View the September-October 2013 issue of Overture (PDF)

Marin Alsop, Music Director
September–October 2013
A magazine for the patrons of the Baltimore Symphony Orchestra
The
Harmony
Benjamin Britten’s stirring
War Requiem is
part of the season’s theme of
music written for healing.
H PE
Jean-Yves Thibaudet
challenges
classical music
stereotypes
Rheda Becker:
Pay attention
to the woman
behind the curtain
C. Fraser Smith
on Scheherazade
and transcendent
moments

“
Being a musician
is like being an
elite athlete...
You eat, breathe,
and sleep music.”
Madeline Adkins, Associate Concertmaster
Read Madeline Adkins’ story at
BSOmusic.org/MadelineAdkins

contents
Departments
2) Letter from the President & CEO
4) In Tempo: News Of Note
6) BSO Live: Calendar of Events
12) Orchestra Roster
37) Donors List
44) Impromptu: Rheda Becker,
BSO Narrator
Program Notes
13) Scheherazade
& 1812 Overture
September 20 & 22
10
{Hope Eternal.
Benjamin Britten’s War Requiem was
composed for St. Michael’s Cathedral
in Coventry, England, which was
bombed by the Germans in 1940.
18) Thibaudet Plays Bernstein
September 27 & 28
22) The Streisand Songbook
October 11, 12 & 13
6
44
24) Romantic Tchaikovsky
October 18 & 20
30) Brahms’ Third Symphony
October 25 & 26
Features
8) One on One:
Jean-Yves Thibaudet
by Christianna McCausland
The award-winning pianist talks about fashion, films
and his quest to find the perfect beach.
10) Harmony of Hope
by Martha Thomas
Benjamin Britten’s stirring War Requiem is part of this season’s
theme of music written for healing.
On the Cover
John Britten’s Waters piece is comes performed to the by Meyerhoff. the BSO Nov. 14–15
Photography mark the anniversary by Cory Donovan. of the Coventry Make-up by bombing Rachel and Hirsch. the
Hair centennial by Vanessa of the Moser. composer’s birth.
Be Green: Recycle Your Program!
Please return your gently used program to the Overture racks
in the lobby. Want to keep reading at home? Please do!
Just remember to recycle it when you’re through.
September– October 2013 | Overture 1

overture
The Baltimore
Symphony Orchestra
2012–2013 Season
410.783.8000
BSOmusic.org
The Baltimore
SyMphony ORchestra
Marin Alsop
Music Director
Kenneth W. DeFontes, Jr.
Chairman
Paul Meecham
President & CEO
Eileen Andrews
Vice President, Marketing
& Communications
Alyssa Porambo
Public Relations &
Publications Coordinator
Janet E. Bedell
Program Annotator
Baltimore magazine
Design and Print Division
Director
Ken Iglehart
Art Director
Vicki Dodson
Senior Graphic Artist
Michael Tranquillo
Contributing Writers
Laura Farmer
Christianna McCausland
Martha Thomas
Research
Rebecca Kirkman
Advertising
Account Representatives
Lynn Talbert
ltalbert58@gmail.com
443.974.6892
Julie Wittelsberger
gazellegrp@comcast.net
443.275.2687
Baltimore magazine
Design and Print Division
1000 Lancaster Street, Suite 400
Baltimore, MD 21202
410 . 752. 4200
{ From the President
Welcome
As always, it’s my great pleasure to welcome you to the start of another exciting BSO season.
You’ll forgive me if I wax nostalgic for a moment … I still remember vividly the opening of
Marin Alsop’s inaugural season in 2007. The Hall was packed with patrons and buzzing with
media. The electricity in the air was palpable as the first female music director of a major American
orchestra took the podium and led the BSO
Such a commitment
lends great
stability to the
BSO as we approach
our centennial
celebrations in 2016
musicians in a riveting performance of Mahler’s
Fifth Symphony.
Fast-forward to 2013 as we begin Maestra
Alsop’s seventh season as music director, which
she opens with characteristic flair with a new
saxophone concerto by the most-performed
American composer, John Adams. As we have
discovered, Marin Alsop’s inspiring leadership
from the podium is matched by her passion to
engage and invigorate our community through music. These multi-faceted qualities are rare
and the BSO is fortunate to have secured her continued leadership through the
2020–2021 season. Such a commitment lends great stability to the BSO as
we approach our centennial celebrations in 2016 and beyond, and enables
Marin Alsop to continue to shepherd the innovative landmark programs
launched during her tenure, including OrchKids and the BSO Academy.
And with Maestra Alsop at the helm, you can also expect more inspiring
programming, such as Benjamin Britten’s profound War Requiem, which
the BSO will perform this November. You can read more about this
stirring work on page 10 of this issue.
Finally, I want to encourage you to support one or more of the
runners participating in the BOLT for the BSO run (or walk!)
in the Baltimore Running Festival on October 12. You can
visit BSOmusic.org/BOLT and make a donation to
support your favorite BSO runner and its programs.
We have so much to celebrate as we begin another
season. I look forward to seeing you at the Meyerhoff!
Paul Meecham
President and CEO, Baltimore Symphony Orchestra
Life is Better with Music.
The BSO is actively redefining the role of an orchestra
in the 21 st century, with an increased focus on access
and relevance in the community. Your support is vital to
the BSO’s continued progress. For more information on
how to support the music that builds communities and
transforms lives, please contact our membership office.
410.783.8124 BSOmusic.org/donate
Dean Alexander
2 Overture | www.bsomusic.org

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{
in
t e m p o
news of note
{In the Spir it}
On Scheherazade and other transcendent moments
C. Fraser Smith
WYPR-FM
One night several years ago, sitting in Row D, Seat 103 at
the Joseph Meyerhoff Symphony Hall, I heard Scheherazade
for the first time.
Actually, I had heard the piece many times. But for some
reason on this night I heard the melodies with every sensory
portal open, every emotional receptor embracing the sound.
If it wasn’t the music of the spheres, it was as close as I may
get to that experience in this life.
And there was more to the moment.
It led to some not so magical thinking: Music like this could
be an antidote to meanness and ill feeling—even violence.
A big leap? Maybe, but isn’t this idea at the heart of the hopedfor
connection between the arts and real life? We believe in this
connection. We believe that music and painting and sculpture
and literature improve the quality of life. We have to imagine
we are making the world safe for the next Rimsky-Korsakov or
Debussy or a Jay-Z or Piaf—or you and me?
So whatever thoughts may follow your transcendent moments
of BSO listening, you may want to have them as often as possible.
It’s not a remote possibility when your orchestra is the BSO.
I come with high expectations. I’m never disappointed. The
quality—a reflection of professionalism and love of music at
least as high as mine—is the guarantee. Even if the program is
not entirely to my liking, I love the idea of an orchestra willing
to stretch and experiment. It’s that arts thing again: I may
not love the “Man-Woman” statue in front of Baltimore’s Penn
Station (actually I do like it), but I do love the idea that our city
welcomes the artist’s vision.
A year or so ago, I stood in the middle of the Meyerhoff
for a rehearsal of the Orch-Kids Nation, now the anthem of this
program’s very own ode to joy. Commissioned by Maestra
Marin Alsop, that short piece is based on the testimony of the
kids themselves. I was there recording it for WYPR’s “The
Signal.” A bonus for me, as it turns out: I have a CD to be played
when the mood demands.
In July, I heard Concertmaster Jonathan Carney and a
Baroque-sized orchestra play two of Vivaldi’s Four Seasons,
“Summer” and “Winter.” Carney led with his usual precision and
flare. Another all-time session for me.
We are, of course, blessed here in Baltimore to have such
quality players. They are the ones who give us moments of
incandescent brilliance. For 80 to 100 of us doing something
so well and so uplifting is a phenomenon of human striving.
It is the definition of symphony.
Except for the brilliance, I have no idea why things come
into alignment for me so on any given evening. You can’t know
when that moment is coming for you.
So you just have to be there.
C. Fraser Smith is senior news analyst for WYPR-FM. He is a member of the BSO’s Governing Members.
4 Overture | www.bsomusic.org

{In History}
On October 6, 1869, Johannes Brahms’ Liebeslieder Waltzes made its
premiere in Karlsruhe, Germany. Hermann Levi conducted and Clara Schumann,
wife of composer Robert Schumann, performed as the pianist.
{In Step}
Musicians, Staff and Fans
alike, Bolt for the BSO!
Bolt for the BSO is a running team that will represent the Baltimore
Symphony Orchestra for the fourth year in a row at the Baltimore
Running Festival on October 12. The team consists of musicians, supporters,
staff members, and fans who will give the BSO a running start
to the 2013–2014 season. Funds raised from Bolt for the BSO contribute
to the delivery of the BSO’s world-class artistry, affordable ticket pricing
and immersive education and community programs for all ages.
Pioneered by Cindy Renn, a BSO Governing Member, and the BSO’s development
staff, last year’s Bolt team had 150 runners who raised more than $60,000, contributing
to Bolt’s $125,000 fundraising total. This year, the team will be challenged to set their
own fundraising goal with individual pledges from each participant. Much more than
a fundraiser, Bolt has given fans the opportunity to engage with musicians and staff
outside of the Meyerhoff, getting involved with the BSO on a personal level.
Last year’s Bolt for the BSO events leading up to
the race gave runners the chance to get to know
the BSO’s musicians, as well as each other.
The pinnacle of the team’s spirit was centralized
at the tent in the celebration village on
race day—all Bolt runners came together as
they walked to the starting line and cheered
each other on at the race’s end.
How to Donate:
Can’t make it to race day but still
want to support Bolt? Go to
www.Razoo.com/team/
Bolt-For-The-Bso2013
to make a donation and see
a full list of team members
and musicians, or send a check
to the BSO with “Bolt” written
on the memo line.
Contact Megan Beck
at 410.783.8035 or
mbeck@bsomusic.org with any
questions or for more information.
It's not too late to join the 2013 team!
Races are available for all runner levels.
Sign up at BSOmusic.org/bolt.
{In Play}
The Envelope,
Please.
Dariusz
Skoraczewski
BSO
principal cellist
For its fourth consecutive year, the Baker Artist Award celebrates
Baltimore’s rich and diverse cultural achievements. Funded by the William J. Baker
Jr. Memorial Fund, this $25,000 award is presented to three Baltimore artists and
musicians who have proven their ability to stand out from the crowd.
Among this year’s winners of the prize is Dariusz Skoraczewski, the BSO’s
principal cellist, who has recently been working on a complete recording of the
Bach Cello Suites. Going against convention, Skoraczewski is self-recording,
producing and editing these suites in the basement of his own home, drawing on
his self-taught expertise in audio production.
Skoraczewski plans on using the funds to complete his recording of the
suites, while also treating himself to a new cello.
Along with the monetary prize, winners are also featured on the Baker Artist
Award website and in a special exhibition at the Baltimore Museum of Art.
For more information on these awards, visit bakerartistawards.org.
September– October 2013 | Overture 5

BSOlive }
upcoming key events
November/December All concerts are held at the Joseph Meyerhoff Symphony Hall unless otherwise noted.
Ryan McKinny
The Planets
THU, NOV 7, 2013, 8 pm
SUN, NOV 10, 2013, 3 pm
Marin Alsop, conductor
Leila Josefowicz, violin
Baltimore Choral Arts Society,
women’s chorus
J.S. Bach (arr. Stokowski): Toccata
& Fugue in D Minor
Stravinsky: Violin Concerto
Holst: The Planets
Majestic in its scope and dazzling in
its sound, there is nothing to match
the experience of hearing The
Planets live in concert. Experience
the ultimate trip through the galaxy
as Marin Alsop conducts this sonic
celestial showpiece, complete with
high-definition imagery. Hailed as
“a world-class player” by London’s
The Observer, showstopper Leila
Josefowicz performs Stravinsky’s
exhilarating Violin Concerto.
Off the Cuff
The Planets
SAT, NOV 9, 2013, 7pm
Marin Alsop, conductor
Baltimore Choral Arts Society,
women’s chorus
Holst: The Planets
The Planets influenced many recent
composers including John Williams,
Ralph Vaughan Williams and Howard
Shore, and you can hear some of
Holst’s influences in the music of Star
Wars, The Lord of the Rings and
The Gladiator. This program explores
the ageless, timeless mystery of
the planets through music and
high-definition imagery — from the
associations with ancient gods to
The Planets’ powerful cinematic
sound. It’s nothing short of epic!
War Requiem
THU, NOV 14, 2013, 8 pm
FRI, NOV 15, 2013, 8 pm
Marin Alsop, conductor
Tamara Wilson, soprano
Nicholas Phan, tenor
Ryan McKinny, baritone
(BSO Debut)
University of Maryland
Concert Choir
Peabody Children’s Chorus
Britten: War Requiem
The specter of two world wars, both
the lives and the losses, would inspire
Benjamin Britten’s most profound and
powerful music. Marin Alsop leads
Britten’s deeply affecting War Requiem,
joined by gifted soloists and two
choruses, in celebration of the 100th
anniversary of the composer’s birth.
BSO SuperPops:
Preservation Hall
Jazz Band
FRI, NOV 29, 2013, 8 pm
SAT, NOV 30, 2013, 8 pm
SUN, DEC 1, 2013, 3 pm
Preservation Hall Jazz Band
Hailed as “the best jazz band in the
land” by The San Francisco Examiner,
Preservation Hall Jazz Band brings
Preservation Hall
Jazz Band
their turn-of-the-century New
Orleans sound to contemporary
audiences nationwide! The musicians,
who range in age from 29
to 88, are known for their unique
blend of traditional American spirit
and high energy, crowd-satisfying
arrangements. Note: The BSO does
not perform on this program.
Handel’s Messiah
FRI, DEC 6, 2013 at 7:30 pm
SAT, DEC 7, 2013 at 7:30 pm
Edward Polochick, conductor
Concert Artists of Baltimore
Symphonic Chorale
Handel: Messiah
The greatest story ever told.
The most magnificent music ever
conceived. It wouldn’t be the holidays
without Handel’s inspiring Messiah.
The BSO continues its tradition of
ushering in the holiday season with
an all-star performance of Handel’s
glorious oratorio featuring the
“Hallelujah Chorus,” music’s most
powerful message of faith.
Family Series Concert
The Snowman
SAT, DEC 7, 2013, 11 am
Ken Lam, conductor
Rheda Becker, narrator
A winter wonderland comes to life
in this timeless story of a young boy’s
magical friendship with a snowman.
Get into the spirit of the holiday
season and create lasting memories
in this enchanting program featuring
the BSO.
Holiday Cirque
WED, DEC 11, 2013, 2 pm
FRI, DEC 13, 2013, 2 pm
FRI, DEC 13, 2013, 7:30 pm
SAT, DEC 14, 2013, 2 pm
SAT, DEC 14, 2013, 7:30 pm
SUN, DEC 15, 2013, 2 pm
Bob Bernhardt, conductor
Cirque Musica (BSO Debut)
Holiday Cirque will get you into
the spirit of the season! Bring
the entire family to hear holiday
favorites while experiencing
an awe-inspiring
performance by the
majestic Cirque Musica.
Stunning aerial feats, strongmen
and mind-boggling contortionists
will take your
breath away in this
ultimate holiday
extravaganza.
Cirque Musica
The Nutcracker
Modell Center for the Performing
Arts at the Lyric
FRI, DEC 20, 2013, 7:30 pm
SAT, DEC 21, 2013, 2 pm
SAT, DEC 21, 2013, 7:30 pm
SUN, DEC 22, 2013, 3 pm
Andrew Grams, conductor
Barry Hughson, choreographer
Baltimore School for the Arts,
dancers
Tchaikovsky: The Nutcracker
Experience Tchaikovsky’s classic tale
about a young girl who is whisked
away by a dashing Nutcracker doll to
magical lands of Sugar Plum Fairies!
Shannon Brinkman Simon Pauly
6 Overture | www.bsomusic.org

The
The
Clay Ball
Gala & Art Auction
B&O Railroad Museum
Saturday, September 28
6-11PM
Dancing and live music by
MaMbo CoMbo
Named best Latin music group 2007
$185 Ticket: includes
open bar, seated dinner, live
& silent auction
$45 After-Party Ticket:
includes wine, beer & silent
auction
For information and tickets
visit baltimoreclayworks.org
or call 410 578 1919 x10
2013 Gala Sponsors:

{OneonOne}
Piano Man
From the keyboard to his wardrobe, Jean-Yves
Thibaudet challenges classical-music stereotypes.
by Christianna McCausland
Jean-Yves Thibaudet, a native of Lyon, France who has
played the piano since age five, has released more than
50 albums and was the soloist on the Oscar and Golden
Globe-award-winning soundtrack to the film Atonement
and the Oscar-nominated Pride & Prejudice. Here he talks
about fashion, films, and his quest to find the perfect beach,
and why it’s important to “always be nice to your audience.”
Your repertoire of work is so
diverse. How has your interest
in music evolved?
Thibaudet: I like to discover and try
new things. The worst that can happen
is that if you don’t like something, you
don’t do it again. With music, it’s the
same. I’ve always been curious about
every kind of music. When I was a child,
classical music was what I knew with
maybe a little pop because I would hear
that in my older sister’s room. When I
was a teenager, I discovered jazz, which
became an important part of my musical
life, and other music like world music.
I started playing chamber music when
I was 11, which was eye-opening for
me because you have to listen to other
musicians — as a pianist, you could very
well spend life as just you and your piano.
Accompanying singers came later in my
life and I fell in love with that. I think
it’s the most beautiful and intimate
music-making experience. Then, out of
the blue, a filmmaker asked me to play
in one of his movies and I thought ‘Oh,
that will be fun.’ I did it and became
completely fascinated.
What is unique about making
music for film?
Thibaudet: When you’re playing
a concert, you play the way you want
and follow your own story. You can be
completely free to interpret the way you
want. When you play for a soundtrack
— I don’t like the pejorative, but the
music becomes like a slave to the story.
In fact, you play with a monitor in front
of you, and we have a script we follow
as well so you arrive at exactly the right
time [in the scene]. Timing is the most
important thing, but you also have to
convey a feeling, an atmosphere, to
add to what’s happening on the screen.
When you watch a movie, a scene without
music is so flat.
Are there other reasons you find
film scores rewarding?
Thibaudet: It’s a unique way to reach
© Decca/Kasskara
8 Overture | www.bsomusic.org

a number of people we’d never reach
with our classical careers. That’s terribly
important. I see audience [members] at
my concerts who will tell me, ‘We know
you through Pride & Prejudice and we
love that album. We saw you were playing
in town and this is our first classical
concert.’ That’s fantastic if you can bring,
through the movies, new people to classical
music concerts. And most of them
are young people, which is what we are
looking for because we need to attract
younger audiences.
Do you have a favorite composer?
Thibaudet: Right now I’m attracted
to the Romantic period, which was the
richest and most successful period for
piano literature. That embraces Chopin,
Liszt, Brahms, Schumann and all the way
to Rachmaninoff. And, of course, Ravel.
I also love to commission composers to
write pieces for me, which I think is very
important. I try every two or three years
to have a new concerto written for me
that I premiere. We’ve actually done quite
a bit of that with Marin [Alsop] because
she’s also a pioneer of new music.
Who have been some of your mentors?
Thibaudet: If I could name only
one, I would say Arthur Rubenstein. I
was very lucky to meet him twice when
I was a child. The second time, I spent
15 minutes in his dressing room sitting
on his lap. I was seven and it stayed with
me my whole life. He was such an inspiration
because he had that incredible joy
of life, which I think is the most wonderful
quality a human being can have. Of
course, music and piano were his life,
but he enjoyed having a good meal,
good wine, a good cigar, and he had
so many wives and mistresses. He
really enjoyed life, and you could feel
that in his music as well.
Did he give you any advice?
Thibaudet: He asked me what I
wanted to do when I grew up and I, of
course, said ‘Be a pianist like you.’ He
said, ‘Remember to always be nice to
your audience and make time for them,
because, without our audience, we don’t
exist.’ This is so true and I still think of
that now. If they’re able to organize it,
I’ll always have a table in the lobby after
concerts and sign whatever people want
and meet every person there who wants
to meet me. Growing up, I loved to meet
artists at a concert, and there was nothing
worse for me than to go running backstage
and say I want to meet Mr. So-and-
So and be told he’s not receiving anyone
because he’s tired. I said I would never
do that. Sometimes, it could take just
30 seconds to change the life of someone.
Currently your performance
wardrobe is by designer Vivienne
Westwood. Do you see fashion as
part of your performance?
Thibaudet: I’ve always been interested
in fashion, so it’s a pleasure for
me, and I’ve done this for many years,
with Versace and quite a few fantastic
designers. It all started because I thought
the dress code in the concert hall for
men was so boring. For the last 300
years, we’ve been wearing the same tails
with white ties. It makes it so dusty
and traditional. Again, how can young
people relate? I thought this was one way
to address them and give a more modern
image to classical music.
What is something unexpected the
BSO audience might want to learn
about you?
Thibaudet: If I’m on holiday, I will
be on the beach — not in the mountains
or wherever. I love beaches and I’ve been
to some incredible islands around the
world, but I’m still looking for the perfect
beach. The sand must be as white as
possible, with no rocks, like sugar. And
everything completely pristine.
Jean-Yves Thibaudet joins Maestra Alsop
and BSO on Friday, September 27 and
Saturday, September 28 for ”Thibaudet
Plays Bernstein.”
WHERE THE
STARS ALIGN
AND PERFORM
FOR YOU
JOIN US
Sundays at 5:30 pm
for our 2013–2014
Concert Season
MISCHA MAISKY, CELLO
LILY MAISKY, PIANO
October 6, 2013
MUSICIANS FROM
MARLBORO
October 20, 2013
NELSON FREIRE, PIANO
November 17, 2013
MIRÓ QUARTET
SHAI WOSNER, PIANO
December 15, 2013
GERALD FINLEY,
BASS-BARITONE
JULIUS DRAKE, PIANO
February 9, 2014
GIL SHAHAM, VIOLIN
February 23, 2014
SCHAROUN
ENSEMBLE BERLIN
March 16, 2014
TINE THING HELSETH,
TRUMPET
HÅVARD GIMSE, PIANO
April 6, 2014
EMANUEL AX, PIANO
May 11, 2014
SUBSCRIPTIONS AND SINGLE
TICKETS NOW ON SALE
FOR MORE INFORMATION
410.516.7164 »
WWW.SHRIVERCONCERTS.ORG
September– October 2013 | Overture 9

The Harmony of
Hope
Benjamin Britten’s stirring War Requiem
is part of the season’s theme
of music written for healing.
By Martha Thomas
On November 14, 1940, the German Luftwaffe bombed
St. Michael’s Cathedral in Coventry, England, leaving only
the spire rising nearly 300 feet into the sky. But the preserved
ruins remain in remembrance, the highest point in the city, and
a new, modern structure was built adjacent to the original. It was consecrated
in 1962, with Benjamin Britten’s War Requiem composed for the occasion.
Britten’s piece (to be performed by the
BSO Nov. 14–15 to mark the anniversary
of the bombing and the centennial of the
composer’s birth) uses a full orchestra with
a mixed choir, soloists and children’s chorus.
The Latin requiem mass is interspersed
with poetry by Wilfred Owen, a British
soldier who was killed in World War I.
“The cathedral became a symbol
of the purposeless destruction during
World War II,” says Matthew Spivey, vice
president of artistic operations for the
BSO. And the Requiem, composed by a
man who was a lifelong pacifist, was meant
to symbolize the rebirth of the cathedral,
at the same time reflecting the words that
the provost at the time of the bombing had
etched above the ruined altar in 1940:
“Father Forgive.”
The overarching theme of the Baltimore
Symphony Orchestra’s current season,
says Music Director Marin Alsop, is “music
as solace and as a symbol of reconciliation.”
She points to Leonard Bernstein’s Second
Symphony “Age of Anxiety” (performed
by the BSO Sept. 27–28) as a work that,
like Britten’s, was written as a “quest for
faith” in response to World War II. “When
Grant Leighton (Alsop); Chris Lee (BSO).
Music
that
Mends
10 Overture | www.bsomusic.org
Benjamin Britten’s War Requiem and John Adams’ Transmigration
of Souls, both part of the BSO’s 2013–2014 season, were written with
solace in mind, but many other compositions have come to serve
—by design or not—as a means for healing.
After consulting with a couple of colleagues, Judah E. Adashi, a
composer as well as director and founder of the Evolution Contemporary
Music Series at the Peabody Institute of the Johns Hopkins University,
helped us put together a list of compositions with a similar purpose.
◗ Samuel Barber’s Adagio
for Strings is the subject of
a book called “The Saddest
Music Ever Written.”
Composed in 1936, it began
as the second movement of his
String Quartet, opus 11, but
has grown to become one of
the most popular pieces of
20 th century classical music.

Music Director
Marin Alsop conducts
Benjamin Britten’s War
Requiem Nov. 14–15
at the Meyerhoff.
Counterclockwise from
left: Maestra Alsop,
St. Michaels Cathedral,
Wilfred Owen, Benjamin
Britten, the Baltimore
Symphony Orchestra.
people are hurting and need comfort,”
Alsop says, “music can be a refuge.” Alsop
herself says that some of her most memorable
experiences in performance “have
been in the wake of tragedy.”
Music is “the language of emotions,”
says Spivey. “It helps us to mourn, to honor
those who have died. But most importantly,
it helps us find hope.”
The human response to a work like Britten’s
War Requiem can happen on many
levels. “The Britten piece is immersed in
context,” says Spivey. “If you aren’t up to
speed on its history,” he says, “a quick read
of the program notes is all you need to
appreciate what is happening.”
At the same time, even without historical
context, listeners may be moved
emotionally. “The hallmark of a great
composer is one who can create a musical
language,” says Spivey, who understands
that a sequence of chords can evoke
tragedy or triumph, love or longing.
Some of these responses happen at a
purely neurological level, says Solomon
Snyder, a professor of neuroscience
at The Johns Hopkins
Medical School and a member
of the BSO board. Music, he
says, “can affect you emotionally
before you even realize what
it’s doing.” Sound ranks high
in the hierarchy of emotional
triggers, says Snyder, coming
in close on the heels of smell,
taste—think Marcel Proust’s famous
madeleines—and touch.
Music can also go straight
to the emotional center of the
brain, bypassing the cognitive:
Tests done with infants reveal that music
composed to touch the emotions does just
that. Says Snyder, “The emotional areas of
their brains will light up.”
Spivey points to another piece planned
for this season that invokes an emotional
response: Samuel Barber’s Adagio for
Strings, (Jan. 9 and 12) with Maestra
Alsop conducting. “There’s something in
the sequence of harmonies, texture and
“Music is
the language
of emotions,
It helps us
to mourn, to
honor those
who have died.
But most
importantly,
it helps us
find hope.”
orchestration,” says Spivey, that “never fails
to conjure tremendous emotion on the
part of the listener.”
When neurologist Snyder was five
years old, he played a piano piece called
Happy Days on an amateur radio show.
He remembers the announcer calling out,
“Here comes Solly, he’s walking like an old
man!” when the little boy entered the studio.
Snyder went on to study mandolin and
classical guitar, and has been a supporter
of the guitar department at Peabody Conservatory,
where he serves on the board.
“Whenever I hear that piece of music, it’s
very moving,” says Snyder, “and it’s not
a very good piece.”
While Snyder’s connection to his piano
piece is highly personal, other
works can touch audiences
collectively. John Adams’ On
the Transmigration of Souls,
(June 5–8), was commissioned
by the New York Philharmonic
in response to the attacks on
the World Trade Center. It premiered
in September 2002,
a year after the twin towers
fell. Like Britten, Adams uses
words—in this case, recorded
voices reading names of the
victims—and, like the War
Requiem, Transmigration uses
both adult and children’s choruses. The
piece is on the program with Beethoven’s
Ninth, the composer’s last major symphony,
completed in 1824. Also known
as the “Choral,” the piece includes one of
Beethoven’s best known melodies, “Ode
to Joy,” based on a Frederich Schiller
poem. The chorus, in the uplifting final
movement, sings of an embrace to the
world from an eternal creator.
◗ The “Nimrod” movement
from Elgar’s Enigma Variations
is often cited as the English
analogue to Barber’s Adagio.
◗ Arvo Pärt’s Tabula Rasa,
written in 1977, literally means
“Clean Slate.” But according
to the New Yorker’s Alex Ross,
the piece has brought comfort
to many who are terminally ill.
In Ross’s words, Pärt uses “the
power of music to obliterate the
rigidities of space and time.”
◗ John Corigliano wrote his
Symphony No. 1 to commemorate
friends lost to AIDS,
and the piece was inspired by
the AIDS Memorial Quilt.
◗ Brian Eno recently created
a work entitled “Quiet Room
for Montefiore,” a fixed
composition at the Montefiore
hospital in Hove, England, as
well as a soundscape inspired
by Florence Nightingale in the
hospital’s reception area.
◗ Peabody faculty member and
composer Kevin Puts was commissioned
by the Míro Quartet
to write about the lighter side
of America, but Puts didn’t
see how he could. His piece,
Credo, is about “finding solace
in the strangest places.”
◗ Jennifer Higdon composed
Blue Cathedral, a tonal poem
in one movement, soon after
her brother died of cancer. The
piece has become one of the
most often-performed works by
a living composer.
September– October 2013 | Overture 11

THe Baltimore Symphony Orchestra }
2013–2014
Season
Roster
Marin Alsop: Music Director,
Harvey M. and Lyn P. Meyerhoff Chair
Jack Everly: Principal Pops Conductor
Yuri Temirkanov: Music Director Emeritus
Alexandra Arrieche: BSO-Peabody Conducting Fellow
{Music Dir ector}
Marin Alsop
Marin Alsop is an inspiring and
powerful voice in the international
music scene, a music director of vision
and distinction who passionately
believes that “music has the power to
change lives.” She is recognized across
the world for her innovative approach
to programming and for her deep
commitment to education and to the
development of audiences of all ages.
Marin Alsop made history with her
appointment as the 12 th music director
of the Baltimore Symphony Orchestra
(BSO). With her inaugural concerts in
September 2007, she became the first
woman to head a major American
orchestra. She also holds the title of
conductor emeritus at the Bournemouth
Symphony in the United Kingdom,
where she served as the principal
conductor from 2002–2008.
Her success as the BSO’s music
director has garnered national and
international attention for her innovative
programming and artistry. Additionally,
her success was recognized when, in
2013, her tenure was extended to the
2020–2021 season. Alsop took up the
post of chief conductor of the São Paulo
Symphony Orchestra in 2012, where
she steers the orchestra in its artistic
and creative programming, recording
ventures and its education and
outreach activities.
In the summer of 2011, Maestra
Alsop served her 20 th season as music
director of the acclaimed Cabrillo
Festival of Contemporary Music in
California. Musical America, which
named Maestra Alsop the 2009
Conductor of the Year, recently said,
“[Marin Alsop] connects to the public
as few conductors today can.”
First Violins
Jonathan Carney
Concertmaster, Ruth
Blaustein Rosenberg
Chair
Madeline Adkins
Associate
Concertmaster,
Wilhelmina Hahn
Waidner Chair
Igor Yuzefovich*
Assistant Concertmaster
Rui Du
Acting Assistant
Concertmaster
James Boehm
Kenneth Goldstein
Wonju Kim
Gregory Kuperstein
Mari Matsumoto
Gregory Mulligan
Rebecca Nichols
E. Craig Richmond
Ellen Pendleton Troyer
Andrew Wasyluszko
Second Violins
Qing Li
Principal, E. Kirkbride
and Ann H. Miller Chair
Ivan Stefanovic
Associate Principal
Angela Lee
Assistant Principal
Leonid Berkovich
Leonid Briskin
Julie Parcells
Christina Scroggins
Wayne C. Taylor
James Umber
Charles Underwood
Melissa Zaraya
Minsun Choi**
Violas
Richard Field
Principal, Peggy
Meyerhoff Pearlstone
Chair
Noah Chaves
Associate Principal
Karin Brown
Assistant Principal
Rebekah Newman
Peter Minkler
Sharon Pineo Myer
Delmar Stewart
Jeffrey Stewart
Mary Woehr
Cellos
Dariusz Skoraczewski
Acting Principal
Chang Woo Lee
Associate Principal
Bo Li
Acting Assistant
Principal
Seth Low
Susan Evans
Esther Mellon
Kristin Ostling
Paula Skolnick-Childress
Pei Lu**
Basses
Robert Barney
Principal, Willard and
Lillian Hackerman
Chair
Hampton Childress
Associate Principal
Owen Cummings
Arnold Gregorian
Mark Huang
Jonathan Jensen
David Sheets
Eric Stahl
Flutes
Emily Skala
Principal, Dr. Clyde
Alvin Clapp Chair
Marcia Kämper
Piccolo
Laurie Sokoloff
Oboes
Katherine Needleman
Principal, Robert H.
and Ryda H. Levi Chair
Michael Lisicky
English Horn
Jane Marvine
Kenneth S. Battye and
Legg Mason Chair
Clarinets
Steven Barta
Principal, Anne Adalman
Goodwin Chair
Christopher Wolfe
Assistant Principal
William Jenken
E-flat Clarinet
Christopher Wolfe
Bassoons
Fei Xie
Principal
Julie Green Gregorian
Assistant Principal
Benjamin Greanya**
Contrabassoon
David P. Coombs
Horns
Philip Munds
Principal, USF&G
Foundation Chair
Gabrielle Finck
Associate Principal
Lisa Bergman
Mary C. Bisson
Bruce Moore
Trumpets
Andrew Balio
Principal, Harvey M. and
Lyn P. Meyerhoff Chair
Rene Hernandez
Assistant Principal
Nathaniel Hepler
Trombones
Joseph Rodriguez**
Acting Principal
James Olin
Co-Principal
John Vance
Bass Trombone
Randall S. Campora
Tuba
David T. Fedderly
Principal
Timpani
James Wyman
Principal
Christopher Williams
Assistant Principal
Percussion
Christopher Williams
Principal, Lucille
Schwilck Chair
John Locke
Brian Prechtl
Harp
Sarah Fuller**
Piano
Lura Johnson**
Sidney M. and Miriam
Friedberg Chair
Director of
Orchestra
Personnel
Marilyn Rife
Assistant
Personnel
Manager
Christopher Monte
Librarians
Mary Carroll Plaine
Principal, Constance A.
and Ramon F. Getzov
Chair
Raymond Kreuger
Associate
Stage Personnel
Ennis Seibert
Stage Manager
Todd Price
Assistant Stage
Manager
Charles Lamar
Audio Engineer
Mario Serruto
Lighting Director
*On leave
**Guest Musician
The musicians who perform
for the Baltimore Symphony
Orchestra do so under
the terms of an agreement
between the BSO and
Local 40-543, AFM.
Dean Alexander
12 Overture | www.bsomusic.org

program notes}
Marin Alsop
For Marin Alsop’s bio., please see pg. 12.
Joseph Meyerhoff Symphony Hall
Baltimore Symphony Orchestra
Marin Alsop
Music Director • Harvey M. And Lyn P. Meyerhoff Chair
Scheherazade & 1812 Overture
Friday, September 20, 2013 — 8 p.m.
Sunday, September 22, 2013 — 3 p.m.
Presenting Sponsor:
Marin Alsop, Conductor
Tim McAllister, Saxophone
U.S. Navy Band Sea Chanters
John Stafford Smith
Arranged by James Lee III
The Star Spangled Banner
Arrangement commissioned
by the Baltimore Symphony Orchestra
nikolai Rimsky-Korsakov Scheherazade, opus 35
largo e maestoso – Allegro non troppo
lento – Allegro molto
andantino quasi allegretto
allegro molto
John Adams
Intermission
Saxophone Concerto (U.S. Premiere)
animato
molvo vivace
TIM MCALLISTER
Piotr Ilyich Tchaikovsky 1812, Overture solonelle, opus 49
u.S. NAVY BAND SEA CHANTERS
The concert will end at approximately 10 p.m. on Friday and 5 p.m. on Sunday.
John Adams' Saxophone Concerto is co-commissioned by
the Baltimore Symphony Orchestra, Sydney Symphony Orchestra,
Saint Louis Symphony and the Orchestra Sinfonica
do Estado de São Paulo.
Support for the BSO’s commissioning of new works is provided by
a generous legacy gift from Mr. and Mrs. Randolph S. Rothschild.
RR Jones
Tim McAllister
Acclaimed soloist
and member of the
renowned PRISM
Quartet, Timothy
McAllister is one of America’s premier
concert saxophone performers and a
champion of contemporary music. His
solo, orchestral and chamber music
recordings appear on the Naxos, Albany,
Summit, OMM, New Focus, Centaur,
Equilibrium and Innova labels. He has
been featured on National Public Radio,
Dutch National Radio, BBC, WQXR-
NYC, WFMT-Chicago and various PBS
affiliates throughout the U.S. Credited
with more than 150 premieres of new
compositions by eminent and emerging
composers worldwide, his celebrated work
is highlighted in the Deutsche Grammophon
DVD release of the world premiere
of John Adams’ City Noir, filmed as part
of Gustavo Dudamel’s inaugural concert
as music director of the Los Angeles Philharmonic.
Prior to the U.S. Premiere with
the Baltimore Symphony Orchestra, he
gave the world premiere of John Adams’
Saxophone Concerto with the Sydney
Symphony Orchestra under the baton of
the composer in the Sydney Opera House.
McAllister has recently appeared as
soloist with the Albany Symphony Orchestra,
Cabrillo Festival Orchestra, Reno
Philharmonic, Boston Modern Orchestra
Project, United States Navy Band, Dallas
Wind Symphony, Hong Kong Wind
Philharmonia, Pacific Symphony and
the Nashville Symphony, among others.
In 2010, he toured with the Los Angeles
Philharmonic including performances in
San Francisco, Phoenix, Chicago, Philadelphia,
Washington, D.C. and New York’s
Lincoln Center.
He serves as professor of saxophone and
co-director of the Institute for New Music
September– October 2013 | Overture 13

{ Program Notes
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What?
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Overture?
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Reach over 100,000 educated,
affluent patrons of the BSO five times
a year in Overture, a program that’s
about more than just beautiful music.
Design
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Advertising proceeds go to the BSO, not Baltimore magazine
at Northwestern University’s Bienen
School of Music, and has attained visiting
positions at the University of Michigan
School of Music, the Conservatoire National
Supérieur de Musique of Paris, and
Tokyo’s Kunitachi College of Music.
Tim McAllister is making his
BSO debut.
U.S. Navy Band Sea Chanters
The Navy Band Sea Chanters is the
United States Navy’s official chorus.
The ensemble performs a variety of
music ranging from traditional choral
music to opera, Broadway and contemporary
music. Under the leadership
of Chief Musician Adam Tyler, the
Sea Chanters perform for the public
throughout the United States. At home
in Washington, they perform for the
president, vice president and numerous
congressional, military and foreign dignitaries.
In 1956, Lt. Harold Fultz, then
the band’s assistant leader, organized a
group from the Navy School of Music
to sing chanteys and patriotic songs
for the State of the Nation dinner. An
immediate success, Adm. Arleigh Burke
transferred them to the Navy Band,
named them the Sea Chanters and
tasked this all-male chorus with perpetuating
the songs of the sea. In 1980,
the group added women to their ranks
and expanded their repertoire to include
everything from Brahms to Broadway.
They have appeared at the Kennedy
Center Honors and with the National
Symphony Orchestra for the National
Memorial Day Concerts at the U.S.
Capitol. The group has also appeared on
U.S. Navy Band
Sea Chanters
Larry King Live and CBS This Morning
as well as at the premiere of the movie
Pearl Harbor. In 2008, the Sea Chanters
performed with the Mormon Tabernacle
Choir under the direction of Mack Wilburg.
Other notable orchestral appearances
include the Kansas City Symphony, the
Boston Pops Esplanade Orchestra, the Baltimore
Symphony and the Cincinnati Pops
Orchestra. The Sea Chanters have enjoyed
a great reputation performing with such
stars as Perry Como, Marian Anderson,
Kenny Rogers and Lionel Richie.
U.S. Navy Band Sea Chanters last
appeared with the BSO in June 2012,
performing at the Star-Spangled
Symphony concert, as part of the 2912
Star-Spangled Sailabration.
About the concert:
Scheherazade
Nikolai Rimsky-Korsakov
Born in Tikhvin, Russia, March 18, 1844; died in
Lyubensk, near St. Petersburg, June 21, 1908
Rimsky-Korsakov’s Scheherazade is as
intoxicating and seductive as the alluring
storyteller for whom it is named. A joy
for both audiences and musicians, it is
music to make one fall in love with the
symphony orchestra itself: its power,
its delicacy, and its limitless palette of
instrumental colors. In fact, Scheherazade
could well be called a “concerto for orchestra,”
with the solo violin, representing
the Persian enchantress, the leader
of a company of individual soloists and
sections playing as ensemble soloists.
Rimsky—a leader among the St.
Petersburg-based “Mighty Handful” of
Russian nationalist composers—was
indeed one of the greatest orchestrators
in history and a major influence on
orchestration in the 20 th century. Not
only did he inspire his pupils Prokofiev
and Stravinsky, but also Ravel, Debussy,
and Respighi.
Created during the summer of 1888,
Scheherazade was inspired by the Persian
legend of the cruel Sultan who ordered
all his wives to be put to death after their
14 Overture | www.bsomusic.org

wedding night, and of Scheherazade who
so beguiled him with her 1,001 tales that
he kept postponing her execution until
finally she won his love. But Rimsky
does not tell any of her stories in detail.
And he urged audiences not to take his
movement titles too literally: “I meant
these hints to direct slightly the hearer’s
imagination on the path which my own
fancy had traveled, and to leave more …
particular conceptions to the … mood of
each [listener].”
Rimsky used only a few exotic melodies
to build this lengthy work, and,
depending on their context, tempo, and
orchestral guise, they play different roles
in different movements. He did, however,
set a framework around the work.
At the beginning, we hear the Sultan
gruffly ordering Scheherazade to begin
her first story in a loud, harsh orchestral
unison. After “once-upon-a-time” chords
in the woodwinds, the solo violin enters
as the voice of Scheherazade. Rimsky
again returns to the violinist/heroine to
open the second movement, and, as he
begins the final one, we hear the Sultan’s
voice, now rapid and impatient, begging
for another story. At work’s end, the
Sultan’s theme has been transformed: he
is putty in Scheherazade’s hands as she
floats a harmonic high E at the top of the
violin’s range.
The four movements are essentially
self-explanatory. In the first, after Scheherazade’s
introduction come surging
arpeggios in the cellos and violas: we are
on the high seas with Sinbad the Sailor.
The second movement, “The Story of the
Kalander Prince,” is built around an exotic
Middle Eastern-style melody introduced
by the solo bassoon; kalanders were
magicians in Middle Eastern courts. The
fourth movement is the most complex: it
begins with the riotous color and swirling
activity of “The Festival of Baghdad,”
and then, at the festival’s height, sends us
suddenly back to Sinbad’s seas, as the low
strings billow and a fierce storm screams
overhead in the woodwinds. With a huge
timpani crash, the ship is wrecked, and we
return to the Sultan ready to live happily
ever after with Scheherazade and her
marvelous stories.
50th Annual Delaware Antiques Show
N O V E M B E R 8 – 1 0
Chase Center on the Riverfront
Wilmington, Delaware
Enjoy Tax-Free Shopping
Details at winterthur.org/das or 800.448.3883.
the
LOOK of
LOVEEYE
MINIATURES
FROM
THE
SKIER
COLLECTION
SEPTEMBER 21, 2013–JANUARY 5, 2014
IN THE WINTERTHUR GALLERIES
For information, call 800.448.3883 or visit winterthur.org/lookoflove.
Organized by the Birmingham Museum of Art. The installation at Winterthur is sponsored by Dr. Richard C. Weiss and Dr. Sandra R.
Harmon-Weiss, with additional assistance from Pam and Jim Alexander, Laurel Riegel, and Coleman and Susan Townsend.
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.
September– October 2013 | Overture 15

{ Program Notes
Instrumentation: Two flutes, two piccolos,
two oboes, English horn, two clarinets, two
bassoons, four horns, two trumpets, three
trombones, tuba, timpani, percussion,
harp and strings.
Saxophone Concerto
John Adams
Born in Worcester, Massachusetts, February 15,
1947; now living in Berkeley, California
“My Saxophone Concerto was composed
in early 2013, the first work to follow the
huge, three-hour oratorio, “The Gospel
According to the Other Mary.” Despite
their very different atmospheres and
subject matter, both “Other Mary” and
the Saxophone Concerto share peculiar
affinities, particularly in the use of
modal scales and the way they color the
emotional ambience of the music. Both
works are launched by a series of ascending
scales that energetically bounce back
and forth among various modal harmonies.
This new concerto has as its source
my life-long exposure to the great jazz
saxophonists, from the swing era through
the likes of Coltrane, Eric Dolphy and
Wayne Shorter.
American audiences know the saxophone
almost exclusively via its use in
jazz, soul, and pop music. The instances
of the saxophone in the classical repertory
are rare, and the most famous appearances
amount to only a handful of solos
in works by Ravel, Milhaud, Prokofiev,
Rachmaninoff, and Bernstein. It is ironic
that an instrument so seldom encountered
in classical music ended up as the transformative
vehicle for vernacular music (jazz,
rock, blues and funk) in the 20 th century.
Having grown up hearing the sound of
the saxophone virtually every day—my
father had played alto in swing bands
during the 1930’s and our family record
collection was well stocked with albums
by the great jazz masters—I never
considered the saxophone an alien instrument.
My 1987 opera Nixon in China is
almost immediately recognizable by its
sax quartet, which gives the orchestration
its special timbre. I followed Nixon
with another work, Fearful Symmetries,
that also features a sax quartet in an even
more salient role. In 2010, I composed
City Noir, a jazz-inflected symphony that
featured a fiendishly difficult solo part
for alto sax: a trope indebted to the wild
and skittish styles of the great bebop and
post-bop artists such as Charlie Parker,
Lennie Tristano, and Eric Dolphy. Finding
a sax soloist who could play in this
style but who was sufficiently trained to
be able to sit in the middle of a modern
symphony orchestra was a difficult
assignment. But fortunately I met Tim
McAllister, who is quite likely the reigning
master of the classical saxophone —
an artist who while rigorously trained is
also aware of the jazz tradition.
While the concerto is not
meant to sound jazzy
per se, its jazz influences
lie only slightly below
the surface.
When one evening during a dinner
conversation Tim mentioned that during
high school he had been a champion stunt
bicycle rider, I knew that I must compose
a concerto for this fearless musician
and risk-taker. His exceptional musical
personality had been the key ingredient
in performances and recordings of City
Noir, and I felt that I’d only begun to
scratch the surface of his capacities with
that work.
A composer writing a violin or piano
concerto can access a gigantic repository
of past models for reference, inspiration,
or even cautionary models. But there
are precious few worthy concertos for
saxophone, and the extant ones did not
especially speak to me. But I knew many
great recordings from the jazz past that
could form a basis for my compositional
thinking, among them Focus, a 1961
album by Stan Getz for tenor sax and an
orchestra of harp and strings arranged by
Eddie Sauter. Although clearly a “studio”
creation, this album featured writing for
the strings that referred to Stravinsky,
Bartók and Ravel. Another album, Charlie
Parker and Strings, from 1950, although
more conventional in format, nonetheless
helped to set a scenario in my mind
for way the alto sax could float and soar
above an orchestra. Another album that
I’d known since I was a teenager, New
Bottle Old Wine, with Canonball Adderley
and that greatest of all jazz arrangers Gil
Evans, remained in mind throughout the
composing of the new concerto as a model
to aspire to.
Classical saxophonists are normally
taught a “French” style of producing a
sound with a fast vibrato very much at
odds with the looser, grittier style of a
jazz player. Needless to say, my preference
is for the latter “jazz” style playing,
and in the discussions we had during
the creation of the piece, I returned over
and over to the idea of an “American”
sound for Tim to use as his model. Such
a change is no small thing for a virtuoso
schooled in an entirely different style of
playing. It would be like asking a singer
used to singing Bach cantatas to cover a
Billy Holiday song.
While the concerto is not meant to
sound jazzy per se, its jazz influences lie
only slightly below the surface. I make
constant use of the instrument’s vaunted
agility as well as its capacity for a lyrical
utterance that is only a short step away
from the human voice. The form of the
concerto is a familiar one for those who
know my orchestral pieces, as I’ve used it
in my Violin Concerto, in City Noir and
in my piano concerto Century Rolls. It
begins with one long first part combining
a fast movement with a slow, lyrical
one. This is followed by a shorter second
part: a species of funk-rondo with a fast,
driving pulse.
The concerto lasts roughly 32 minutes,
making it an unusually expansive statement
for an instrument that is still looking
for its rightful place in the symphonic
repertory.”— John Adams, July 2013
Instrumentation: Two flutes, piccolo, three
oboes, English horn, two clarinets, bass clarinet,
two bassoons, three horns, two trumpets,
harp, piano, celesta and strings.
16 Overture | www.bsomusic.org

Program Notes }
Festival Overture: The Year 1812
Piotr Ilyich Tchaikovsky
Born in Votkinsk, Russia, May 7, 1840; died in
St. Petersburg, Russia, November 6, 1893
The year 1812 was the beginning of the
end for Napoleon Bonaparte and his
dreams of conquering Europe, and the
country that thwarted him was Russia.
On September 7, 1812, Napoleon’s army
met the massive Russian forces under
General Kutuszov in the Battle of Borodino,
which ended indecisively with more
than 80,000 casualties. Kutusvov cleverly
withdrew his forces behind Moscow, and
when Napoleon arrived there, he found
the city in flames, nothing to win, and no
food or supplies for his troops. The brutal
Russian winter did the rest of the work,
and Napoleon limped out of Russia with
his troops decimated.
Nearly 70 years later in 1880, Tchaikovsky
was asked by his friend Nikolai
Rubinstein, director of the Moscow
Conservatory, to write a patriotic piece
for the opening of the Russian Exhibition
of Industry and the Arts, and more
specifically for the consecration of the
Cathedral of Christ the Savior, which had
been commissioned in 1812. But, though
Tchaikovsky accepted the assignment, he
wasn’t happy about it. “There is nothing
less to my liking than composing for the
sake of some festivities,” he wrote. “What,
for instance, can you write on the occasion of
the opening of an exhibition except banalities
and generally noisy passages?” Begrudging
the necessary labor, Tchaikovsky ripped the
composition out in just a week and finished
the orchestral scoring one month later.
Though an outdoor setting complete with
cannon fire was originally contemplated,
it was ultimately premiered in a new hall
built for the exhibition on August 20, 1882
without the artillery contribution.
Tchaikovsky’s speed in turning out what
is probably today his most famous composition
was aided by his stitching the work
together from a number of pre-existing
melodies. In a slow, brooding introduction,
it opens with a beautiful, traditional
Russian Orthodox chant “Save, Lord, Thy
People,” deep in the strings. This opening
section also introduces a dashing militarysignal-style
tune representing the Russian
army, which will play an important role in
the work’s conclusion. The main Allegro
section introduces the French national
hymn “La Marseillaise,” which battles with
the Russian themes. A quieter lyrical section
uses a swaying melody from Tchaikovsky’s
early opera The Voyevoda, as well
as a traditional Russian folk-dance song “At
the Gates.” Finally, a grandiose coda salutes
the Russian victory with an imposing statement
of the Russian imperial hymn “God
Save the Tsar.”
Instrumentation: Two flutes, piccolo, two oboes,
English horn, two clarinets, two bassoons, four
horns, four trumpets, three trombones, tuba,
timpani, percussion and strings.
Notes by Janet E. Bedell, Copyright ©2013
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Wednesday, October 9, 9:00am H Sunday, October 27, 2:00 pm
Wednesday, November 13, 9:00am H Sunday, November 17, 2:00 pm
September– October 2013 | Overture 17

{ Program Notes
Marin Alsop
For Marin Alsop’s bio., please see pg. 12.
Joseph Meyerhoff Symphony Hall
Baltimore Symphony Orchestra
Marin Alsop
Music Director • Harvey M. And Lyn P. Meyerhoff Chair
Thibaudet Plays Bernstein
Friday, September 27, 2013 — 8 p.m.
Saturday, September 28, 2013 — 8 p.m.
Presenting Sponsor:
Marin Alsop, Conductor
Jean-Yves Thibaudet, Piano
George Gershwin
Leonard Bernstein
Maurice Ravel
Maurice Ravel
Intermission
Cuban Overture
Symphony No. 2, The Age of Anxiety
Part I:
The Prologue: Lento moderato
The Seven Ages: Variations 1–7
The Seven Stages: Variations 8–14
Part II:
The Dirge: Largo
The Masque: Extremely fast
The Epilogue:
l’istesso tempo – Adagio –
andante - con moto
JEAN-YVES THIBAUDET
Piano Concerto in G Major
allegramente
adagio assai
Presto
JEAN-YVES THIBAUDET
Suite No. 2 from Daphnis et Chloé
lever du jour
Pantomime
Danse générale
The concert will end at approximately 10 p.m.
© Decca/Kasskara
Jean-Yves
Thibaudet
Jean-Yves Thibaudet,
“one of the best
pianists of our time”
(New York Sun), has the rare ability to
combine poetic musical sensibilities with
dazzling technical prowess. His talent at
coaxing subtle and surprising colors and
textures from even old favorites has led
the New York Times to exclaim “ … every
note he fashions is a pearl … the joy, brilliance
and musicality of his performance
could not be missed.” Thibaudet, who
has performed around the world for more
than 30 years and recorded more than 40
albums, has a depth and natural charisma
that have made him one of the most
sought-after soloists by today’s foremost
orchestras, conductors and festivals. In
2010, the Hollywood Bowl honored
Thibaudet for his musical achievements
by inducting him into its Hall of Fame.
A recording artist for Decca, he has
won the Schallplattenpreis, the Diapason
d’Or, Choc du Monde de la Musique, a
Gramophone Award, two Echo Awards,
and the Edison Prize. In 2010, Thibaudet
released his latest CD, Gershwin, featuring
“big jazz band” orchestrations of Rhapsody
in Blue, Variations on “I Got Rhythm,”
and Concerto in F live with the Baltimore
Symphony and its music director, Marin
Alsop. In 2012, Jean-Yves recorded the
soundtrack of the film, Extremely Loud
& Incredibly Close, composed by Alexandre
Desplat. Known for his style and
elegance, Thibaudet wears a concert wardrobe
designed by Vivienne Westwood.
Jean-Yves Thibaudet last appeared with
the BSO in November 2009, performing
Gershwin’s Rhapsody in Blue, Concerto
in F and Liszt’s Totentanz, with Marin
Alsop conducting.
18 Overture | www.bsomusic.org

Program Notes }
About the concert:
Cuban Overture
George Gershwin
Born in Brooklyn, New York,
September 26, 1898; died in Beverly Hills,
California, July 11, 1937
George Gershwin was very conscious of
his lack of early formal musical training
and in adulthood studied with various
teachers to remedy it whenever his frenetic
schedule allowed. Although he’d allowed
Ferde Grofé to score Rhapsody in Blue, he
orchestrated all his subsequent concert
pieces himself and bristled at journalists
who periodically accused him of letting
others polish his work. Just how sophisticated
his mastery of the orchestra became
can be heard in his Cuban Overture,
written in 1932.
At that time, Gershwin was studying
theory and composition with Joseph
Schillinger, a graduate of the St. Petersburg
Conservatory, and this piece grew
from his lessons in counterpoint (the art of
weaving together multiple musical lines).
It was also inspired by a vacation he’d
taken in Cuba that winter; he became
fascinated with Cuban dance music and
returned with several Cuban percussion
instruments in his luggage—bongo
drums, Cuban sticks or claves, gourd, and
maracas—that received prominent parts
in his new work. By the summer of 1932,
he was rapidly completing the Overture
for a mammoth all-Gershwin concert
held outdoors at New York’s Lewisohn
Stadium on August 16. That concert
was a spectacular success, with 18,000 in
attendance and thousands more turned
away at the gates. Gershwin called it “the
most exciting night I ever had.”
Cuban Overture is in three sections,
opening and closing with the fast, intricate
rumba music featuring the indigenous
Cuban instruments. In the middle, a
lengthy slow section shows Gershwin’s ability
to create a subtle, haunting atmosphere
conjuring a tropical night. The brilliant
orchestration throughout suggests the
composer had learned a thing or two from
his friend Maurice Ravel, but the verve and
melodic inspiration are pure Gershwin.
Instrumentation: Three flutes, piccolo, two
oboes, English horn, two clarinets, bass
clarinet, two bassoons, contrabassoon, four
horns, three trumpets, three trombones, tuba,
timpani, percussion and strings.
Symphony No. 2,
“The Age of Anxiety”
Leonard Bernstein
Born in Lawrence, Massachusetts, August 25,
1918; died in New York City, October 14, 1990
None of the three works Leonard Bernstein
labeled as symphonies in any way resembles
a conventional orchestral symphony.
Symphony No. 1, “Jeremiah,” includes
a singer and chorus and is built around
Old Testament texts in Hebrew. Symphony
No. 3, “Kaddish,” which the BSO
performed last season, combines choruses,
vocal soloist, and a spoken text to express
what is essentially Bernstein’s very personal
argument with God. And inspired by W.
H. Auden’s long poem of the same name,
Symphony No. 2, “The Age of Anxiety,”
which we will hear at these concerts, is a
highly dramatic work that resembles both
a tone poem and a piano concerto. As the
composer himself candidly admitted: “If
the charge of ‘theatricality’ in a symphonic
work is a valid one, I am willing to plead
guilty. I have a deep suspicion that every
work I write, for whatever medium, is really
theatre music in some way.”
Though not a word is spoken or sung
in the Second Symphony, it is as much
tied to a literary text as are “Jeremiah” and
“Kaddish.” Bernstein was an insatiable
reader, and he was utterly captivated by
Auden’s Pulitzer Prize-winning poem,
Leonard Bernstein
The Leonard Bernstein Office
which he discovered soon after its publication
in 1947. “From that moment, the
composition of a symphony … acquired
an almost compulsive quality,” Bernstein
remembered, “and I worked on it steadily
… in Taos, in Philadelphia, in Richmond,
Mass., in Tel Aviv, in planes, in hotel lobbies.”
The orchestration was done in the
midst of a tour with the Pittsburgh Symphony,
during which Bernstein conducted
25 concerts in 28 days. As was to happen
throughout his life, the need to compose
was already in conflict with the demands of
his exploding conducting career.
Bernstein based his hybrid work closely
on the six-part format of the poem and its
focus on the conversations of three men
and a woman during a long, alcohol-fueled
night in a wartime New York City bar.
In his words, “The essential line of the
poem (and of the music) is a record of our
difficult search for faith. In the end, two
of the characters enunciate the recognition
of this faith … at the same time revealing
an inability to relate to it in their daily
lives, except through blind acceptance.”
Bernstein explained that “the conception
of a symphony with piano solo emerges
from the personal indentification of myself
with the poem. In this sense, the pianist
provides an autobiographical protagonist,
set against an orchestral mirror.” Appropriately,
Bernstein himself played the solo part
at “Age of Anxiety’s” premiere performance
on April 8, 1949 with the Boston Symphony
conducted by Serge Koussevitzky.
Here are Bernstein’s own descriptions of the
Symphony’s six sections:
Part I:
“The Prologue finds four lonely characters,
a girl and three men, in a Third Avenue
bar, all of them insecure and trying,
through drink, to detach themselves from
their conflicts or, at best, to resolve them.
They … begin a kind of symposium on
the state of man. Musically, the Prologue
is a very short section consisting of a lonely
improvisation by two clarinets … followed
by a long descending scale which acts as a
bridge into the realm of the unconscious,
where most of the poem takes place.
“The Seven Ages. The life of man is
reviewed from the four personal points of
September– October 2013 | Overture 19

{ Program Notes
view. This is a series of variations, which
differ from conventional variations in that
they do not vary any one common theme.
Each variation seizes upon some feature
of the preceding one and develops it,
introducing … some counter-features upon
which the next variation seizes. …
“The Seven Stages. The variation form
continues for another set of seven, in which
the characters go on an inner symbolic
journey … leading back to a point of comfort
and security. The four try every means,
going singly and in pairs, exchanging
partners, and always missing the objective.
When they awaken from this dreamodyssey,
they are closely united through a
common experience (and through alcohol)
and begin to function as one organism.
This set of variations begins to show activity
and drive and leads to a hectic, though
inconclusive, close.”
Part II:
“The Dirge is sung by the four as they sit
in a cab en route to the girl’s apartment
for a nightcap. They mourn the loss of the
‘colossal Dad,’ the great leader who can
alway give the right orders, find the right
solution, shoulder the mass responsibility,
and satisfy the universal need for a
father-symbol. This section employs, in
a harmonic way, a twelve-tone row out
of which the main theme evolves. There
is a contrasting middle section of almost
Brahmsian romanticism, in which can
be felt the self-indulgent aspect of this
strangely pompous lamentation.
“The Masque finds the group in the girl’s
apartment, weary, guilty, determined to
have a party, each one afraid of spoiling the
others’ fun by admitting that he should be
home in bed. This is a scherzo for piano
and percussion alone … The party ends in
anticlimax and the dispersal of the actors
… Thus a kind of separation of the self
from the guilt of escapist living has been
effected, and the protagonist is free again to
examine what is left beneath the emptiness.
“The Epilogue. What is left, it turns out,
is faith. The trumpet intrudes its statement
of ‘something pure’ upon the dying pianino
[upright piano in the orchestra]; the strings
answer in a melancholy reminiscent of the
Prologue … All at once, the strings accept
the situation in a sudden statement of the
newly recognized faith … The way is open,
but at the conclusion, is still stretching long
before the [protagonist].”
Instrumentation: Three flutes, piccolo, two
oboes, English horn, two clarinets, bass
clarinet, two bassoons, contrabassoon, four
horns, three trumpets, three trombones, tuba,
timpani, percussion and strings.
An elegant demonstration
of this belief, the Concerto
in G was enormously
successful at its premiere in
Paris on January 14, 1932.
Piano Concerto in G Major
Daphnis et Chloé Suite No. 2
Maurice Ravel
Born in Ciboure, Basses-Pyrenées,
France, March 7, 1875; died in Paris,
December 28, 1937
Maurice Ravel was a masterful composer
for both the orchestra and the piano.
Strangely he did not combine these sonorities
until quite late in his career, when he
wrote two remarkable concertos: the Concerto
for the Left Hand and the Concerto
in G Major for both hands.
The impetus for the Concerto in G was
Ravel’s need for a work to show off his
performing skills during a North American
tour in 1928, but this painstakingly slow
creator did not manage to launch the concerto
before his boat left. It was finally written
between 1929 and 1931. Opposed to
the heavy Teutonic approach of Beethoven
and Brahms, Ravel declared: “The music
of a concerto should, in my opinion, be
light-hearted and brilliant, and not aim at
profundity or at dramatic effects.”
An elegant demonstration of this belief,
the Concerto in G was enormously successful
at its premiere in Paris on January
14, 1932. Its first movement mixes a
timeless exoticism, arrayed in Ravel’s most
sparkling orchestral hues, with a percussive,
jazz-driven 20 th -century pace. The
opening is arresting: the crack of a whip
sets off dazzling, bell-like music with the
pianist playing white keys in the right hand
against clashing black keys in the left. The
piccolo whirls through a piquant melody,
inspired by the folk melodies of Ravel’s native
Basque country. Then the tempo slows
to a bluesy mood, with wailing clarinet
and muted trumpet melodies that George
Gershwin himself might have penned.
Jazz takes a rest during the delicately
beautiful slow movement, which is in the
antique style of the composer’s famous
Pavane for a Dead Princess. Playing alone,
the piano sings a long, pensive melody with
sensitive woodwind commentary. Later the
English horn reprises this melody while
the piano shimmers around it. The finale
brings back the world of jazz with a lighthearted,
high-speed chase.
Ravel’s score for the ballet Daphnis et
Chloé is generally acknowledged to be
his greatest work.Yet as the offspring of
clashing artistic temperaments, it had a
painful birth.
In 1909, Sergei Diaghilev presented the
first season of his Ballets Russes in Paris,
and his spectacular dancers—including
the incomparable male star Nijinsky—
daring choreography, and eye-filling sets by
Leon Bakst captivated the Parisian public.
Thus when Diaghilev approached Ravel
for a ballet score for the company’s next
season, the composer readily agreed. Ravel,
Diaghilev, and his brilliant choreographer
Michel Fokine chose to set the story of the
shepherd-lovers Daphnis and Chloé from
the third-century A.D. pastoral romance by
the Greek writer Longus. But there agreement
ended. Fokine and Bakst envisioned
a primitive Greece with imagery based on
the stylized figures of ancient Greek pottery.
Ravel instead saw the ancient setting
in more idealized terms: “a vast musical
fresco, concerning itself less with archaic
fidelity, than with fidelity to the Greece of
my dreams, which in many ways resembled
that … depicted by the French artists of the
18 th century.”
This artistic conflict, combined with
Ravel’s slow, meticulous method of composition
and linguistic difficulties between
Fokine who spoke little French and Ravel
who claimed “I only know how to swear in
20 Overture | www.bsomusic.org

Russian,” delayed the production for several
seasons. The premiere finally came on
June 8, 1912, with Nijinsky and the great
Tamara Karsavina dancing the title roles
and Pierre Monteux conducting.
Ravel extracted two concert suites from
the score, and the Second Suite —which
comprises the ballet’s third and final tableau
—is by far the more often performed.
It has three interlocking movements:
“Dawn,” “Pantomine,” and “Final Dance.”
Earlier in the story, Daphnis and Chloé’s
love has been tested by rivals, and Chloé
has been abducted by pirates, but she is
rescued by the miraculous intervention of
the god Pan.
The third act opens with “probably the
most famous dawn in all music” (Robin
Holloway). Master orchestrator that he
was, Ravel paints the sunrise with all
the Technicolor sounds he can conceive:
the ripple of brooks, the chatter of birds,
and from deep in the orchestral strings a
magnificent song portraying the rising sun,
finally gleaming aloft in the violins. Daphnis
awakes, searches frantically for Chloé,
and at the crest of the second crescendo
sees her returning with a party of shepherdesses.
Seeing the crown on her head, he
realizes that Pan has saved her in memory
of his love for the nymph Syrinx. Daphnis
and Chloé then mime the courtship of Pan
and Syrinx and Pan’s invention of the flute,
celebrated in a glorious extended flute
solo. The two lovers swear their eternal
fidelity to solemn, brass-dominated music.
Nymphs and shepherds surround them for
a joyously pagan dance. Here Ravel’s 18 th -
century ideal seems at last to yield to the
full-blooded style of his Russian colleagues.
Instrumentation for Concerto in G: Flute, piccolo,
oboe, English horn, clarinet, piccolo clarinet,
two bassoons, two horns, trumpet, trombone,
timpani, percussion, harp and strings.
Instrumentation for Daphpnis et Chloe Suite
No. 2: Two flutes, two piccolos, alto flute, two
oboes, English horn, two clarinets, bass clarinet,
piccolo clarinet, three bassoons, contrabassoon,
four horns, four trumpets, three trombones, tuba,
timpani, percussion, two harps, celesta and strings.
“I have been able to share my passion for
the arts with others and explore new ways
of expressing my creativity.”
Fujie Twilling, Living at Willow Valley Since 2004
Willow Valley is more than a senior living community.
It’s a way of life. It’s a beautiful home, exceptional cuisine,
lovely landscaping, and meticulously-maintained campuses.
It’s also a mind-body-spirit approach to wellness and
welcoming neighbors who make the most of every day.
And it’s Lifecare, a wise and valuable investment that
provides long-term care, should you need it.
Visit us. Explore some of our 80+ floorplans. Get to know
people from 37+ states who make Willow Valley home.
Meet our team members who, for nearly 30 years, have
created one of the region’s most innovative, financially
strong, senior living communities. Willow Valley is a
place to engage, learn, enjoy.
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Life Lived Forward
Notes by Janet E. Bedell, Copyright ©2013
September– October 2013 | Overture 21

{ Program Notes
Michael Tammaro
Joseph Meyerhoff Symphony Hall
Baltimore Symphony Orchestra
Marin Alsop
Music Director • Harvey M. And Lyn P. Meyerhoff Chair
Jack Everly, Conductor
Ann Hampton Callaway, Vocalist
Jon Kalbfleisch, Piano
Hampton Childress, Rhythm Bass
Steve Hanna, Drums
Berlin
arranged by Ades
Porter
arranged by Dragon
Styne
orchestrated by Spencer
Jack Everly
Principal Pops Conductor
The Streisand Songbook
with Ann Hampton Callaway
Friday, October 11, 2013 — 8 p.m.
Saturday, October 12, 2013 — 8 p.m.
Sunday, October 13, 2013 — 3 p.m.
Series Presenter:
A Tribute to Irving Berlin
“Just One of Those Things”
Overture to Funny Girl
Ms. Callaway will announce her program from the stage.
Jack Everly
Jack Everly is the principal
pops conductor
of the Baltimore and
Indianapolis Symphony
Orchestras, Naples Philharmonic
Orchestra and National Arts Centre Orchestra
(Ottawa), and the music director
of the National Memorial Day Concert
and A Capitol Fourth on PBS. He has been
This program will include a 20 minute intermission.
The concert will end at approximately 10:10 p.m.
on stage with the Los Angeles Philharmonic
at the Hollywood Bowl, the New
York Pops at Carnegie Hall and appears
regularly with The Cleveland Orchestra
at Blossom Music Center. His frequent
guest conducting engagements include
the orchestras of Pittsburgh, Edmonton,
Oklahoma City and this season with
The Philadelphia Orchestra at The
Mann Center.
Bill Westmoreland
Everly is the music director of Yuletide
Celebration, now a 26-year tradition.
These theatrical symphonic holiday concerts
are presented annually in December
in Indianapolis and are seen by more than
40,000 concert-goers. He led the ISO in
its first Pops recording, Yuletide Celebration,
Volume One, that included three of
his own arrangements.
Originally appointed by Mikhail
Baryshnikov, Everly was conductor of
the American Ballet Theatre for 14 years,
where he served as music director. In addition
to his ABT tenure, he teamed with
Marvin Hamlisch in Broadway shows that
Hamlisch scored including, The Goodbye
Girl, They’re Playing Our Song and A Chorus
Line. He conducted Carol Channing
hundreds of times in Hello, Dolly! in two
separate Broadway productions.
Everly has conducted the songs for
Disney’s animated classic The Hunchback
of Notre Dame and led the Czech
Philharmonic on the recordings In the
Presence, featuring tenor Daniel Rodriguez
and Sandi Patty’s 2011 release Broadway
Stories. He also conducted the criticallypraised
Everything’s Coming Up Roses:
The Complete Overtures of Broadway’s Jule
Styne, and was music director for numerous
Broadway cast recordings.
In 1998, Everly created the Symphonic
Pops Consortium, serving as music
director. The Consortium, based in
Indianapolis, produces new theatrical
pops programs, and in the past 13 years,
more than 250 performances of SPC
programs have taken place across the
U.S. and Canada.
Maestro Everly holds an Honorary
Doctorate of Arts from Franklin College
in his home state of Indiana. When not on
the podium or arranging, Maestro Everly
indulges in his love for films, Häagen-
Dazs and a pooch named Max.
Ann Hampton
Callaway
One of the leading
champions of
the great American
Songbook, Ann Hampton Callaway
has made her mark as a singer, pianist,
22 Overture | www.bsomusic.org

Featureflash / Shutterstock.com
Barbra Streisand
composer, lyricist, arranger, actress,
educator, TV host and producer. She won
the Theater World Award and received a
Tony nomination for her starring role in
the Broadway musical Swing! Callaway
made her Hollywood screen debut in
Robert DeNiro’s The Good Shepherd and
was featured in the soundtrack of Queen
Latifah’s Last Holiday. She’s written more
than 250 songs, including two platinum
award-winning hits for Barbra Streisand
and the theme for the hit TV series The
Nanny. Callaway produced and hosted
two TV specials called “Singer’s Spotlight”
with guests Liza Minnelli and
Christine Ebersole and is in the planning
stages for a radio series.
She performs the critically acclaimed
acts “Sibling Revelry” and “Boom!” with
Broadway star and sister Liz Callaway
and their CD Boom! Live at Birdland was
released to rave reviews debuting at #25
on The Billboard Jazz Chart. This year,
Callaway has taken the symphony world
by storm with her tribute to her legendary
mentor in The Streisand Songbook
which she premiered with The Boston
Pops and will be touring nationwide
throughout 2013–2014. Callaway has
recorded 12 solo CDs including the
celebrated “At Last” and is a guest artist
on more than 45 CDs.
For more information, see
www.annhamptoncallaway.com.
Ann Hampton Callaway
last performed with the BSO in the
December 2009 Holiday Spectacular,
with Jack Everly conducting.
EXPLOSIVE LIVE PERFORMANCES
A L L T I C K E T S N O W $ 2 0
MAESTRO SERIES FOR ORChEStRA & ChORuS
POWER AND GLORY | Sat., Oct. 26, 2013 | 8pm *
SPON. by thE hENRy ANd Ruth bLAuStEIN ROSENbERg FOuNdAtION
SCHUBERT: Unfinished Symphony and Mass in G
RACHMANINOFF: Selections from Vespers
PROKOFIEV: Piano Concerto No. 3
Mark Markham, Piano
MANSION SERIES ChAMbER MuSIC At thE
gARREtt-jACObS MANSION, thE ENgINEERS CLub
SPONSOREd by MR. ANd MRS. ChARLES h. bERRy jR.
CHRISTMAS CHEER
Sat., Dec. 14, 2013 | 1pm & Sun., Dec. 15, 2013 | 2:30pm °
CO-SPONSOREd by kIM ANd FRANk FILLMORE, thE FILLMORE gROuP
The annual sell-out performances continue in one of
Baltimore’s most opulent mansions, with both classical and
lighter arrangements of seasonal favorites. Come early for an
optional brunch and stay late for a sing-a-long at the piano.
FAMILY FUN CONCERT | Sun., Nov. 17, 2013 | 3pm *
SPONSOREd by thE PEggy ANd yALE gORdON tRuSt
Enjoy family activities and music for a fun learning experience about
instruments and classical music for the young and young at heart.
LYCEUM SERIES CONVERSAtIONS AbOut thE
MuSIC hELd IN bEAutIFuL MOuNt VERNON hOMES
SCHUBERT - FINISHED & UNFINISHED
Thurs., Oct. 10, 2013 | 7pm
VIVALDI AND THE FOUR SEASONS
Thurs., Nov. 21, 2013 | 7pm
* Gordon Center For Performing Arts, Owings Mills
° The Engineers Club, 11 W. Mt. Vernon Place
27TH SEASON
EDWARD POLOCHICK
Artistic Director
FOR TICKETS 410.625.3525
WWW.CABALTO.ORG
September– October 2013 | Overture 23

{ Program Notes
Joseph Meyerhoff Symphony Hall
Baltimore Symphony Orchestra
Arild
Remmereit
In 2005, Norwegian
conductor Arild
Remmereit made
five dramatic debuts with the Pittsburgh
Symphony, Baltimore Symphony, Milan’s
Filarmonica della Scala, Munich Philharmonic
and the Vienna Symphony, quickly
Marin Alsop
Music Director • Harvey M. And Lyn P. Meyerhoff Chair
Romantic Tchaikovsky
Friday, October 18, 2013 — 8 p.m.
Sunday, October 20, 2013 — 3 p.m.
Presenting Sponsor:
Edvard Grieg
Karen Tanaka
Arild Remmereit, Conductor
Nobuyuki Tsujii, Piano
Suite from Peer Gynt
Prelude
Ingrid's Lament
arabian Dance
morning Mood
Åse’s Death
Peer Gynt’s Homecoming
Solveig’s Song
anitra’s Dance
In the Hall of the Mountain King
Water of Life
Intermission
Piotr Ilyich Tchaikovsky Piano Concerto No. 1 in B-Flat Minor, opus 23
allegro non troppo e molto maestoso
andantino semplice
allegro con fuoco
noBUYUKI TSUJII
The concert will end at approximately 9:50 p.m. on Friday and 4:50 p.m. on Sunday.
establishing himself as a major talent on
the international scene. Remmereit was
immediately re-engaged in Pittsburgh, Vienna,
Milan and Baltimore and has since
returned to a number of other prominent
orchestras, including England’s Halle
Orchestra, the Detroit Symphony, Dallas
Symphony, Seattle Symphony, Rochester
Philharmonic, New Jersey Symphony
Yuji Hori
and the Seoul Philharmonic, among
many others.
The 2012–2013 season included return
engagements with the Pittsburgh Symphony
and Ottawa's National Arts Centre
Orchestra, in subscription and on tour,
and debuts with the Naples Philharmonic,
Orchestre Symphonique de Québec and
Mexico National Symphony. Upcoming
engagements include the Buffalo Philharmonic
and the Baltimore Symphony.
Born in Norway, Remmereit began
piano lessons at the age of six, studied
trumpet and performed as a boy soprano.
In 1986, he graduated from the Norwegian
Conservatory of Music, earning
master degrees in voice, piano (jazz and
classical) and composition. It was at a
conducting seminar in 1985 at the Aspen
Music Festival that he was inspired to
change his focus. He has studied conducting
under the direction of Prof. Karl
Österreicher at the Hochschule für Musik
und Darstellende Kunst, where he also
participated in a master class with Zubin
Mehta. Remmereit studied with Leonard
Bernstein at the Orchestra dell’Accademia
Nazionale di Santa Cecilia in Rome,
and assisted him in several recordings in
Vienna between 1987 and 1990.
Arild Remmereit last appeared with the
BSO in November 2007, performing
Berwald's Tragic Overture from Estrella de
Soria, Mendelssohn's Violin Concerto and
Schumann's Symphony No. 1.
Nobuyuki Tsujii
Blind since birth,
Nobuyuki Tsujii
was joint Gold
Medal winner at
the 2009 Van Cliburn International
Piano Competition.
An inspirational musician with a formidable
technique and a natural gift for
pianistic colour, he has earned international
recognition in recent years for the
excitement of his live performances.
As a concerto soloist, he has appeared
with the Mariinsky Orchestra and Valery
Gergiev, the Philharmonia Orchestra
and Vladimir Ashkenazy, the BBC
24 Overture | www.bsomusic.org

Philharmonic and Yutaka Sado and the
Orchestra della Svizzera Italiana and
Thierry Fischer among others. Future
engagements include his Carnegie Hall
orchestral debut with the Orpheus
Chamber Orchestra, his debut with the
Seattle Symphony under Ludovic Morlot
and a major Japanese tour with the BBC
Philharmonic, Yutaka Sado conducting.
As a recitalist, he gave a sold-out solo
performance at Carnegie Hall’s Stern
Auditorium in 2011, and has also given
recitals at the Aspen and Ravinia Festivals
and in Washington, D.C, Boston, Berlin
and Munich.
In his home country, he has appeared
as a soloist with all the major Japanese
orchestras including NHK Symphony,
Yomiuri Nippon Symphony, Tokyo Symphony,
Japan Philharmonic and Orchestra
Ensemble Kanazawa. He records exclusively
for Avex Classics, and has made a
number of best-selling discs in recent years
including Rachmaninoff’s Piano Concerto
No. 2 with DSO Berlin, an all-Chopin
recital disc, Tchaikovsky's Piano Concerto
No. 1 with Yukata Sado and the BBC
Philharmonic, and Mussorgsky’s Pictures
at an Exhibition. A live DVD recording of
his 2011 Carnegie Hall recital has recently
been released and is distributed by Naxos
in the U.S. and Euroarts in Europe.
Nobuyuki Tsujii’s international tours
are supported by All Nippon Airways
(ANA), and he gratefully acknowledges
their assistance.
Nobuyuki Tsujii is making his
BSO Debut.
Find out how to turn your assets into a charitable
resource that will last forever.
Call 410.332.4171 or visit www.bcf.org/dmitri to learn more.
Baltimore Community Foundation
2 East Read Street | Baltimore, MD | Tel. 410.332.4171 | www.bcf.org
Peabody Conservatory Students and Faculty
Shine in Orchestral Concerts in 2013-2014
Don’t miss performances by
the Peabody Symphony Orchestra,
Peabody Concert Orchestra
and Peabody Modern Orchestra,
as well as the Adalman Faculty
Chamber Music Series.
Subscriptions as low as $40 and all
new Flex Passes available now.
About the concert:
Suite from Peer Gynt
Edvard Grieg
Born in Bergen, Norway, June 15, 1843;
died in Bergen, September 4, 1907
Edvard Grieg’s great-grandfather, Alexander
Greig (as the family name was originally
spelled) was an independent-minded
Scotsman who emigrated to Norway
from his native Aberdeen in the 1760s
Visit
www.peabody.jhu.edu
or call 410-234-4800
for more information.
September– October 2013 | Overture 25

WHAT IS
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{ Program Notes
after the Scottish clans were destroyed.
There he prospered as a fish merchant,
and 100 years later, his great-grandson
became Norway’s greatest composer.
In January 1874, Norway’s preeminent
playwright, Henrik Ibsen
(1828–1906), asked the now 30-year-old
composer if he would be willing to compose
incidental music for Ibsen’s latest
drama Peer Gynt. Grieg at first hesitated
—he initially declared the play “the
most unmusical of all subjects”— but
ultimately threw himself into the task of
creating more than 20 musical numbers
for the work’s theatrical premiere. Despite
the fact that the two men’s creative
styles were extremely different—
Grieg was a Romantic master of lyrical
melody while Ibsen wrote starkly
uncompromising dramas with an almost
contemporary viewpoint—their joint
efforts triumphed at the play’s premiere
on February 24, 1876. Eventually, the
composer fashioned two suites of Peer
Gynt music that rivaled his Piano Concerto
in popularity.
After his narrow escape
from the trolls, Peer decides
it’s time to get out of
Norway, but first he visits
home for the last time.
With its fantastic globetrotting plot,
Peer Gynt, despite Grieg’s early reservations,
lends itself very well to musical
treatment. Based on an actual person
living in southwestern Norway in the early
19 th century, Peer is no solid, hardworking
Norwegian, but an unreliable yet lovable
scamp who gets into plenty of trouble in
his home village and then abandons his
sweetheart, Solveig, to seek adventure in
the wider world.
Arild Remmereit has chosen nine excerpts,
several of which may be discoveries
for audience members. Though in this
concert we will hear the individual numbers
in a slightly different order, here they
are listed as they occur in the story.
The BSO
Invited to a neighborhood wedding,
Peer commits his first crime by abducting
the bride, Ingrid. One of the most powerful
yet poignant numbers, “The Abduction
of the Bride — Ingrid’s Lament,”
is the prelude to Act II. The furious music
that frames this sequence represents Peer
berating the hapless Ingrid before abandoning
her on a mountain pass.
Next Peer is attracted to a mysterious
woman, who turns out to be the
daughter of the King of the Trolls. He
follows her to her subterranean home,
where her father and a rowdy group of
trolls are Her "Dance of the Mountain
King's Daughter" is a comical mix of
heavy, galumphing rhythms and exotically
barbaric scoring. “In the Hall of
the Mountain King” is rightfully one
of Grieg’s most famous pieces. Starting
pianissimo in the orchestra’s lowest instruments,
this relentless dance uses one
menacing little melody to build a steady
acceleration and crescendo as the trolls
threaten the intruder.
After his narrow escape from the trolls,
Peer decides it’s time to get out of Norway,
but first he visits home for the last time.
“Åsa’s Death” is the profoundly sorrowful
music for the death of his adored
mother. Built from a simple, poignant
melody, it is scored for strings with mutes
attached to veil their sound.
Though “Morning Mood” may sound
like morning dawning over a Norwegian
fiord, this exquisite lyrical melody actually
depicts sunrise shimmering on the sands
of Northern Africa at the beginning of Act
IV. Anitra is a desert beauty with whom
Peer falls in love; she eventually abandons
Chris Lee
26 Overture | www.bsomusic.org

Program Notes }
him after robbing him of all the riches he
has acquired. She and her companions
perform the “Arabian Dance” to lure
him. Its prominent use of shrill piccolos
and flutes, drums and tambourine makes
use of an exotic style known as “Turkish
music,” which Mozart and Beethoven also
used in several of their scores. Anitra also
performs a solo dance (“Anitra’s Dance”);
pizzicato strings add to the delicacy of this
alluringly feminine music.
At the beginning of Act V, Peer, now a
penniless old man, is returning at last to
his homeland. But the North Sea throws
one of its not uncommon tempests at him,
and he barely escapes with his life. The
brief tone poem “Peer Gynt’s Homecoming:
Stormy Night at Sea” vividly
describes the raging winds and waters.
In Peer’s home village, the devoted
Solveig loves Peer despite his many
faults and has waited patiently over the
decades for his return; at the play’s conclusion,
they are reunited as old people
near death. “Solveig’s Song,” originally
scored for soprano and so characteristic
of Grieg in its gentle melancholy, is a
superb example of the composer’s gifts
as a songwriter.
Instrumentation: Two flutes, two piccolos, two
oboes, two clarinets, two bassoons, four horns,
two trumpets, three trombones, tuba, timpani,
percussion, harp, piano and strings.
Water of Life
Karen Tanaka
Born in Tokyo, Japan, April 7, 1961; now living
in Los Angeles, California
The beautiful, delicately colored music of
Japanese composer Karen Tanaka makes
its Baltimore Symphony debut at these concerts.
Now living in Los Angeles and teaching
composition at the California Institute
of the Arts, Tanaka is a pianist as well as
a composer, and many of her works have
been created for the piano, among them her
recent Our Planet Earth, a series of exquisite
short pieces meditating on aspects of nature
and designed expressly for young pianists.
Indeed, Tanaka’s love of nature and concern
for the environment have influenced
many of her works, including Water of Life,
which was commissioned by the Rochester
Philharmonic and premiered in Rochester
just this past May.
Born in Tokyo, where she began formal
piano and composition lessons as a child,
Tanaka studied composition at Tokyo’s
Gakuen School of Music. In 1986, she
moved to Paris to study with Tristan
Murail and work in electronic music at
IRCAM. The next year, she won the
Gaudeamus Prize at the International
Music Week in Amsterdam. Her works
have been commissioned and performed
by distinguished orchestras and ensembles
worldwide, including the Los Angeles
Philharmonic, the BBC Symphony, the
Finnish Radio Symphony, and the Kronos
and Brodsky quartets.
Karen Tanaka explains Water of Life
as follows:
A SeASon of
Choral Masterworks
2013-14 se ason
Bach B Minor Mass
Sunday, october 27, 2013 at 3 pm
Kraushaar Auditorium at Goucher College
Tom Hall leads the Chorus and Orchestra
and vocal soloists in this beloved masterpiece.
Christmas with Choral Arts
Tuesday, December 10, 2013 at 7:30 pm
Cathedral of Mary our Queen
Tom Hall leads the Chorus and Orchestra
in this festive holiday program.
Sing-Along Messiah
friday, December 20, 2013 at 7:30 pm
Kraushaar Auditorium at Goucher College
Tom Hall will be your guide as you sing
the choruses from Handel’s “Messiah.”
Or just enjoy the surround-sound!
Christmas for Kids
Saturday, December 21, 2013 at 11 am
Kraushaar Auditorium at Goucher College
A holiday family program featuring Ronnie
the Reindeer, Pepito the Clown, and more!
From Madrigals to Musicals
Sunday, March 9, 2014 at 3 pm
Towson United Methodist Church
501 Hampton Lane
Renowned soprano Janice Chandler Eteme
is featured in this program which includes
choral favorites from the 16th century to
the modern musical.
Call 410-523-7070 or visit BaltimoreChoralArts.org
Tom Hall, Music Director
September– October 2013 | Overture 27

{ Program Notes
Dave Hoffmann
“When I was composing Water of
Life, I had two things in mind. The first
is biblical references about ‘water’ and
‘water of life.’ I have served as a church
organist for many years, and verses
about life-giving water have always
inspired me.
“ ‘Then the angel showed me the river
of the water of life, as clear as crystal,
flowing from the throne of God and of
the Lamb … ’—Revelations 22:1
“The second is ‘water’ in nature. I
wanted to project images of various phases
of water and shimmering light with
orchestral sounds. The music gradually
changes just as the water flows continuously
and never in the same phase.
“The beginning of the piece played
by harp and strings suggests the birth
of pure water. The music then flows
freely with a pleasant feeling of pulse.
It gradually grows into turbulence and
muddiness that, in the end, becomes
filtered into purity.
“Water of Life is a prayer for the tsunami
victims in Japan.”
Instrumentation: Two flutes, oboe, English
horn, two clarinets, two bassoons, four horns,
two trumpets, three trombones, percussion,
harp, piano, celesta and strings.
The BSO
Piano Concerto No. 1 in B-flat
Minor, opus 23
Piotr Ilyich Tchaikovsky
Born in Votkinsk, Russia, May 7, 1840; died in
St. Petersburg, Russia, November 6, 1893
If one had to pick one work that epitomizes
the Romantic piano concerto, it
would have to be Tchaikovsky’s First.
Written in 1874–1875, it was the first
Russian piano concerto to enter the
standard concert repertoire, and it has
remained perhaps the most popular
concerto ever written. Even Rachmaninoff’s
celebrated piano concertos
were closely modeled on it.
But the first person to hear it pronounced
it a failure. This was Nikolai
Rubinstein, renowned pianist and
conductor, founder of the Moscow
Conservatory, and usually Tchaikovsky’s
staunch friend and supporter.
Not being a concert pianist himself,
Tchaikovsky had brought the concerto
to Rubinstein on Christmas Eve, 1874
for advice as to how to make the solo
part most effective. This is how the
composer remembered the occasion:
“I played the first movement. Not a
single word, not a single comment!
… I summoned all my patience and
played through to the end. Still silence.
I stood up and asked, ‘Well?’ “
“Then a torrent poured forth from
Nikolai Gregorievich’s mouth … My
concerto, it turned out, was worthless
and unplayable —passages so fragmented,
so clumsy, so badly written as
to be beyond rescue — the music itself
was bad, vulgar —here and there I had
stolen from other composers — only
two or three pages were worth preserving
—the rest must be thrown out or
completely rewritten. … This was censure,
indiscriminate, and deliberately
designed to hurt me to the quick. … ‘I
shall not alter a single note,’ I replied.
‘I shall publish the work exactly as it
stands!’ And this I did.”
Although this episode threw Tchaikovsky
into a depression, he still had
energy and faith enough in his work
to submit the concerto to Hans von
Bülow, a German pianist-conductor as
famous as Rubinstein who was looking
for a new showpiece for his upcoming
American tour. Von Bülow took on the
work with enthusiasm and played its
world premiere on October 25, 1875
in Boston. The Bostonians gave it a
tumultuous reception, and the First
Piano Concerto never looked back.
This is a concerto in which gorgeous,
inventive orchestral writing meets one
of the great virtuoso piano parts of
the repertoire. And it is enriched by a
cornucopia of marvelous Tchaikovskian
melodies, the first of which forms
the introduction to movement one.
Launched by Tchaikovsky’s beloved
horns, it sweeps grandly through the
orchestra. The pianist makes his presence
strongly felt with massive chords
ringing from bottom to top of the
keyboard. This big Romantic opening
eventually fades, and a melody that
most composers would kill for is gone,
never to return.
In the first of several dramatic mood
shifts, the pianist now attacks a quick,
skittish tune, based on a Ukrainian
folksong, which is the movement’s actual
principal theme. In another emotional
shift, clarinets introduce a new melody,
28 Overture | www.bsomusic.org

Center for Performing Arts
International talent. Local venue.
Experience Baltimore County’s Premiere Performing Arts Center
Tchaikovsky
lovely and rather melancholy, which gives
the pianist opportunity to show his poetic
side. After the middle development
section, this melancholy theme appears
again, now soaring rhapsodically.
Movement two rocks gently on a
poignant, lullaby-like theme, introduced
by the flute. Sparkling, high-speed music
fills the movement’s middle section.
Its rollicking tune, introduced by the
violins, is from a French song popular
in Russia at the time, “Il faut s’amuser,
danser et rire” (“One should enjoy
oneself, dance and laugh”). This was a
favorite of the Belgian singer Désirée
Artôt, the only woman Tchaikovsky
ever fell in love with.
The spirited rondo finale features a
dashing refrain theme whose emphatic
rhythms stress the second beat of each
measure. It alternates with a rapturous
waltz melody, introduced by the
violins. A broad concluding coda energetically
combines these themes, with
the waltz ultimately dominating. And
now comes one of the most famous of
all virtuoso piano passages: a flight of
fast double-fisted octaves, sweeping up
and down the keyboard. This leads to
a grand apotheosis of the waltz, before
the pianist and orchestra urge each
other on to a blazing finish.
Instrumentation: Two flutes, two oboes,
two clarinets, two bassoons, four horns,
two trumpets, three trombones, timpani
and strings.
Notes by Janet E. Bedell, Copyright ©2013
David Broza
Fall 2013 season features:
David Broza, Nov. 21
Spanish, Hebrew & English music for the soul
Cinefest, Oct. 3, 6, 9, & 14
Jewish-themed films from around the world
Shirlala, Oct. 20
Mama Doni, Dec. 1
Spirited music
for young families
Visit gordoncenter.com
or call 410-356-7469
Kaleidoscope
Lifelong Learning at
Roland Park Country School
Fall programs for everyone
who enjoys learning!
oã
Expand your horizons!
Language Adventures
Cultural Arts
Culinary Arts
Military History
Fitness Classes
Children/Family Matters
Multi-Day Trips
Book Talks
Technology
Creative Pursuits
For information, please call 410-323-5500, ext. 3091 or
visit us on-line at www.rpcs.org
RPCS • 5204 RoLAnD Avenue • BALTiMoRe, MD 21210
September– October 2013 | Overture 29

{ Program Notes
Joseph Meyerhoff Symphony Hall
Baltimore Symphony Orchestra
Marin Alsop
Music Director • Harvey M. And Lyn P. Meyerhoff Chair
Brahms’ Third Symphony
Friday, October 25, 2013 — 8 p.m.
Saturday, October 26, 2013 — 8 p.m.
Jun Märkl, Conductor
Johannes Moser, Cello
Antonín Dvořák Serenade in E Major, opus 22
moderato
Tempo di valse
Scherzo: Vivace
larghetto
Finale: Allegro vivace
Piotr Ilyich Tchaikovsky Variations on a Rococo Theme, opus 33
JOHANNES MOSER
Intermission
Johannes Brahms Symphony No. 3 in F Major, opus 90
allegro con brio
andante
Poco allegretto
allegro
The concert will end at approximately 9:50 p.m.
DHMH RSA # R24924
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Jun Märkl
Jun Märkl has long
been known as a
highly respected
interpreter of the
core Germanic repertoire from both
the symphonic and operatic traditions,
and more recently for his refined and
idiomatic Debussy, Ravel and Messiaen.
His long-standing relationships at the
state operas of Vienna, Berlin, Munich
and Semperoper Dresden have in recent
years been complemented by his music
directorships of the Orchestre National de
Lyon (2005–2011) and MDR Symphony
Orchestra Leipzig (to 2012). He guests
guest conducts with the world’s leading
orchestras, including: Cleveland Orchestra,
Philadelphia Orchestra, NHK Symphony
Orchestra, Czech Philharmonic,
30 Overture | www.bsomusic.org

Munich Philharmonic, Oslo Philharmonic
and Tonhalle Orchester Zürich.
Märkl is an accomplished recording
artist, having recorded Mahler and the
complete Schumann symphonies live
with the NHK Symphony, Dvořák on
Telarc, Mendelssohn with MDR and
a highly acclaimed nine-disc Debussy
set with ONL on Naxos. In recognition
of his tenure in Lyon and his hugely
successful recordings of French music,
in 2012 he was honoured by the French
Ministry of Culture with the Chevalier
de l’Ordre des Arts et des Lettres.
Jun Märkl last appeared with the BSO
in April 2012, conducting von Weber’s
Euryanthe Overture, Beethoven’s Violin
Concerto with soloist Arabella Steinbacher,
and Schumann’s Symphony No. 3.
Johannes
Moser
Cellist Johannes
Moser has performed
with many of the
world’s leading orchestras, including the
Berlin Philharmonic, New York Philharmonic,
Concertgebouw Orchestra,
Tokyo Symphony and Israel Philharmonic.
He works regularly with conductors
of the highest level including Riccardo
Muti, Lorin Maazel, Zubin Mehta and
Paavo Jarvi. He has also performed with
the Chamber Orchestra of Europe, the
Frankfurt Radio Symphony Orchestra
and will be returning to the Los Angeles
Philharmonic. This season, Moser performs
with the Baltimore Symphony
Orchestra, Deutshces Symphonie-Orchester
Berlin and is making his debut with
the London Philharmonic Orchestra.
Besides performing on his Andrea
Guaneri Cello from the year 1694, Moser
is an enthusiastic advocate for the electric
cello. In 2011, he premiered the electric
cello concerto Magnetar by Enrico Chapela
with the Los Angeles Philharmonic.
Also a dedicated chamber musician,
Moser has performed with Emanuel Ax,
James Ehnes, Midori and Jonathan Biss
and at the Verbier, Colorado and Brevard
music festivals, as well as the Mehta
DON’T MISS THE FREE OPERA MUSICAL PREVIEW! SEPTEMBER 22
LYRIC OPERA BALTIMORE
ARTISTIC DIRECTOR, JAMES HARP
NOVEMBER 1& 3m 2013
Starring JILL GARDNER | DINYAR VANIA | ERIC OWENS | FRANÇOIS LOUP
Featuring THE BALTIMORE SYMPHONY ORCHESTRA
Conducted by STEVEN WHITE | Directed by JAMES HARP
Sung in Italian with English surtitles
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110 W. Mt. Royal Ave, Baltimore
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September– October 2013 | Overture 31

{ Program Notes
The BSO
Dave Harp
Chamber Music Festival. He combines
almost every engagement with either
outreach or masterclasses, reaching out
to young audiences from kindergarten to
college and beyond.
Born into a musical family in 1979 as
a dual citizen of Germany and Canada,
Moser was the top prize winner at the
2002 Tchaikovsky Competition. He
now holds a professorship in Cologne,
Germany. An avid outdoorsman, New
York-based Johannes Moser has crossed
the Alps on his mountain bike.
Johannes Moser is making his
BSO debut.
About the concert:
Serenade for Strings in E Major,
opus 22
Antonín Dvořák
Born in Nelahozeves, Bohemia, now Czech
Republic, September 8, 1841; died in Prague,
May 1, 1904
Written in May 1875,
Dvořák’s gorgeous
Serenade for Strings
reflects the joy of the new
opportunities awaiting him.
Antonín Dvořák might have languished
far longer in Bohemian obscurity had he
not come to the attention of Johannes
Brahms in the mid-1870s. The wellestablished
Brahms was then serving
on a committee to award stipends to
talented but undiscovered composers
living in outlying provinces of the
Austrian Empire. Deeply impressed by
Dvořák’s submitted compositions, he
not only voted for him to receive the
prize money but also went to his own
publisher Simrock to urge that it take
on the young composer. Thus began a
profitable relationship with the Berlin
publishing house, and Dvořák was on
his way to becoming a household name
among European music lovers.
Written in May 1875, Dvořák’s gorgeous
Serenade for Strings reflects the
joy of the new opportunities awaiting
him. There are strong relationships
between this work and Tchaikovsky’s
better-known Serenade for Strings:
both feature an enchanting waltz as a
second movement and both bring back
their beautiful first-movement themes
in closing. But, in fact, Dvořák did it
first, composing his Serenade five years
before Tchaikovsky’s.
Dvořák’s Serenade handsomely
displays two of his finest compositional
gifts. First, as an accomplished string
player himself—for years he supported
his family as principal violist of Prague’s
opera house —he wrote superbly for
string instruments. And, secondly, he
was one of the greatest melodists classical
music has ever produced.
As a demonstration of this, the first
movement, in a relaxed Moderato
tempo, features a principal theme of
32 Overture | www.bsomusic.org

warm, serene loveliness. Moving to C-
sharp minor, the second movement is
a gracefully spinning waltz. Somewhat
surprisingly, its middle or trio section
is more passionate, more emotionally
complex, and— despite moving to a
major key— darker in mood.
In a Vivace tempo, the third movement
is a high-spirited Scherzo, whose
principal theme is chased in canon between
the instruments. A lyrical ascending
melody calms its vigorous dance,
and a soaring trio section also provides
luscious contrast.
Loveliest of all is the wonderful
fourth-movement Larghetto in A
major: a dreaming nocturne that exploits
the richness of string colors to the
fullest. Its quick-silver middle section
resembles Mendelssohn’s fairy music in
his A Midsummer Night’s Dream.
The Allegro vivace finale is the most
rhythmically and thematically playful of
the five movements. It is calmed briefly
during the development section by a
return of the Larghetto’s beautiful theme
in the cellos. But the most important
reprise is that of the first movement’s
serene theme, which brings the Serenade
to a satisfying full-circle close.
Instrumentation: Strings only.
Variations on a Rococo Theme
Piotr Ilyich Tchaikovsky
Born in Votkinsk, Russia, May 7, 1840; died in
St. Petersburg, Russia, November 6, 1893
The year 1876 was one of low spirits for
Tchaikovsky. Restless and irritable, he
traveled about Europe in search of the
creative muse. The first work he finally
wrote late in the year, the tempestuous
tone poem Francesca da Rimini, reflected
his mood, but the one that followed
in December, Variations on a Rocco
Theme for cello and orchestra, certainly
did not. For in this lovely work the
composer retreated to the 18 th -century
world of his favorite composer Mozart
and the quality of balance it always
gave his spirit. “I don’t just like Mozart,
I idolize him,” he wrote a little later to
Reception
Roland Park Place is a unique continuing care retirement
community in the heart of northern Baltimore City.
COMMUNITY
CONCERTS
AT SECOND
2013-2014 CONCERT SEASON
SUNDAYS AT 7:30PM
CHAMBER MUSIC BY CANDLELIGHT
Featuring members of the Baltimore Symphony Orchestra
SEPT
29
2013
Free Post-Concert
Reception
OCT 27
2013
SUNDAYS AT 3:30PM
SEPT 22
2013
Aspen Trio with
Boris Slutsky
OCT 13
2013
Adam Brakel, organ
NOV 10
2013
NOV 24
2013
Alon Goldstein, piano
FREE
TO
ALL
JAN 19
2014
JAN 26
2014
Gramercy Trio
September– October 2013 | Overture 33

Jon Powers u Kathy Bosin
Mid-Shore
Fund Raising
{ Program Notes
Providing strategic
fund raising and development
consulting services to our
region’s most valuable
non-profit organizations.
(443) 875-6500
www.MidShoreFundRaising.com
Brahms
SEPT 22 OCT 20 NOV 24
Valet Seven Days A Week
his patroness Nadezhda von Meck. “Perhaps
it is just because — being a child of
my time — I feel broken and spiritually
out of joint, that I find consolation and
rest in the music of Mozart, music in
which he gives expression to that joy in
life that was part of his sane and wholesome
temperament.”
“Rococo,” from the Italian word for
“shell,” was originally the name for a
shell-like ornament used for interior
decoration in mid-18 th -century palaces;
its popularity eventually gave name to
an entire cultural style of delicate ornamentation
and lightheartedness. Tchaikovsky
adopted the rococo spirit here in
his simple, graceful theme, in the charm
and fancifulness of his variations, and in
the use of a small 18 th -century orchestra,
with only pairs of woodwinds plus
strings to support the cello soloist.
In the seven variations that follow the
cello’s presentation of the theme, Tchaikovsky
sticks closely to the melody so
that we never forget its original shape.
The heart of the work is the lengthy
third variation: a soulful, slow-tempo
song for the cello that is a masterpiece of
heartfelt lyricism. Variation five shows
off the soloist’s virtuosity with chains of
trills, an extremely wide range (Tchaikovsky
emphasizes the cello’s highest
notes throughout this work), and rapid
figurations. The sixth variation moves
into the minor mode with a darkly
melancholy Russian melody, exquisitely
34 Overture | www.bsomusic.org

accompanied by pizzicato strings and
woodwind solos.
Instrumentation: Two flutes, two oboes, two
clarinets, two bassoons, two horns and strings.
The first movement opens
with three rising chords that
spell out F–A (flat)–F,
a personal motto for
Brahms that pervades much
of the symphony.
Symphony No. 3 in F Major
Johannes Brahms
Born in Hamburg, Germany, May 7, 1833; died
in Vienna, Austria, April 3, 1897
Most of the major works of Johannes
Brahms’ maturity were composed in summertime
in beautiful rural settings overlooking
tranquil lakes and alpine peaks.
But during the summer of 1883, his Third
Symphony was written in a more urban
location: a lofty studio overlooking the
German Rhineland city of Wiesbaden.
The urge to create this work had come on
the composer while visiting Wiesbaden
and, rather than lose inspiration traveling
to a vacation retreat, he stayed on.
And there was another compelling reason
to stay: a rich-voiced contralto named
Hermine Spies. Brahms had just met her
and was captivated by her marvelous voice
and vivacious personality. Another of this
confirmed bachelor’s romantic friendships
ensued, even though Fräulein Spies
was young enough to be the 50-year-old
Brahms’ daughter. He wrote many songs
for her, and she became his favorite interpreter
of the Alto Rhapsody.
And so even without mountain views,
the summer of 1883 was a particularly
happy one, and the Third Symphony, his
shortest, was born with ease. The least
often performed of Brahms’ four, it is
his most refined and densely constructed
symphony: one in which he distills the
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September– October 2013 | Overture 35

{ Program Notes
Inspiring the best
in every boy.
OPEN HOUSE
October 20 at 11am
Grades K–12, Parents & Students
THE BOYS’ LATIN SCHOOL
OF MARYLAND
822 West Lake Avenue Baltimore, MD 21210
www.boyslatinmd.com
Chris Lee
The BSO
maximum possibilities from every
motive and theme, even bringing them
back in new guises in later movements.
This sturdy intellectual foundation
is overlaid with some of his loveliest
melodies, clothed in exquisite orchestral
colors. But it is easier for conductors and
orchestras to dazzle audiences with the
other symphonies than with this subtle
creation, all four of whose movements
end quietly.
The first movement opens with
three rising chords that spell out F-A
(flat)-F, a personal motto for Brahms
that pervades much of the symphony.
Years earlier, Brahms and his close
friend, violinist Joseph Joachim, had
experimented with musical mottos
symbolizing their bachelor status.
Joachim’s was F-A-E for “Frei aber
einsam” (“Free but lonely”), and he
soon married. Brahms countered with
F-A-F, “Frei aber froh” (“Free but
happy”). But now in his Third Symphony,
the A has become A-flat, shifting
the F-major home tonality to minor.
Is there perhaps a hint of ambiguity
about his motto as Brahms pays court
to Hermine Spies?
The F-A-F motto spawns a ruggedly
masculine principal theme, striding
across a big range. But soon the music
becomes more subdued and proposes
a romantic waltz, led by clarinet and
bassoon, as the second theme. This
melody is later taken up in the development
section, which also features a
brooding treatment of the first theme
led by the first horn. The movement’s
concluding coda begins big, but surprisingly,
the masculine theme turns
tender and lyrical for a hushed close.
Brahms scholar Malcolm MacDonald
calls the second movement “one of
Brahms’ most inspired sublimations of
folksong style.” Clarinets and bassoons
introduce the principal melody “of
simple gravity and hymn-like seriousness.”
But pay special attention to
the second theme: a melancholy duet
for clarinet and bassoon emphasizing
triplet rhythms and accompanied by a
persistent short-long rhythm; this
music will appear again in the finale.
The movement’s closing coda is exceedingly
beautiful, exploiting the orchestra’s
most diaphanous colors.
Another intermezzo-style movement,
the third-place Poco allegretto,
features one of Brahms’ loveliest tunes,
sung first by the cellos; it is a bittersweet
mix of Romantic yearning and regret so
characteristic of this composer. Brahms
gives it many variants, with radiant
new orchestrations.
The struggle between minor and
major becomes fierce in the sonataform
finale, which resolves all that
has gone before. It opens in F minor
with a mysterious, scurrying theme.
This is followed by a solemn new
version of the clarinet-bassoon duet
theme from movement two. The
development section tackles the first
theme in moods both meditative and
heroic, but most of the drama is saved
for the duet theme, its short-long
rhythm grown monumental. In the
closing coda, this theme is transformed
yet again: played very slowly
in the woodwinds over shimmering
strings. From this miraculously floats
the F-A-F motto and the work’s bold
opening theme; serenely, it ripples
down through the orchestra like a
benediction.
Instrumentation: Symphony No. 3: Two flutes,
two oboes, two clarinets, two bassoons,
contrabasoon, four horns, two trumpets, three
trombones, timpani and strings.
Notes by Janet E. Bedell, Copyright ©2013
36 Overture | www.bsomusic.org

The Baltimore Symphony Orchestra
Symphony fund Honor Roll
April 27, 2012 – June 27, 2013
We are proud to recognize the BSO’s Symphony Fund Members whose generous gifts
to the Annual Fund between April 27, 2012 – June 27, 2013 helped the Baltimore
Symphony Orchestra further its mission: “To make music of the highest quality,
to enhance Baltimore and Maryland as a cultural center of interest, vitality and
importance and to become a model of institutional strength.”
The Century CLub
The BSO is funded by an operating grant from the
Maryland State Arts Council, and agency dedicated to
cultivate a vibrant cultural community where the arts thrive.
The Baltimore Symphony Orchestra is deeply grateful to the individual, corporate, foundation and governmental donors whose cumulative
annual giving of $100,000 or more plays a vital role in sustaining the Orchestra’s magnificent tradition of musical excellence.
Marin Alsop
The Baltimore Orioles
Georgia and Peter Angelos
The Baltimore Symphony Associates
Marge Penhallegon, President
Mayor and City Council of Baltimore
The Citizens of Baltimore County
Joseph and Jean Carando*
BGE
Kenneth W. DeFontes, Jr.
and Donna C. DeFontes
Adalman-Goodwin Foundation
Hilda Perl and Douglas* Goodwin,
Trustees
Hecht-Levi Foundation
Ryda H. Levi* and Sandra
Levi Gerstung
Maryland Department of Business
and Economic Development
Maryland State Arts Council
The Andrew W. Mellon Foundation
Harvey M. Meyerhoff
Joseph & Harvey Meyerhoff
Family Charitable Funds
Robert E. Meyerhoff and
Rheda Becker
Arts and Humanities Council
of Montgomery County and
Montgomery County Maryland
National Endowment
for the Arts
Linda and Stanley* Panitz
PNC
Henry and Ruth Blaustein Rosenberg
Foundation and the Estate of Ruth
Marder*
Howard A. and Rena S. Sugar*
The Whiting-Turner Contracting
Company
Mr. and Mrs. Willard Hackerman
Individuals founders circle
$50,000 or more
The Bozzuto Family Charitable Fund
Jessica and Michael Bronfein
Mr. and Mrs. Mark Joseph
Mr. and Mrs. William Mulligan
Alison and Arnold Richman
Esther and Ben Rosenbloom
Foundation, Michelle G. and
Howard Rosenbloom
Mr. and Mrs. Stephen D. Shawe
Dr. and Mrs. Solomon H. Snyder
Ms. Ellen Yankellow
$25,000 or more
Mr. and Mrs. George L. Bunting, Jr.
Caswell J. Caplan Charitable
Income Trusts, Constance R. Caplan
Mr. and Mrs. Robert Coutts
Dr. Perry A. Eagle*, Ryan M. Eagle, and
Bradley S. Eagle
Sandra Levi Gerstung
Mr. and Mrs. Kingdon Gould
Mr. and Mrs. Benjamin H. Griswold, IV
Mr. Joseph P. Hamper, Jr.*
Mr. Howard Hansen
The Sandra and Fred Hittman
Philanthropic Fund
The Huether-McClelland Foundation
George and Catherine McClelland
David and Marla Oros
Scott Phares and Judy Witt Phares
Dr. and *Mrs. Thomas Pozefsky
Rifkin, Livingston, Levitan
and Silver, LLC
Mr. and Mrs. Alan M. Rifkin
Bruce and Lori Laitman Rosenblum
The Honorable Steven R. Schuh
David and Chris Wallace
Ellen W.P. Wasserman
Individuals maestra’s circle
$15,000 or more
Anonymous (2)
Donna and Paul Amico
Herbert Bearman Foundation, Inc.
Dr. Sheldon and Arlene Bearman
The Dopkin-Singer-Dannenberg
Foundation, Inc.
Mrs. Margery Dannenberg
George and Katherine Drastal
Alan and Carol Edelman
Ms. Susan Esserman and
Mr. Andrew Marks
Sara and Nelson Fishman
Mr. and Mrs. Douglas Hamilton
Michael G. Hansen and
Nancy E. Randa
Barbara Katz
Mr. and Mrs. Stephen M. Lans
Sarellen and Marshall Levine
Hilary B. Miller and
Dr. Katherine N. Bent
Mr. and Mrs. Michael P. Pinto
Arnold and Alison Richman
Mr. George A. Roche
Lainy LeBow-Sachs and
Leonard R. Sachs
Dr. and Mrs. Charles I. Shubin
Richard C. and Julie I. Vogt
Mr. and Mrs. William Wagner
$10,000 or more
Diane Abeloff and Emile A. Bendit
“In honor of Margery Pozefsky”
In memory of James Gavin Manson
Anonymous (4)
A&R Development Corporation
Mr. and Mrs. Douglas Becker
Mr. and Mrs. James Berg
Mr. and Mrs. Ed Bernard
Mr. and Mrs. A.G.W. Biddle, III
Mr. Robert H. Boublitz
Diane and Leland Brendsel
Ms. Kathleen A. Chagnon and
Mr. Larry Nathans
Judith and Mark Coplin
Mr. and Mrs. H. Chace Davis, Jr.
Chapin Davis Investments
Rosalee C. and Richard Davison
Foundation
Mr. and Mrs. Anthony Deering
Mr. and Mrs. James L. Dunbar
Ms. Mary Haub
Mr. and Mrs. H. Thomas Howell
Drs. Riva and Marc Kahn
Dr. and *Mrs. Murray Kappelman
Mrs. Barbara Kines
Mrs. Mary H. Lambert
Therese* and Richard Lansburgh
Dr. and Mrs. Yuan C. Lee
Susan Liss and Family
Mr. and Mrs. Samuel G. Macfarlane
Howard Majev and Janet Brandt Majev
Sally S. and Decatur H. Miller
Drs. Virginia and Mark Myerson
Mr. and Mrs. Bill Nerenberg
Dr. Selvin Passen
Arnold and Diane Polinger
Mrs. Violet G. Raum
Gar and Migsie Richlin
Rona and Arthur Rosenbaum
Alena and David M. Schwaber
The Honorable and Mrs.
James T. Smith, Jr.
Joanne Gold and Andrew A. Stern
Mr. and Mrs. Gideon N. Stieff, Jr.
The Louis B. Thalheimer and Juliet A.
Eurich Philanthropic Fund
The Zamoiski-Barber-Segal Family
Foundation
* Deceased
September– October 2013 | Overture 37

The Baltimore Symphony Orchestra
{ Program Notes
Carolyn Mills and Anne O’Hare join
BSO Contrabassoonist David Coombs
at a donor event in June.
New Governing Members Elizabeth Jones
and Steven Collier at a BSO dinner in
Howard County.
Donors enjoy a pre-concert meal at the last
Allegretto Dinner of the season.
Beverly Sager, Kate Caldwell, and Charles and
Bernice Kelber attend the post-concert reception
after the BSO’s Carnegie Hall performance.
Governing Members
Platinum, $7,500 or more
Ms. Amy Elin Anderson
Deborah and Howard M. Berman
Drs. Sonia and Myrna Estruch
Mr. Walter Budko
Ms. Margaret Ann Fallon
Mrs. Anne Hahn
Mr. William La Cholter
Sayra and Neil Meyerhoff
Dr. and Mrs. Lawrence C. Pakula
Dr. and Mrs. Anthony Perlman
Helene and Bill Pittler
Miss Joan M. Pristas*
Neil J. and JoAnn N. Ruther
Dr. and Mrs.* John H. Sadler
Mr. and Mrs. W. Danforth Walker
Mr. and Mrs. Loren Western
Governing Members
Gold, $5,000 or more
“In Memory of Carole L. Maier,
Artist”
Anonymous (1)
Dr. and Mrs. Thomas E. Allen
Mr. Frederick Apfel and Ms.
Meredith Pattin
Dr. and Mrs.* Wilmot C. Ball, Jr.
Barry D. and Linda F. Berman
John and Bonnie Boland
Steven and Ann Loar Brooks
Ms. Mary Catherine Bunting
Mr. and Mrs. Robert Butler
Mr. and Mrs. Arthur Chomas
Nathan and Suzanne Cohen
Foundation
Mr. and Mrs. Albert R.
Counselman, The RCM&D
Foundation and RCM&D, Inc.
Mr. and Mrs. Bernard Davis
Faith and Marvin Dean
Ronald E. Dencker
Mr. Mark Fetting
Andrea and Samuel Fine
Susan W. Flanigan
John Gidwitz
Mr. Robert Gillison and Ms.
Laura L. Gamble
Sandra and Barry Glass
Frances Goelet Charitable Trust
Dr. and Mrs. Philip Goelet
Betty E. and Leonard H.
Golombek
Sandra and Thomas Hess
Mr. and Mrs. Richard E. Hug*
Susan and David Hutton
Susan and Stephen Immelt
F. Reed and Kathleen Johnson
Beth J. Kaplan and Bruce P. Sholk
Mr. and Mrs. Harry Kaplan
Eileen A. and Joseph H. Mason
Dan and Agnes Mazur
Norfolk Southern Foundation
Drs. William and Deborah
McGuire
Margot and Cleaveland Miller
Jolie and John Mitchell
Elizabeth Moser
Mr. and Mrs. Peter Muncie
Mrs. Joy Munster
Louise and Alvin Myerberg* /
Wendy and Howard* Jachman
Dr. A. Harry Oleynick
Dr. and Mrs. David Paige
Mrs. Margaret Penhallegon
Dr. Todd Phillips and Ms. Denise
Hargrove
Dr. Jonas Rappeport and Alma
Smith
Dr. Scott and Frances Rifkin
Jacob S. Shapiro Foundation
Jane and Stan Rodbell, and
James Shapiro
Dr. John Rybock and Ms. Lee
Kappelman
Dr.* and Mrs. Marvin M. Sager
Mr. and Mrs. J. Mark Schapiro
M. Sigmund and Barbara K.
Shapiro Philanthropic Fund
Francesca Siciliano and Mark
Green
The Sidney Silber Family
Foundation
Mr. and Mrs. Harris J. Silverstone
Melissa and Philip Spevak
Ms. Patricia Stephens
Dr. and Mrs. Carvel Tiekert
Mr. and Mrs. Peter Van Dyke
Mr. Edward Wiese
Susan Wolman
Aaron and Joanie Young
Laurie S. Zabin
Danielle and Jeffrey Zoller
Governing Members
Silver, $2,500 or more
“In memory of John T.
Ricketts, III”
“In memory of Reverend Howard
G. Norton and Charles O.
Norton”
Anonymous (4)
Dr. and Mrs. Robert J. Adams
Julianne and George Alderman
Mr. and Mrs. Edward J. Adkins
Ms. Susan Angell
Mr.* and Mrs. Alexander
Armstrong
Jackie and Eugene Azzam
Mr. and Mrs. Thomas H.G.
Bailliere, Jr.
Susan and David Balderson
Ms. Penny Bank
Donald L. Bartling
Dr. and Mrs. Theodore M.
Bayless
Mr. and Mrs. Stanley Ber
Max Berndorff and
Annette Merz
Alan and Bunny Bernstein
Dr. and Mrs. Mordecai P.
Blaustein
Mr. James D. Blum
Dr. and Mrs. Paul Z. Bodnar
Ms. Carol Bogash
Robert L. Bogomolny and
Janice Toran
Carolyn and John Boitnott
Mr. and Mrs. John M. Bond, Jr.
Ava Lias-Booker and Earl Booker
Dr. Helene Breazeale
Dr. Rudiger and Robin
Breitenecker
Mr. and Mrs. Thomas H.
Broadus, III
Dr. and Mrs. Donald D. Brown
Laura Burrows
Loretta Cain
Mr. and Mrs. S. Winfield Cain
Campbell & Company
James N. Campbell M.D. and
Regina Anderson M.D.
Cape Foundation
Turner and Judy Smith
Michael and Kathy Carducci
Mr. and Mrs. Arthur Chomas
Ms. Susan Chouinard
Geri and David Cohen
Mr. Harvey L. Cohen and Ms.
Martha Krach
Mrs. Miriam M. Cohen and Dr.
Martin Taubenfeld
Joan Piven-Cohen and Samuel T.
Cohen
Dr. and Mrs. Stephen P. Cohen
Mr. and Mrs. Elbert Cole
Wandaleen and Emried Cole
Mr. and Mrs. John W. Conrad, Jr.
David and Ellen Cooper
Mrs. Rebecca M. Cowen-Hirsch
Mr. and Mrs. William H.
Cowie, Jr.
Alan and Pamela Cressman
Michael R. Crider
Mr. and Mrs. Edward A.
Dahlka, Jr.
Dr. and Mrs. Cornelius Darcy
Mr. and Mrs. William F. Dausch
Dr. Karlotta M. Davis
Richard A. Davis and Edith
Wolpoff-Davis
James H. DeGraffenreidt and
Mychelle Y. Farmer
Kari Peterson, Benito R.
and Ben DeLeon
Ms. Geraldine Diamond
Drs. Susan G. Dorsey and
Cynthia L. Renn in honor of
Doris A. and Paul J. Renn, III
Mr. and Mrs. A. Eric Dott
Dr. and Mrs. Daniel Drachman
Mr. and Mrs. Larry D. Droppa
Bill and Louise Duncan
Mr. and Mrs. Laurence Dusold
The Eddie C. and C. Sylvia
Brown Family Foundation
Donna Z. Eden and
Henry Goldberg
Michaeline Fedder and Susan
Arisman
Mr. and Mrs. Maurice R. Feldman
Mr. Stephen W. Fisher
Winnie and Bill Flattery
Dr. and Mrs. Jerome L. Fleg
Ms. Lois Flowers
Mr. and Mrs. John C. Frederick
Mr. and Mrs. Kenneth Freed
Jo Ann and Jack Fruchtman, Jr.
John Galleazzi and Elizabeth
Hennessey
Constance A. Getzov
Mrs. Ellen Bruce Gibbs
Mr. and Mrs. Joseph S.
Gillespie, Jr.
Mr. Louis Gitomer
Evee and Bertram Goldstein
Brian and Gina Gracie
Mrs. Ann Greif
Dr. Diana Griffiths
William and Barbara Gross
Ms. Mary Therese Gyi
Carole Hamlin and C. Fraser
Smith
Mr. Gary C. Harn
Mr. James F. Hart
Melanie and Donald Heacock
Mr. John Healy
Mr. and Mrs. Edward Heine
Mr. Thomas Hicks
Betty Jean and Martin* S.
Himeles, Sr.
Barbara and Sam Himmelrich
Gina and Daniel Hirschhorn
Bruce and Caren Beth Hoffberger
Ms. Marilyn J. Hoffman
Betsy and Len Homer
Mr. and Mrs. J. Woodford
Howard, Jr.
Mr. and Mrs. A.C. Hubbard, Jr.
Donald W. and Yvonne M.
Hughes
Mr. and Mrs. William Hughes
Elayne and Benno Hurwitz
Mrs. Wendy Jachman
Dr. Richard T. Johnson
Richard and Brenda Johnson
Carrie Johnston
Susan B. Katzenberg
Louise and Richard Kemper
Kent Family Foundation
Suzan Russell Kiepper
Mr. and Mrs. Young Kim
Ms. Deborah Kissinger
Mr. Richard Kitson
Mr. Daniel Klein
Dr. and Mrs. Richard A. Kline
Paul and Susan Konka
Dr. Morton D. Kramer
Ms. Patricia Krenzke and Mr.
Michael Hall
Miss Dorothy B. Krug
Mrs. Elaine Lebar
Sandy and Mark Laken
Dr. and Mrs. Donald Langenberg
Andrew Lapayowker and Sarah
McCafferty
The Lavagnino Family
Anna and George Lazar
Claus Leitherer and Irina
Fedorova
Receive discounts to BSO performances or at the Symphony store and An Die Musik!
Become a member and receive exclusive benefits. Calll 410.783.8124 or email membership@BSOmusic.org
38 Overture | www.bsomusic.org

Symphony fund Honor Roll
Ruth and Jay Lenrow
Dr. Harry Letaw, Jr. and Mrs.
Joyce W. Letaw
Mr. Richard W. Ley
Mr. and Mrs. Vernon L. Lidtke
Dr. Frances and Mr. Edward
Lieberman
Darielle and Earl Linehan
Ms. Louise E. Lynch
Louise D. and Morton J. Macks
Family Foundation, Inc.
Genine Macks Fidler
and Josh Fidler
Dr. Frank C. Marino Foundation
Diane and Jerome Markman
Mr. and Mrs. Abbott Martin
Donald and Lenore Martin
Dr. Marilyn Maze and Dr.
Holland Ford
Drs. Edward and Lucille
McCarthy
Mrs. Kenneth A. McCord
Mr. and Mrs. Scott A.
McWilliams
Paul Meecham and Laura Leach
John Meyerhoff, MD and Lenel
Srochi-Meyerhoff
Sheila J. Meyers
Judy and Martin Mintz
Northern Pharmacy and
Medical Equipment
Jacqueline and Sidney W. Mintz
Ms. Patricia J. Mitchell
Drs. Dalia and Alan Mitnick
Mr. and Mrs. Charles O. Monk, II
Dr. and Mrs. C.L. Moravec
Dr. Mellasenah Y. Morris
Mr. and Mrs. Rex E. Myers
Roy and Gillian Myers
Phyllis Neuman, Ricka Neuman
and Ted Niederman
David Nickels and Gerri Hall
Mr. and Mrs. Roger F.
Nordquist
In memory of the Rev Howard G.
Norton and Charles O. Norton
Number Ten Foundation
Kevin and Diane O’Connor
Drs. Erol and Julianne Oktay
Ms. Margaret O'Rourke and Mr.
Rudy Apodaca
Mrs. Bodil Ottesen
Mr. and Mrs. Frank Palulis
Ellen and Stephen* Pattin
Drs. Hans Pawlisch and Takayo
Hatakeyama
William and Kathleen Pence
Beverly and Sam Penn
Mr. and Mrs. James Piper
Peter E. Quint
Ms. Nancy Kohn Rabin
Reverend and Mrs. Johnny
Ramsey
Mr. and Mrs. Frederick
Rheinhardt
Nathan and Michelle Robertson
Mr. and Mrs. Richard Roca
Stephen Root and Nancy Greene
Mr. and Mrs. Charles Rowins
Robert and Leila Russell
Norm and Joy St. Landau
Ilene and Michael Salcman
Dr. Henry N. Sanborn
Ms. Doris Sanders
Lois Schenck and Tod Myers
Marilyn and Herb* Scher
Carol and James Scott
Cynthia Scott
Ida & Joseph Shapiro Foundation
and Diane and Albert* Shapiro
Mr. Stephen Shepard
Dr. and Mrs. Ronald F. Sher
Mr. Thom Shipley and Mr.
Christopher Taylor
Francine and Richard Shure
Dr. and Mrs. Frederick Sieber
Drs. Ruth and John Singer
Ellwood and Thelma Sinsky
David and Lesley Punshon-Smith
Ms. Leslie J. Smith
Ms. Nancy E. Smith
Mr. and Mrs. Lee M. Snyder
Dr. and Mrs. John Sorkin
Dr. and Mrs. Charles S. Specht
Joan and Thomas Spence
Anita and Mickey Steinberg
Mr. Edward Steinhouse
James Storey and Janice Collins
Mr. and Mrs. Dale Strait
Ms. Harriet Stulman
Susan and Brian Sullam
Mr. and Mrs. Robert Taubman
Dr. Ronald J. Taylor
Mr. and Mrs. Terence Taylor
Ms. Susan B. Thomas
Paul and Karen Tolzman
Dr. Jean Townsend and Mr.
Larry Townsend
In Memory of Jeffrey F. Liss,
Dr. and Mrs. Henry Tyrangiel
Martha and Stanley Weiman
Mr. and Mrs. David Weisenfreund
Ms. Beverly Wendland and Mr.
Michael McCaffery
Mr. and Mrs. Christopher West
Ms. Camille B. Wheeler and Mr.
William B. Marshall
Ms. Louise S. Widdup
Mr. and Mrs. Barry F. Williams
Mr. and Mrs. T. Winstead, Jr.
Laura and Thomas Witt
Mr. and Mrs. Richard Wolven
Drs. Yaster and Zeitlin
Chris and Carol Yoder
Mr. and Mrs. Aaron Young
Mr. and Mrs. Michael Young
Dr. and Mrs. Robert E. Zadek
Symphony Society
Gold, $1,500 or more
David and Ursula Unnewehr
“In memory of Laurel Jean
Unnewehr”
Mrs. Frank A. Bosworth Jr.
“In honor of Marin Alsop”
Anonymous (3)
George and Frances Alderson
Robert and Dorothy Bair
Monsignor Arthur W. Bastress
Patricia and Michael J. Batza, Jr.
The Becker Family Fund
Mr. and Mrs. John W. Beckley
Dr. Robert P. Burchard
Mr. and Mrs. John Carey
Marilyn and David Carp
Ms. Dawna Cobb and Mr. Paul
Hulleberg
Mr. and Mrs. Jonas M.L. Cohen
Dr. and Mrs. Robert A. Cordes
Nicholas F. Diliello
Ms. Lynne Durbin
Mrs. Nancy S. Elson
Deborah and Philip English
Kenneth and Diane Feinberg
Mr. Ken French
Mr. and Mrs. Leland Gallup
Mr. and Mrs. Stanford Gann, Sr.
Mr. Jonathan Gottlieb
Sandra and Edward J. Gutman
Mr.* and Mrs. E. Phillips
Hathaway
Mr. and Mrs. George B. Hess, Jr.
Dr. Helmut Jenkner and Ms.
Rhea I. Arnot
Mr. Max Jordan
Gloria B. and Herbert M.
Katzenberg Fund
Ms. Margaret F. Keane
Colonel William R. Lee
Ms. Gail G. and F. Landis
Markley
The Estate of Ms. Lauretta R.
Maisel
Mr. and Mrs. Jordon Max
Mrs. Anne Miller
Mr. Charles Miller
Mrs. Mildred S. Miller
Ms. Marita Murray
Howard Needleman
Mr. and Mrs. Robert C. Neiman
Ms. Irene E. Norton and Dr.
Heather T. Miller
Steven and Sherri O'Donnell
Mr. and Mrs. Thomas Parr
Mr. and Mrs. Richard Parsons
Mrs. J. Stevenson Peck
Mr. and Mrs. Stephen Petrucci
Mr. and Mrs. John Brentnall
Powell
Thomas Powell, M.D.
Mr. Charles B. Reeves, Jr.
Ms. Dorothy Reynolds
Margaret and Lee Rome
Joellen and Mark Roseman
Dr. and Mrs. Saul D. Roskes
Mr.* and Mrs. Nathan G. Rubin
John B. Sacci and Nancy Dodson
Sacci
Beryl and Philip Sachs
Mrs. Barbara K. Scherlis
Ronnie and Rachelle Silverstein
Ms. Sandra Sundeen
Mr. and Mrs. Richard Swerdlow
Ms. Joan Wah and Ms. Katherine
Wah
Mr. Charles E. Walker
Janna Wehrle
Mr. and Mrs. Sean Wharry
Dr. and Mrs. E.F. Shaw Wilgis
Dr. Richard Worsham and Ms.
Deborah Geisenkotter
Symphony Society
Silver, $1,000 or more
Dr. John Boronow and Ms.
Adrienne Kols
“In memory of John R.H. and
Charlotte Boronow”
Anonymous (6)
Mr. and Mrs. Ronald Abrams
Virginia K. Adams and Neal M.
Friedlander, M.D.
David and Bonnie Allan
Mr. Paul Araujo
Mr. and Mrs. Maurice Arsenault
Leonard and Phyllis Attman
Mrs. Jean Baker
Balder Foundation
Dr. and Mrs. Bruce Barnett
Mr. and Mrs. Charles Berry, Jr.
Mr. and Mrs. Albert Biondo
Mr. Roy Birk
Mr. and Mrs. John Blodgett
Mr. and Mrs. Charles R. Booth
Ms. Elizabeth W. Botzler
Mr. and Mrs. Harry H. Boublitz
David E. and Alice R. Brainerd
M. Susan Brand and John Brand
Shirley Brandman and Howard
Shapiro
Dr. and Mrs. Mark J. Brenner
Barbara and Ed Brody
Jean B. Brown
Mr. Robert Brown
Ms. Elizabeth J. Bruen
Ms. Jeanne Brush
Membership Benefits
2013–2014 season
A contribution to the Baltimore Symphony Orchestra
qualifies you to special events and exclusive opportunities
to enhance your BSO experience throughout the season:
$75+ Bach Level Members
• Two complimentary tickets to the Annual Donor Appreciation Event (R)
• Opportunity to purchase tickets prior to public sale*
• BSO Membership Card – 10% discount on music, books and gifts
at the Symphony Store and An Die Musik
• Invitation to one Open Rehearsal (R)
$150+ Beethoven Level Members
All of the above, plus…
• Invitation to an additional Open Rehearsal (R)
• Two complimentary drink vouchers
$250+ Brahms Level Members
All of the above, plus…
• 10% discount on tickets to BSO performances*
• Two additional complimentary tickets to the Annual Donor
Appreciation Event (R)
$500+ Britten Level Members
All of the above, plus…
• Invitation to the Premium “Evening” Open Rehearsal (R)
• Donor recognition in one issue of Overture magazine
• Two additional complimentary drink vouchers
• Four complimentary dessert vouchers
• Invitation to Opening Night Celebration Cast Party (R)
• NEW! Exclusive access to Musician Appreciation Events
$1,000+ Symphony Society Members
All of the above, plus…
• Invitations to all Cast Parties, featuring BSO musicians and guest artists (R)
• Year-long donor recognition in Overture magazine
• Two complimentary passes to the Baltimore Symphony Associates’
Decorators’ Show House
• Two one-time passes to the Georgia and Peter G. Angelos
Governing Members Lounge
• Invitation to Season Opening Gala (R/$)
• Invitation to a Musicians’ Appreciation Event
• NEW! Reduce rates for select BSO events
$2,500+ Governing Members
All of the above, plus…
• Invitations to Governing Members On-Stage Rehearsals (R)
• Governing Member exclusive pre-concert Allegretto Dinners (R/$)
• Complimentary parking upon request through the Ticket Office
• Season-long access to the Georgia and Peter G. Angelos
Governing Members Lounge
• VIP Ticket Concierge service including complimentary ticket exchange
• Opportunity to participate in exclusive Governing Member
trips and upcoming domestic tours (R/$)
• Candlelight Conversations, intimate pre-concert dinners
with stars from the BSO family (R/$)
• Invitation to join Music Director Marin Alsop and Board Chairman
at the BSO Electoral Meeting
• Priority Box Seating at the Annual Donor Appreciation Concert
$5,000+ Governing Members Gold
All of the above, plus…
• Complimentary copy of upcoming BSO recording signed
by Music Director (one per season)
• Exclusive events including Meet & Greet opportunities with BSO musicians
and guest artists
$10,000+ Maestra’s Circle
All of the above, plus…
• Exclusive and intimate events catered to this special group including
post-concert receptions with some of the top artists in the world who
are performing with the BSO
• Formal Salon Dinner- Be our guests at the Springtime Soiree:
Chamber Music & Dinner with Maestra Alsop & the BSO.
Enjoy an Exclusive Maestra Circle event at a very special location.
• One complimentary use of the GM Lounge facilities for hosting
personal or business hospitality events ($)
Support BSO and make a donation today!
Email membership@BSO music.org
or Call 410.783.8124
(R) Reservation required $ Admission Fee * Some and concerts excluded
September– October 2013 | Overture 39

The Baltimore Symphony Orchestra
Bohdan and Constance Bulawka
Mrs. Edward D. Burger
Dr. and Mrs. Arthur L. Burnett
Mr. and Mrs. Bradley Callahan
Mr. and Mrs. David Callahan
Ms. Judy Campbell
Ms. Marla Caplan
Mr. and Mrs. Claiborn Carr
Mr. James T. Cavanaugh, III
Mr. David P. Chadwick and Ms.
Rosalie Lijinsky
Carey and Ann Cohen
John and Donna Cookson
Ms. Claudia Copeland
Mr. and Mrs. Charles C.
Counselman, Jr.
Ms. Sally Craig
Mr. and Mrs. Reagan Miller
Crawford
Mr. and Mrs. Jeffrey Crooks
Mr. James Daily
Mr. David O. Dardis
Mr. and Mrs. Thomas Darr
Mr. and Mrs. William C. Dee
Reverend and Ms. DeGarmo
Dr. and Mrs. Thomas DeKornfeld
Dr. Alfred J. DeRenzis
Mr. and Mrs. Mathias J. DeVito
Walter B. Doggett, III
Mrs. Marcia K. Dorst
Dr. Sylvester Dziuba
Mr. and Mrs. Stuart Elsberg and
the Elsberg Family Foundation
Mr. John Farrell
Mr. Roy Ferguson
Mr. and Mrs. Arthur Flach
Dr. Charles W. Flexner and Dr.
Carol Trapnell
Ms. Patricia Foerster
Dr. and Mrs. William Fox
Kenneth Frank
Virginia K. Adams and Neal M.
Friedlander, M.D.
Ms. Ethel W. Galvin
Mr. George Garmer
Mr. and Mrs. Austin George
Mr. Ron Gerstley and Ms. Amy
Blank
Dr. and Mrs. Frank A.
Giargiana, Jr.
Mr. Price and Dr. Andrea Gielen
Dr. and Mrs. Morton Goldberg
Mr. Bruce Yale Goldman
Mr. David A. Goldner
Patrick and Catherine Goles
Ms. Judith A. Gottlieb
Mr. Alexander Graboski
Robert Greenfield
Donna and Gary Greenwald
Mr. Charles H. Griesacker
Ms. Fredye Wright Gross
Mary and Joel Grossman
Mr. and Mrs. Stuart Grossman
Mr. and Mrs. Donald Gundlach
Ms. Stephanie Hack
Kenneth and Arlene Haddock
Ms. Louise A. Hager
Ms. Faith Hagerty
Ms. Mary Hambleton
Ms. Gloria Shaw Hamilton
Ms. Paulette Hammond
Dr. and Mrs. S. Elliott Harris
Alexander Harvey, II
Mr. Loring Hawes
Mr. David Heckman
Lloyd Helt and Ruth Gray
Dr. Stephen L. Hilbert
Mr. and Mrs. Martin Himeles
Dr. R. Gary Hollenbeck
Mr. Herbert H. Hubbard
Ms. Elizabeth Huttar
Drs. Paul and Deborah
Young-Hyman
Mr. and Mrs. Scott Jacobs
Ms. Cecilia Januszkiewicz and Mr.
M. Albert Figinski
Dr. Helmut Jenkner and Ms.
Rhea I. Arnot
Ann H. Kahan
Elizabeth Kameen
Leon and Mary Buckley Kaplan
Mrs. Harry E. Karr*
Richard M. Kastendieck and Sally
J. Miles
Mr. Andrew Klein
George and Catherine Klein
Barbara and Marcel Klik
Mr. and Mrs. Stewart Kohl
Mr. and Mrs. Lawrence Koppelman
Dr. and Mrs. Jeffrey Kremen
Francine and Allan Krumholtz
Mr. Charles Kuning
Ms. Bonnie D. Kutch
Dr. and Mrs. James LaCalle
Ms. Rebecca Lawson
Mr. Peter Leffman
Mr. and Mrs. Charles F. Legters
Nkiambi J. Lema
Mr. Ronald P. Lesser
Len and Cindy Levering
Bernice and Donald S. Levinson
Dr. and Mrs. Bernard Levy
Ms. Joanne Linder
Mr. and Mrs. K. Wayne Lockard
Drs. David and Sharon Lockwood
Mr. and Mrs. Arthur Lynch
Ms. Mary MacDonald
Susan J. Mathias
Mrs. Linda M. McCabe
McCarthy Family Foundation
Mr. Chris McGeachy
Ms. Michael R. McMullan
Mr. Richard C. McShane
David and Betty Meese
Mr. Timothy Meredith
Mr. Alan Merenbloom
Daniel and Anne Messina
Benjamin Michaelson, Jr.
Mr. and Mrs. Gary Miller
Caroline B. Mills and Dr. John A.
Snyder
Noah and Carol C. O'Connell
Minkin
Lester and Sue Morss
Mr. Howard Moy
Dr. William W. Mullins
Ms. Marita Murray
Jessica and David Nizamoff
Anne M. O'Hare
Mr. Garrick Ohlsson
Mrs. S. Kaufman Ottenheimer
Ms. Janet Parente
Dr. and Mrs. Arnall Patz
Dr. and Mrs. Frederick Pearson
Mr. and Mrs. Morton B. Plant
Robert E. and Anne L. Prince
The Progress Family
Foundation Inc.
Dr. and Mrs. Richard Radmer
Dr. G. Edward Reahl, Jr.
Mr. Arend Reid
Mr.and Mrs. B. Preston Rich
Mr. Thomas Rhodes
Mr. and Mrs. Thomas P. Rice
Preston and Pamela Rich
Carl and Bonnie Richards
Mrs. Randall S. Robinson
Margaret and Lee Rome
Ann and Frank Rosenberg
Mr. and Mrs. Robert Rosenberg
Colonel Joseph H. Rouse
Mr. and Mrs. Gilbert Sandler
Mr. and Mrs. Benjamin Schapiro
Mr. and Mrs. Albert S.
Schlachtmeyer
Ronald and Cynthia Schnaar
Dr. Deborah Schwengel
Ronald and Cathi Shapiro
Mr. and Mrs. Robert W. Sharp
Ms. Martha K. Shelhoss
Mr. and Mrs. Daniel Shykind
Elizabeth A. Skinner
Mr. and Mrs. Robert Smelkinson
Mr. and Mrs. Miles T. Smith
Mr. and Mrs. Norman Smith
Mr. and Mrs. Scott Smith
Karen and Richard Soisson
Mr. and Mrs. Jeffrey L. Staley
Mr. Allan E. Starkey
Herb and Constance Stiles
Mr. and Mrs. Bruce Stuart
Mrs. Janis Swan
Mr. Brenan Swartz
Lisa Tate
Patricia Thompson and Edward
Sledge
Reid and Elizabeth Thompson
William and Rosemary Toohey
Dr. Robert E. Trattner
Mr. and Mrs. David Traub
Mr. and Ms. August Treff
Dr. and Mrs. Eli Velder
Robert and Sharonlee Vogel
Mr. Richard Wachter
Ms. Mary Frances Wagley
Mr. and Mrs. Kent Walker
Dr. Philip D. Walls
Dr. Robert F. Ward
Marilyn and David
Warshawsky
Mr. and Mrs. Jay Weinstein
Drs. Susan and James Weiss
Mr. John Hunter Wells
Mrs. Margaret Wheeler
Dr. Barbara White
Mr. Michael White
Jennifer and Leonard Wilcox
Fred and Judy Wilpon
Dr. and Mrs. Donald E. Wilson
Mr. John W. Wood
Dr. S. Lee Woods
Dr. Richard Worsham and Ms.
Deborah Geisenkotter
Ms. Anne Worthington
Ms. Jean Wyman
Upcoming Member Events
Opening Night
Cast Party
Friday, September 20
Immediately following
the performance
Symphony Society Silver Members
and higher ($1,200+)
Celebrate the opening of our season
after the BSO performs
Rimsky-Korsakov’s Scheherazade
and Tchaikovsky’s 1812 Overture!
Join Maestra Marin Alsop and the
U.S. Navy Band Sea Chanters
Chorus in the Meyerhoff Lounge.
On-Stage Rehearsal
Thursday, October 17
1:15pm Light refreshments
2pm Rehearsal
Governing Members Silver
and higher ($3,000+)
Sit beside your favorite musicians
as the Orchestra rehearses
Tchaikovsky’s Piano Concerto No. 1,
with Arild Remmereit conducting
and Nobuyuki Tsujii on piano.
Allegretto Dinner
Saturday, October 26
6pm Cocktails
6:30pm Dinner
in The Second Space
Symphony Society Gold Members
and higher ($2,000+), $50 per person
Featuring more BSO musicians and
a reduced price this concert season!
Join us for an evening of cocktails
and appetizers, an elegant dinner,
and your favorite BSO musicians
prior to the performance of
Brahms’ Third Symphony.
Events subject to change. Please RSVP to MemberEvents@BSOmusic.org or 410.783.8074.
40 Overture | www.bsomusic.org

Symphony fund Honor Roll
Drs. Paul and Deborah
Young-Hyman
Dr. and Mrs. Jeffrey Zaller
Corporations
$10,000 or more
American Trading & Production
Corporation
Bank of America
Beltway Fine Wines
DLA Piper US LLP
IWIF
Macy’s Foundation
Saul Ewing LLP
Travelers Foundation
Wells Fargo Foundation
$25,000 or more
Paul M. Angell Family
Foundation
Jacob and Hilda Blaustein
Foundation
The Morris and Gwendolyn
Cafritz Foundation
Ann and Gordon Getty
Foundation
The Goldsmith Family
Foundation, Inc.
Peggy & Yale Gordon Trust
Young Artist Sponsor
The William J. and Dorothy
O’Neill Foundation
The Salmon Foundation
Corporate SPonsors
$100,000 or more
$5,000 or more
D. F. Dent & Company
Venable Foundation
Zuckerman Spaeder LLP
$2,500 or more
Ellin + Tucker, Chartered
Federal Parking, Inc.
Georgetown Paper Stock of
Rockville
S. Kann Sons Company
Foundation
Amelie and Bernei Burgunder
The Washington Post
$1,000 or more
Constantine Commercial
Construction
Eagle Coffee Company, Inc.
Eyre Bus, Tour & Travel
Gailes’ Violin Shop
Harford Mutual Insurance
Companies
Johns Hopkins University
Independent Can Company
J.G. Martin Company, Inc.
Mercer
PSA Insurance and Financial
Services
Rosenberg Martin Greenberg, LLP
SC&H Group, LLC
Towson University
Von Paris Moving & Storage
Foundations
$50,000 or more
William G. Baker, Jr. Memorial
Fund, Creator of the Baker
Artist Award
www.bakerartistawards.org
The Hearst Foundation, Inc.
Hecht-Levi Foundation
Ryda H. Levi* and Sandra
Levi Gerstung
Ensign C. Markland Kelly, Jr.
Memorial Foundation
The Andrew W. Mellon
Foundation
Joseph & Harvey Meyerhoff
Family Charitable Funds
Henry and Ruth Blaustein
Rosenberg Foundation and the
Estate of Ruth Marder*
The Sheridan Foundation
The Charles T. Bauer Foundation
The Kenneth S. Battye
Charitable Trust
“In Honor of
Kenneth S. Battye*”
$10,000 or more
Anonymous (1)
The Arts Federation
Baltimore Women’s
Giving Circle
Clayton Baker Trust
Bunting Family Foundation
Ruth Carol Fund
The Annie E. Casey
Foundation
Deering Family Foundation
Degenstein Foundation
The Getty Education and
Community Investment Grant
Program, Supported by The
League of American Orchestras
and The Ann and Gordon
Getty Foundation
Francis Goelet Charitable Lead
Trusts
Hoffberger Foundation
Betty Huse MD Charitable Trust
Foundation
John J. Leidy Foundation, Inc.
The Letaw Family Foundation
Macht Philanthropic Fund of the
AJC
Cecilia Young Willard Helping
Fund
Clark Winchcole Foundation
Wright Family Foundation
$5,000 or more
Anonymous (1)
Cameron and Jane Baird
Foundation
The Charles Delmar Foundation
Helen P. Denit Charitable Trust
Edith and Herbert Lehman
Foundation, Inc.
Rogers-Wilbur Foundation, Inc.
Ronald McDonald House
Charities of Baltimore, Inc.
Jim and Patty Rouse Charitable
Foundation
$2,500 or more
ALH Foundation, Inc.
The Campbell Foundation, Inc.
The Eddie C. and C. Sylvia
Brown Family Foundation
Dr. Nathan H. Carliner Fund of
the BCF
The Aaron Copland Fund for
Music
Margaret O. Cromwell
Family Fund
The Harry L. Gladding
Foundation
Israel and Mollie Myers
Foundation
Judith and Herschel Langenthal
Jonathan and Beverly Myers
$1,000 or more
Anonymous (1)
ACMP Foundation
Baltimore Community
Foundation
Dimick Foundation
The Ralph & Shirley Klein
Foundation, Inc.
Ethel M. Looram Foundation, Inc.
Rathmann Family Foundation
Government Grants
Mayor and City Council of
Baltimore
The Citizens of Baltimore County
Carroll County Government
& the Carroll County
Arts Council
Commonweal Foundation Fund
of The Community Foundation
for the National Capital Region
The Family League of Baltimore
City, Inc.
$50,000 or more
$25,000 or more
Howard County Government &
the Howard County Arts
Council
Maryland State Arts Council
Maryland State Department
of Education
Arts and Humanities Council
of Montgomery County
National Arts and Humanities
Youth Program
National Endowment for the Arts
Maryland Department of Business
and Economic Development
Endowment
The BSO gratefully
acknowledges the generosity
of the following donors who
have given Endowment Gifts
to the Sustaining Greatness and /
or the Heart of the Community
campaigns.
Anonymous (6)
Diane and Martin* Abeloff
AEGON USA
Alex. Brown & Sons Charitable
Foundation
Dr. and Mrs. Thomas E. Allen
Eva and Andy Anderson
Anne Arundel County Recreation
and Parks Department
William G. Baker, Jr. Memorial
Fund
Mr. H. Furlong Baldwin
Baltimore Community
Foundation
Baltimore County Executive,
County Council, and
the Commission on Arts
and Sciences
The Baltimore Orioles
Georgia and Peter Angelos
The Baltimore Symphony
Associates,
Marge Penhallegon, President
Patricia and Michael J. Batza, Jr.
Henry and Ruth Blaustein
Rosenberg Foundation
The Jacob and Hilda Blaustein
Foundation
Mr. and Mrs. Bruce I. Blum
Dr. and Mrs. John E. Bordley*
Jessica and Michael Bronfein
Mr. and Mrs. George L.
Bunting, Jr.
Laura Burrows
Dr. and Mrs. Oscar B.* Camp
Carefirst BlueCross BlueShield
CitiFinancial
Attend OUR EXCLUSIVE MEMBER EVENTS!
Become a member and receive exclusive benefits. Calll 410.783.8124 or email membership@BSOmusic.org
September– October 2013 | Overture 41

Symphony fund Honor Roll
The Baltimore Symphony Orchestra
Legato Circle
Marge Penhallegon
“I decided to include the BSO
in my estate plans because
I feel strongly that music
education needs to be provided
for all children now, and in the
future —for my grandchildren,
and for their children.”
Growing up in Philadelphia, Marge enjoyed the wonderful Philadelphia
Orchestra under Eugene Ormandy with her parents and grandmother.
These concerts made a strong impression on Marge and started her
life-long love of music. At Shenandoah University, Marge majored in music
education, and was recruited to Baltimore County Public Schools to teach
in the Towson area. She brought her elementary students to hear the BSO
often at various local high schools and later, the Lyric.
While raising a family of her own, Marge became involved with the BSO
Music for Youth programs, and began working with BSO narrator and Board
member Rheda Becker to help shape the programs for children. For the past
25 years, Marge has been active with the Education Committee, and since
2000, she has enjoyed being active in the Baltimore Symphony Associates,
serving as Symphony Decorators’ Show House Chair and beginning her
third year as President. Recently retired from her career as a music educator
and consultant, Marge is able to focus fully on her three grandchildren and
love of music.
Make a Musical Difference
in the Lives that Follow
We welcome the opportunity to discuss your philanthropic goals in concert
with your family needs and today’s financial challenges.
For further information, or to let us know you have included
the BSO in your will or trust, please contact
Katharine H. Caldwell, Director of Philanthropic Services
at 410 . 783 . 8087 or kcaldwell@BSOmusic.org.
Constellation
Mr. and Mrs. William H.
Cowie, Jr.
Richard A. Davis and Edith
Wolpoff-Davis
Rosalee C. and Richard Davison
Foundation
Mr. L. Patrick Deering*, Mr. and
Mrs. Albert R. Counselman,
The RCM&D Foundation
and RCM&D, Inc.
DLA Piper Rudnick Gray
Cary US LLP
Carol and Alan Edelman
Dr. and Mrs. Robert Elkins
Deborah and Philip English
Esther and Ben Rosenbloom
Foundation
France-Merrick Foundation
Ramon F.* and Constance A.
Getzov
John Gidwitz
The Goldsmith Family
Foundation, Inc.
Joanne Gold and Andrew A. Stern
Jody and Martin Grass
Louise and Bert Grunwald
H&S Bakery
Mr. John Paterakis
Harford County
Hecht-Levi Foundation
Ryda H. Levi* and Sandra Levi
Gerstung
Betty Jean and Martin* S.
Himeles, Sr.
Hoffberger Foundation
Howard County Arts Council
Harley W. Howell Charitable
Foundation
The Huether-McClelland
Foundation
Mr. and Mrs. Richard E. Hug
Independent Can Company
Beth J. Kaplan and Bruce P. Sholk
Dr. and Mrs. Murray M.
Kappelman
Susan B. Katzenberg
Marion I. and Henry J. Knott
Scholarship Fund
The Zanvyl and Isabelle
Krieger Fund
Anne and Paul Lambdin
Therese* and Richard Lansburgh
Sara and Elliot* Levi
Bernice and Donald S. Levinson
Darielle and Earl Linehan
Susan and Jeffrey* Liss
Lockheed Martin
E. J. Logan Foundation
M&T Bank
Macht Philanthropic Fund
of the AJC
Mrs. Clyde T. Marshall
Maryland Department of Business
& Economic Development
The Maryland State Arts Council
MD State Department of
Education
McCarthy Family Foundation
McCormick & Company, Inc.
Mr. Wilbur McGill, Jr.
MIE Properties, Inc.
Mr. Edward St. John
Mercantile-Safe Deposit & Trust
Joseph & Harvey Meyerhoff
Family Charitable Funds
Sally and Decatur Miller
Ms. Michelle Moga
Louise and Alvin Myerberg* /
Wendy and Howard* Jachman
National Endowment for the Arts
Mr. and Mrs. Bill Nerenberg
Mrs. Daniel M. O’Connell
Mr. and Mrs. James P. O’Conor
Stanley* and Linda Hambleton
Panitz
Cecile Pickford and John MacColl
Dr. Thomas and *Mrs. Margery
Pozefsky
Mr. and Mrs. T. Michael Preston
Alison and Arnold Richman
The James G. Robinson Family
Mr. and Mrs. Theo C. Rodgers
Mr. and Mrs. Randolph S.
Rothschild*
The Rouse Company Foundation
Nathan G.* and Edna J. Rubin
The Rymland Foundation
S. Kann Sons Company
Foundation, Inc.
B. Bernei Burgunder, Jr.
Dr. Henry Sanborn
Saul Ewing LLP
Mrs. Alexander J. Schaffer
Mr. and Mrs. J. Mark Schapiro
Eugene Scheffres and
Richard E. Hartt*
Mrs. Muriel Schiller
Dorothy McIlvain Scott*
Mrs. Clair Zamoiski Segal and Mr.
Thomas Segal
Ida & Joseph Shapiro Foundation
and Diane and Albert Shapiro
Mr. and Mrs. Earle K. Shawe
The Sheridan Foundation
Richard H. Shindell and Family
Dr. and Mrs. Solomon H. Snyder
The St. Paul Companies
Barbara and Julian Stanley
T. Rowe Price Associates
Foundation, Inc.
The Alvin and Fanny Blaustein
Thalheimer Guest Artist Fund
Alvin and Fanny B. Thalheimer
Foundation, Inc.
TravelersGroup
The Aber and Louise Unger Fund
Venable LLP
Wachovia
Robert A. Waidner Foundation
The Whiting-Turner Contracting
Company
Mr. and Mrs. Willard
Hackerman
Mr. and Mrs. Jay M. Wilson / Mr.
and Mrs. Bruce P. Wilson
The Zamoiski-Barber-Segal Family
Foundation
* Deceased
42 Overture | www.bsomusic.org

Symphony fund Honor Roll
The Baltimore Symphony Orchestra
Board of Directors & Staff
Board of Directors
Officers
Chairman
Kenneth W. DeFontes, Jr.*
Secretary
Kathleen A. Chagnon, Esq.*
Vice Chair
Lainy LeBow-Sachs*
President and CEO
Paul Meecham*
Treasurer
The Honorable Steven R. Schuh*
Board Members
A.G.W. Biddle, III
Barbara M. Bozzuto*
Constance R. Caplan
Robert B. Coutts
Alan S. Edelman*
Susan G. Esserman*
Michael G. Hansen*
Murray M. Kappelman, M.D.
Stephen M. Lans
Sandra Levi Gerstung
Ava Lias-Booker, Esq.
Susan M. Liss, Esq.*
Howard Majev, Esq.
Liddy Manson
Hilary B. Miller
David Oros
Marge Penhallegon †
President, Baltimore Symphony
Associates
Michael P. Pinto
Cynthia Renn †
Governing Members Chair
Scott Rifkin, M.D.
Ann L. Rosenberg
Bruce E. Rosenblum*
Stephen D. Shawe, Esq.
The Honorable James T. Smith, Jr.
Solomon H. Snyder, M.D.*
Andrew A. Stern
William R. Wagner
Jeffrey Zoller †
Chair, Baltimore Symphony Youth
Orchestras
Life Directors
Peter G. Angelos, Esq.
Willard Hackerman
H. Thomas Howell, Esq.
Yo-Yo Ma
Harvey M. Meyerhoff
Decatur H. Miller, Esq.
Linda Hambleton Panitz
Directors Emeriti
Barry D. Berman, Esq.
Richard E. Hug
M. Sigmund Shapiro
Chairman
Laureate
Michael G. Bronfein
Calman J. Zamoiski, Jr.
Board of Trustees
Baltimore Symphony Endowment
Trust
Benjamin H. Griswold, IV
Chairman
Terry Meyerhoff Rubenstein
Secretary
Michael G. Bronfein
Kenneth W. DeFontes, Jr.
Mark R. Fetting
Paul Meecham
The Honorable Steven R. Schuh
Calman J. Zamoiski, Jr.
* Board Executive Committee
† Ex-Officio
Staff
Paul Meecham
President and CEO
Leilani Uttenreither
Executive Assistant
John Verdon
Vice President and CFO
Eileen Andrews
Vice President of Marketing
and Communications
Carol Bogash
Vice President of Education
and Community Engagement
Dale Hedding
Vice President of Development
Matthew Spivey
Vice President of Artistic Operations
ARTISTIC
OPERATIONS
Toby Blumenthal
Manager of Facility Sales
Tiffany Bryan
Manager of Front of House
Patrick Chamberlin
Artistic Coordinator
Anna Harris
Operations Assistant
Chris Monte
Assistant Personnel Manager
Tabitha Pfleger
Director of Operations and Facilities
Marilyn Rife
Director of Orchestra Personnel
and Human Resources
Meg Sippey
Artistic Planning Manager and Assistant
to the Music Director
DEVELOPMENT
Megan Beck
Donor Stewardship Coordinator
Adrienne Bitting
Development Assistant
Allison Burr-Livingstone
Director of the BSO Campaign
for the Second Century
Kate Caldwell
Director of Philanthropic Services
Stephanie Johnson
Manager of Annual Giving,
BSO at Strathmore
Joanne M. Rosenthal
Director of Major Gifts,
Planned Giving and
Government Relations
Valerie Saba
Institutional Giving Coordinator
Rebecca Sach
Director of the Annual Fund
Richard Spero
Community Liaison for BSO
at Strathmore
EDUCATION
Nicholas Cohen
Director of Community Engagement
Annemarie Guzy
Director of Education
Larry Townsend
Education Assistant
OrchKids
Dan Trahey
Artistic Director
Nick Skinner
OrchKids Manager
Rafaela Dreisin
OrchKids Site Coordinator
Kassandra Lord
OrchKids Site Coordinator
Baltimore Symphony
Youth Orchestras
Ken Lam
Artistic Director and Conductor of YO
MaryAnn Poling
Conductor of CO
Michael Gamon
Conductor of SO
Alicia Kosack
Operations Manager
FACILITIES
OPERATIONS
Shirley Caudle
Housekeeper
Bertha Jones
Senior Housekeeper
Curtis Jones
Building Services Manager
Ivory Miller
Maintenance Facilities
FINANCE
and INFORMATION
TECHNOLOGY
Sarah Beckwith
Director of Accounting
Sophia Jacobs
Senior Accountant
Janice Johnson
Senior Accountant
Evinz Leigh
Administration Associate
Chris Vallette
Database and Web Administrator
Donna Waring
Payroll Accountant
Jeff Wright
Director of Information Technology
MARKETING
and PUBLIC
RELATIONS
Rika Dixon
Director of Marketing and Sales
Laura Farmer
Public Relations Manager
Derek A. Johnson
Manager of Single Tickets
Bryan Joseph Lee
Direct Marketing Coordinator
Alyssa Porambo
PR and Publications Coordinator
Adeline Sutter
Group Sales Manager
Elisa Watson
Graphic Designer
TICKET SERVICES
Amy Bruce
Director of Ticket Services
Timothy Lidard
Manager of VIP Ticketing
Juliana Marin
Senior Ticket Agent for Strathmore
Peter Murphy
Ticket Services Manager
Michael Suit
Ticket Services Agent
Thomas Treasure
Ticket Services Agent
BALTIMORE
SYMPHONY
ASSOCIATES
Marge Penhallegon
President
Florence McLean
Secretary
Barbara Kelly
Treasurer
Kitty Allen
Parliamentarian
Winnie Flattery
Immediate Past President
Kitty Allen
Vice President, Communications
Regina Hartlove
Vice President, Education
Louise Higgins
Vice President, Meetings/Programs
Barbara Dent
Vice President, Recruitment/
Membership
Sandy Feldman
Vice President, Special Services/Events
Larry Albrecht
Vice President, Symphony Store
Louise Reiner
Office Manager
Theresa Kopasek
Marketing and PR Associate
September– October 2013 | Overture 43

{ Impromptu
Laura Farmer
Rheda Becker
BSO Narrator
For generations, she’s been the voice
of the orchestra.
As 40 bright-yellow school buses lined the street outside
the Meyerhoff, hundreds of chattering, wide-eyed
children began to pour into the concert hall. As the lights
dimmed, the din of little voices coming from the more
than 2,000 elementary school students gave way to an
expectant silence and a warm, friendly voice was heard
over the loudspeakers: “Good morning and welcome to
the Joseph Meyerhoff Symphony Hall. I'm Rheda Becker
and it is my pleasure to be your narrator this morning.”
It’s a line that Becker has had a little while to perfect—
this season, the BSO’s beloved narrator celebrates her
40th anniversary.
“I’ve seen and done so many interesting things with the
BSO throughout these past 40 years,” says Becker.
This list of “interesting things” includes touring with
the orchestra to what was then East Germany and
preparing regular trip updates for NPR’s All Things
Considered, serving on the Education Committee,
supporting the OrchKids program, and narrating
more than 1,500 concerts, including everything from
major classical works and the Oregon Ridge outdoor
programs to the youth concerts for which today’s
audiences know her best.
In fact, it was Prokofiev’s sprightly Peter and the Wolf, a
perennial youth-concert favorite, that initially piqued
Becker’s interest in narration. “As a young child, I got a
recording of Prokofiev’s Peter and Wolf and fell in love
with it. I always dreamt of being the person who narrated
this work.” And she worked hard to realize that dream.
“I decided to go to Peabody to study narration. You
see, nobody studied that at the time; narrators were
merely actors or radio or television personalities. So I
crafted my own program.”
The dream came true in 1974 when former BSO
Music Director Sergiu Comissiona was made aware
of her work and in 1974 invited Becker to narrate
Prokofiev’s vivid Peter and the Wolf.
In addition to being the BSO’s narrator, Becker
was one of the early supporters of the BSO’s
OrchKids program. Shown with Becker are
Alexia Redd on bass, Aaron Palmer on saxophone,
Keyona Carrington on clarinet, Lowrider James
on tuba, and Marvin Jones-Tobin on violin.
And eventually, she gained some rather animated costars.
“Now, we perform the work with the Bob Brown
Puppets. Their delightful antics work perfectly with the
music. This past season, the Bob Brown Puppets and I
celebrated our 100th performance with the BSO! But
no matter how many times I perform Peter and the Wolf,
I still find the music enchanting. I remain under its spell.”
Mitro Hood
44 Overture | www.bsomusic.org

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