusts<br />
H<strong>of</strong>fberger Foundation<br />
Betty Huse MD Charitable Trust<br />
Foundation<br />
John J. Leidy Foundation, Inc.<br />
The Letaw Family Foundation<br />
Macht Philanthropic Fund <strong>of</strong> <strong>the</strong><br />
AJC<br />
Cecilia Young Willard Helping<br />
Fund<br />
Clark Winchcole Foundation<br />
Wright Family Foundation<br />
$5,000 or more<br />
Anonymous (1)<br />
Cameron and Jane Baird<br />
Foundation<br />
The Charles Delmar Foundation<br />
Helen P. Denit Charitable Trust<br />
Edith and Herbert Lehman<br />
Foundation, Inc.<br />
Rogers-Wilbur Foundation, Inc.<br />
Ronald McDonald House<br />
Charities <strong>of</strong> Baltimore, Inc.<br />
Jim and Patty Rouse Charitable<br />
Foundation<br />
$2,500 or more<br />
ALH Foundation, Inc.<br />
The Campbell Foundation, Inc.<br />
The Eddie C. and C. Sylvia<br />
Brown Family Foundation<br />
Dr. Nathan H. Carliner Fund <strong>of</strong><br />
<strong>the</strong> BCF<br />
The Aaron Copland Fund for<br />
Music<br />
Margaret O. Cromwell<br />
Family Fund<br />
The Harry L. Gladding<br />
Foundation<br />
Israel and Mollie Myers<br />
Foundation<br />
Judith and Herschel Langenthal<br />
Jonathan and Beverly Myers<br />
$1,000 or more<br />
Anonymous (1)<br />
ACMP Foundation<br />
Baltimore Community<br />
Foundation<br />
Dimick Foundation<br />
The Ralph & Shirley Klein<br />
Foundation, Inc.<br />
E<strong>the</strong>l M. Looram Foundation, Inc.<br />
Rathmann Family Foundation<br />
Government Grants<br />
Mayor and City Council <strong>of</strong><br />
Baltimore<br />
The Citizens <strong>of</strong> Baltimore County<br />
Carroll County Government<br />
& <strong>the</strong> Carroll County<br />
Arts Council<br />
Commonweal Foundation Fund<br />
<strong>of</strong> The Community Foundation<br />
for <strong>the</strong> National Capital Region<br />
The Family League <strong>of</strong> Baltimore<br />
City, Inc.<br />
$50,000 or more<br />
$25,000 or more<br />
Howard County Government &<br />
<strong>the</strong> Howard County Arts<br />
Council<br />
Maryland State Arts Council<br />
Maryland State Department<br />
<strong>of</strong> Education<br />
Arts and Humanities Council<br />
<strong>of</strong> Montgomery County<br />
National Arts and Humanities<br />
Youth Program<br />
National Endowment for <strong>the</strong> Arts<br />
Maryland Department <strong>of</strong> Business<br />
and Economic Development<br />
Endowment<br />
The BSO gratefully<br />
acknowledges <strong>the</strong> generosity<br />
<strong>of</strong> <strong>the</strong> following donors who<br />
have given Endowment Gifts<br />
to <strong>the</strong> Sustaining Greatness and /<br />
or <strong>the</strong> Heart <strong>of</strong> <strong>the</strong> Community<br />
campaigns.<br />
Anonymous (6)<br />
Diane and Martin* Abel<strong>of</strong>f<br />
AEGON USA<br />
Alex. Brown & Sons Charitable<br />
Foundation<br />
Dr. and Mrs. Thomas E. Allen<br />
Eva and Andy Anderson<br />
Anne Arundel County Recreation<br />
and Parks Department<br />
William G. Baker, Jr. Memorial<br />
Fund<br />
Mr. H. Furlong Baldwin<br />
Baltimore Community<br />
Foundation<br />
Baltimore County Executive,<br />
County Council, and<br />
<strong>the</strong> Commission on Arts<br />
and Sciences<br />
The Baltimore Orioles<br />
Georgia and Peter Angelos<br />
The Baltimore Symphony<br />
Associates,<br />
Marge Penhallegon, President<br />
Patricia and Michael J. Batza, Jr.<br />
Henry and Ruth Blaustein<br />
Rosenberg Foundation<br />
The Jacob and Hilda Blaustein<br />
Foundation<br />
Mr. and Mrs. Bruce I. Blum<br />
Dr. and Mrs. John E. Bordley*<br />
Jessica and Michael Bronfein<br />
Mr. and Mrs. George L.<br />
Bunting, Jr.<br />
Laura Burrows<br />
Dr. and Mrs. Oscar B.* Camp<br />
Carefirst BlueCross BlueShield<br />
CitiFinancial<br />
Attend OUR EXCLUSIVE MEMBER EVENTS!<br />
Become a member and receive exclusive benefits. Calll 410.783.8124 or email membership@BSOmusic.org<br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 41
Symphony fund Honor Roll<br />
The Baltimore Symphony Orchestra<br />
Legato Circle<br />
Marge Penhallegon<br />
“I decided to include <strong>the</strong> BSO<br />
in my estate plans because<br />
I feel strongly that music<br />
education needs to be provided<br />
for all children now, and in <strong>the</strong><br />
future —for my grandchildren,<br />
and for <strong>the</strong>ir children.”<br />
Growing up in Philadelphia, Marge enjoyed <strong>the</strong> wonderful Philadelphia<br />
Orchestra under Eugene Ormandy with her parents and grandmo<strong>the</strong>r.<br />
These concerts made a strong impression on Marge and started her<br />
life-long love <strong>of</strong> music. At Shenandoah University, Marge majored in music<br />
education, and was recruited to Baltimore County Public Schools to teach<br />
in <strong>the</strong> Towson area. She brought her elementary students to hear <strong>the</strong> BSO<br />
<strong>of</strong>ten at various local high schools and later, <strong>the</strong> Lyric.<br />
While raising a family <strong>of</strong> her own, Marge became involved with <strong>the</strong> BSO<br />
Music for Youth programs, and began working with BSO narrator and Board<br />
member Rheda Becker to help shape <strong>the</strong> programs for children. For <strong>the</strong> past<br />
25 years, Marge has been active with <strong>the</strong> Education Committee, and since<br />
2000, she has enjoyed being active in <strong>the</strong> Baltimore Symphony Associates,<br />
serving as Symphony Decorators’ Show House Chair and beginning her<br />
third year as President. Recently retired from her career as a music educator<br />
and consultant, Marge is able to focus fully on her three grandchildren and<br />
love <strong>of</strong> music.<br />
Make a Musical Difference<br />
in <strong>the</strong> Lives that Follow<br />
We welcome <strong>the</strong> opportunity to discuss your philanthropic goals in concert<br />
with your family needs and today’s financial challenges.<br />
For fur<strong>the</strong>r information, or to let us know you have included<br />
<strong>the</strong> BSO in your will or trust, please contact<br />
Katharine H. Caldwell, Director <strong>of</strong> Philanthropic Services<br />
at 410 . 783 . 8087 or kcaldwell@BSOmusic.org.<br />
Constellation<br />
Mr. and Mrs. William H.<br />
Cowie, Jr.<br />
Richard A. Davis and Edith<br />
Wolp<strong>of</strong>f-Davis<br />
Rosalee C. and Richard Davison<br />
Foundation<br />
Mr. L. Patrick Deering*, Mr. and<br />
Mrs. Albert R. Counselman,<br />
The RCM&D Foundation<br />
and RCM&D, Inc.<br />
DLA Piper Rudnick Gray<br />
Cary US LLP<br />
Carol and Alan Edelman<br />
Dr. and Mrs. Robert Elkins<br />
Deborah and Philip English<br />
Es<strong>the</strong>r and Ben Rosenbloom<br />
Foundation<br />
France-Merrick Foundation<br />
Ramon F.* and Constance A.<br />
Getzov<br />
John Gidwitz<br />
The Goldsmith Family<br />
Foundation, Inc.<br />
Joanne Gold and Andrew A. Stern<br />
Jody and Martin Grass<br />
Louise and Bert Grunwald<br />
H&S Bakery<br />
Mr. John Paterakis<br />
Harford County<br />
Hecht-Levi Foundation<br />
Ryda H. Levi* and Sandra Levi<br />
Gerstung<br />
Betty Jean and Martin* S.<br />
Himeles, Sr.<br />
H<strong>of</strong>fberger Foundation<br />
Howard County Arts Council<br />
Harley W. Howell Charitable<br />
Foundation<br />
The Hue<strong>the</strong>r-McClelland<br />
Foundation<br />
Mr. and Mrs. Richard E. Hug<br />
Independent Can Company<br />
Beth J. Kaplan and Bruce P. Sholk<br />
Dr. and Mrs. Murray M.<br />
Kappelman<br />
Susan B. Katzenberg<br />
Marion I. and Henry J. Knott<br />
Scholarship Fund<br />
The Zanvyl and Isabelle<br />
Krieger Fund<br />
Anne and Paul Lambdin<br />
Therese* and Richard Lansburgh<br />
Sara and Elliot* Levi<br />
Bernice and Donald S. Levinson<br />
Darielle and Earl Linehan<br />
Susan and Jeffrey* Liss<br />
Lockheed Martin<br />
E. J. Logan Foundation<br />
M&T Bank<br />
Macht Philanthropic Fund<br />
<strong>of</strong> <strong>the</strong> AJC<br />
Mrs. Clyde T. Marshall<br />
Maryland Department <strong>of</strong> Business<br />
& Economic Development<br />
The Maryland State Arts Council<br />
MD State Department <strong>of</strong><br />
Education<br />
McCarthy Family Foundation<br />
McCormick & Company, Inc.<br />
Mr. Wilbur McGill, Jr.<br />
MIE Properties, Inc.<br />
Mr. Edward St. John<br />
Mercantile-Safe Deposit & Trust<br />
Joseph & Harvey Meyerh<strong>of</strong>f<br />
Family Charitable Funds<br />
Sally and Decatur Miller<br />
Ms. Michelle Moga<br />
Louise and Alvin Myerberg* /<br />
Wendy and Howard* Jachman<br />
National Endowment for <strong>the</strong> Arts<br />
Mr. and Mrs. Bill Nerenberg<br />
Mrs. Daniel M. O’Connell<br />
Mr. and Mrs. James P. O’Conor<br />
Stanley* and Linda Hambleton<br />
Panitz<br />
Cecile Pickford and John MacColl<br />
Dr. Thomas and *Mrs. Margery<br />
Pozefsky<br />
Mr. and Mrs. T. Michael Preston<br />
Alison and Arnold Richman<br />
The James G. Robinson Family<br />
Mr. and Mrs. Theo C. Rodgers<br />
Mr. and Mrs. Randolph S.<br />
Rothschild*<br />
The Rouse Company Foundation<br />
Nathan G.* and Edna J. Rubin<br />
The Rymland Foundation<br />
S. Kann Sons Company<br />
Foundation, Inc.<br />
B. Bernei Burgunder, Jr.<br />
Dr. Henry Sanborn<br />
Saul Ewing LLP<br />
Mrs. Alexander J. Schaffer<br />
Mr. and Mrs. J. Mark Schapiro<br />
Eugene Scheffres and<br />
Richard E. Hartt*<br />
Mrs. Muriel Schiller<br />
Dorothy McIlvain Scott*<br />
Mrs. Clair Zamoiski Segal and Mr.<br />
Thomas Segal<br />
Ida & Joseph Shapiro Foundation<br />
and Diane and Albert Shapiro<br />
Mr. and Mrs. Earle K. Shawe<br />
The Sheridan Foundation<br />
Richard H. Shindell and Family<br />
Dr. and Mrs. Solomon H. Snyder<br />
The St. Paul Companies<br />
Barbara and Julian Stanley<br />
T. Rowe Price Associates<br />
Foundation, Inc.<br />
The Alvin and Fanny Blaustein<br />
Thalheimer Guest Artist Fund<br />
Alvin and Fanny B. Thalheimer<br />
Foundation, Inc.<br />
TravelersGroup<br />
The Aber and Louise Unger Fund<br />
Venable LLP<br />
Wachovia<br />
Robert A. Waidner Foundation<br />
The Whiting-Turner Contracting<br />
Company<br />
Mr. and Mrs. Willard<br />
Hackerman<br />
Mr. and Mrs. Jay M. Wilson / Mr.<br />
and Mrs. Bruce P. Wilson<br />
The Zamoiski-Barber-Segal Family<br />
Foundation<br />
* Deceased<br />
42 <strong>Overture</strong> | www.bsomusic.org
Symphony fund Honor Roll<br />
The Baltimore Symphony Orchestra<br />
Board <strong>of</strong> Directors & Staff<br />
Board <strong>of</strong> Directors<br />
Officers<br />
Chairman<br />
Kenneth W. DeFontes, Jr.*<br />
Secretary<br />
Kathleen A. Chagnon, Esq.*<br />
Vice Chair<br />
Lainy LeBow-Sachs*<br />
President and CEO<br />
Paul Meecham*<br />
Treasurer<br />
The Honorable Steven R. Schuh*<br />
Board Members<br />
A.G.W. Biddle, III<br />
Barbara M. Bozzuto*<br />
Constance R. Caplan<br />
Robert B. Coutts<br />
Alan S. Edelman*<br />
Susan G. Esserman*<br />
Michael G. Hansen*<br />
Murray M. Kappelman, M.D.<br />
Stephen M. Lans<br />
Sandra Levi Gerstung<br />
Ava Lias-Booker, Esq.<br />
Susan M. Liss, Esq.*<br />
Howard Majev, Esq.<br />
Liddy Manson<br />
Hilary B. Miller<br />
David Oros<br />
Marge Penhallegon †<br />
President, Baltimore Symphony<br />
Associates<br />
Michael P. Pinto<br />
Cynthia Renn †<br />
Governing Members Chair<br />
Scott Rifkin, M.D.<br />
Ann L. Rosenberg<br />
Bruce E. Rosenblum*<br />
Stephen D. Shawe, Esq.<br />
The Honorable James T. Smith, Jr.<br />
Solomon H. Snyder, M.D.*<br />
Andrew A. Stern<br />
William R. Wagner<br />
Jeffrey Zoller †<br />
Chair, Baltimore Symphony Youth<br />
Orchestras<br />
Life Directors<br />
Peter G. Angelos, Esq.<br />
Willard Hackerman<br />
H. Thomas Howell, Esq.<br />
Yo-Yo Ma<br />
Harvey M. Meyerh<strong>of</strong>f<br />
Decatur H. Miller, Esq.<br />
Linda Hambleton Panitz<br />
Directors Emeriti<br />
Barry D. Berman, Esq.<br />
Richard E. Hug<br />
M. Sigmund Shapiro<br />
Chairman<br />
Laureate<br />
Michael G. Bronfein<br />
Calman J. Zamoiski, Jr.<br />
Board <strong>of</strong> Trustees<br />
Baltimore Symphony Endowment<br />
Trust<br />
Benjamin H. Griswold, IV<br />
Chairman<br />
Terry Meyerh<strong>of</strong>f Rubenstein<br />
Secretary<br />
Michael G. Bronfein<br />
Kenneth W. DeFontes, Jr.<br />
Mark R. Fetting<br />
Paul Meecham<br />
The Honorable Steven R. Schuh<br />
Calman J. Zamoiski, Jr.<br />
* Board Executive Committee<br />
† Ex-Officio<br />
Staff<br />
Paul Meecham<br />
President and CEO<br />
Leilani Uttenrei<strong>the</strong>r<br />
Executive Assistant<br />
John Verdon<br />
Vice President and CFO<br />
Eileen Andrews<br />
Vice President <strong>of</strong> Marketing<br />
and Communications<br />
Carol Bogash<br />
Vice President <strong>of</strong> Education<br />
and Community Engagement<br />
Dale Hedding<br />
Vice President <strong>of</strong> Development<br />
Mat<strong>the</strong>w Spivey<br />
Vice President <strong>of</strong> Artistic Operations<br />
ARTISTIC<br />
OPERATIONS<br />
Toby Blumenthal<br />
Manager <strong>of</strong> Facility Sales<br />
Tiffany Bryan<br />
Manager <strong>of</strong> Front <strong>of</strong> House<br />
Patrick Chamberlin<br />
Artistic Coordinator<br />
Anna Harris<br />
Operations Assistant<br />
Chris Monte<br />
Assistant Personnel Manager<br />
Tabitha Pfleger<br />
Director <strong>of</strong> Operations and Facilities<br />
Marilyn Rife<br />
Director <strong>of</strong> Orchestra Personnel<br />
and Human Resources<br />
Meg Sippey<br />
Artistic Planning Manager and Assistant<br />
to <strong>the</strong> Music Director<br />
DEVELOPMENT<br />
Megan Beck<br />
Donor Stewardship Coordinator<br />
Adrienne Bitting<br />
Development Assistant<br />
Allison Burr-Livingstone<br />
Director <strong>of</strong> <strong>the</strong> BSO Campaign<br />
for <strong>the</strong> Second Century<br />
Kate Caldwell<br />
Director <strong>of</strong> Philanthropic Services<br />
Stephanie Johnson<br />
Manager <strong>of</strong> Annual Giving,<br />
BSO at Strathmore<br />
Joanne M. Rosenthal<br />
Director <strong>of</strong> Major Gifts,<br />
Planned Giving and<br />
Government Relations<br />
Valerie Saba<br />
Institutional Giving Coordinator<br />
Rebecca Sach<br />
Director <strong>of</strong> <strong>the</strong> Annual Fund<br />
Richard Spero<br />
Community Liaison for BSO<br />
at Strathmore<br />
EDUCATION<br />
Nicholas Cohen<br />
Director <strong>of</strong> Community Engagement<br />
Annemarie Guzy<br />
Director <strong>of</strong> Education<br />
Larry Townsend<br />
Education Assistant<br />
OrchKids<br />
Dan Trahey<br />
Artistic Director<br />
Nick Skinner<br />
OrchKids Manager<br />
Rafaela Dreisin<br />
OrchKids Site Coordinator<br />
Kassandra Lord<br />
OrchKids Site Coordinator<br />
Baltimore Symphony<br />
Youth Orchestras<br />
Ken Lam<br />
Artistic Director and Conductor <strong>of</strong> YO<br />
MaryAnn Poling<br />
Conductor <strong>of</strong> CO<br />
Michael Gamon<br />
Conductor <strong>of</strong> SO<br />
Alicia Kosack<br />
Operations Manager<br />
FACILITIES<br />
OPERATIONS<br />
Shirley Caudle<br />
Housekeeper<br />
Bertha Jones<br />
Senior Housekeeper<br />
Curtis Jones<br />
Building Services Manager<br />
Ivory Miller<br />
Maintenance Facilities<br />
FINANCE<br />
and INFORMATION<br />
TECHNOLOGY<br />
Sarah Beckwith<br />
Director <strong>of</strong> Accounting<br />
Sophia Jacobs<br />
Senior Accountant<br />
Janice Johnson<br />
Senior Accountant<br />
Evinz Leigh<br />
Administration Associate<br />
Chris Vallette<br />
Database and Web Administrator<br />
Donna Waring<br />
Payroll Accountant<br />
Jeff Wright<br />
Director <strong>of</strong> Information Technology<br />
MARKETING<br />
and PUBLIC<br />
RELATIONS<br />
Rika Dixon<br />
Director <strong>of</strong> Marketing and Sales<br />
Laura Farmer<br />
Public Relations Manager<br />
Derek A. Johnson<br />
Manager <strong>of</strong> Single Tickets<br />
Bryan Joseph Lee<br />
Direct Marketing Coordinator<br />
Alyssa Porambo<br />
PR and Publications Coordinator<br />
Adeline Sutter<br />
Group Sales Manager<br />
Elisa Watson<br />
Graphic Designer<br />
TICKET SERVICES<br />
Amy Bruce<br />
Director <strong>of</strong> Ticket Services<br />
Timothy Lidard<br />
Manager <strong>of</strong> VIP Ticketing<br />
Juliana Marin<br />
Senior Ticket Agent for Strathmore<br />
Peter Murphy<br />
Ticket Services Manager<br />
Michael Suit<br />
Ticket Services Agent<br />
Thomas Treasure<br />
Ticket Services Agent<br />
BALTIMORE<br />
SYMPHONY<br />
ASSOCIATES<br />
Marge Penhallegon<br />
President<br />
Florence McLean<br />
Secretary<br />
Barbara Kelly<br />
Treasurer<br />
Kitty Allen<br />
Parliamentarian<br />
Winnie Flattery<br />
Immediate Past President<br />
Kitty Allen<br />
Vice President, Communications<br />
Regina Hartlove<br />
Vice President, Education<br />
Louise Higgins<br />
Vice President, Meetings/Programs<br />
Barbara Dent<br />
Vice President, Recruitment/<br />
Membership<br />
Sandy Feldman<br />
Vice President, Special Services/Events<br />
Larry Albrecht<br />
Vice President, Symphony Store<br />
Louise Reiner<br />
Office Manager<br />
Theresa Kopasek<br />
Marketing and PR Associate<br />
<strong>September</strong>– <strong>October</strong> <strong>2013</strong> | <strong>Overture</strong> 43
{ Impromptu<br />
Laura Farmer<br />
Rheda Becker<br />
BSO Narrator<br />
For generations, she’s been <strong>the</strong> voice<br />
<strong>of</strong> <strong>the</strong> orchestra.<br />
As 40 bright-yellow school buses lined <strong>the</strong> street outside<br />
<strong>the</strong> Meyerh<strong>of</strong>f, hundreds <strong>of</strong> chattering, wide-eyed<br />
children began to pour into <strong>the</strong> concert hall. As <strong>the</strong> lights<br />
dimmed, <strong>the</strong> din <strong>of</strong> little voices coming from <strong>the</strong> more<br />
than 2,000 elementary school students gave way to an<br />
expectant silence and a warm, friendly voice was heard<br />
over <strong>the</strong> loudspeakers: “Good morning and welcome to<br />
<strong>the</strong> Joseph Meyerh<strong>of</strong>f Symphony Hall. I'm Rheda Becker<br />
and it is my pleasure to be your narrator this morning.”<br />
It’s a line that Becker has had a little while to perfect—<br />
this season, <strong>the</strong> BSO’s beloved narrator celebrates her<br />
40th anniversary.<br />
“I’ve seen and done so many interesting things with <strong>the</strong><br />
BSO throughout <strong>the</strong>se past 40 years,” says Becker.<br />
This list <strong>of</strong> “interesting things” includes touring with<br />
<strong>the</strong> orchestra to what was <strong>the</strong>n East Germany and<br />
preparing regular trip updates for NPR’s All Things<br />
Considered, serving on <strong>the</strong> Education Committee,<br />
supporting <strong>the</strong> OrchKids program, and narrating<br />
more than 1,500 concerts, including everything from<br />
major classical works and <strong>the</strong> Oregon Ridge outdoor<br />
programs to <strong>the</strong> youth concerts for which today’s<br />
audiences know her best.<br />
In fact, it was Prok<strong>of</strong>iev’s sprightly Peter and <strong>the</strong> Wolf, a<br />
perennial youth-concert favorite, that initially piqued<br />
Becker’s interest in narration. “As a young child, I got a<br />
recording <strong>of</strong> Prok<strong>of</strong>iev’s Peter and Wolf and fell in love<br />
with it. I always dreamt <strong>of</strong> being <strong>the</strong> person who narrated<br />
this work.” And she worked hard to realize that dream.<br />
“I decided to go to Peabody to study narration. You<br />
see, nobody studied that at <strong>the</strong> time; narrators were<br />
merely actors or radio or television personalities. So I<br />
crafted my own program.”<br />
The dream came true in 1974 when former BSO<br />
Music Director Sergiu Comissiona was made aware<br />
<strong>of</strong> her work and in 1974 invited Becker to narrate<br />
Prok<strong>of</strong>iev’s vivid Peter and <strong>the</strong> Wolf.<br />
In addition to being <strong>the</strong> BSO’s narrator, Becker<br />
was one <strong>of</strong> <strong>the</strong> early supporters <strong>of</strong> <strong>the</strong> BSO’s<br />
OrchKids program. Shown with Becker are<br />
Alexia Redd on bass, Aaron Palmer on saxophone,<br />
Keyona Carrington on clarinet, Lowrider James<br />
on tuba, and Marvin Jones-Tobin on violin.<br />
And eventually, she gained some ra<strong>the</strong>r animated costars.<br />
“Now, we perform <strong>the</strong> work with <strong>the</strong> Bob Brown<br />
Puppets. Their delightful antics work perfectly with <strong>the</strong><br />
music. This past season, <strong>the</strong> Bob Brown Puppets and I<br />
celebrated our 100th performance with <strong>the</strong> BSO! But<br />
no matter how many times I perform Peter and <strong>the</strong> Wolf,<br />
I still find <strong>the</strong> music enchanting. I remain under its spell.”<br />
Mitro Hood<br />
44 <strong>Overture</strong> | www.bsomusic.org
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