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november/december 2013He’sONESingularSensationBaltimore SymphonyOrchestra celebrates<strong>the</strong> musical genius ofMarvin Hamlisch,<strong>the</strong> late principalpops conductor andcomposer<strong>inside</strong>:StrathmoreArtists Say it in a SongThe NationalPhilharmonicAn emotionalLost ChildhoodWashingtonPer<strong>for</strong>ming Arts SocietyYuri Temirkanov and <strong>the</strong>St. Petersburg Philharmonic

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On The CoverMarvin Hamlisch, <strong>the</strong> late principalpops conductor of <strong>the</strong>Baltimore Symphony Orchestra.preludeApplause at Strathmore november/december 201334program notesNov. 122 / Strathmore: TravisTrittNov. 723 / Strathmore: LuisBravo’s Forever TangoNov. 826 / BSO: Off <strong>the</strong>Cuff—The PlanetsNov. 929 / The NationalPhilharmonic: LostChildhoodNov. 1433 / BSO SuperPops:Chris BottiNov. 1534 / Strathmore: AnEvening With Amy TanNov. 1635 / BSO: War RequiemNov. 2340 / The NationalPhilharmonic: Verdi’sRequiemNov. 2945 / Strathmore: ClassicAlbums Live—Sgt.Pepper’s Lonely HeartsClub BandNov. 3046 / Strathmore:Michael McDonald—This Christmas, An Eveningof Holiday & Hits35 14 20Dec. 147 / Strathmore: BostonBrass and <strong>the</strong> Brass All-Stars Big Band With <strong>the</strong>Strathmore Children’sChorus—A Stan KentonChristmasDec. 450 / Strathmore: Teatro<strong>all</strong>a Scala AcademyOrchestraDec. 552 / Strathmore: CrystalGayle and Lee GreenwoodDec. 753 / BSO: The FourSeasonsDec. 1256 / BSO: HolidayCirque MusicaDec. 1357 / Strathmore: SpanishHarlem Orchestra—Salsa NavidadDec. 14 and 1558 / The NationalPhilharmonic: Handel’sMessiahDec. 2162 / Strathmore: The IrishTenors—The PremiereHoliday Celebration TourDec. 2266 / The National Philharmonic:WashingtonSymphonic Brassfeatures8 Nobody Does it BetterBSO pays homage to Marvin Hamlisch’s musical genius10 Joyful & TriumphantConcerts rec<strong>all</strong> past holiday memories and create new ones12 Humanity and <strong>the</strong> HolocaustLost Childhood is a tale of pain, loss and redemption14 Nellie on a RollThere’s lots to share in Strathmore’s Say it in a Song16 Cirque-ular MotionSwing in <strong>for</strong> a high-flying blend of seasonal music and circus acts17 The Simple LifeThe BSO’s Philip Munds set sail <strong>for</strong> an uncluttered life18 An Emotional CrescendoThe National Philharmonic Chorale takes on powerful works20 Cultural ExchangesYuri Temirkanov uses music to unite nationsdepartments4 Musings of Strathmore CEO Eliot Pfanstiehl4 A Note from BSO Music Director Marin Alsop6 Calendar: January and February per<strong>for</strong>mancesmusician rosters27 Baltimore Symphony Orchestra31 National Philharmonic Orchestra and Chorale2 applause at Strathmore • november/december 2013

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[January/February]WED., FEB. 12, 8 P.M.Washington Per<strong>for</strong>ming ArtsSocietySt. Petersburg PhilharmonicSAT., FEB. 15, 8 P.M.Baltimore Symphony OrchestraTchaikovsky’s PathétiqueGilbert Varga, conductorJonathan Carney, violinBerlioz: Roman Carnival OvertureSaint-Saëns: Violin Concerto No. 3Tchaikovsky: Symphony No. 6 “Pathétique”Gilbert Varga leads <strong>the</strong> magnificent“Pathétique” Symphony, and BSO ConcertmasterJonathan Carney per<strong>for</strong>msSaint-Saëns’ Violin Concerto No. 3.Sci-Fi-EttesExplore strange, new worlds with hostGeorge Takei. Selections will be fromStar Trek, E.T., Somewhere in Time,Star Wars and more.Yuri TemirkanovYuri Temirkanov, music directorProkofiev: Violin Concerto No. 2Rachmaninoff: Symphony No. 2“...<strong>the</strong> St. Petersburg Philharmonicspilled <strong>for</strong>th music in <strong>the</strong> purest<strong>for</strong>m possible—straight from eachscore’s soul and into <strong>the</strong> hearts oflisteners.”(The Washington Post)SUN., FEB. 16, 7 P.M.Strathmore presentsNewport Jazz FestivalSAT., FEB. 22, 8 P.M.The National PhilharmonicBrian Ganz Chopin ProjectChopin, <strong>the</strong> StorytellerChopin: 4 Mazurkas, Op. 17Variations brillantes in B-flat Major,Op. 12Nocturne in C minor, Op. 48, No. 1B<strong>all</strong>ade No. 4 in F minor, Op. 52Nocturne in F-sharp minor, Op. 48,No. 2Mazurka in D major [Op. Posth.]Mazurka in A minor, “Notre temps”2 Waltzes, Op. 69Prelude in C-sharp minor, Op. 45Scherzo in E Major, Op. 54Brian Ganz returns with his fourthChopin recital in his journey to per<strong>for</strong>m<strong>all</strong> of <strong>the</strong> composer’s works.THURS., FEB. 13, 8 P.M.Strathmore presentsGuitar Passions:Sharon Isbin, guitar;Stanley Jordan, jazz guitar;Romero Lubambo, BrazilianguitarGuitarists Sharon Isbin, Stanley Jordanand Romero Lubambo—collaboratorson Isbin’s 2011 album, Guitar Passions—explore new horizons in music.FRI., FEB. 14, 8 P.M.Strathmore presentsMarcus Johnson and <strong>the</strong>Urban Jam BandCo-presented with Blues AlleyThe self-taught Johnson, in his Strathmoredebut, jazzes up Valentine’s Day.Participating musicians include clarinetistAnat Cohen, jazz vocalist KarrinAllison, Grammy-winning trumpeterand Anat flugelhornist Cohen Randy Brecker, hardbop and soul-jazz guitarist MarkWhitfield, jazz pianist Peter Martin,drummer Clarence Penn and doublebassist Larry Grenadier.WED., FEB. 19, 8 P.M.Strathmore presentsKrasnoyarsk National DanceCompany of SiberiaThis vibrant dance company promisesa “high-energy spectacle, dazzlinggymnastic feats, dancers that seemto float across <strong>the</strong> stage, folk musicon au<strong>the</strong>ntic instruments and lots ofhumor” (Tampa Bay Times).SUN., FEB. 23, 4 P.M.Strathmore presentsThe Legendary Count BasieOrchestraFeaturing New York VoicesThe Count Basie Orchestra and NewYork Voices reunite to combine <strong>the</strong>best of <strong>the</strong> big band and jazz vocalists.WED., FEB. 26, 8 P.M.Strathmore presentsPilobolusPILOBOLUS PHOTO BY JOHN KANETHURS., FEB. 20, 8 P.M.BSO SuperPopsSci-Fi Spectacular!Jack Everly, conductorGeorge Takei, narrator and hostKristen Plumley, sopranoThe dance company’s eerily beautifuland witty <strong>for</strong>mations and movements,contortionist gymnastics and inventiveworks make lifelong fans.applause at Strathmore • november/december 2013 7

RBaltimore Symphony ORchestraNobody Does itbetterBSO celebrates <strong>the</strong> genius of <strong>the</strong> lateprincipal pops conductor and renownedcomposer Marvin HamlischBy Virginia MyersWhen colleagues, fans and friends describe MarvinHamlisch, <strong>the</strong> late composer and conductor whowrote <strong>the</strong> soundtrack to a generation of movies and Broadwayhits, <strong>the</strong> praise is extravagant.That’s no surprise, given his impact on <strong>the</strong> American songbook.Signature tunes such as “The Way We Were” and “One”percolate through <strong>the</strong> collective consciousness from moviesand plays such as The Way We Were and A Chorus Line. Eventhose who don’t recognize his name can hum <strong>the</strong> melodies hepenned —“The Entertainer,” “What I Did For Love,” “NobodyDoes It Better.”The Baltimore Symphony Orchestra will play several of<strong>the</strong>se gems in a tribute to its <strong>for</strong>mer pops conductor in MarvinHamlisch: One Singular Sensation at 8 p.m. Thursday, Jan. 23 at<strong>the</strong> Music Center at Strathmore.For current Principal Pops Conductor Jack Everly, <strong>the</strong> concertwill be especi<strong>all</strong>y poignant. Hamlisch was a huge influenceon his career: Hamlisch selected Everly to conduct his productionsThey’re Playing Our Song, A Chorus Line and The GoodbyeGirl. Everly reveres <strong>the</strong> composer’s sense of melody particularly,and his ear <strong>for</strong> translating drama and character. Workingwith him, says Everly, “was always a joy.”Baltimore Symphony OrchestrapresentsMarvin Hamlisch:One Singular SensationThursday, Jan. 23, 8 P.M.Hamlisch’s talent was widely admired: He was one of just 11artists who have claimed <strong>the</strong> “EGOT” title, having earned atleast one Emmy, Grammy, Oscar and Tony. In addition, Hamlischwon a Pulitzer <strong>for</strong> A Chorus Line.Those who have worked with Hamlisch also cite attributesthat have nothing to do with red carpets and acceptancespeeches: among <strong>the</strong>m, loyalty, generosity and humor. PresidentBill Clinton, at Hamlisch’s funeral last year, declared him“a goodhearted, humble and hilarious genius.”“He was <strong>the</strong> most generous, big-hearted person, and unassuming,”says Gregory Tucker, who became close friends with Hamlischwhen Hamlisch was <strong>the</strong> BSO’s principal pops conductorin <strong>the</strong> late 1990s and Tucker was <strong>the</strong> BSO’s vice president of8 applause at Strathmore • november/december 2013

BSO SuperPops2013-2014In addition to <strong>the</strong> tribute,Marvin Hamlisch: One SingularSensation, <strong>the</strong> BaltimoreSymphony Orchestra’s SuperPopsseason at <strong>the</strong> Music Center atStrathmore includes:Trumpeter Chris Botti,8 p.m. Thursday, Nov. 14(please note that <strong>the</strong> BSO does notper<strong>for</strong>m on this program)Sci-Fi Spectacular,8 p.m. Thursday, Feb. 20Stayin’ Alive: One Night of <strong>the</strong>Bee Gees,8 p.m. Thursday, March 27All That Jazz: A SymphonicCelebration of Kander and Ebb,8 p.m. Thursday, May 15public relations and community affairs. Even late in Hamlisch’scareer, Tucker rec<strong>all</strong>s, Hamlisch kept taking on one commitmentafter ano<strong>the</strong>r. <strong>Look</strong>ing at Hamlisch’s schedule a couple ofyears ago—including responsibilities as pops conductor in Seattle,San Diego, Pittsburgh, Buffalo and Washington, D.C.—Tucker told his friend, “You’re like some pops conductor tryingto make it! You don’t realize you’re Marvin Hamlisch!”Hamlisch got an early start sounding out tunes on <strong>the</strong> pianoat age 5. He became Juilliard’s youngest student at age 7. Byage 21, Hamlisch had his first hit, “Sunshine, Lollipops andRainbows,” which was No. 13 on <strong>the</strong> Billboard charts in 1965.He broke into Broadway as <strong>the</strong> rehearsal pianist and arranger<strong>for</strong> Funny Girl, starring Barbra Streisand, <strong>the</strong> same year. Hissignature versatility and musical prowess led him to composemore than 40 motion picture scores and eight musical <strong>the</strong>aterscores, and give countless per<strong>for</strong>mances as a conductor, a pianist,and with an array of collaborators.Hamlisch was also an expert at funny, and played straightman to Groucho Marx in <strong>the</strong> 1970s. As a single per<strong>for</strong>merhe loved to chat with audiences, frequently asking <strong>for</strong> wordsor phrases from fans, <strong>the</strong>n using <strong>the</strong>m to spontaneously composeand play a song. The results were hilarious—but music<strong>all</strong>ysolid. “His musical instincts were always spot on, he just knewwhat worked and what didn’t work,” says Tucker.Everly agrees. “He was always attuned to <strong>the</strong> soul of what<strong>the</strong> song or <strong>the</strong> scene was truly about,” he says. “Only someonelike Marvin could check his ego at <strong>the</strong> door and choose [Scott]Joplin or [Johann] Pachelbel over his own significant compositionalabilities. He inherently knew <strong>the</strong>ir <strong>the</strong>mes were <strong>the</strong> perfectchoices to convey <strong>the</strong> emotions and tones in The Sting andOrdinary People.”Hamlisch was active to <strong>the</strong> end: In <strong>the</strong> last year of his life,he opened <strong>the</strong> musical The Nutty Professor, based on <strong>the</strong> JerryLewis character, and finished scoring Behind <strong>the</strong> Candelabra, abiopic about Liberace, featuring Michael Douglas and MattDamon.At his funeral, luminaries from Liza Minnelli to RichardGere, Candice Bergen and Brian Stokes Mitchell joined hundredsof o<strong>the</strong>rs to pay tribute. A 600-member volunteer chorussang “The Way We Were,” “like a hymn,” says Tucker, whoflew to New York from his home in <strong>the</strong> Ne<strong>the</strong>rlands to attend<strong>the</strong> service.“We won’t ever see someone like Marvin again, I’m sure,” saysTucker. “But <strong>the</strong> memories that he gave us will long endure.” applause at Strathmore • november/december 2013 9

“The concert will be interactive,” she says coyly.“But a good parrandero makes it always a surprise.”A good jazz band, on <strong>the</strong> o<strong>the</strong>r hand, makes it a mixtureof holiday hot and cool. Baritone saxophonist BradLinde brings <strong>the</strong> 17-piece Bohemian Caverns Jazz Orchestrato <strong>the</strong> Mansion <strong>for</strong> three per<strong>for</strong>mances on Sunday,Dec. 8, and he’s confident that this big band, celebratingits third consecutive Bohemian Christmas atStrathmore, will cover <strong>all</strong> <strong>the</strong> bases.Linde has, after <strong>all</strong>, associated jazz with <strong>the</strong> holidayseason ever since he was a kid in Elon, N.C., and attendeda per<strong>for</strong>mance of Duke Ellington’s arrangementof Tchaikovsky’s The Nutcracker.“It was a very powerful show,” he remembers, “andit re<strong>all</strong>y captured <strong>the</strong> holiday spirit. I always said thatwhen I had a big band I’d like to play Ellington’s Nutcracker,and that’s become a tradition.”It’s no coincidence, Linde figures, that <strong>the</strong> BohemianCaverns Jazz Orchestra has released only one CD so far:a collection of Christmas songs.“Most bands don’t start out recording that way,” hesays, adding that <strong>the</strong> centerpiece of <strong>the</strong> show is builtaround <strong>the</strong> Ellington Nutcracker and original arrangementsby band members.“The whole idea is in <strong>the</strong> balance,” says Linde, “balancebetween hot and cool players; between <strong>the</strong> upbeat,emotional provocative side and <strong>the</strong> contemplative,reflective side.”The reflective side of <strong>the</strong> holiday rush can befound in <strong>the</strong> candlelight and introspection of Hanukkah,if you ask Eleanor Epstein, founder and conductorof Zemer Chai: The Jewish Community Choir ofWashington.“By <strong>the</strong> time I sing at Strathmore [on Wednesday,Dec. 11 and Sunday, Dec. 15] Hanukkah will be longover,” Epstein points out, noting that this year <strong>the</strong> JewishFestival of Lights f<strong>all</strong>s <strong>the</strong> same week as Thanksgiving.So when Zemer Chai visits <strong>the</strong> Mansion <strong>for</strong>its Festival of Lights, she envisions a “re-celebration, apotpourri.”“Everybody’s lighting lights <strong>for</strong> one reason or ano<strong>the</strong>rat this time of year,” laughs Epstein. Ra<strong>the</strong>r than commemorating<strong>the</strong> battle won by Judah Maccabee, shesays, it’s <strong>all</strong> about <strong>the</strong> miracle of <strong>the</strong> oil that <strong>all</strong>owed adesecrated temple to be purified and dedicated.“Hanukkah means re-dedication; ano<strong>the</strong>r kind ofrebirth.”And <strong>the</strong> music that celebrates that rebirth?“Jews live <strong>all</strong> over <strong>the</strong> world,” says Epstein. “Andwherever <strong>the</strong>y live <strong>the</strong>y sing. This is real ‘world music.’“It’s a beautiful tapestry.”The Irish TenorsThe Holidays at StrathmoreMichael McDonaldThis Christmas: An Evening ofHoliday & HitsSaturday, Nov. 30, 8 p.m.Music CenterA Stan Kenton Christmas:Boston Brass and <strong>the</strong> BrassAll-Stars Big BandWith <strong>the</strong> Strathmore Children’sChorusSunday, Dec. 1, 4 p.m.Music CenterCrystal Gayle & Lee GreenwoodCountry ChristmasThursday, Dec. 5, 8 p.m.Music CenterBohemian Caverns JazzOrchestraSunday, Dec. 8, 3, 5 and 7 p.m.MansioneZemer Chai: The JewishCommunity Choir ofWashingtonWednesday, Dec. 117:30 p.m. (this per<strong>for</strong>mance is sold out)and Sunday, Dec. 15, 7 p.m.MansionSpanish Harlem Orchestra:Salsa NavidadFriday, Dec. 13, 8 p.m.Music CenterCoral CantigasWednesday, Dec. 18, 7:30 p.m.MansionAir Alumni: Integriti ReevesChristmas Jazz StandardsFriday, Dec. 20, 11 a.m.MansionThe Irish TenorsWright • Kearns • TynanThe Premiere Irish HolidayCelebration TourSaturday, Dec. 21, 4 and 8 p.m.Music CenterFor more in<strong>for</strong>mation orto purchase tickets, c<strong>all</strong>(301) 581-5100 or visit www.strathmore.org.feapplause at Strathmore • november/december 2013 11

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RstrathmoreNellie on a RollSinger-songwriter-actor Nellie McKay has lotsto say, and she’ll surely share during Strathmore’snew series Say it in a SongNellie McKay has a story to tell, andit starts with A Hard Day’s Night.“I saw it in New York, in a movie <strong>the</strong>ater,”says McKay, who wasn’t even bornyet when John Lennon died but has apenchant <strong>for</strong> <strong>the</strong> art of earlier eras. “AndI immediately had to get a job as a per<strong>for</strong>mer,so I got hired as a singing pianoplayer at <strong>the</strong> Stonew<strong>all</strong> Bistro.”That Stonew<strong>all</strong>, yes.“It lasted <strong>for</strong> a while,” she says. Butshe was, and still is, a per<strong>for</strong>mance artist,and o<strong>the</strong>r stages c<strong>all</strong>ed.To hear McKay—rhymes with sky—tell it, becoming an artist was a circuitousjaunt with <strong>the</strong> Fab Four <strong>for</strong> inspiration(Beatles engineer Geoff Emerickproduced her debut double album, 2004’sGet Away From Me). Growing up obsessedwith movie stars from <strong>the</strong> 1940s,doing stand-up comedy in dive bars,dropping out of The Manhattan Schoolof Music, getting a record deal while shewas still a teenager, per<strong>for</strong>ming at <strong>the</strong>music and film festival South By Southwestand ending up on Broadway inThreepenny Opera with Alan Cummingand Cyndi Lauper—<strong>all</strong> of it is just part ofsome long and winding road.One that leads to <strong>the</strong> Mansion atStrathmore on Thursday, Jan. 9, whereMcKay will per<strong>for</strong>m in Strathmore’snew cabaret series, Say it in a Song.“Nellie typic<strong>all</strong>y plays in bigger venues,”says Georgina Javor, Strathmore’sdirector of programming. “But wewanted to celebrate <strong>the</strong> Great AmericanSongbook, and that’s not just Gershwin,Irving Berlin and Rogers andNellie McKayBy Chris SlatteryHammerstein. It’s contemporary popartists, too, creating <strong>the</strong>ir own canon.”And so, inspired by an earlier partnershipwith Signature Theatre, Strathmoreis turning over <strong>the</strong> 100-seat musicroom in <strong>the</strong> Mansion to artists includingMcKay, Strathmore favorite JuliaNixon, multiple Helen Hayes Awardwinner Natascia Diaz and Gabriel Kahane,who will per<strong>for</strong>m original songswith Bon Iver’s Rob Moose.“It’s re<strong>all</strong>y diverse,” says Javor. “Withpeople like Nastacia, who will show us<strong>the</strong> roles she could have played, <strong>the</strong>songs she could have sung. And JuliaNixon’s tribute to Carole King, whojust won <strong>the</strong> [2013 Library of Congress]Gershwin prize: we thought it would betimely to explore that incredible, incrediblesongbook. So <strong>the</strong> new seriesis very expansive in its definition ofAll per<strong>for</strong>mances take place in<strong>the</strong> Mansion at Strathmore andbegin at 7:30 p.m.Julia Nixon: Tribute to Carole KingFriday, Nov. 1, 2013Nellie McKayThursday, Jan. 9, 2014Natascia DiazSaturday, Jan. 25, 2014Gabriel Kahane & Rob Moose DuoThursday, April 17, 2014Natascia DiazGabriel KahaneAmerican Songbook.”Not unlike McKay herself. Her musicalstyle ranges from jazzy pop to rapto rock to reggae, disco and show tunes.She’s been known to strum a ukulele,pluck a cello or grab a glockenspiel orxylophone. Mostly, though, it’s McKayat <strong>the</strong> piano, poking fun at <strong>the</strong> world.“You’re never as naked as when it’sjust you and a microphone,” she says.“Whatever you’re doing up <strong>the</strong>re canbe so personal, how you’re feeling cancolor <strong>the</strong> whole show.” 14 applause at Strathmore • november/december 2013

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RBaltimore Symphony ORchestraCirque-ular MotionMusicians, aerialistsand o<strong>the</strong>r per<strong>for</strong>merscombine <strong>for</strong> a holidaypresentation on—andabove—<strong>the</strong> ConcertH<strong>all</strong> stageBy Roger CatlinAny visions of sugarplums won’t justbe dancing at <strong>the</strong> Holiday CirqueMusica per<strong>for</strong>mance at <strong>the</strong> Music Centerat Strathmore Dec. 12. They’ll bejuggling, balancing and playing a violinwhile aloft.Holiday Cirque Musica blends per<strong>for</strong>mancesfrom <strong>the</strong> D<strong>all</strong>as-based CirqueMusica troupe with a pops concert by<strong>the</strong> Baltimore Symphony Orchestra thatcombines classics with holiday fare.“There will be some Santa Clauses andsome elves having a good, fun holiday<strong>the</strong>med concert,” says Steve Cook, whoput toge<strong>the</strong>r Cirque Musica from two aspectsof his career, one with <strong>the</strong> RinglingBros. Barnum & Bailey Circus, and <strong>the</strong>o<strong>the</strong>r from symphony marketing.The circus acts help lure young andfirst-time audience members to what isoftentimes <strong>the</strong>ir first classical concert,he says.The shows present <strong>the</strong>ir own ch<strong>all</strong>enges<strong>for</strong> conductors, says Bob Bernhardt,who will be taking <strong>the</strong> baton <strong>for</strong>Holiday Cirque.“The best way I can describe accompanyinga Cirque program is like conductingb<strong>all</strong>et,” Bernhardt says. “Forsome conductors <strong>the</strong> b<strong>all</strong>et can be frustratingbecause <strong>the</strong>re are certain parametersof tempo that need to be adhered toto <strong>all</strong>ow <strong>for</strong> <strong>the</strong> best per<strong>for</strong>mance. I considerit a ch<strong>all</strong>enge and great fun to provideaccompaniment to <strong>all</strong>ow <strong>the</strong> per<strong>for</strong>mersto do <strong>the</strong>ir best work.”That said, it can be a little worrisometo have per<strong>for</strong>mers whizzing above as heis trying to conduct. “Not <strong>all</strong> of <strong>the</strong>mfly,” Bernhardt says. “But I must tell youthat everything has been done to assuresafety and a wonderful and happy journeyon <strong>the</strong> stage.”Cook says <strong>the</strong> per<strong>for</strong>mers also enjoyper<strong>for</strong>ming in more intimate <strong>the</strong>aterspaces after careers of playing arenas andbig tops. And some of <strong>the</strong> acts have along pedigree in <strong>the</strong> circus world, includinga mo<strong>the</strong>r and daughter team that ispart of <strong>the</strong> Flying W<strong>all</strong>enda family.“I’d say this is a perfect first concert tobring <strong>the</strong> children to,” Bernhardt says. “Iwould imagine kids, if <strong>the</strong>y can go andwatch The Nutcracker, about age 5 andup, <strong>the</strong>y would be enthr<strong>all</strong>ed with this.”But, he adds, “What I always suggestto parents, and this comes from <strong>the</strong> experienceof being a parent, when you goto a concert with young children anddon’t know how <strong>the</strong>y’ll react, try to getseats on <strong>the</strong> aisles.” Baltimore SymphonyOrchestra presentsHoliday CirqueMusicaThursday, Dec. 12, 8 P.M.16 applause at Strathmore • november/december 2013

RBaltimore Symphony ORchestraThe Simple LifePrincipal horn Philip Munds and his family jettisoned materialthings <strong>for</strong> a more natural, uncluttered existenceBy Laura FarmerChristian ColbergEight years ago, Baltimore Symphony Orchestra PrincipalHorn Philip Munds and his family—wife Amy and twochildren, Hannah, 16, and Ian, 11—traded in <strong>the</strong>ir suburbanlife in Towson <strong>for</strong> a life aboard <strong>the</strong>ir 46-foot Silverton powerboat.The transition to life afloat was inspired by a quest <strong>for</strong> adventure,coupled with a desire to simplify <strong>the</strong>ir life.“There were many reasons that <strong>the</strong> move made sense <strong>for</strong> us,”says Munds. “When your house is a boat, your house becomespart of an adventure. We love docking and jumping off <strong>the</strong> topto take a swim.” He adds, “And I got tired of working just so wecould buy more stuff.”So <strong>the</strong>y discarded more than half of <strong>the</strong>ir accumulated trappingsof family life in order to fit cozily into <strong>the</strong>ir three-bedroomfloating home docked in Baltimore’s Canton harbor.Simple living—with a dash of adventure—is a façon de viethat <strong>the</strong> Mundses have long embraced. The family recentlyadopted a new diet c<strong>all</strong>ed Paleo, which Munds summarizesas “imitating what our hunter-ga<strong>the</strong>rer ancestors might haveeaten during <strong>the</strong> Paleolithic age.” Translation? Lots of protein,vegetables and fruit—skip <strong>the</strong> carbs, dairy and sweets. Munds’preferred mode of transportation, too, is pretty simple: “I try towalk to work several times each week,” he says nonchalantlyof <strong>the</strong> six-mile roundtrip trek to Joseph Meyerhoff SymphonyH<strong>all</strong> in Baltimore.Last summer, Munds and his family took a vacation that hedescribed as “<strong>the</strong> trip of a lifetime.” They drove cross-countryto join <strong>the</strong>ir church’s ef<strong>for</strong>ts to serve <strong>the</strong> impoverished LakotaNative American tribe in <strong>the</strong> plains of South Dakota. WhileAmy and Hannah assisted with humanitarian aid and programs<strong>for</strong> Lakotan youth, Munds says, “Ian and I spent timecamping, running around shooting bow and arrows—youknow, guy stuff.”“The Lakota people have so little, yet <strong>the</strong>y are very generousand grateful,” says Munds. “Their approach to life is far morerelaxed, too.” So given his own penchant <strong>for</strong> laid-back living,he must have fit right in. As it turned out, <strong>the</strong>re was ano<strong>the</strong>rreason why he felt so at home.“I always knew that I had Native American ancestry. I didsome research and found out that my grandfa<strong>the</strong>r was from <strong>the</strong>Lakota tribe. It was such an eye-opening trip. But best of <strong>all</strong>was <strong>the</strong> uninterrupted time I got to spend with my family.” applause at Strathmore • november/december 2013 17

RTHE National PhilharmonicAn emotional crescendoCry, laugh and celebrate with <strong>the</strong> National Philharmonic Choraleduring Verdi’s Requiem, Handel’s Messiah and Bach’s Mass inB minor By M.J. McAteerNational Philharmonic ChoraleArtistic Director Stan Engebretsondoes not believe in slow starts.For his chorale’s first concert of <strong>the</strong>2013-2014 season, at 8 p.m. on Nov. 23,<strong>the</strong> Music Center at Strathmore will beflooded with <strong>the</strong> sounds of a 180-voicechoir, <strong>the</strong> full National Philharmonicand four soloists per<strong>for</strong>ming Verdi’s Requiem,commonly considered to be <strong>the</strong>world’s greatest opera requiem.“The Requiem is a magnificent statementof faith,” Engebretson says. It alsois, at turns, terrifying, joyful and heartrending,and it includes perhaps <strong>the</strong>loudest unamplified music ever written.It also demands <strong>the</strong> soloists give per<strong>for</strong>mancesthat are both personal andvirtuosic.“What isn’t <strong>the</strong> ch<strong>all</strong>enge?” says AriannaZukerman, an internation<strong>all</strong>y acclaimedsoprano who makes her homein nor<strong>the</strong>rn Virginia. “The piece is overwhelming.It has drama, pathos and momentsof exceptional beauty.” WilliamDavenport, a young tenor from Marylandwhom Engebretson describes as“<strong>the</strong> new Pavarotti,” likens his Requiemrole to “an Olympic feat. Very athletic.”But, he adds, “It is an easy piece to love,because it is so thrilling. Verdi alwayscame through <strong>for</strong> his audiences.”The same could be said <strong>for</strong> Handel,whose Messiah is an annual crowd pleaserat Strathmore.“The Messiah is always fresh even ifyou have done it many times,” Engebretsonsays, and this year he looks <strong>for</strong>wardto concertmaster and Baroqueexpert Elizabeth Field bringing out aseldom heard aspect of <strong>the</strong> piece: itsdance rhythms. Those who are used to<strong>the</strong> stately pacing of “And <strong>the</strong> Gloryof <strong>the</strong> Lord,” <strong>for</strong> example, instead willhear it per<strong>for</strong>med as a minuet, as Handelintended.Diversity will be <strong>the</strong> keynote <strong>for</strong> <strong>the</strong>chorale’s next appearance at Strathmore,on Saturday, Jan. 18. Under <strong>the</strong> baton ofAssociate Conductor Victoria Gau, <strong>the</strong>chorus, <strong>the</strong> National Philharmonic, pianistGabriela Martinez and three soloistswill present “Three Great Classics.”The first, Mozart’s D major Divertimento,will show <strong>the</strong> composer at his mostcharming, with a spritely opening <strong>all</strong>egro.It will be followed by Bach’s popularPiano Concerto No. 1, and <strong>the</strong>n <strong>the</strong>chorale and orchestra will combine <strong>for</strong>Schubert’s Mass No. 2 in G Major. Gausays Schubert was one of <strong>the</strong> most voc<strong>all</strong>yoriented composers, and this “pureand sublime” work makes that obvious.Then, at 8 p.m. Saturday, April 12,and 3 p.m. Sunday, April 13, <strong>the</strong> choralewill finish its year with a flourish,with Bach’s Mass in B minor. The Massis “<strong>the</strong> culmination of Bach’s career,his testament,” Engebretson says. “Heput <strong>all</strong> of his best work toge<strong>the</strong>r in onepiece. It makes you cry and laugh andcelebrate”—a description that audiencesshould find applies equ<strong>all</strong>y to <strong>the</strong>chorale’s 2013-2014 season at Strathmore.Don Lassell18 applause at Strathmore • november/december 2013

RWashington Per<strong>for</strong>ming Arts SocietyCultural exchangesSt. PetersburgPhilharmonicMusic DirectorYuri Temirkanovenjoys sharing <strong>the</strong>music of composersfrom Russia as well asfrom o<strong>the</strong>r nationsBy Roger CatlinWhenever <strong>the</strong> celebrated conductorYuri Temirkanov, music directoremeritus of <strong>the</strong> Baltimore SymphonyOrchestra, returns to <strong>the</strong> Music Center atStrathmore, he gets a warm feeling of nostalgiaand pride. As music director of <strong>the</strong>BSO from 2000 to 2006, he presided as <strong>the</strong>boldly designed building went up in NorthBe<strong>the</strong>sda.“I wasn’t directly involved in <strong>the</strong> designof this h<strong>all</strong>, but followed its building frombeginning to end,” Temirkanov says. “Eachtime I was in Baltimore, I visited <strong>the</strong> buildingsite and watched <strong>the</strong> construction progress.I am very happy with <strong>the</strong> result, andnatur<strong>all</strong>y very happy to come back and per<strong>for</strong>min this h<strong>all</strong>.”He will do so once more Feb. 12,when his program with <strong>the</strong> St. PetersburgPhilharmonic will be Prokofiev’s ViolinConcerto No. 2 and Rachmaninoff’sSymphony No. 2.“It is important <strong>for</strong> me that on our tours,we don’t per<strong>for</strong>m only Russian music, whichpromoters always want us to do—as it is aRussian orchestra with a Russian conductor,”Temirkanov says via email from Russia,where he has been music director andchief conductor of <strong>the</strong> St. Petersburg Philharmonicsince 1988. “The actual programs<strong>for</strong> <strong>the</strong> tour we decide jointly with <strong>the</strong> h<strong>all</strong>s,<strong>the</strong> venues where we per<strong>for</strong>m.”The first time Temirkanov brought <strong>the</strong>St. Petersburg Philharmonic to Strathmorein 2011, <strong>the</strong> orchestra per<strong>for</strong>med a programof Rimsky-Korsakov and Shostakovich, butalso Brahms.Born in <strong>the</strong> Caucasus city of Nal’hik,Temirkanov studied viola at <strong>the</strong> LeningradConservatory. He returned to completestudies in conducting, and won <strong>the</strong> prestigiousMoscow National Conducting Competitionin 1967. That led to posts at <strong>the</strong>Leningrad Symphony Orchestra in 1968,and <strong>the</strong> Kirov Opera and B<strong>all</strong>et in 1976.In addition to his work in Russia, and asprincipal guest conductor of <strong>the</strong> Danish NationalRadio Symphony Orchestra, principalguest conductor of <strong>the</strong> Bolshoi Theaterand conductor laureate of <strong>the</strong> Royal PhilharmonicOrchestra in London, Temirkanovis also a frequent guest conductor <strong>for</strong>major orchestras in Europe, Asia and <strong>the</strong>United States.At 75, he says, “I don’t work as a guestconductor as much as be<strong>for</strong>e, and now Ionly work with those orchestras whichI know well, so I don’t need to adjust to<strong>the</strong>m.” But, he adds, “if you work with <strong>the</strong>orchestras you like, it is always enjoyable.”His time with <strong>the</strong> Baltimore Symphonywas certainly that—at a time of changeand upheaval among symphonies across<strong>the</strong> country, he began and ended his tenurewith grand per<strong>for</strong>mances of Mahler’s “Resurrection”Symphony.Historic concerts seem to be his specialties,as he was <strong>the</strong> first Soviet artist <strong>all</strong>owedto per<strong>for</strong>m in <strong>the</strong> U.S. after cultural relationsresumed with <strong>the</strong> Soviet Union followingits war in Afghanistan in 1988.But, Temirkanov says, “I don’t distinguishbetween concerts <strong>for</strong> important dates ando<strong>the</strong>r concerts. The most memorable impression,and <strong>the</strong> most special <strong>for</strong> me, was<strong>the</strong> concert in New York, when we opened<strong>the</strong> season at Carnegie H<strong>all</strong>. It was on <strong>the</strong>anniversary date, and with <strong>the</strong> same programof Tchaikovsky concert 100 yearspreviously, when he opened <strong>the</strong> CarnegieH<strong>all</strong>.”The St. Petersburg Philharmonic, found-20 applause at Strathmore • november/december 2013

Sasha Gusoved in 1882, is Russia’s oldest symphony orchestraand as such is full of historical highlights,as when Richard Strauss conducted<strong>the</strong>re in 1912. Prokofiev conducted his own“Classical” Symphony <strong>the</strong>re in 1918 <strong>for</strong> <strong>the</strong>first time and Shostakovich debuted hisFirst Symphony <strong>the</strong>re, conducted by NikolayMalko.For an orchestra with quite a history,Temirkanov has had one of <strong>the</strong> longeststints as music director and conductor<strong>the</strong>re, recently marking his 25th anniversary.For his part, though, he notes that, “be<strong>for</strong>eme, Maestro [Yevgeny] Mravinski wasmusic director <strong>for</strong> 50 years.“I think my main achievement,” he saysof his longevity at St. Petersburg, “is thatnow, <strong>the</strong> orchestra and I understand eacho<strong>the</strong>r well, and <strong>the</strong>re<strong>for</strong>e we work welltoge<strong>the</strong>r.”With <strong>the</strong> orchestra he’s recorded <strong>the</strong>complete b<strong>all</strong>ets of Stravinsky and symphoniesof Tchaikovsky as part of a long-termexclusive relationship with BMG/RCA recordinglabels.And <strong>for</strong> <strong>all</strong> of <strong>the</strong> international demand<strong>for</strong> <strong>the</strong> orchestra to per<strong>for</strong>m, he won’t beable to participate in one of <strong>the</strong> biggestevents in Russia this winter, <strong>the</strong> 2014 WinterOlympic Games in Sochi. “The orchestrawill be touring <strong>the</strong> States at <strong>the</strong> time,”Temirkanov says.But even apart from <strong>the</strong> internationalgames, <strong>the</strong> maestro knows that music hasa way of <strong>for</strong>ging international bonds evenat a time when political relations betweencountries as large as <strong>the</strong> U.S. and Russiacan run hot and cold.“Cultural exchange,” Temirkanov says,“always facilitates mutual understandingbetween nations.” “I think my main achievement is that now, <strong>the</strong>orchestra and I understand each o<strong>the</strong>r well,and <strong>the</strong>re<strong>for</strong>e we work well toge<strong>the</strong>r.”Yuri TemirkanovWashington Per<strong>for</strong>ming Arts Society presentsSt. Petersburg PhilharmonicWednesday, Feb. 12, 8 P.M.applause at Strathmore • november/december 2013 21

Friday, November 1, 2013, 8 p.m.Friday, November 1, 2013, 8 p.m.●Strathmore PresentsTravis TrittLyndsey Highlander opensThe Music Center at StrathmoreMarriott Concert StageTravis TrittThe title of Travis Tritt’s <strong>latest</strong> album,The Calm After…is part metaphor andpart literal. It’s reflective both of Tritt’sfresh perspective and <strong>the</strong> tumult his musichas come through to get to this point.Tritt’s 1990 debut, Country Club, andits succession of hits made him part ofcountry music’s boom in <strong>the</strong> early 1990s.The next eight albums and scores of hit singles led him toamass more than 25 million in career album sales, two Gram-mys and three CMA Awards.A 2006 recording session <strong>for</strong> a SamMoore album proved fateful whenproducer, musician and American Idoljudge Randy Jackson complimentedTritt on his vocals. The meeting led toa co-production collaboration on Tritt’snext album, which would eventu<strong>all</strong>y betitled The Storm. The name, un<strong>for</strong>tunately,fit in ways no one would haveexpected.Released in 2007 on <strong>the</strong> independentCategory 5 Records, The Stormsoon became embroiled in one. The label’sdemise sank <strong>the</strong> project and led toyears of litigation. The final settlement,reached in 2012, remitted master recordings <strong>for</strong> The Stormto Tritt. He knew exactly what he wanted to do. “I’ve beentalking about starting my own record label <strong>for</strong> five years, andit <strong>all</strong> hinged on having those masters back in my control sowe could kick off with that.” Hence, The Calm After...Origin<strong>all</strong>y a 12-track release, <strong>the</strong> album’s sessions actu<strong>all</strong>yyielded 14 finished recordings, with <strong>the</strong> two unreleasedselections being Tritt’s take on <strong>the</strong> band Faces’ “Stay WithMe” and <strong>the</strong> Patty Smyth/Don Henley duet “SometimesLove Just Ain’t Enough,” which he sings with teenagedaughter Tyler Reese.Tritt also has plans to follow <strong>the</strong> initial release with avariety of music projects, including a new, mostly acousticproject with <strong>for</strong>mer No Hats Tour chum Marty Stuart.EXCEPTIONALFILMS─ FOR ─90 YEARSAs Washington, DC’sonly nonprofit film center,The Avalon brings <strong>the</strong>community <strong>the</strong> best incommercial, independentand <strong>for</strong>eign film.Our beautifully restoredhistoric <strong>the</strong>ater is locatedat 5612 Connecticut Ave.,near Chevy Chase Circle.Visit www.<strong>the</strong>avalon.org<strong>for</strong> showtimes and tickets.Lyndsey HighlanderCountry artist Lyndsey Highlander has a powerful voicefull of soul and vulnerability.Per<strong>for</strong>ming live and recording since age 13, Highlanderhas developed a strong stage presence. Her delivery is honestas she lets her emotions speak in her songs. Since moving to Nashville, Tenn., four years ago,Highlander has attended Belmont University and studied<strong>the</strong> entertainment industry. She has rocked <strong>the</strong> venues ofNashville and surrounding areas, while also opening <strong>for</strong>Luke Bryan in Indiana, and headlining <strong>the</strong> July Fourthcelebration in Virginia.Highlander surrounded herself with country music.Holding Patsy Cline and Martina McBride close to herheart, Highlander is constantly inspired to create, whileher newest inspiration, <strong>the</strong> country music group TheBand Perry, gives her motivation to write raw and originalcountry music.Highlander is constantly writing, recording and demosinging. She is addicted to having fun on stage and connectingwith her audience. Highlander will be continuingto tour with her music throughout <strong>the</strong> United States,and cannot wait to be inspired by new fans and newexperiences.22 applause at Strathmore • NOVEMBER/DECEMBER 2013

Thursday, November 7, 2013, 8 p.m.THURSday, November 7, 2013, 8 p.m.●Strathmore PresentsLuis Bravo’s Forever TangoVíctor Lav<strong>all</strong>én, orchestra directorDancersSoledad Buss and César PeralDavid Leguizamón and Belén BartoloméFlorencia Blanco and Hernán LazartNatalia Turelli and Ariel ManzanaresDiego Ortega and Aldana SilveyraSebastián Ripoll and Mariana BojanichMUSICIANSNoemí Marcela, singerPablo Mainetii, Víctor Lav<strong>all</strong>én and Jorge Trivisonno, bandoneonsHumberto Ridolfi and José Luis Marina, violinsWashington Williman, violaLuis Bravo, celloHéctor Pineda, bassJorge Vernieri, pianoArgemira Affonso, costume designRolando Obregón, sound designJean Luc Don Vito, hair and make-up designCarlos Díaz, production managerMarcela Durán, assistant directorLuis Bravo, creator, director and lighting designPreludio del Bandoneón y la NochePer<strong>for</strong>med by Soledad Buss and César PeralOvertureOrchestraEl SuburbioCompanyPer<strong>for</strong>med by: Natalia Turelli and Ariel Manzanares“Zumo” Leguizamón and Belén BartoloméMariana Bojanich and Sebastián RipollHernán Lazart and Florencia BlancoAldana Silveyra and Diego OrtegaA Los AmigosOrchestraDerecho ViejoPer<strong>for</strong>med by “Zumo” Leguizamón and Belén BartoloméUnoPer<strong>for</strong>med by Noemí MarcelaLa MariposaPer<strong>for</strong>med by Sebastián Ripoll and Mariana BojanichLa BebaPer<strong>for</strong>med by Hernán Lazart and Florencia BlancoZumPer<strong>for</strong>med by Diego Ortega and Aldana SilveyraLa TabladaPer<strong>for</strong>med by Natalia Turelli and Ariel ManzanaresINTERMISSIONTangueraPer<strong>for</strong>med by Soledad Buss and César PeralQuejas de BandoneónPer<strong>for</strong>med by Sebastián Ripoll and Mariana BojanichG<strong>all</strong>o CiegoPer<strong>for</strong>med by Hernán Lazart and Florencia BlancoEl Día Que Me QuierasPer<strong>for</strong>med by Noemí MarcelaLa CumparsitaPer<strong>for</strong>med by: Hernán Lazart and Florencia Blanco“Zumo” Leguizamón and Belén BartoloméSebastián Ripoll and Mariana BojanichPrepárensePer<strong>for</strong>med by Diego Ortega and Aldana SilveyraFeliciaPer<strong>for</strong>med by Natalia Turelli and Ariel ManzanaresTziganePer<strong>for</strong>med by Soledad Buss and César PeralVampitangoPer<strong>for</strong>med by “Zumo” Leguizamón and Belén BartoloméResponsoOrchestraPreludio a Mi ViejoOrchestraQue Alguien Me DigaCandombeFinaleThe CompanyThe Music Center at Strathmore • Marriott Concert Stageapplause at Strathmore • NOVEMBER/DECEMBER 2013 23

Thursday, November 7, 2013, 8 p.m.Soledad Buss andCésar PeralSoledad Buss is a dancer, teacher andgraduate of T<strong>all</strong>er de Danza Contemporáneadel Teatro San Martín ofBuenos Aires. She has been part of<strong>the</strong> B<strong>all</strong>et Contemporáneo directed byMauricio Wainrot and also a memberof <strong>the</strong> companies Casta Diva by MónicaFracchia and Pies Desnudos byLaura Roatta. César Peral comes froman Argentine folklorical background.He was a member of <strong>the</strong> B<strong>all</strong>et Caminof Cosquín and <strong>the</strong> B<strong>all</strong>et FolklóricoNacional. He has per<strong>for</strong>med in <strong>the</strong>musical Man of La Mancha directed byGustavo Zajak and <strong>the</strong> show TorrenteFlamenco by Sibila. In 2007 <strong>the</strong>y traveledto <strong>the</strong> U.S. to work with LidiaSegni, current Director of <strong>the</strong> B<strong>all</strong>etof <strong>the</strong> Teatro Colon, and to tour with<strong>the</strong> work Tango Buenos Aires. Between2008 and 2012 <strong>the</strong>y were members of<strong>the</strong> cast of Madero Tango. From 2009to 2011 <strong>the</strong>y toured with <strong>the</strong> playTango de Burdel, Salón y C<strong>all</strong>e by A.M. Stekelman with Eleonora Cassanoand Julio Bocca’s B<strong>all</strong>et Argentino.They also participated in ConjuroTango. They joined <strong>the</strong> cast of ForeverTango in September 2012.Natalia Turelli and ArielManzanaresNatalia Turelli started her studies inclassical and contemporary dance at<strong>the</strong> National Institute of Arts. Shewas a member of <strong>the</strong> cast of severaltango companies in <strong>the</strong>aters of BuenosAires: Teatro Astral, Margarita Xirguand Centro Cultural Borges. Turellihas danced and per<strong>for</strong>med in France,England, China, Ecuador, CostaRica, Chile and Brazil. She recentlyjoined <strong>the</strong> cast of Forever Tango. ArielManzanares has an extensive careerin teaching tango. In Argentina hehas participated in exhibitions in <strong>the</strong>Ladys Tango Week, Festival of VillaVil, Catamarca and per<strong>for</strong>mances <strong>for</strong><strong>the</strong> Café Modena and Recoleta Hotel.In November 2009 he participatedin Tango Week in Mexico. In <strong>the</strong>same year he participated in <strong>the</strong> groupGuapisimas, las Mujeres y el Tangoand <strong>the</strong> 2009 International TangoCongress in Bariloche, Argentina.Manzanares joined <strong>the</strong> cast of ForeverTango in October 2012.David Leguizamón andBelén BartoloméAs a couple <strong>the</strong>y began <strong>the</strong>ir careertouring throughout Japan <strong>for</strong> manyyears, participating in <strong>the</strong> most prestigiousfestivals of Japan, per<strong>for</strong>mingin “Tango Libertad” with Juan CarloCopes and with <strong>the</strong> orchestras of OsvaldoBerlingieri and Komatsu Ryota.In Buenos Aires <strong>the</strong>y have per<strong>for</strong>medin tango houses such as La Ventanta,Piazzolla Tango and Homero Manzi.They joined <strong>the</strong> cast of Forever Tangoin 2007.Mariana Bojanich andSebastián RipollMariana Bojanich and SebastiánRipoll began studying Argentine folkloricdance early in <strong>the</strong>ir lives. Theybegan working as dance partners inArgentine tango and folklore in 1999.They have per<strong>for</strong>med in tango housesin Boca Tango, La Ventana Tango,Tango Gala and Piazzolla Tango.From 2001 to 2009 <strong>the</strong>y toured Japan,per<strong>for</strong>ming in Tokyo, Osaka, Gifu,Fukuoka, Nagano, Hiroshima, Kokura,Nagasaki, Chiba and Sapporo. Theyalso per<strong>for</strong>med in Korea between 2003and 2005.Hernan LazartHernan Lazart started studying tangoin 1990 with Juan Carlos Copes,Pedro “Toto” Faraldo, Raul Bravo andOsvaldo Zotto in Buenos Aires. As atango dancer he worked in several TVshows in Argentina. Between 2005 and2006 he participated in various internationaldance festivals in central America,Colombia and Ecuador, including<strong>the</strong> Festival of Music of Mexico. Heparticipated in many events organizedby <strong>the</strong> Ministry of Culture of <strong>the</strong> Cityof Buenos Aires and sponsored by <strong>the</strong>Argentine National Ministry of Culture.He per<strong>for</strong>med in Rio de Janeiro with <strong>the</strong>Sexteto Mayor in <strong>the</strong> historic CopacabanaPalace Hotel. In August 2011, hedanced with <strong>the</strong> company Tanguerosdel Sur, per<strong>for</strong>med in <strong>the</strong> show Romperel Piso by Natalia Hills at <strong>the</strong> InternationalFestival of Tamaulipas, Mexicoand sponsored by Televisa Network. Healso has participated in <strong>the</strong> JerusalemFestival in Israel in 2011. He joinedForever Tango in September 2012.Florencia BlancoFlorencia Blanco began her studies inClassical, Latin American and Spanishdances at age 5. As a tango dancershe per<strong>for</strong>med with several companies,among <strong>the</strong>m Tango a Tierra and Tangox 2, per<strong>for</strong>ming in many European countries.In 2010 she toured <strong>the</strong> UnitedStates with <strong>the</strong> company Tango BuenosAires. In Argentina she per<strong>for</strong>med inPasión Tango with Hernan Piquin andCecilia Figaredo, as well as in <strong>the</strong> majorTango Houses in Buenos Aires. As ateacher she participated in many internationalfestivals, conducting workshopsand exhibitions in France, Switzerland,Italy and China. She joined ForeverTango in <strong>the</strong> 2012.Diego Ortega andAldana SilveyraDiego Ortego and Aldana Silveyra havebeen dancing tango <strong>for</strong> 10 years, startingin <strong>the</strong>ir hometowns: Aldana from MonteGrande and Diego from Colón in <strong>the</strong>province of Buenos Aires. They havebeen dancing toge<strong>the</strong>r as a professionalcouple since 2011 and have danced inmost of <strong>the</strong> milongas in Buenos Aires.In August 2012 <strong>the</strong>y achieved <strong>the</strong> thirdplace in <strong>the</strong> World Championship of24 applause at Strathmore • NOVEMBER/DECEMBER 2013

Thursday, November 7, 2013, 8 p.m.Tango in <strong>the</strong> category of Tango Salón.In October of that year, <strong>the</strong>y amazedMr. Bravo with <strong>the</strong>ir audition andwere invited to be part of <strong>the</strong> cast ofForever Tango.Victor Lav<strong>all</strong>énVictor Lav<strong>all</strong>én was born in Rosario,Argentina. He began his career withEduardo Serrano’s orchestra. In 1950he played bandoneon <strong>for</strong> AntonioArciari. Afterwards he joined MiguelCaló’s orchestra. He has also playedwith Angel Dominguez, MiguelNijensohn, Enrique Mario Franciniand with Atilio Stampone wherehe became <strong>the</strong> lead Bandoneón. In1957 he participated in <strong>the</strong> orchestradirected by Juan Jose Paz, and in 1958he joined Osvaldo Pugliese’s orchestra.In 1965, Lav<strong>all</strong>én toured withOsvaldo Pugliese throughout Russia,China and Japan. Three years later hefounded <strong>the</strong> Sexteto Tango and touredthroughout Central America, <strong>the</strong>United States and France. He was alsoa member of <strong>the</strong> Orchestra Municipaldel Tango. Later on he <strong>for</strong>med a newgroup c<strong>all</strong>ed Color Tango in 1989,which toured throughout Holland andFinland. In 1991 he <strong>for</strong>med part of<strong>the</strong> orchestra of Mariano Mores. Fouryears later, he toured throughout Japanwith Orlando Tripodi’s orchestra.He joined Forever Tango in London in1995 and since 1996 he has been <strong>the</strong>orchestra director of one of ForeverTango’s companies.Luis BravoLuis Bravo was born in Añatuya, Santiagode Estero and moved to BuenosAires when he was 8. He began guitarstudies at age 4 and later turned to <strong>the</strong>cello. Bravo attended both <strong>the</strong> MunicipalConservatory of Music Manuelde F<strong>all</strong>a and <strong>the</strong> University of BuenosAires. Shortly after his graduation,he became a member of <strong>the</strong> ArgentineNational Symphony, a position heheld until he moved to United Statesto study with <strong>the</strong> celebrated teacherRonald Leonard. An avid per<strong>for</strong>mer ofArgentinean music, Bravo made <strong>the</strong>world premiere of <strong>the</strong> Double Concerto<strong>for</strong> Cello, Bandoneón and Orchestraby Lisandro Adrover. In March2001, he toured Japan with violinistTaro Hakase, with whom he recorded<strong>the</strong> tango album Nostalgia. Bravo’s recognitionsinclude being awarded <strong>the</strong>Spoleto Festival’s Simpatia Prize <strong>for</strong>Forever Tango, which closed <strong>the</strong> Italianfestival in 1996. He also has made aspecial <strong>for</strong> CBC, Canadian BroadcastingCompany, with Karen Kain, whereshe per<strong>for</strong>med with Jorge Torres in “AEvaristo Carriego” from Forever Tango.In 2002 he created Malambo, anelectric panorama of Argentine music,song and dance, incorporating <strong>the</strong> juxtapositionof <strong>the</strong> rural gaucho dancetradition known as malambo, with <strong>the</strong>urban sophistication of tango and <strong>the</strong>Spanish influence of fiery flamenco.GIVE YOUR BODY A MAKEOVERWITHOUT DIET, EXERCISE OR SURGERY.Now you can trans<strong>for</strong>m yourself without diet,exercise or surgery. Sculpt yourself with CoolSculpting. ®CoolSculpting ® is <strong>the</strong> only non-surgical bodycontouring treatment that freezes and eliminatesstubborn fat from your body. There are no needles,no special diets and no downtime. It’s FDA-cleared,safe and proven effective.BEFORE17 WEEKS AFTERProcedure by Michael S. Kaminer, MDThe Champlain Building6410 Rockledge DriveSuite 205Be<strong>the</strong>sda, MD 20817Tel: (301).968.1200Fax: (301).530.4638info@dermskin.comwww.dermskin.comGet $100 Off when you bring in this ad!Offer expires 12/31/13applause at Strathmore • NOVEMBER/DECEMBER 2013 25

Friday, November 8, 2013, 8:15 p.m.friday, november 8, 2013, 8:15 P.M.●Baltimore Symphony OrchestraMarin Alsop, Music DirectorpresentsOff <strong>the</strong> Cuff: The PlanetsMarin Alsop, conductorWomen of <strong>the</strong> Baltimore Choral Arts SocietyTom H<strong>all</strong>, Music DirectorThe Planets Gustav HolstMars, <strong>the</strong> Bringer of War (1874-1934)venus, <strong>the</strong> Bringer of PeaceMercury, <strong>the</strong> Winged MessengerJupiter, <strong>the</strong> Bringer of JollitySaturn, <strong>the</strong> Bringer of Old Ageuranus, <strong>the</strong> Magicianneptune, <strong>the</strong> MysticWomen of <strong>the</strong> Baltimore ChoralArts SocietyThe concert will end at approximately 9:30 p.m.Support <strong>for</strong> today’s per<strong>for</strong>mance is provided by <strong>the</strong> Governing Members of <strong>the</strong> BSOMarin Alsop, conductorMarin Alsopis an inspiringand powerfulvoicein <strong>the</strong> internationalmusic scene,a music directorof visionand distinctionwhopassionatelybelieves that “music has <strong>the</strong> power tochange lives.” She is recognized across<strong>the</strong> world <strong>for</strong> her innovative approachto programming and <strong>for</strong> her deep commitmentto education and to <strong>the</strong> developmentof audiences of <strong>all</strong> ages.Alsop made history with her appointmentas <strong>the</strong> 12th music directorof <strong>the</strong> Baltimore Symphony Orchestra.The Music Center at StrathmoreMarriott Concert Stage26 applause at Strathmore • NOVEMBER/DECEMBER 2013With her inaugural concerts in September2007, she became <strong>the</strong> firstwoman to head a major American orchestra.She also holds <strong>the</strong> title of conductoremeritus at <strong>the</strong> BournemouthSymphony in <strong>the</strong> United Kingdom,where she served as <strong>the</strong> principal conductorfrom 2002 to 2008.Her success as <strong>the</strong> BSO’s music directorhas garnered national and internationalattention <strong>for</strong> her innovativeprogramming and artistry. Hersuccess was recognized in 2013, whenher tenure was extended to <strong>the</strong> 2020-2021 season. Alsop took up <strong>the</strong> post ofmusic director of <strong>the</strong> São Paulo SymphonyOrchestra in 2012, where shesteers <strong>the</strong> orchestra in its artistic andcreative programming, recording venturesand its education and outreachactivities.In <strong>the</strong> summer of 2013, Alsopserved her 22nd season as music directorof <strong>the</strong> acclaimed Cabrillo Festivalof Contemporary Music in Cali<strong>for</strong>nia.Musical America, which named Alsop<strong>the</strong> 2009 Conductor of <strong>the</strong> Year, said,“[Marin Alsop] connects to <strong>the</strong> publicas few conductors today can.”Baltimore ChoralArts SocietyThe Baltimore Choral Arts Society,now in its 48th season, is one of Maryland’spremier cultural institutions.The Symphonic Chorus, Full Chorus,Orchestra, and Chamber Chorusper<strong>for</strong>m throughout <strong>the</strong> mid-Atlanticregion, as well as in Washington,D.C., New York, and in Europe.In <strong>the</strong> summer of 2007, Tom H<strong>all</strong>led <strong>the</strong> chorus on a three-city tour ofFrance that included sold-out per<strong>for</strong>mancesin Paris and Aix-en-Provence,and <strong>the</strong> chorus has also appeared atSpain’s prestigious Festival of <strong>the</strong>Costa del Sol.For <strong>the</strong> past 17 years, WMAR Television,<strong>the</strong> ABC network affiliate inMaryland, has featured Choral Arts inan hour-long special, Christmas WithChoral Arts, which won an EmmyAward in 2006. H<strong>all</strong> and <strong>the</strong> choruswere also featured in a PBS documentaryc<strong>all</strong>ed Jews and Christians: A Journeyof Faith, broadcast nationwide andon National Public Radio in 2001. Onlocal radio, H<strong>all</strong> is <strong>the</strong> host of ChoralArts Classics, a monthly program onWYPR that features <strong>the</strong> Choral ArtsChorus and Orchestra, and he is <strong>the</strong>culture editor on WYPR’s MarylandMorning With Sheilah Kast.Alsop photo by DeaN Alexander

Friday, November 8, 2013, 8:15 p.m.Baltimore Choral Arts’ <strong>latest</strong> CD,Christmas at America’s First Ca<strong>the</strong>dral,was released on Gothic Records inSeptember 2010. A recording withDave Brubeck, featuring Brubeck’soratorio, The Gates of Justice, was releasedinternation<strong>all</strong>y on <strong>the</strong> NAXOSlabel in 2004. Choral Arts has twoo<strong>the</strong>r recordings in current release,Christmas With Choral Arts and a liverecording of <strong>the</strong> Rachmaninoff All-Night Vigil. In addition, H<strong>all</strong> producedLet Freedom Ring! <strong>for</strong> Gothic Recordsfeaturing <strong>the</strong> Washington Men’sCamerata, as well <strong>the</strong> soundtracks <strong>for</strong>Legends on <strong>the</strong> Learning Channel.Choral Arts has appeared with <strong>the</strong>National Symphony, and has maderegular appearances with <strong>the</strong> BaltimoreSymphony Orchestra. Acclaimedartists collaborating with Choral Artshave included Chanticleer, DaveBrubeck, <strong>the</strong> King’s Singers, PeterSchickele, Sweet Honey in <strong>the</strong> Rockand Anonymous 4, among o<strong>the</strong>rs. TomH<strong>all</strong>’s innovative programs often featureboth choral and orchestral music,stage and <strong>the</strong>ater works.H<strong>all</strong>’s programs often feature bothchoral and orchestral music, and stageand <strong>the</strong>ater work. Appointed musicdirector in 1982, H<strong>all</strong> is one of <strong>the</strong>most highly regarded per<strong>for</strong>mers inchoral music today. He has addedmore than 100 new works to ChoralArts’ repertoire, and he has premieredworks by contemporary composers includingPeter Schickele, Libby Larsen,Robert Sirota, James Lee III, RosephanyeDunn Powell, and many o<strong>the</strong>rinternation<strong>all</strong>y acclaimed composers.In addition to his position withBaltimore Choral Arts Society, H<strong>all</strong>is active as a guest conductor in <strong>the</strong>United States and in Europe, includingappearances with <strong>the</strong> Handeland Haydn Society in Boston, <strong>the</strong>Choral Arts Society of Philadelphia,<strong>the</strong> Berkshire Choral Festival, MusicaSacra in New York, and Britten Sinfoniain Canterbury, England. His 2005concert with Orchestre de Chambrede Paris was broadcast on French television.H<strong>all</strong> also has prepared choruses<strong>for</strong> Leonard Bernstein, Robert Shaw,Baltimore Symphony OrchestraFirst ViolinsJonathan CarneyConcertmaster,Ruth BlausteinRosenberg ChairMadeline AdkinsAssociateConcertmaster,Wilhelmina HahnWaidner ChairIgor Yuzefovich*AssistantConcertmasterRui DuActing AssistantConcertmasterJames BoehmKenneth GoldsteinWonju KimGregory KupersteinMari MatsumotoGregory MulliganRebecca NicholsE. Craig RichmondEllen PendletonTroyerAndrew WasyluszkoSecond ViolinsQing LiPrincipal,E. Kirkbride andAnn H. Miller ChairIvan StefanovicAssistant PrincipalAngela LeeAssistant PrincipalLeonid BerkovichLeonid BriskinJulie ParcellsChristina ScrogginsWayne C. TaylorJames UmberCharles UnderwoodMelissa ZarayaMinsun Choi**ViolasRichard FieldPrincipal,Peggy MeyerhoffPearlstone ChairNoah ChavesAssociate PrincipalKarin BrownActing AssistantPrincipalMarin Alsop, Music Director, Harvey M. and Lyn P. Meyerhoff ChairJack Everly, Principal Pops ConductorYuri Temirkanov, Music Director EmeritusAlexandra Arrieche, BSO-Peabody Conducting FellowRebekah NewmanPeter MinklerSharon Pineo MyerDelmar StewartJeffrey StewartMary WoehrCellosDariusz SkoraczewskiPrincipalChang Woo LeeAssociate PrincipalBo LiActing AssistantPrincipalSeth LowSusan EvansEs<strong>the</strong>r MellonKristin OstlingPaulaSkolnick-ChildressPei Lu**BassesRobert BarneyPrincipal,Willard and LillianHackerman ChairHampton ChildressAssociate PrincipalOwen CummingsArnold GregorianMark HuangJonathan JensenDavid SheetsEric StahlFlutesEmily SkalaPrincipal, Dr. ClydeAlvin Clapp ChairMarcia KämperPiccoloLaurie SokoloffOboesKa<strong>the</strong>rineNeedlemanPrincipal,Robert H. andRyda H. Levi ChairMichael LisickyEnglish HornJane MarvineKenneth S. Battyeand Legg MasonChairClarinetsSteven BartaPrincipal,Anne AdalmanGoodwin ChairChristopher WolfeAssistant PrincipalWilliam JenkenE-flat ClarinetChristopher WolfeBassoonsFei XiePrincipalJulie Green GregorianAssistant PrincipalBenjamin Greanya**ContrabassoonDavid P. CoombsHornsPhilip MundsPrincipal, USF&GFoundation ChairGabrielle FinckAssociate PrincipalLisa BergmanMary C. BissonBruce MooreTrumpetsAndrew BalioPrincipal,Harvey M. and LynP. Meyerhoff ChairRene HernandezAssistant PrincipalNathaniel HeplerTrombonesJoseph Rodriguez**Acting PrincipalJames OlinCo-PrincipalJohn VanceBass TromboneRand<strong>all</strong> S. CamporaTubaDavid T. FedderlyPrincipalTimpaniJames WymanPrincipalChristopher WilliamsAssistant PrincipalPercussionChristopher WilliamsPrincipal, LucilleSchwilck ChairJohn LockeBrian PrechtlHarpSarah Fuller**PianoLura Johnson**Sidney M. andMiriam FriedbergChairAssistantPersonnel ManagerChristopher MonteLibrariansMary Carroll PlainePrincipal,Constance A.and Ramon F.Getzov ChairRaymond KreugerAssociateStage PersonnelEnnis SeibertStage ManagerTodd PriceAssistant StageManagerCharles LamarSoundMario SerrutoElectrician*on leave** Guest musicianapplause at Strathmore • NOVEMBER/DECEMBER 2013 27

Friday, November 8, 2013, 8:15 p.m.Helmuth Rilling, among o<strong>the</strong>rs, andhe served <strong>for</strong> 10 years as <strong>the</strong> chorusmaster of <strong>the</strong> Baltimore Opera Company.H<strong>all</strong> has served as <strong>the</strong> president ofChorus America, a panelist <strong>for</strong> <strong>the</strong>National Endowment <strong>for</strong> <strong>the</strong> Arts,and he has been an artist in residenceat Indiana University, <strong>the</strong> EastmanSchool of Music, <strong>the</strong> University ofCincinnati, Temple University andSyracuse University. He has been <strong>the</strong>director of choral activities at GoucherCollege <strong>for</strong> 31 years, and has alsotaught at <strong>the</strong> Peabody Conservatory,<strong>the</strong> University of Baltimore, TowsonUniversity, Morgan State Universityand <strong>the</strong> Johns Hopkins University.BCAS last appeared with <strong>the</strong> BSOin January 2013, per<strong>for</strong>ming Prokofiev’sAlexander Nevsky, with Music DirectorMarin Alsop conducting.Program NotesThe PlanetsGustav HolstBorn Sept. 21, 1874, in Cheltenham,England; died May 25, 1934, in London“Every artist ought to pray not to be asuccess. If nobody likes your work, youhave to go on just <strong>for</strong> <strong>the</strong> sake of <strong>the</strong>work, and you are in no danger of letting<strong>the</strong> public make you repeat yourself.”Gustav Holst said this be<strong>for</strong>e <strong>the</strong>premiere of The Planets—on Nov. 15,1920, by <strong>the</strong> London Symphony Orchestra—suddenlycatapulted this shy,idiosyncratic composer onto <strong>the</strong> worldstage. Already 46, he had previouslyworked in happy obscurity, crammingin his composing on Sundays andAugust holidays while earning his livingas a highly creative music teacherat St. Paul’s School <strong>for</strong> Girls, MorleyCollege and various churches. Hismany sm<strong>all</strong>er-scale works <strong>for</strong> instrumentsand voices had won him esteemin musical circles, but little publicattention.Holst’s first and only work <strong>for</strong> verylarge orchestra, The Planets, created animmediate sensation. The New YorkPhilharmonic and Chicago Symphonyfought so heatedly <strong>for</strong> <strong>the</strong> Americanpremiere that a compromise had to bestruck: both per<strong>for</strong>med it on <strong>the</strong> sameday, but New York received <strong>the</strong> edgebecause of <strong>the</strong> time-zone difference.But Holst stuck to his credo: he neverdid repeat himself with ano<strong>the</strong>r bigwork in this style.Not a symphony, The Planets is aseries of seven subtly interrelated tonepoems or, as Holst preferred, “moodpictures.” When Holst wrote <strong>the</strong>mfrom 1914 to 1916, he had becomevery interested in astrology. Thus, hewas actu<strong>all</strong>y thinking more about <strong>the</strong>astrological influence of <strong>the</strong> planetson man’s character than <strong>the</strong>ir qualitiesas celestial bodies. Each planet bearsa subtitle revealing <strong>the</strong> movement’sover<strong>all</strong> mood.The Planets’ dazzling orchestrationis <strong>the</strong> key to its impact. Holst hadearned his living <strong>for</strong> many years as anorchestral trombonist and thus knew<strong>the</strong> orchestra from <strong>the</strong> <strong>inside</strong>. His giantorchestra—including organ and agenerous percussion section—providesnot only power <strong>for</strong> “Mars,” “Jupiter”and “Saturn,” but an extensive paletteof soft colors <strong>for</strong> <strong>the</strong> subtler “Venus,”“Mercury” and “Neptune.”Mars, <strong>the</strong> Bringer of War: Sopowerful is “Mars” as an evocationof modern warfare’s savagery thatlisteners assumed Holst must havebeen reacting to <strong>the</strong> news from WorldWar I’s trenches. However, “Mars” wasactu<strong>all</strong>y composed in 1914 be<strong>for</strong>e thatfatal August. In <strong>the</strong> unusual meter of5/4, it opens with a relentless rhythmicostinato—first tapped out by timpaniand violins striking <strong>the</strong>ir stringswith <strong>the</strong> wood of <strong>the</strong>ir bows—thatgradu<strong>all</strong>y mounts to an ear-splittingdin. Horns and bassoons introduce <strong>the</strong>ominous three-note principal motivethat ends with a dissonant half-stepf<strong>all</strong>. Holst instructed that “Mars” beplayed as fast and brut<strong>all</strong>y as possible.Venus, <strong>the</strong> Bringer of Peace: Theanti<strong>the</strong>sis of “Mars,” “Venus” is avery soft and lyrical slow movementfeaturing peaceful descending lines <strong>for</strong>flutes, a sweetly pastoral melody <strong>for</strong>solo violin, and <strong>the</strong> bell-like sounds ofcelesta and harps.Mercury, <strong>the</strong> Winged Messenger:Inspired by <strong>the</strong> Greek messenger of<strong>the</strong> gods, this is a light-footed andextremely fleet scherzo. Celesta andglockenspiel add sparkle to an impressionistictonal palette.Jupiter, <strong>the</strong> Bringer of Jollity:The Planets’ most popular movement,“Jupiter” represents celebration inboth its rollicking and ceremonial aspects.Holst concocted a bevy of tunesinspired by Edwardian vaudeville anddance h<strong>all</strong>s <strong>for</strong> <strong>the</strong> opening and closingsections. A proudly British melodycrowns <strong>the</strong> center section; later givenwords, it became <strong>the</strong> English patriotichymn, “I Vow to Thee, My Country.”Saturn, <strong>the</strong> Bringer of Old Age:This was Holst’s own favorite movement.Tolling flutes and harps suggest<strong>the</strong> inexorable march of time. Then,trombones and tuba begin a weary butnoble march. Flutes propose ano<strong>the</strong>rmarch, even more bowed with age,which grows to a mighty climax above<strong>the</strong> heavy thud of timpani and lowstrings. The movement ends in a visionof serenity and peace: old age’sconsolation.Uranus, <strong>the</strong> Magician: Ano<strong>the</strong>rscherzo, “Uranus” opens with <strong>the</strong>magician’s incantation, played threetimes by different instruments. Thisis a movement of magic, menace andmischief with troll-like bassoons andmocking, heavy-footed marches. Aserene vision of Neptune interrupts,<strong>the</strong>n with a sardonic laugh <strong>the</strong> magiciandisappears in a puff of smoke.Neptune, <strong>the</strong> Mystic: Once againin 5/4 meter, “Neptune” completes <strong>the</strong>circle begun by “Mars” with an o<strong>the</strong>rworldlyalternative to humankind’sviolence. Weaving flutes, high violins,celesta and harps conjure a cool,distant world and trance-like stateof consciousness. A women’s chorussings wordlessly offstage in mysterious,overlapping lines. In an early use of<strong>the</strong> fade-out technique, now a recordingcliché, <strong>the</strong> women’s voices disappearinto <strong>the</strong> emptiness of space.Notes by Janet E. Bedell copyright 201328 applause at Strathmore • NOVEMBER/DECEMBER 2013

Saturday, November 9, 2013 , 8 p.m.saturday, november 9, 2013, 8 P.M.●The National PhilharmonicPiotr Gajewski, Music Director and ConductorpresentsLost Childhood, an opera in two actsBased on The Lost Childhood, a Holocaust memoir by Yehuda Nir,and conversations with Gottfried WagnerPiotr Gajewski, conductorJanice Hamer, composerMary Azrael, librettistNick Olcott, stage directorNational Philharmonic ChoraleMichael Hendrick, JudahChris Pedro Trakas, ManfredTyler Young, JulekRosa Lamoreaux, Mo<strong>the</strong>rDanielle Talamantes, LalaAct IScene 1: The Radio (Lvov, Poland, Aug. 20, 1939, andJune 23, 1941; Manhattan hotel, 1993)Scene 2: Fa<strong>the</strong>r (Lvov, July 1941; Manhattan, <strong>the</strong>same day)Scene 3: A Stranger’s Name (Lvov, February 1943;Manhattan)Scene 4: Alone (Lvov, March 1943, Julek’s 13thbirthday; Manhattan)Scene 5: First Masquerade (On a train to Warsaw,April 1943; Manhattan)INTERMISSIONMat<strong>the</strong>w Smith, LudwigNeil Ewachiw, Fa<strong>the</strong>rMelissa Wimbish, ChristineRobert Baker, Dr. SchmollLinda Maguire, Mrs. KrawczykAct IIScene 1: Documentary (Manhattan, <strong>the</strong> same nightin Manfred’s hotel room)Scene 2: The Bath (Warsaw, Krawczyks’ apartment,April 1, 1943; Manhattan <strong>the</strong> next day)Scene 3: Dentist’s Office (Warsaw, late spring 1943;Manhattan)Scene 4: Christine (Warsaw, f<strong>all</strong> 1943; Manhattan)Scene 5: Obituary Game (Warsaw, February 1944;Mo<strong>the</strong>r’s workplace, where <strong>the</strong> familysecretly meets; Manhattan)Scene 6: Wilhelmshagen Labor Camp(Wilhelmshagen, a German labor camp,October 1944; Manhattan)This per<strong>for</strong>mance is dedicated to victims of <strong>the</strong> Holocaust, a number of whom are in attendance tonight.Concert Presenting Sponsor: Ingleside at King FarmAll Kids, All Free, All <strong>the</strong> Time is sponsored by The GazetteThe Music Center at StrathmoreMarriott Concert Stageapplause at Strathmore • NOVEMBER/DECEMBER 2013 29

Saturday, November 9, 2013, 8 p.m.Piotr Gajewski, conductorPiotr Gajewski iswidely credited withbuilding <strong>the</strong> NationalPhilharmonic toits present status asone of <strong>the</strong> most respectedensemblesof its kind in <strong>the</strong> region.The Washington Post recognizeshim as an “immensely talented and insightfulconductor,” whose “standards,taste and sensitivity are impeccable.”In addition to his appearances with<strong>the</strong> National Philharmonic, Gajewski ismuch in demand as a guest conductor.In recent years, he has appeared withmost of <strong>the</strong> major orchestras in his nativePoland, as well as <strong>the</strong> Royal LiverpoolPhilharmonic in England, <strong>the</strong>Karlovy Vary Symphony in <strong>the</strong> CzechRepublic, <strong>the</strong> Okanagan Symphony inCanada and numerous orchestras in <strong>the</strong>United States.Gajewski attended Carleton Collegeand <strong>the</strong> University of Cincinnati,College-Conservatory of Music, wherehe earned a bachelor’s of music and amaster’s of music in orchestral conducting.Upon completing his <strong>for</strong>mal education,he continued refining his conductingskills at <strong>the</strong> 1983 Tanglewood MusicFestival in Massachusetts, where he wasawarded a Leonard Bernstein ConductingFellowship. His teachers <strong>the</strong>re includedLeonard Bernstein, Seiji Ozawa,André Previn, Gun<strong>the</strong>r Schuller, GustavMeier and Maurice Abravanel.Gajewski is also a winner of manyprizes and awards, among <strong>the</strong>m a prizeat New York’s prestigious Leopold StokowskiConducting Competition and,in 2006, Montgomery County’s ComcastExcellence in <strong>the</strong> Arts and HumanitiesAchievement Award.Janice Hamer, composerJanice Hamer hasreceived numerousawards from<strong>the</strong> Radcliffe Institute,New Jerseyand Pennsylvaniaarts councils,New Music USA,American Composers Forum andASCAP. She is a winner of two nationalcompetitions—<strong>the</strong> Dale WarlandNew Choral Music Competitionand <strong>the</strong> Miriam Gideon Award from<strong>the</strong> International Alliance of Womenin Music.Recent per<strong>for</strong>ming groups includePhiladelphia’s Orchestra 2001, <strong>the</strong>Dale Warland Singers, BBC Singers,Bowling Green (Ohio) Festival, ICantori di New York, Double Image(UK), Philadelphia Concerto Soloists,Apple Hill Chamber Players, <strong>the</strong>Kharkov (Ukraine) Philharmonic,Park Lane Group (UK) and <strong>the</strong> U.S.Holocaust Museum ensemble.Hamer’s teachers included Earl Kimat Harvard, Thea Musgrave at CUNYand Peter Maxwell Davies. She lived<strong>for</strong> some years in England, where hermusic was per<strong>for</strong>med on BBC radioand in London concert h<strong>all</strong>s, as wellas in Austria, France, Ukraine, Israeland Palestine. She currently teachesat Swarthmore College.Mary Azrael, librettistMary Azrael is authorof three booksof poems, Victorians,Riddles <strong>for</strong> aNaked Sailor andBlack Windows. Herpoems have beenpublished in PrairieSchooner, Harpers,Chelsea, Poetry Daily and elsewhere.She co-edits Passager Books and Passager,a national literary journal featuringolder writers.Azrael first collaborated with JaniceHamer on <strong>the</strong> libretto of Hamer’saward-winning choral work, OnPaper Bridges. Her poem, “Loving <strong>the</strong>Aliens,” was set to music by ChrisMandra and per<strong>for</strong>med at <strong>the</strong> AmericanVisionary Art Museum; “ThreeRiddles” (Boosey and Hawkes) wasset <strong>for</strong> children’s chorus by Betty Bertaux.She created a sound poem <strong>for</strong>“Themorus,” a kinetic sculpture byKevin Labadie.She teaches poetry writing at JohnsHopkins University.Nick Olcott, stage directorNick Olcott is interimdirector of <strong>the</strong>Maryland Opera Studio(University ofMaryland School ofMusic). Local creditsinclude Wolf TrapOpera, <strong>the</strong> In Seriesand UrbanArias.In January, he will direct Opera Lafayette’sdouble bill of Così Fan andLes Femmes Vengées, which will play atThe Kennedy Center (Washington),Lincoln Center (New York) and <strong>the</strong>Opéra Royal (Versailles).Program NotesLost Childhoodbased on The Lost Childhood, aHolocaust memoir by Dr. Yehuda Nirand conversations with Dr. GottfriedWagnerSynopsisSet in Poland during World War II,and 50 years later in a Manhattanhotel, Lost Childhood recounts anepic journey of terror and triumph, ofdevastating loss and hope. The operais based on <strong>the</strong> true story of a PolishJewish child who survived <strong>the</strong> Nazisthrough cunning and luck, and <strong>the</strong>man he became.Julek Gruenfeld was 11 years oldwhen his fa<strong>the</strong>r was abducted by<strong>the</strong> Nazis. At that moment, he, hismo<strong>the</strong>r and his sister Lala were <strong>for</strong>cedto enter a brutal game of survival.With <strong>the</strong> help of Lala’s suitor, artistand poet Ludwig Selig, <strong>the</strong> family assumedfalse identities and moved fromplace to place disguised as Catholics.Gruenfeld is a resourceful boy witha keen sense of irony and a sharp eye<strong>for</strong> <strong>the</strong> absurd. In a life-and-deathmasquerade, he plays many partsand, through luck and ingenuity, heescapes again and again.Gruenfeld’s memories of his “lostchildhood” emerge during a fictitiousencounter in 1993 with ManfredGeyer, a German born after WorldGAJEWSKI PHOTO BY Michael Ventura, HAMER PHOTO BY EMILY HAUZE, AZRAEL PHOTO BY JOHN WISE, OLCOTT PHOTO BY SUSANNE OLLMAN30 applause at Strathmore • NOVEMBER/DECEMBER 2013

Saturday, November 9, 2013 , 8 p.m.War II into a prominent family withclose personal ties to Hitler. Geyerand <strong>the</strong> adult Gruenfeld (now Judah)are psychiatrists and colleagues at aprofessional conference in New York.Geyer, haunted by his family’s past,urges <strong>the</strong> adult Gruenfeld to confidein him about his experiences during<strong>the</strong> war.For 50 years, Gruenfeld has keptsilent about this period of his life, andhe is reluctant to talk about it, especi<strong>all</strong>ywith a German. “A nation of 80million wanted to murder me, a child,and failed,” he says. “I beat Hitler.”Over a period of several days, Geyer’squestioning opens <strong>the</strong> floodgates, andGruenfeld’s buried memories and emotionscome rushing back. As <strong>the</strong> twomen confront each o<strong>the</strong>r and wrestlein private with <strong>the</strong>ir own lost childhoods,an unexpected bond developsbetween <strong>the</strong>m.Yehuda Nir and Gottfried WagnerThe memory scenes of World War IIwere adapted by librettist Mary Azraelfrom The Lost Childhood, Dr. YehudaNir’s memoir of his childhood in hidingfrom <strong>the</strong> Nazis. First published byHarcourt Brace Jovanovich in 1989,it has been translated into many languagesand published internation<strong>all</strong>y,most recently in Nir’s native Polandand in Israel.Nir, a retired professor of psychiatryat Cornell University Medical College,had a private practice in New YorkCity. Many of his patients were Holocaustsurvivors and <strong>the</strong>ir descendants.The fictitious story of Gruenfeldand Geyer, created by Azrael, wasinspired by <strong>the</strong> friendship of Nirand Gottfried Wagner. Wagner,great-grandson of composer RichardWagner, is a music historian, lecturerand co-founder of <strong>the</strong> Post-HolocaustDialogue Group. He has dedicated hislife to fostering greater understandingbetween Germans and Holocaustsurvivors and <strong>the</strong>ir descendants.While Geyer is, emphatic<strong>all</strong>y, notWagner, <strong>the</strong> creators’ conversationswith him, and his public speeches andwritings, especi<strong>all</strong>y his memoir, TwilightNational Philharmonic Orchestra and ChoraleFirst ViolinsJody Gatwood,ConcertmasteremeritusBrenda AnnaMichael BarbourEva Cappelletti-ChaoMaureen Conlon-DoroshLaura Tait ChangClaudia ChudacoffLisa CridgeDoug DubéLysiane Gravel-LacombeJennifer KimRegino MadridKim MillerJennifer RickardBenjamin ScottLeslie SilverfineChaerim SmithOlga YanovichSecond ViolinsMayumi Pawel, PrincipalKa<strong>the</strong>rine BudnerArminé GrahamJustin GopalJune HuangKarin KelleherAlexandra MikhlinLaura MillerJoanna OwenJean ProvineRachel SchenkerJennifer ShannonNing Ma ShiHilde SingerCathy StewartRachael StocktonViolasJulius Wirth, PrincipalJudy Silverman,Associate PrincipalPhyllis FreemanNicholas HodgesLeonora KarasinaStephanie KnutsenMark PfannschmidtMargaret PrechtlJennifer RendeSarah ScanlonChris ShiehTam TranCellosLori Barnet, PrincipalApril ChisholmDanielle ChoKen DingAndrew HessePhilip von MaltzahnTodd ThielKerry Van LaanenBassesRobert Kurz, PrincipalKelly AliShawn AlgerBarbara FitzgeraldWilliam HonesEd MalagaMichael RittlingMark StephensonFlutesDavid Whiteside, PrincipalNicolette OppeltDavid LaVorgnaPiccoloDavid LaVorgnaOboesMark Hill, PrincipalKathy Ceasar-Sp<strong>all</strong>Fatma DaglarEnglish HornRon ErlerClarinetsCheryl Hill, PrincipalCarolyn Alvarez-AgriaSuzanne GekkerBass ClarinetCarolyn Alvarez-AgriaBassoonsErich Hecksher, PrincipalBenjamin GreanyaSandra SiskContrabassoonNicholas CohenFrench HornsMichael H<strong>all</strong>, PrincipalMark WakefieldJustin DrewMark HughesKen BellTrumpetsChris Gekker, PrincipalRobert Birch, Robert &Margaret Hazen ChairCarl RoweJohn AbbraciamentoTrombonesDavid Sciannella,PrincipalJim ArmstrongJeffrey CortazzoTubaWilliam ClarkTimpani & PercussionTom Maloy, PrincipalAubrey AdamsCurt DuerRobert JenkinsBill RichardsHarpRebecca SmithElizabeth BlakesleeKeyboardWilliam NeilJeffery WatsonTheodore GuerrantSopranosMarietta R. BalaanKelli BankardMary Bentley*Jocelyn BondCheryl BranhamRosalind BreslowKristin BrownRebecca Carlson**Cheryl CastnerAnne P. ClaysmithNancy A. Coleman**Eileen S. DeMarcoLauren DrinkwaterLisa EdgleyAmy EllsworthSarah B. FormanCaitlin A. GarryDenise R. HardingEtahyayne J. HarrisDebbie HendersonJulie HudsonRobyn KleinerCarrie HendersonJessica Holden KlodaJoanna LamMaria LostoskiKaelyn LowmasterSharon Majchrzak-HongAnaelise MartinezKathryn McKinleySara W. MosesKa<strong>the</strong>rineNelson-Tracey*Mary Beth NolanJuliana S. O’NeillBrittany PoinexterLynette PosorskeMaggie RheinsteinCarlotta RichardLisa RomanoTheresa RoysAida L. SánchezKa<strong>the</strong>rineSchnorrenbergShelly A. SchubertCarolyn J. SullivanCathlin TullyEllen van ValkenburghSusanne VillemaretteJulia E. VollmersAmy WennerEmily WildrickLynne WoodsSara ZoellerAltosHelen R. AltmanToni BarrettCarol BrunoErlinda C. DancerSandra L. DaughtonJenelle M. DennisDeidre FeehanRobin FillmoreShannon FinneganElissa FrankleFrancesca Frey-KimMaria A. FriedmanJulia C. FriendElizabeth BishopGemoetsJeanette GhatanSarah GilchristLois J. GoodsteinJacque GrenningStacey A. HenningValerie A. HIggsJean HochronDebbi IwigSara M. Josey*Marilyn KatzCasey KeelerIrene M. KirkpatrickMartha J. Krieger**Sandy LedermanMelissa J. Lieberman*Julie S. MacCarteeNansy Ma<strong>the</strong>wsCaitlin McLaughlinSusan E. MurrayDaryl NewhouseMartha NewmanElizabeth OwenBrianna PetersonPatricia PillsburyBeryl M. RothmanLisa RovinJan SchiavoneDeborah F. SilbermanLori J. SommerfieldCarol A. SternPattie Sullivan-StenBonnie S. TempleVirginia Van BruntChristine VockeSarah Jane Wagoner**Wendy J. WeinbergTenorsKenneth BailesPhilip BregstoneJ.I. CanizaresColin ChurchPaul J. DeMarcoIan ElderRuth W. Faison**Carlos A. HerránDon JanskyCurt JordanPaul LegradyTyler A. LoertscherJane LyleDavid M<strong>all</strong>oyMichael McClellanChantal McHaleEleanor McIntireWayne Meyer*Tom MilkeRolf MoeckelTom NessingerSteve NguyenJoe RichterDrew RiggsJason SaffellRobert T. SaffellZachary SchwalbachDennis Vander TuigBassesRussell BowersAlbert Brad<strong>for</strong>dRonald CappellettiPete ChangStephen CookClark V. CooperBopper DeytonCharles G. EdmndsJ. William GadzukRobert GerardMike HiltonJohn IobstWilliam W. Josey**Peter KadelliAllan KirkpatrickIan KyleJack LeglerLarry MaloneyIan Mat<strong>the</strong>wsAlan E. MayersDugald McConnellDavid J. McGoffRichard McMillanDavid G. MedlandKent Mikkelsen*John Milberg**Oliver MolesMark NelsonLeif NeveTom PappasAnthony RadichHarry Ransom, Jr.Edward Rejuney*Frank RoysJosé Luis SánchezHarold SeifriedCharles SerpanCarey W. SmithJason James SmokerCharles SturrockAlun ThomasDonald A. TrayerMichael TurnblomThierry van BastelaerWayne R. WilliamsTheodore Guerrant,Accompanist,Theodore M.Guerrant Chair* section leader** asst. section leaderapplause at Strathmore • NOVEMBER/DECEMBER 2013 31

Saturday, November 9, 2013, 8 p.m.of <strong>the</strong> Wagners, were central to Azrael’sshaping of Geyer’s character. Geyer’ssoliloquy in Act 2, Scene 1, “TheDocumentary,” is based on Wagner’straumatic childhood memory. Theanti-semitic words of <strong>the</strong> old woman’svoice in this scene were spoken by hisgrandmo<strong>the</strong>r, who adored Hitler.The MusicStructur<strong>all</strong>y, <strong>the</strong> opera follows alarge dramatic arc, with two intercuttingtime periods. The music usestechniques of interruption, nonsequitur,nonlinearity. “The Holocaustitself suggests <strong>the</strong>se musical structures—loveduets left incomplete;musical <strong>the</strong>mes <strong>for</strong>ced to morph intoo<strong>the</strong>rs; <strong>the</strong>mes transplanted into new,sometimes alien, conditions,” sayscomposer Janice Hamer.For dramatic, ironic effect, <strong>the</strong>work refers frequently to o<strong>the</strong>r music,including music of <strong>the</strong> period.When Geyer speaks of distancinghimself from his Nazi fa<strong>the</strong>r, Hamerincorporates into his aria a fragmentfrom Wagner’s Lohengrin: “Nie sollstdu mich befragen.” (“Never ask mewhere I’ve come from.”) When <strong>the</strong>staff in <strong>the</strong> Nazi dentist’s office inWarsaw vie with each o<strong>the</strong>r in makinganti-semitic jokes, Hamer pairs apolka with <strong>the</strong> “Horst Wessel Lied,”<strong>the</strong> unofficial Nazi hymn. A Christianand a Jewish chant are symbolic<strong>all</strong>ypaired at <strong>the</strong> end of <strong>the</strong> opera.“These are private quotations,”Hamer says. “If recognized, <strong>the</strong>ymay enhance one’s listening, but itdoesn’t matter if <strong>the</strong>y aren’t.”Per<strong>for</strong>mance HistoryLost Childhood was commissionedand developed by American OperaProjects, an opera development companyin New York. Through a seriesof workshops, it was completed andrevised in piano-vocal <strong>for</strong>m. O<strong>the</strong>rpartial workshops took place at <strong>the</strong>United States Holocaust MemorialMuseum, in <strong>the</strong> VOX program of NewYork City Opera and <strong>for</strong> <strong>the</strong> NationalOpera Association.A full workshop was per<strong>for</strong>med inTel Aviv at <strong>the</strong> International VocalArts Institute as part of <strong>the</strong> annualInternational Opera Summer Programand Workshop headed by ArtisticDirector Joan Dornemann, assistantconductor at <strong>the</strong> New York MetropolitanOpera and a world-renownedvocal coach. The final decisionon whe<strong>the</strong>r to stage <strong>the</strong> opera wasDornemann’s. “It’s a very importantwork,” says Dornemann… “When thisopera is per<strong>for</strong>med around <strong>the</strong> worldand <strong>the</strong> next generation picks up <strong>the</strong>score to study, it will see that it wasfirst per<strong>for</strong>med in <strong>the</strong> workshop of TelAviv-Jaffa” (from Jerusalem Post, Aug.1, 2007).The National Philharmonic concertper<strong>for</strong>mance at <strong>the</strong> Music Center atStrathmore on Nov. 9, 2013, is <strong>the</strong>first per<strong>for</strong>mance of <strong>the</strong> completeorchestrated work.Mary Azrael, July 8, 2013Treat yourself to one of Strathmore’s most popular holiday events!24th AnnualMUSEUMSHOP AROUND ATSTRATHMORENovember 14–17 in <strong>the</strong> MansionJoin us on a treasure hunt when <strong>the</strong> area’sfinest cultural art gift shops bring <strong>the</strong>irdistinctive wares to one convenient location.Don’t <strong>for</strong>get to pick up a little something <strong>for</strong>yourself while you’re here, and to enjoy aspecial treat in <strong>the</strong> Holiday Café.THURSDAY, NOVEMBER 14, 10AM-8PMFRIDAY, NOVEMBER 15, 10AM-8PMSATURDAY, NOVEMBER 16, 10AM-6PMSUNDAY, NOVEMBER 17, 10AM-5PMOrder your ticketsonline today!www.strathmore.orgCash/Check-onlyadmission at door.Save $1 whenpresenting this ad!ADMISSION $9(Stars $8)Admission proceedssupport Strathmore’sarts and educationprogramming.No strollers, please.32 applause at Strathmore • NOVEMBER/DECEMBER 2013

Thursday, November 14, 2013, 8 p.m.Thursday, November 14, 2013, 8 P.M.Chris BottiSince <strong>the</strong> release of his 2004 critic<strong>all</strong>yacclaimed CD When I F<strong>all</strong> in Love, ChrisBotti has become <strong>the</strong> largest-sellingAmerican instrumental artist.His success has crossed over to●Baltimore Symphony OrchestraMarin Alsop, Music DirectorpresentsChris Botti, trumpetThis program will be announced from <strong>the</strong> stage.Note: The BSO does not per<strong>for</strong>m on this programThe Music Center at StrathmoreMarriott Concert Stageaudiences usu<strong>all</strong>y reserved <strong>for</strong> popmusic, and his ongoing association withPBS has led to four No. 1 jazz albums,as well as multiple Grammy Awards.In 2012, his album Impressions won <strong>the</strong>Grammy <strong>for</strong> Best Pop InstrumentalAlbum. Botti, whohas per<strong>for</strong>med worldwideand sold morethan 3 million albums,begins in jazzand expands beyond<strong>the</strong> limits of any singlegenre.Over <strong>the</strong> pastthree decades, Bottihas recorded andper<strong>for</strong>med with Sting, Barbra Streisand,Josh Groban, Yo-Yo Ma, Michael Bublé,Paul Simon, Joni Mitchell, John Mayer,Andrea Bocelli, Joshua Bell, Aerosmith’sSteven Tyler and Frank Sinatra. Hitting<strong>the</strong> road <strong>for</strong> as many as 300 days per year,<strong>the</strong> trumpeter also has per<strong>for</strong>med withmany of <strong>the</strong> finest symphonies and atsome of <strong>the</strong> world’s most prestigious venues,from Carnegie H<strong>all</strong> and <strong>the</strong> HollywoodBowl to <strong>the</strong> Sydney Opera Houseand <strong>the</strong> Real Teatro di San Carlo in Italy.Botti has established himself as one of<strong>the</strong> innovative figures of contemporarymusic.applause at Strathmore • november/december 2013 33

Friday, November 15, 2013, 8 p.m.Friday, November 15, 2013, 8 p.m.●Strathmore PresentsAmy TanStrathmore thanks Traditional Chinese Culture Institute International LLC <strong>for</strong> itspromotional support of this per<strong>for</strong>mance.The Music Center at StrathmoreMarriott Concert StageAmy TanBorn in <strong>the</strong> U.S. to immigrant parentsfrom China, Amy Tan rejected hermo<strong>the</strong>r’s expectations that she becomea doctor and concert pianist. She choseto write fiction instead.Her novels are The Joy Luck Club,The Kitchen God’s Wife, The HundredSecret Senses, The Bonesetter’s Daughterand Saving Fish from Drowning, <strong>all</strong> NewYork Times bestsellers and recipients ofvarious awards. She is also <strong>the</strong> authorof a memoir, The Opposite of Fate,<strong>the</strong> children’s books The Moon Ladyand Sagwa The Chinese Siamese Cat,and numerous articles <strong>for</strong> magazines,including The New Yorker, Harper’s Bazaarand National Geographic. Her workhas been translated into 35 languages.Tan served as co-producer and coscreenwriterwith Ron Bass <strong>for</strong> <strong>the</strong> filmadaptation of The Joy Luck Club. Shealso was <strong>the</strong> creative consultant <strong>for</strong>Sagwa, <strong>the</strong> Emmy-nominated PBS televisionseries <strong>for</strong> children. Her story inThe New Yorker, “Immortal Heart,” wasper<strong>for</strong>med on stages throughout <strong>the</strong>U.S. and in France. She has appearedas herself in <strong>the</strong> animated series TheSimpsons, and has per<strong>for</strong>med as narratorwith <strong>the</strong> San Francisco Symphony and<strong>the</strong> Hollywood Bowl Orchestra duringa production of Sagwa.Tan has lectured internation<strong>all</strong>y atuniversities, including Stan<strong>for</strong>d, Ox<strong>for</strong>d,Jagellonium, Beijing and Georgetown.The National Endowment <strong>for</strong><strong>the</strong> Arts chose The Joy Luck Club <strong>for</strong> its2007 Big Read program. Tan also servesas <strong>the</strong> literary editor <strong>for</strong> <strong>the</strong> Los AngelesTimes magazine, West.Tan also wrote <strong>the</strong> libretto <strong>for</strong> TheBonesetter’s Daughter, which had itsworld premiere with <strong>the</strong> San FranciscoOpera in September 2008. The bookFate! Luck! Chance! Amy Tan, StewartW<strong>all</strong>ace, and <strong>the</strong> Making of The Bonesetter’sDaughter, by Ken Smith, was publishedby Chronicle Books in August2008, and a documentary about <strong>the</strong> opera,Journey of <strong>the</strong> Bonesetter’s Daughter,premiered on PBS in 2011. She alsohas served as lead rhythm dominatrix,backup singer and second tambourinewith <strong>the</strong> literary garage band, <strong>the</strong> RockBottom Remainders, whose membersincluded Stephen King, Dave Barryand Scott Turow. Their annual gigsraised more than $1 million <strong>for</strong> literacyprograms.Her <strong>latest</strong> novel is The V<strong>all</strong>ey ofAmazement, published in 2013 by Ecco/HarperCollins. She is also at work onan essay collection and a novel c<strong>all</strong>edThe Memory of Desire.Politics and Prose Bookstore will sellAmy Tan’s new novel following herlecture in <strong>the</strong> Music Center. Tan willsign copies of her new release and o<strong>the</strong>rclassics purchased after <strong>the</strong> show.Rick Smolan, Against All Odds Productions34 applause at Strathmore • NOVEMBER/DECEMBER 2013

Saturday, November 16, 2013, 8 p.m.Alsop photo by DeaN Alexander, Wilson photo by AAron gangsaturday, november 16, 2013, 8 P.M.●Baltimore Symphony OrchestraMarin Alsop, Music DirectorpresentsWar RequiemMarin Alsop, conductorTamara Wilson, sopranoNicholas Phan, tenorRyan McKinny, bass-baritoneUniversity of Maryland Concert ChoirEdward Maclary, DirectorPeabody Children’s ChorusDoreen Falby, DirectorWar Requiem, Op. 66 Benjamin BrittenRequiem aeternum (1913-1976)dies IraeOffertoriumSanctusAgnus Deilibera meTamara WilsonNicholas PhanRyan McKinnyUniversity Of Maryland Concert ChoirPeabody Children’s ChorusMarin Alsop, conductorThe per<strong>for</strong>mance will proceed without an intermission.Presenting Sponsor: M&T BankMedia Sponsor: WETA 90.9 FMThe concert will end at approximately 9:25 p.m.Marin Alsop is an inspiringand powerfulvoice in <strong>the</strong> internationalmusic scene,a music director ofvision and distinctionwho passionatelybelieves that “music has <strong>the</strong> power tochange lives.” She is recognized across<strong>the</strong> world <strong>for</strong> her innovative approachThe Music Center at StrathmoreMarriott Concert Stageto programming and <strong>for</strong> her deep commitmentto education and to <strong>the</strong> developmentof audiences of <strong>all</strong> ages.Alsop made history with her appointmentas <strong>the</strong> 12th music directorof <strong>the</strong> Baltimore Symphony Orchestra.With her inaugural concerts inSeptember 2007, she became <strong>the</strong> firstwoman to head a major American orchestra.She also holds <strong>the</strong> title of conductoremeritus at <strong>the</strong> BournemouthSymphony in <strong>the</strong> United Kingdom,where she served as <strong>the</strong> principal conductorfrom 2002 to 2008.Her success as <strong>the</strong> BSO’s music directorhas garnered national and internationalattention <strong>for</strong> her innovative programmingand artistry. Her success was recognizedin 2013, when her tenure was extendedto <strong>the</strong> 2020-2021 season. Alsop took up<strong>the</strong> post of music director of <strong>the</strong> São PauloSymphony Orchestra in 2012, where shesteers <strong>the</strong> orchestra in its artistic and creativeprogramming, recording venturesand its education and outreach activities.In <strong>the</strong> summer of 2013, Alsop servedher 22nd season as music director of <strong>the</strong>acclaimed Cabrillo Festival of ContemporaryMusic in Cali<strong>for</strong>nia. Musical America,which named Alsop <strong>the</strong> 2009 Conductorof <strong>the</strong> Year, said, “[Marin Alsop]connects to <strong>the</strong> public as few conductorstoday can.”Tamara Wilson, sopranoTamara Wilson adds anew Verdi heroine to herrepertoire when she returnsto Théâtre du Capitolein Toulouse as LucreziaContarini in Verdi’s Idue Foscari in <strong>the</strong> 2013–2014 season. In celebrationof <strong>the</strong> Verdi bicentenary, she alsowill debut at Teatro de la Maestranza inSeville as Aida, and with WashingtonConcert Opera in his rarely heard Il corsaroas Gulnara alongside tenor MichaelFabiano as Corrado. She will also beheard with James Conlon and <strong>the</strong> ColburnOrchestra as part of <strong>the</strong> Britten 100/LA celebration.O<strong>the</strong>r concert engagements includeBroch’s Moses with <strong>the</strong> American SymphonyOrchestra at Carnegie H<strong>all</strong> andVerdi’s Messa da Requiem with <strong>the</strong> JacksonvilleSymphony Orchestra. Futureseasons will see her in roles created byVerdi, Bellini, Mozart and Strauss at <strong>the</strong>Oper Frankfurt, Gran Teatre del Liceu,Théâtre du Capitole, Teatro Real de Madrid,Los Angeles Opera and HoustonGrand Opera.On <strong>the</strong> concert stage, Wilson madeher Carnegie H<strong>all</strong> debut with <strong>the</strong> BaltimoreSymphony Orchestra under Marinapplause at Strathmore • NOVEMBER/DECEMBER 2013 35

Saturday, November 16, 2013, 8 p.m.Alsop in Honegger’s Jeanne d’Arc aubûcher, and has appeared with <strong>the</strong> EugeneConcert Choir in Britten’s WarRequiem and <strong>the</strong> Charlotte Symphonyin Beethoven’s Missa solemnis. Shereturned to <strong>the</strong> Oregon Bach Festivalin Tippett’s A Child of Our Time.An alumna of <strong>the</strong> Houston GrandOpera Studio, Wilson’s awards include<strong>the</strong> George London Award from <strong>the</strong>George London Foundation, in whichshe was hailed <strong>for</strong> a “striking timbre<strong>all</strong> her own” (Opera News), as well asboth a career grant in 2011 and studygrant in 2008 from <strong>the</strong> Richard TuckerMusic Foundation.Tamara Wilson last appeared with<strong>the</strong> BSO in November 2011, per<strong>for</strong>mingHonegger’s Jeanne d’Arc au bûcherwith Music Director Marin Alsopconducting.Nicholas Phan, tenorThis season,American tenorNicholas Phanreturns to <strong>the</strong> NewYork City Operaas <strong>the</strong> title rolein Endimione andappears in concertwith <strong>the</strong> Baltimore,St. Louis, Boston Baroque, Charlotte,Toronto and Kitchener-Waterloosymphony orchestras. He will also bepresented in recital by Spivey H<strong>all</strong>and <strong>the</strong> Boston Celebrity series, andin Chicago, Rochester, Kalamazoo andIstanbul.Phan has appeared with many of<strong>the</strong> leading orchestras in <strong>the</strong> UnitedStates and Europe, including <strong>the</strong> NewYork Philharmonic, Chicago SymphonyOrchestra, Philadelphia Orchestra,Pittsburgh Symphony Orchestra, SanFrancisco Symphony Orchestra, LosAngeles Philharmonic Orchestra, NationalSymphony Orchestra, AtlantaSymphony Orchestra, Orchestra ofSt. Luke’s, Les Violons du Roy, BBCSymphony Orchestra and <strong>the</strong> EnglishChamber Orchestra.He toured extensively throughoutEurope with Il Complesso Baroccoand appeared with <strong>the</strong> Edinburgh,Ravinia, Rheingau, Saint-Denis andMarlboro music festivals, and at <strong>the</strong>BBC Proms. He has also appeared inCarnegie H<strong>all</strong>, <strong>the</strong> Hollywood Bowl,<strong>the</strong> National Arts Center in Ottawaand <strong>the</strong> Bolshoi. In recital, he hasbeen presented by Carnegie H<strong>all</strong>, <strong>the</strong>Metropolitan Museum of Art in NewYork, <strong>the</strong> Philadelphia Chamber MusicSociety, Oberlin Conservatory ofMusic and <strong>the</strong> University of Chicago.Phan’s most recent solo album, StillF<strong>all</strong> <strong>the</strong> Rain (AVIE), was named oneof <strong>the</strong> best classical recordings of 2012by The New York Times. His first soloalbum, Winter Words (AVIE), was alsocritic<strong>all</strong>y acclaimed upon its release in2011.Nicholas Phan last appeared with<strong>the</strong> BSO in May 2012, per<strong>for</strong>mingBeethoven’s Symphony No. 9, withPeter Oundjian conducting.Ryan McKinny, bass-baritoneAmerican bass-baritoneRyan McKinnyhas been praised<strong>for</strong> his “elegant andarticulate” vocalism(OC Register), aswell as a powerfulvoice that “dripswith gold” (Opera News).In <strong>the</strong> 2013–2014 season, McKinnyreturns to Houston Grand Opera<strong>for</strong> his role debut as <strong>the</strong> title role inVerdi’s Rigoletto and to <strong>the</strong> MetropolitanOpera as Theseus in Britten’sA Midsummer Night’s Dream underJames Conlon. He will also be seen asEscamillo in Carmen and Donner inDas Rheingold, both at Houston GrandOpera. In concert, he will be heard inrecital at Wolf Trap and Arizona Opera.In <strong>the</strong> summer of 2014, McKinnywill sing Lysiart in Weber’s Euryan<strong>the</strong>at Bard SummerScape.On <strong>the</strong> concert stage, McKinnyrecently sang <strong>the</strong> world premiere ofShostakovich’s uncompleted operaOrango under Esa-Pekka Salonen and<strong>the</strong> Los Angeles Philharmonic withstage direction by Peter Sellars. He hasalso been heard with <strong>the</strong> ClevelandOrchestra and National Symphony inBeethoven’s Symphony No. 9; Rossini’sStabat Mater at <strong>the</strong> Grant Park MusicFestival; Monterone in Rigoletto andZuniga in Carmen with <strong>the</strong> Los AngelesPhilharmonic under Gustavo Dudamelat <strong>the</strong> Hollywood Bowl; and Mahler’sSymphony No. 8 (“Symphony of a Thousand”)at <strong>the</strong> Aspen Music Festival withRobert Spano.He has also per<strong>for</strong>med <strong>the</strong> bass-baritoneroles in Oedipus Rex <strong>for</strong> his debutwith <strong>the</strong> Chicago Symphony Orchestraunder Michael Tilson Thomas and <strong>the</strong>Los Angeles Philharmonic under Esa-Pekka Salonen in his final concerts asmusic director with staging by Sellars.McKinny was heard in a special recitalof Schubert’s Die Winterreise during <strong>the</strong>Sydney Festival, which was broadcast onABC, Australia’s public radio, and hasbeen heard at <strong>the</strong> Aspen Music Festival<strong>for</strong> a recital re-created on a programorigin<strong>all</strong>y per<strong>for</strong>med by Jerome Hines inJune 1949.Ryan McKinny is making his BSOdebut.The University of MarylandConcert ChoirThe University of Maryland ConcertChoir is composed of undergraduateand graduate students chosen by auditionfrom throughout <strong>the</strong> College Parkcampus. Since 2003, <strong>the</strong> UMD ConcertChoir has collaborated annu<strong>all</strong>y with<strong>the</strong> National Symphony Orchestra inrepertoire such as Bach’s St. Mat<strong>the</strong>wPassion and Haydn’s Die Schöpfung withHelmuth Rilling, Messiah with Mat<strong>the</strong>wH<strong>all</strong>s, Bach’s Mass in B minor with IvánFischer and, most recently, Mozart’sRequiem under <strong>the</strong> baton of NSO MusicDirector Christoph Eschenbach.Collaborations at <strong>the</strong> Clarice SmithPer<strong>for</strong>ming Arts Center with <strong>the</strong> UMDSymphony Orchestra have includedVerdi’s Requiem, Brahms’ Ein Deutschesphan photo by balance photography, mckinny photo by simon pauly, choir photo by alison harbaugh36 applause at Strathmore • NOVEMBER/DECEMBER 2013

Saturday, November 16, 2013, 8 p.m.Requiem, Schumann’s Das Paradies unddie Peri and Mahler’s Symphony No.2. Students in <strong>the</strong> choral ensembles at<strong>the</strong> UMD School of Music per<strong>for</strong>m awide range of concerted and a cappellarepertoire, ranging from medievalchant and Renaissance polyphony tomasterworks of <strong>the</strong> 20th century andpremieres of contemporary compositions.Under <strong>the</strong> direction of EdwardMaclary, UMD choral ensembles haveestablished an international reputation<strong>for</strong> excellence in per<strong>for</strong>mance.Over <strong>the</strong> past decade, UMD choralensembles have appeared by invitationon multiple occasions at <strong>the</strong> conventionsof <strong>the</strong> Music Educators NationalConference, <strong>the</strong> National CollegiateChoral Organization and <strong>the</strong> AmericanChoral Directors Association,and won numerous prizes in internationalcompetition. In 2011, <strong>the</strong> UMDChamber Singers were awarded <strong>the</strong>Premier Prix <strong>for</strong> Mixed Choirs and <strong>the</strong>Prix Ronsard <strong>for</strong> Renaissance singing at<strong>the</strong> Florilège Vocal de Tours in France.The University of Maryland ConcertChoir is making its BSO debut.The Peabody Children’sChorusThe Peabody Children’s Chorus,founded in 1989, is dedicated to providingage-appropriate vocal training <strong>for</strong>young people. The chorus brings childrentoge<strong>the</strong>r to rehearse and per<strong>for</strong>mart and folk music of multiple cultures,languages, historical periods and styles.In six ensembles rehearsing in Towsonor Columbia, Md., young people gaininvaluable experience making musicin ensemble settings, and studying eartrainingand music-reading.About 400 children between <strong>the</strong>ages of 6 and 18 participate each yearin three levels of training, rehearsingand per<strong>for</strong>ming in public concert atleast twice a year.The Peabody Children’s Chorushas per<strong>for</strong>med with <strong>the</strong> BaltimoreChamber Orchestra, <strong>the</strong> BaltimoreChoral Arts Society, <strong>the</strong> BaltimoreSymphony Orchestra, Concert Artistsof Baltimore, Lyric Opera Baltimore,<strong>the</strong> Mid-Atlantic Symphony Orchestra,<strong>the</strong> Morgan State UniversityChoir, Peabody Conservatory’s OperaTheater and <strong>the</strong> Peabody SymphonyOrchestra.During <strong>the</strong> 2009-2010 season, <strong>the</strong>chorus per<strong>for</strong>med in <strong>the</strong> SomersetInternational Youth Choral Festivalin England and celebrated <strong>the</strong> releaseof <strong>the</strong> Naxos American ClassicsGrammy-nominated recording of Bernstein’sMass, upon which it collaboratedwith <strong>the</strong> Baltimore SymphonyOrchestra under <strong>the</strong> baton of MusicDirector Marin Alsop.In 2011, <strong>the</strong> chorus per<strong>for</strong>med at<strong>the</strong> Vatican, Rome and in St. Mark’sCa<strong>the</strong>dral, Venice and with <strong>the</strong> BaltimoreSymphony Orchestra in CarnegieH<strong>all</strong>. In <strong>the</strong> summer of 2013, <strong>the</strong>chorus was featured in <strong>the</strong> DimanchesMusicaux de La Madeleine ConcertSeries, Paris, per<strong>for</strong>med at <strong>the</strong> AmericanCemetery in Normandy, and sangmass in Notre Dame Ca<strong>the</strong>dral.Peabody Children’s Chorus lastappeared with <strong>the</strong> BSO in June 2013,per<strong>for</strong>ming Orff’s Carmina Burana,with Music Director Marin Alsopconducting.Program NotesWar Requiem, Op. 66Benjamin BrittenBorn Nov. 22, 1913, in Lowestoft, England;died Dec. 4, 1976, in Aldeburgh,EnglandOn <strong>the</strong> night of Nov. 14, 1940, Germanbombs rained down on Coventry,an industrial city near Birmingham inEngland’s Midlands. Aside from <strong>the</strong>great loss of life—most tragic<strong>all</strong>y manychildren evacuated <strong>for</strong> <strong>the</strong>ir “safety”from London—<strong>the</strong> chief catastrophe ofthat fiery night was <strong>the</strong> total destructionof Coventry’s prized medieval Ca<strong>the</strong>dralof St. Michael.One of England’s symbolic acts ofpostwar recovery was <strong>the</strong> rebuildingof Coventry Ca<strong>the</strong>dral. But, as manyaudience members may have seen <strong>for</strong><strong>the</strong>mselves in visits to <strong>the</strong> U.K., <strong>the</strong> newca<strong>the</strong>dral—a bold contemporary structuredesigned by Sir Basil Spence and decoratedby such prominent British artists asGraham Su<strong>the</strong>rland and Henry Moore—did not rise from <strong>the</strong> ashes of <strong>the</strong> old, but,instead, stands in haunting proximity to<strong>the</strong> original ca<strong>the</strong>dral’s blackened shell.The rebuilders had chosen to leave <strong>the</strong>memory of that terrible night in 1940 tobe contemplated by generations to come.The leaders of Coventry also causedano<strong>the</strong>r powerful memorial to <strong>the</strong> devastationof two world wars to be createdwhen <strong>the</strong>y asked Benjamin Britten towrite a work <strong>for</strong> <strong>the</strong> ca<strong>the</strong>dral’s rededicationceremonies on May 30, 1962. AsEngland’s leading composer of <strong>the</strong> postwarperiod, Britten was <strong>the</strong> logical choice<strong>for</strong> such a commission. But beyond hisundisputed musical gifts—especi<strong>all</strong>y hismastery of operatic and choral <strong>for</strong>ms—hewas a deeply committed pacifist and hadbeen a conscientious objector throughoutWorld War II. He saw <strong>the</strong> commission asa philosophical as well as a musical opportunity:a <strong>for</strong>um <strong>for</strong> expressing his profoundconvictions about <strong>the</strong> futility and barbarismof <strong>all</strong> wars—even <strong>the</strong> so-c<strong>all</strong>ed GoodWar of 1939–1945.Britten’s War Requiem is like no o<strong>the</strong>rmusical requiem, in that it combines <strong>the</strong>traditional liturgy of <strong>the</strong> Latin Mass <strong>for</strong><strong>the</strong> Dead with <strong>the</strong> tough, unsentimentalpoetry of a man who was himself a victimof war. Wilfred Owen was an officer in<strong>the</strong> British Army during World War Iand also a poet of rare quality. Convinced<strong>the</strong>re was no glory in dying <strong>for</strong> one’scountry, he wrote about what he re<strong>all</strong>ysaw—<strong>the</strong> mud, <strong>the</strong> mangled bodies, <strong>the</strong>“green thick odour” of death—and wha<strong>the</strong> re<strong>all</strong>y felt—that war was a meaninglesswaste, with men slaughtering o<strong>the</strong>r menwhose lives and dreams were much like<strong>the</strong>ir own. Tragic<strong>all</strong>y, his eloquence wassilenced by a bullet just weeks be<strong>for</strong>e <strong>the</strong>Armistice. He was 25.Britten, whose greatest works usu<strong>all</strong>yapplause at Strathmore • NOVEMBER/DECEMBER 2013 37

Saturday, November 16, 2013, 8 p.m.sprang from his remarkable literarysensibilities, chose portions of nine ofOwen’s poems and set <strong>the</strong>m in juxtapositionto <strong>the</strong> Requiem text in ways thatare at times complementary, at o<strong>the</strong>rsjarring. He assigned <strong>the</strong>se texts to tenorand baritone soloists, accompanied bya chamber orchestra of 13 players. TheRequiem portions were written <strong>for</strong> largeadult chorus and orchestra with a sopranosoloist. A third group, also associatedwith <strong>the</strong> liturgical text, is <strong>the</strong> children’schorus, accompanied by organ. Writingwith a ca<strong>the</strong>dral acoustic in mind,Britten intended <strong>the</strong>se three per<strong>for</strong>minggroups to be separated spati<strong>all</strong>y so that<strong>the</strong>y would make distinctly differentaural impressions on <strong>the</strong> listener.Adding to <strong>the</strong> symbolic power of <strong>the</strong>War Requiem, Britten assigned <strong>the</strong> soloparts <strong>for</strong> <strong>the</strong> premiere to three singersrepresenting countries recently or currentlyat enmity with each o<strong>the</strong>r: Sovietsoprano Galina Vishnevskaya (replacedin Coventry when she couldn’t securepermission to leave <strong>the</strong> USSR, but usedon <strong>the</strong> work’s first recording), Britishtenor (and longtime Britten companion)Peter Pears, and German baritoneDietrich Fischer-Dieskau (who had beena teenaged German soldier in <strong>the</strong> lastyears of <strong>the</strong> war). The 1962 premierewas one of <strong>the</strong> greatest moments in20th-century musical history. Andtoday, it remains well-nigh impossibleto experience a per<strong>for</strong>mance of <strong>the</strong> WarRequiem and not be moved.Listening to <strong>the</strong> MusicThe opening “Requiem aeternam”movement begins as a dark, dirge-likeprocessional punctuated by bells tolling<strong>the</strong> dissonant tritone: <strong>the</strong> interval thatis <strong>the</strong> signature sound of <strong>the</strong> wholework, recurring in melodic patterns,harmonies and key relationships. Thetritone was known in Renaissance timesas <strong>the</strong> diabolus in musica—“<strong>the</strong> devilin music”— so painful, even evil didit sound in our ancestors’ ears. Here itcould stand <strong>for</strong> <strong>the</strong> specter of war: <strong>the</strong>“devil” in human life.After <strong>the</strong> sumptuousness of <strong>the</strong> largeensemble’s music, <strong>the</strong> first Owen poem,“An<strong>the</strong>m <strong>for</strong> Doomed Youth,” sung by<strong>the</strong> tenor soloist, hits us like a cold, hardslap, with its ironic textual and musicalcommentary on <strong>the</strong> preceding Requiemmaterial and its brittle, astringent chamberorchestration. Here, <strong>the</strong> mood ofcorporate ceremony is shattered by <strong>the</strong>pain of <strong>the</strong> individual: <strong>the</strong> soldier whohas watched his friends cut down oneby one and asks bitterly, “What passingbells <strong>for</strong> <strong>the</strong>se who die as cattle?”With its military bugle c<strong>all</strong>s <strong>for</strong> brassand rolling percussion suggesting artillerybarrages. <strong>the</strong> “Dies Irae” is more avision of mankind’s ferocity in war thanGod’s anger at <strong>the</strong> Judgment Day. Thisbellicose movement rings <strong>the</strong> rafterswith its <strong>for</strong>tissimo brass fanfares andits repetitive pounding rhythms. Thechamber orchestra miniaturizes <strong>the</strong>sefanfares to open <strong>the</strong> second Owen poem,“Voices,” <strong>all</strong>otted to <strong>the</strong> baritone. A quietinterlude amid <strong>the</strong> “Dies Irae’s” fury,this song again draws <strong>the</strong> scale down to<strong>the</strong> personal: <strong>the</strong> emotions of soldiers on<strong>the</strong> eve of battle as <strong>the</strong>y await <strong>the</strong>ir own“Day of Judgment.” Heavy dissonancesin <strong>the</strong> strings and horn graphic<strong>all</strong>yportray <strong>the</strong>ir dread—almost <strong>the</strong> sound ofstomachs turning over.The soprano soloist makes herentrance with <strong>the</strong> Requiem’s “LiberScriptus” text; her wide-arching phrasessound oracular and superhuman, asthough she were <strong>the</strong> very voice of <strong>the</strong>Book of Judgment. The twisting lines of<strong>the</strong> chorus suggest humanity writhing interror be<strong>for</strong>e <strong>the</strong> judgment. Contrastingwith this terror is <strong>the</strong> bravado of Owen’s“The Next War,” a tenor-baritone duet.Introduced by <strong>the</strong> snare drum, <strong>the</strong>soldiers boast of <strong>the</strong>ir friendly intimacywith death; virtuoso effects from woodwindsand two violins imitate <strong>the</strong> whineof bullets and scream of shells overhead.After this very macho duet comes <strong>the</strong>contrast of <strong>the</strong> women’s voices singing<strong>the</strong> Requiem’s “Recordare, Jesu pie”—aprayer <strong>for</strong> Jesus’s mercy—in silken fourpartharmony. Their grace is chopped offby <strong>the</strong> rhythmic violence of <strong>the</strong> choralbasses’ “Confutatis maledictus,” punctuatedby ferocious snaps from <strong>the</strong> lowbrass, like demonic jaws devouring <strong>the</strong>souls of <strong>the</strong> damned. The tenors’ swelling<strong>the</strong>me pleading <strong>for</strong> mercy (“Orosupplex”) combines with <strong>the</strong> bass <strong>the</strong>me tocreate a distorted sonic nightmare, leadingdirectly into <strong>the</strong> pounding timpani of <strong>the</strong>next Owen poem.Britten set only six lines of Owen’s“Sonnet on Seeing a Piece of our ArtilleryBrought into Action” <strong>for</strong> <strong>the</strong> baritone soloist,but with <strong>the</strong>m he paints an overpoweringmusical portrait of <strong>the</strong> monstrous gunusing <strong>the</strong> singer’s ponderously elongatednotes and <strong>the</strong> hard-stick accompanimentof <strong>the</strong> timpani. After <strong>the</strong> baritone creststo a triple-<strong>for</strong>te high note, we are againinundated by <strong>the</strong> “Dies Irae” music.Its fury spent, <strong>the</strong> “Dies Irae” collapsesinto <strong>the</strong> tender, melancholy “Lacrymosa”<strong>for</strong> soprano and chorus. Here, an Owenpoem is virtu<strong>all</strong>y merged with <strong>the</strong> liturgicaltext: <strong>the</strong> tenor’s setting of “Futility.”As <strong>the</strong> soprano sings of “<strong>the</strong> days of tearsand mourning,” <strong>the</strong> tenor-soldier mournshis recently dead comrade in one of <strong>the</strong>War Requiem’s finest examples of Britten’sexquisitely sensitive text setting.The “Offertorium” opens with <strong>the</strong> distant,o<strong>the</strong>rworldly voices of <strong>the</strong> children’schoir, surrounded by a halo of piled-up tritonesand o<strong>the</strong>r dissonances on <strong>the</strong> organ.This is followed by one of <strong>the</strong> work’s mostspectacular moments: Britten’s brilliant,full-dress choral fugue on <strong>the</strong> words “Quamolim Abrahae” (“As you promised to Abrahamand his seed”), with its finger-snappinghemiola rhythms and thrilling “look at me”flourishes from <strong>the</strong> orchestra.Working as a textual countersubject to<strong>the</strong> fugue is Owen’s bitter “The Parable of<strong>the</strong> Old Men and <strong>the</strong> Young,” in which <strong>the</strong>tenor and baritone retell <strong>the</strong> Old Testamentstory of Abraham and Isaac—thistime without a happy ending. Abrahamdoes not listen to <strong>the</strong> voice of God tellinghim to spare his son, but, instead, sacrificeshim “and half <strong>the</strong> seed of Europe one byone.” The horror of this new version isintensified by barbaric sounds from <strong>the</strong>chamber orchestra’s percussion section.The children’s choir’s chaste singing of“Hostias et preces” casts ironic shadows onthis unholy sacrifice. A quieter, more subduedversion of <strong>the</strong> “Quam olim Abrahae”fugue closes <strong>the</strong> movement.The “Sanctus” and “Benedictus” are<strong>the</strong> War Requiem’s only wholly joyous anduntroubled sections. Against a glittering38 applause at Strathmore • NOVEMBER/DECEMBER 2013

Saturday, November 16, 2013, 8 p.m.panoply of percussion—vibraphone,glockenspiel, antique cymbals, bells,piano—<strong>the</strong> soprano declaims <strong>the</strong> “Holy,holy.” Then follows ano<strong>the</strong>r Brittentour-de-<strong>for</strong>ce: a slowly building crescendoon <strong>the</strong> words “Pleni sunt coeli,”in which <strong>all</strong> <strong>the</strong> voices enter gradu<strong>all</strong>y,freely chanting <strong>the</strong> words and spanning<strong>all</strong> 12 pitches of <strong>the</strong> scale. Set against<strong>the</strong> staggered, shimmering entrances of<strong>all</strong> <strong>the</strong> large orchestra’s instruments, thiscumulative pileup becomes an uncannymusical evocation of every living creaturepraising God. This explodes intoan “Osanna” of thrilling power, but withits own militaristic overtones—like anaerial bombardment experienced from asafe distance.Owen’s poem “The End” bursts<strong>the</strong> bubble of this confident celebration.Here, <strong>the</strong> baritone questions <strong>the</strong>Christian message of resurrection, <strong>the</strong>hope of life after death. Though Brittenhimself was a devout Christian,he doesn’t flinch from examining <strong>the</strong>troubling questions of faith vs. doubt.The tenor’s beautiful, hushed “At aCalvary near <strong>the</strong> Ancre,” in turn, offers<strong>the</strong> message of Christ’s suffering on <strong>the</strong>Cross and <strong>for</strong>giveness of humankind, yetalso fiercely condemns leaders who push<strong>the</strong>ir subjects into war. This poem actu<strong>all</strong>ytakes <strong>the</strong> place of <strong>the</strong> Requiem text’s“Agnus Dei.”The final movement, “Libera Me,”begins as a slow, dragging death march,dominated by drums; <strong>the</strong> music gradu<strong>all</strong>yaccelerates in tempo, volume andurgency as <strong>the</strong> soprano soloist enters.Chorus and soloist frantic<strong>all</strong>y cry outto God <strong>for</strong> salvation as <strong>the</strong> “Dies Irae”music returns in <strong>the</strong> orchestra. After<strong>the</strong> soprano’s hysterical high C, <strong>the</strong>whole movement collapses in on itself,dying away into isolated cries from <strong>the</strong>chorus as we tumble down from <strong>the</strong>battlefield into <strong>the</strong> subterranean worldof “Strange Meeting.”Despite its spare setting—tenorand baritone soloists over <strong>the</strong> barestorchestral accompaniment—this poemis <strong>the</strong> emotional climax and “message”of <strong>the</strong> War Requiem. The tenor-soldiermeets in <strong>the</strong> baritone, “<strong>the</strong> enemy youkilled, my friend,” who tells him of wha<strong>the</strong> has learned in death: “<strong>the</strong> truth untold/The pity of war, <strong>the</strong> pity war distilled.”In this moment of reconciliation, <strong>the</strong>two antagonists find that, now united indeath, <strong>the</strong>y are no longer enemies. As<strong>the</strong>y unite <strong>the</strong>ir voices in “Let us sleepnow,” <strong>the</strong> entire tripartite apparatus of <strong>the</strong>War Requiem—male soloists and chamberorchestra; soprano soloist, adult chorusand large orchestra; children’s choir andorgan—locks toge<strong>the</strong>r <strong>for</strong> <strong>the</strong> only timein <strong>the</strong> work <strong>for</strong> a serene, drawn-out codareminiscent of one of Britten’s favoritecomposers, Gustav Mahler. But <strong>the</strong>serenity is broken by <strong>the</strong> “diabolus”—<strong>the</strong>dissonant tritone tolling in <strong>the</strong> bells—as<strong>the</strong> “Requiem aeternam” <strong>the</strong>me returns<strong>for</strong> <strong>the</strong> last time. Peace may reign <strong>for</strong> now,Britten seems to tell us, but war still lurks,ready to rage again. And in <strong>the</strong> words ofWilfred Owen, “All a poet can do todayis warn.”Notes by Janet E. 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Saturday, November 23, 2013, 8 p.m.SATURDAY, NOVEMBER 23, 2013, 8 P.M.●The National PhilharmonicPiotr Gajewski, Music Director and ConductorStan Engebretson, National Philharmonic Chorale Artistic DirectorpresentsVerdi’s RequiemStan Engebretson, conductorArianna Zukerman, sopranoMargaret Mezzacappa, mezzo-sopranoWilliam Davenport, tenorKevin Deas, bassNational Philharmonic ChoraleRequiem Giuseppe Verdi1. Requiem (1813-1901)Introit (chorus)Kyrie (soloists and chorus)2. Dies Iraedies irae (chorus)Tuba mirum (chorus and bass)Liber scriptus (mezzo-soprano, chorus)Quid sum miser (soprano, mezzo-soprano, tenor)Rex tremendae (soloists, chorus)Recordare (soprano, mezzo-soprano)ingemisco (tenor)confutatis (bass, chorus)Lacrymosa (soloists, chorus)3. OffertorioDomine Jesu Christe (soloists)4. Sanctus (double chorus)5. Agnus Dei (soprano, mezzo-soprano, chorus)6. Lux aeterna (mezzo-soprano, tenor, bass)7. Libera me (soprano, chorus)Sponsored in part by Paul and Robin Perito Vocal Guest Artist FundAll Kids, All Free, All <strong>the</strong> Time is sponsored by The GazetteThe Music Center at Strathmore • Marriott Concert StageStan Engebretson, conductorIn demand throughout<strong>the</strong> UnitedStates and Europe,Stan Engebretsonhas led choirsin Venice’s Ca<strong>the</strong>dralof St. Mark andtaught in Cologne,Trier, St. Moritz and Barcelona. Hehas studied with <strong>the</strong> great masters ofchoral music, including Robert Shaw,Gregg Smith, Richard Westenburg,Roger Wagner and Eric Ericson.After attending <strong>the</strong> University ofNorth Dakota and earning his doctoratefrom Stan<strong>for</strong>d University, Engebretsontaught at <strong>the</strong> University ofTexas Permian Basin and <strong>the</strong> Universityof Minnesota. He also was <strong>the</strong> artisticdirector of <strong>the</strong> Midland-OdessaSymphony Chorale and <strong>the</strong> associateconductor of <strong>the</strong> Minnesota Chorale.In Washington since 1990, Engebretsonis professor of music and directorof choral studies at George MasonUniversity and is <strong>the</strong> director of musicat <strong>the</strong> historic New York Avenue PresbyterianChurch. From 1993 to 2003,he was <strong>the</strong> artistic director of <strong>the</strong> predecessorto <strong>the</strong> National PhilharmonicChorale, <strong>the</strong> Masterworks Chorusand <strong>the</strong> semi-professional NationalChamber Singers.Engebretson remains active in o<strong>the</strong>rareas, per<strong>for</strong>ming as a professionalchorister and lecturer, and leading <strong>the</strong>Smithsonian Institution’s Study Journeysat <strong>the</strong> Spoleto-USA Festival of<strong>the</strong> Arts.Arianna Zukerman, sopranoRenowned <strong>for</strong>her pure, luminous,rich soprano,persuasiveper<strong>for</strong>mancesand dramaticability, AriannaZukerman isconsidered oneof <strong>the</strong> premierevocal artists ofher generation. An international artistin demand <strong>for</strong> concert and operaper<strong>for</strong>mances, Zukerman is also anavid chamber musician and regularlycollaborates with some of today’s<strong>for</strong>emost chamber players.Zukerman’s upcoming 2013-2014engagements take her to <strong>the</strong> UnitedKingdom, where she makes herRoyal Festival H<strong>all</strong> debut in a threecitytour of <strong>the</strong> U.K. with <strong>the</strong> RoyalPhilharmonic, and Canada <strong>for</strong> a reengagementwith <strong>the</strong> National ArtsCentre Orchestra. In <strong>the</strong> UnitedStates, she can be heard in per<strong>for</strong>mancesin Illinois, New Hampshire,Washington and South Carolina.Zukerman is <strong>the</strong> featured soloist in<strong>the</strong> critic<strong>all</strong>y acclaimed 2013 Naxosrecording of James Whitbourn’sEngebretson PHOTO BY Fan Tjong Wong, ZUKERMAN PHOTO BY TIM COBURN40 applause at Strathmore • NOVEMBER/DECEMBER 2013

Saturday, November 23, 2013, 8 p.m.oratorio, Annelies, <strong>the</strong> first major choralsetting of Anne Frank: The Diaryof a Young Girl.Margaret Mezzacappa,mezzo-sopranoA third-yearresident artistat <strong>the</strong> Academyof VocalArts in Philadelphia,MargaretMezzacappareceived abachelor’s ofmusic in musicper<strong>for</strong>mancefrom Baldwin-W<strong>all</strong>ace College Conservatory ofMusic.Mezzacappa’s roles at <strong>the</strong> Academyof Vocal Arts have included Cunizain Oberto, Mo<strong>the</strong>r’s Voice in Les Contesd’Hoffmann, Adelaide in Arabella,La zia Principessa in Suor Angelica,Frugola in Il tabarro, Azucena in excerptsfrom Il trovatore and MistressQuickly in Falstaff.Since 2008, <strong>the</strong> Euclid, Ohio, nativehas won numerous awards including<strong>the</strong> George London Award,George London Foundation VocalCompetition in 2012. She also was aregional winner at <strong>the</strong> MetropolitanOpera National Council Auditions(Middle Atlantic) in 2012; earnedfourth prize in <strong>the</strong> Giulio Gari FoundationInternational Vocal Competitionin 2011; earned <strong>the</strong> top prize at<strong>the</strong> Licia Albanese-Puccini FoundationInternational Vocal Competitionin 2011; and earned second prizeat <strong>the</strong> Palm Beach Opera Vocal Competitionin 2011.O<strong>the</strong>r honors include second prizeat <strong>the</strong> Gerda Lissner Foundation InternationalVocal Competition in2011; third prize, in <strong>the</strong> Loren L.Zachary Society Vocal Competitionin 2011; recipient of <strong>the</strong> Sergio FranchiAward in 2010; winner of <strong>the</strong>Giargiari Bel Canto Competition in2009; and winner of <strong>the</strong> Baldwin-W<strong>all</strong>ace College Concerto Competitionin 2008.William Davenport, tenorWilliam Davenportis rapidlygarneringattention<strong>for</strong> his strongyet lyric tenorand Italianatestyle.In a yearof debuts,2012 saw his first Duca di Mantuain Rigoletto per<strong>for</strong>med with <strong>the</strong> ItalianOpera Festival of Orange County,of which <strong>the</strong> Italian news reported,“The biggest ovation, however, was<strong>for</strong> William Davenport. The youngtenor demonstrated a huge vocalability….” Upcoming engagements<strong>for</strong> 2013-2014 include Verdi’s Requiemwith Austin Symphony and <strong>the</strong>National Philharmonic, <strong>the</strong> TusciaOpera Festival in Viterbo, Italy androle debuts of Nemorino in L’Elisird’Amore with <strong>the</strong> Baltimore ConcertOpera.On <strong>the</strong> concert stage, Davenporthas per<strong>for</strong>med as tenor soloistin Beethoven’s Symphony No. 9with Concert Artists of Baltimore,Dvořák’s Mass in D with ColumbiaPro Cantare, Puccini’s Messa di Gloriaat Peabody and Mozart’s CoronationMass with <strong>the</strong> Montgomery CollegeSymphony Orchestra and Chorus.A native of Maryland, Davenportcompleted studies at <strong>the</strong> PeabodyConservatory of Music under StanleyCornett, where he per<strong>for</strong>med <strong>the</strong>roles of Des Grieux in Manon, Taminoin Die Zauberflöte and Alfredo in LaTraviata.He is a first place winner of <strong>the</strong>Giargiari Bel Canto competition, finalistof <strong>the</strong> Loren L. Zachary SocietyCompetition and regional finalistin <strong>the</strong> Metropolitan Opera NationalCouncil Auditions and has completedyoung artist programs with ChautauquaOpera, Glimmerglass Operaand Songfest.He is currently a resident artist at<strong>the</strong> Academy of Vocal Arts in Philadelphia,where he studies with BillSchuman.Kevin Deas, bassAmerican bassKevin Deas isespeci<strong>all</strong>y celebrated<strong>for</strong> hisriveting portrayalof <strong>the</strong> titlerole in Porgy andBess with <strong>the</strong>New York Philharmonic,NationalSymphony, St. Paul ChamberOrchestra, Philadelphia Orchestra, SanFrancisco, Atlanta, San Diego, Utah,Houston, Baltimore and Montreal symphoniesand at <strong>the</strong> Ravinia and Saratogafestivals.His recent recordings include DieMeistersinger with <strong>the</strong> Chicago Symphonyunder <strong>the</strong> late Sir Georg Solti andVarèse’s Ecuatorial with <strong>the</strong> ASKO Ensembleunder Ricardo Chailly, both onDecca/London. O<strong>the</strong>r releases includeBach’s B minor Mass and Handel’s Acis& Galatea on Vox Classics and DaveBrubeck’s To Hope! with <strong>the</strong> Ca<strong>the</strong>dralChoral Society on <strong>the</strong> Telarc label.Program NotesRequiemGiuseppe VerdiBorn Oct. 10, 1813, in Le Roncole, Italy;died Jan. 27, 1901, in MilanThroughout his extensive career, Verdiconcentrated his creative ef<strong>for</strong>ts oncomposing operas. Occasion<strong>all</strong>y hewrote a few sacred works, but <strong>for</strong> most ofhis adult life, he was opposed to or indifferentto everything connected with religion.Never<strong>the</strong>less, when Rossini diedin 1868, Verdi wrote to his publisherabout a plan to honor Rossini’s memory.He suggested a committee of Italiancomposers should be <strong>for</strong>med and thateach composer be responsible <strong>for</strong> writinga section of <strong>the</strong> liturgy <strong>for</strong> a Requiemthat was to be per<strong>for</strong>med on <strong>the</strong> first anniversaryof Rossini’s death, after which<strong>the</strong> music would be sealed in a libraryvault of <strong>the</strong> Milan Conservatory onlyto be per<strong>for</strong>med by later generations asa tribute to Rossini’s memory. Verdi wasapplause at Strathmore • NOVEMBER/DECEMBER 2013 41

Saturday, November 23, 2013, 8 p.m.to compose <strong>the</strong> closing Libera me, butdue to rivalries among <strong>the</strong> musicians,<strong>the</strong> project failed soon after he had completedhis section.Gian Andrea Mazzucato, a professorat <strong>the</strong> conservatory, was so impressed onseeing <strong>the</strong> Libera me that he suggestedthat Verdi compose a complete Requiemhimself. Five years later, AlessandroManzoni—whose novel, I Promessi Sposi(“The Betro<strong>the</strong>d”) and o<strong>the</strong>r writingswere a powerful <strong>for</strong>ce in <strong>the</strong> independencemovement and <strong>the</strong> unificationof Italy—died. Verdi, who had beenhis close friend, resolved to create amemorial. Verdi conceived <strong>the</strong> Requiemas a patriotic act celebrating <strong>the</strong> Italianrepublic and mourning <strong>the</strong> death of <strong>the</strong>poet/novelist.In <strong>the</strong> Requiem, Verdi found analready <strong>for</strong>med dramatic text thatcovered <strong>the</strong> range of human emotionsfrom terror, shame and sadness to hopeand exaltation. He included <strong>the</strong> originalLibera me that he had composed <strong>for</strong> Rossinias <strong>the</strong> final section, but <strong>for</strong> <strong>the</strong> restof <strong>the</strong> score he created new material. Hefinished <strong>the</strong> work on April 16, 1874.Verdi conducted <strong>the</strong> premiere of <strong>the</strong>Requiem at <strong>the</strong> Church of San Marcoin Milan on May 22, 1874, <strong>the</strong> firstanniversary of Manzoni’s death. Threeadditional per<strong>for</strong>mances were given atLa Scala, and be<strong>for</strong>e <strong>the</strong> end of <strong>the</strong> year,<strong>the</strong> Requiem was per<strong>for</strong>med in Paris andLondon. Some found it too <strong>the</strong>atrical,too operatic, too non-religious, but<strong>the</strong> well-known critic Hanslick wrote:“Religious devotion, too, varies in itsexpression; it has its countries and itstime. What may appear so passionate,so sensuous in Verdi’s Requiem is derivedfrom <strong>the</strong> emotional habits of his people,and <strong>the</strong> Italian has a perfect right toinquire whe<strong>the</strong>r he may not talk to <strong>the</strong>dear Lord in <strong>the</strong> Italian language!”Today we acknowledge Verdi’sRequiem as one of <strong>the</strong> greatest in choralmusic. Verdi’s direct style, his soaringand lyrical <strong>the</strong>mes, his distinctiveorchestration and <strong>the</strong> extraordinarydramatic and emotional intensity givethis Requiem an undisputed place in <strong>the</strong>panoply of Western music.Divided into seven segments, itRequiem aeternam dona eis, Domine,Et lux perpetua luceat eis.Te decet hymnus, deus in Sion,Et tibi redettur votum in Jerusalem,Exaudi orationem meam,Ad te omnis caro veniet.Requiem aeternam dona eis, Domine,Et lux perpetua luceat eis.Kyrie eleison;Christe eleison;Kyrie eleison.RequiemChorusGrant <strong>the</strong>m rest eternal, Lord,And may perpetual light shine on <strong>the</strong>m.A hymn to you, God of Zion,and a vow sh<strong>all</strong> be made to you in Jerusalem.Listen to my prayer;Unto you <strong>all</strong> sh<strong>all</strong> come.Grant <strong>the</strong>m rest eternal, Lord,And may perpetual light shine on <strong>the</strong>m.Solo Quartet and ChorusLord have mercyChrist, have mercy.Dies iraeChorusDies irae, dies illa,Day of wrath, that daySolvet saeclum in favilla,<strong>the</strong> world will dissolve in ashesTeste David cum Sibylla.as David and <strong>the</strong> Sibyl witness.Quantus tremor est futurus,What trembling <strong>the</strong>re will beQuando judex est venturus,when <strong>the</strong> judge will comeCuncta stricte discussurus. to examine <strong>all</strong> things.Tuba mirum spargens sonum,The trumpet, whose sound spreadsPer sepulchra regionum,through <strong>the</strong> tombs of <strong>the</strong> regionCoget omnes ante thronum.will bring <strong>all</strong> be<strong>for</strong>e <strong>the</strong> throne.Bass soloMors stupebit et natura,Death and nature will be astounded,Cum resurget creaturawhen <strong>all</strong> creatures ariseJudicanti responsura.to respond to <strong>the</strong> judgement.Mezzo Soprano solo with ChorusLiber scriptus profereturA written book will be profferedIn quo totum continetur,in which <strong>all</strong> will be containedUnde mundus judicetur.and by which <strong>the</strong> world will be judged.Judex ergo, cum sedebit,When thus <strong>the</strong> judge is seatedQuiquid latet, apparebit,that which is hidden will appearNil inultum remanebit. nothing will remain unavenged.ChorusDies irae, dies illa,Day of wrath, that daySolvet saeclum in favilla,<strong>the</strong> world will dissolve in ashesTeste David cum Sibylla.according to David with <strong>the</strong> Sibyl.Soprano, Mezzo soprano and TenorQuid sum miser tunc dicturus,What am I, miserable, to say <strong>the</strong>n?Quem patronum rogaturus,What patron sh<strong>all</strong> I ask <strong>for</strong>Cum vix justus sit securus?when <strong>the</strong> righteous are barely secure?Solo quartet and chorusRex tremendae majestatisKing of tremendous majestyQui salvandos salvas gratis,who freely saves <strong>the</strong> redeemed,Salva me, fons pietatis.save me, fount of mercy.Soprano and mezzo sopranoRecordare Jesu pie,Remember, merciful Jesus,Quod sum causa tuae viae,that I am <strong>the</strong> cause of your direction.Ne me perdas illa die.Do not abandon me on that day.Quarens me, sedisti lassus,Seeking me, you sat down weary;Redemisti crucem passus,you redeemed me by suffering <strong>the</strong> cross.Tantus labor non sit cassus.Such labor should not be in vain.Juste judex ultionis,Just judge of vengeanceDonum fac remissionis,do <strong>the</strong> gift of remissionAnte diem rationisbe<strong>for</strong>e <strong>the</strong> day of accounting.TenorIngemisco, tanquam reus,I sigh as one accused;Culpa rubet vultus meus,Shame reddens my face.Suppicanti parce, Deus.Spare <strong>the</strong> supplicants, God.Qui Mariam absolvisti,You who absolved MaryEt latronem exaudistiand listened to <strong>the</strong> thiefMihi quoque spem didisti.have given hope to me.Preces meae non sunt dignaeMy prayers are not worthy,Sed tu bonus fac benignebut you, doer of good, be mercifulNe perenni cremer igne!lest I burn in everlasting flames.Inter oves locum praestaPut me in a prominent place among your sheep,Et ab haedis me sequestra,and isolate me from <strong>the</strong> goatsStatuens in parte dextra.putting me on <strong>the</strong> right.Bass and chorusConfutatis maledictis,Silencing <strong>the</strong> cursedFlammis acribus addictisleaving <strong>the</strong>m with <strong>the</strong> acrid flamesVoca me cum benedictis.c<strong>all</strong> me with <strong>the</strong> blessed ones.Oro supplex et acclinis,I pray, supplicant and kneeling,Cor contritum quasi cinismy heart contrite like ashes.Gere curam mei finis.Take care of me at <strong>the</strong> end.ChorusDies irae, dies illa,Day of wrath, that daySolvet saeclum in favilla,when <strong>the</strong> world will dissolve in ashesTeste David cum Sibylla.according to David with <strong>the</strong> Sibyl;Solo Quartet and ChorusLacrymosa dies illa, that tearful day,42 applause at Strathmore • NOVEMBER/DECEMBER 2013

Saturday, November 23, 2013, 8 p.m.Qua resurget ex favilla when <strong>the</strong> guilty will riseJudicandus homos reus. to be judged.Huic ergo parce Deus. Oh, <strong>the</strong>re<strong>for</strong>e, spare him, God.Pie Jesu Domine, Merciful Jesus GodDona eis requiem. Amen. Give <strong>the</strong>m rest. Amen.OffertoriumSolo quartetDomine Jesu Christe, Rex gloriae,Lord Jesus Christ, glorious King,Libera animas omnium fideliumfree <strong>the</strong> souls of <strong>all</strong> <strong>the</strong> faithful,Defunctorum de poenis inferniof <strong>the</strong> dead from punishment in <strong>the</strong> infernoEt de profundo lacu.and from <strong>the</strong> deep pit.Libera eas de ore leonisFree <strong>the</strong>m from <strong>the</strong> lion’s mouthNe absorbeat eas tartaruslest <strong>the</strong>y be absorbed by <strong>the</strong> abyssNe cadant in obscurum.lest <strong>the</strong>y f<strong>all</strong> into darkness.Sed signifer sanctus MichaelBut may <strong>the</strong> standard bearer MichaelRepraesentet eas in lucem sanctambring <strong>the</strong>m into <strong>the</strong> holy light,Quam olim Ahrahae promisistias once was promised to AbrahamEt semini ejus.and his descendants.Hostias et preces tibi,Sacrifices and prayers to youDomine, laudis offerimus.God, we offer with praise.Tu suscipe pro animabus illisReceive <strong>the</strong>m <strong>for</strong> <strong>the</strong> souls of thoseQuarum hodie memoriam facimus.whom we commemorate today.Fac eas, DomineMake <strong>the</strong>m, God,De morte transire ad vitam,to pass from death to lifeQuam olim Abrahae promisistias onceyou promised AbrahamEt semini ejus.and his descendants.Libera animas omnium fideliumFree <strong>the</strong> souls of <strong>all</strong> <strong>the</strong> faithfulDefunctorum de poenis inferniof <strong>the</strong> dead from punishment in <strong>the</strong> inferno.Fac eas de morte transire ad vitam.Make <strong>the</strong>m pass from death to life.SanctusSanctus, sanctus, sanctus,Holy, holy, holy,Dominus Deus SabaothLord God of <strong>the</strong> HostsPleni sunt coeli et terraThe heavens and earth are filledGloria tuawith your glory.Hosana in excelsisHosanna in <strong>the</strong> highest.Benedictus, qui venitBlessed is he who comesIn nomine Dominiin <strong>the</strong> name of <strong>the</strong> Lord.Hosanna in excelsis!Hosanna in <strong>the</strong> highest.Agnus deiAgnus DeiLamb of GodQui tollis peccata mundiwho takes away <strong>the</strong> world’s sinsDona eis requiem.grant <strong>the</strong>m rest.Agnus DeiLamb of GodQui tollis peccata mundiwho takes away <strong>the</strong> world’s sinsDona eis requiem sempiternam. grant <strong>the</strong>m everlasting rest.Lux aeternaMezzo soprano, tenor and bassLux aeterna luceat eis, DomineMay eternal light shine on <strong>the</strong>m, GodCum sanctis tuis in aeternum with your saints <strong>for</strong>everQuia pius es.because you are merciful.Requiem aeternam dona eis, DomineGrant <strong>the</strong>m eternal rest, Lord,Et lux perpertua luceat eis and may perpetual light shine on <strong>the</strong>mCum sanctis tuis in aeternumwith your saints <strong>for</strong> eternityQuia pius es.because you are merciful.Libera meSoprano and ChorusLibera me, Domine, de morte aeternaDeliver me, Lord, from eternal death,In die illa tremendaon that dreadful dayQuando coeli movendi sunt et terrawhen <strong>the</strong> heavens and earthsh<strong>all</strong> be moved,Dum veneris judicarewhen you come to judgeSaeculum per ignem.<strong>the</strong> world through fire.Tremens factus sum ego et timeoI am made to tremble and to fearDum discussio veneritawaiting <strong>the</strong> judgment that will comeAtque ventura iraand also at your wrathQuando coeli movendi sunt et terra.when <strong>the</strong> heavens and <strong>the</strong> earthsh<strong>all</strong> be moved.Dies illa, dies irae,That day, <strong>the</strong> day of wrath,Calamitatis et miseriaeof calamity and miseryDies magna et amara valde great and exceedingly bitter dayDum veneris judicarewhen you come to judgeSaeculum per ignem.<strong>the</strong> world through fire.Requiem aeternam dona eis, DomineGrant <strong>the</strong>m rest eternal, LordEt lux perpetua luceat eis.and may perpetual light shine on <strong>the</strong>m.Libera me, Domine, de morte aeterna,Deliver me, God, from eternal death,In die ille tremendaon that dreadful day,Quando coeli movedi sunt et terrawhen <strong>the</strong> heavens and earth will be movedDum veneris judicarewhen you come to judgeSaeculum per ignem.<strong>the</strong> world with fire.Requiem aeternam dona eis, DomineGrant <strong>the</strong>m eternal rest, God,Et lux perpetua luceat eis.and may perpetual light shine on <strong>the</strong>m.Libera me, Domine, de morte aeternaDeliver me, God, from eternal death,In die illa tremendaon that dreadful day,Quando coeli movendi sunt et terrawhen <strong>the</strong> heavens and earth are moved,Dum veneris judicarewhen you judgeSaeculum per ignem.<strong>the</strong> world through fire.begins and ends very softly with twoclosely related <strong>the</strong>mes. The beginningof <strong>the</strong> Requiem sounds much likea moment from a Verdi opera withits darkness and its hushed, solemn,descending cello phrase that helps set<strong>the</strong> scene <strong>for</strong> <strong>the</strong> Requiem aeterna (Resteternal). But soon it takes on a differentcharacter with <strong>the</strong> choral fugue of“Te decet hymnus,” In <strong>the</strong> Kyrie, <strong>the</strong>music seems to soar heavenward with<strong>the</strong> soloists entering one at a time. Themusic has majestic sweep and grandeur.At <strong>the</strong> heart of <strong>the</strong> Requiem is <strong>the</strong>complex and lengthy sequence, Diesirae, with its 10 sm<strong>all</strong> sections, where<strong>the</strong> chromaticism of Verdi’s late musicis evident. The dramatic and emotionalDies irae explodes with <strong>for</strong>ce, openingwith hammering chords and <strong>the</strong>pounding of <strong>the</strong> drum, depicting <strong>the</strong>crack of thunder and flash of lightningas <strong>the</strong> earth is being torn apart, while<strong>the</strong> second stanza is softer, heightening<strong>the</strong> sense of terror. At <strong>the</strong> thirdverse, trumpet c<strong>all</strong>s repeat, gradu<strong>all</strong>yapproaching as well as growing, as <strong>the</strong>dead are raised from <strong>the</strong>ir tombs. Thissection includes <strong>the</strong> Tuba mirum, whichbegins with trumpet c<strong>all</strong>s shared between<strong>the</strong> orchestra and offstage trumpets;“Rex tremendae” is a dialoguebetween chorus and <strong>the</strong> four soloists.The prayer “Recordare” is a duet, saidto have been conceived with thoughtsof Aida and Amneris (from <strong>the</strong> operaAida). Two arias follow-—<strong>the</strong> tenor’s“Ingemisco” and <strong>the</strong> bass’ “Confutatis.”Then <strong>the</strong> chorus again interjects <strong>the</strong>refrain of “Dies irae.” The lament “Lacrymosadies illa” (“day of tears,” basedon a duet Verdi had planned to use inDon Carlo) brings toge<strong>the</strong>r chorus andsoloists in passionate prayer. The textdeals with <strong>the</strong> terror and destruction of<strong>the</strong> Day of Judgment, and <strong>the</strong> petitionerprays <strong>for</strong> safety from <strong>the</strong> Lord’swrath in <strong>the</strong> quiet final prayer, Donaeis requiem (Grant <strong>the</strong>m peace). Be<strong>for</strong>edarkness reappears, <strong>the</strong> final “Amen”seems to bring <strong>the</strong> music into sunlight.After <strong>the</strong> horror of <strong>the</strong> Dies irae,<strong>the</strong> texts become more com<strong>for</strong>ting.The third movement, <strong>the</strong> Offertory,highlights <strong>the</strong> soloists in Domine Jesuapplause at Strathmore • NOVEMBER/DECEMBER 2013 43

Enjoy a prix fixe dinnerbe<strong>for</strong>e your show <strong>for</strong> $39 per person.Offer available until 6:30pm.Excludes tax and gratuity.across from white flint m<strong>all</strong>11414 Rockville PikeNoRth Be<strong>the</strong>sda, Md 20852301.984.5252For details on group and event dining, visit www.Seasons52.comBe<strong>the</strong>sda Magazine readers gave us aStandingWinnerfour years in a row!Voted Best Senior Living Communityby <strong>the</strong> readers of Be<strong>the</strong>sda Magazine2010, 2011, 2012 & 2013301-530-0500www.maplewoodparkplace.com9707 Old Georgetown Road, Be<strong>the</strong>sda, MDPrices s tarting at $330,00044 applause at Strathmore • NOVEMBER/DECEMBER 2013A FRESH DINING EXPERIENCETHAT CELEBRATES LIVING WELL33098 S52 NB Strathmore Ad .indd 1 2/1/13 8:45 AMPARK PLACE© 2013 Darden Concepts Inc. 33021Saturday, November 23, 2013, 8 p.m.Christe and contains clearly operaticsections. Here Verdi places <strong>the</strong> sopranosolo in a special position far into<strong>the</strong> movement, when <strong>the</strong> fate of <strong>the</strong>music seems to be balanced on her onesustained note. The Sanctus and Agnusdei texts are familiar parts of <strong>the</strong> Mass,sung at every Catholic service, although<strong>the</strong> Agnus dei in <strong>the</strong> traditional Requiemincludes a prayer <strong>for</strong> <strong>the</strong> dead. Verdidisplays his skill in contrapuntal writing:after an opening fanfare and intonation,his spirited Sanctus is a fugue <strong>for</strong> doublechorus based on an inversion of <strong>the</strong>opening cello motif. The Agnus dei is aseries of exchanges between two femalesoloists and <strong>the</strong> chorus making muchuse of octaves; simple and refined, it yetreminds <strong>the</strong> listener of many of Verdi’soperatic choruses. The brief Lux aeternafollows with quiet, almost chant-likemusic <strong>for</strong> a trio of <strong>the</strong> three lower voicesof <strong>the</strong> vocal quartet.Domine Jesu Christe offers prayers<strong>for</strong> <strong>the</strong> dead and rec<strong>all</strong>s <strong>the</strong> promiseof redemption. In <strong>the</strong> final andmost personal movement, Libera me,<strong>the</strong> petitioner prays directly to God,expressing fear and hope <strong>for</strong> deliverance.Liturgic<strong>all</strong>y, <strong>the</strong> Libera me is notpart of <strong>the</strong> Requiem but is recited over<strong>the</strong> coffin when it is removed from <strong>the</strong>church. Since <strong>the</strong> Libera me repeatssome of <strong>the</strong> Requiem text (Dies Iraeand Requiem aeternam), Verdi reusessome earlier <strong>the</strong>matic material in thispart. The extended final section of <strong>the</strong>work is ano<strong>the</strong>r energetic fugue, againloosely based on a version of <strong>the</strong> cellomotto. The work concludes quietlywith a prayer that does not seem tohave <strong>the</strong> final peaceful certainty ofsalvation of many o<strong>the</strong>r Requiems.The orchestra <strong>for</strong> <strong>the</strong> Requiemdiffers only from a standard orchestraof <strong>the</strong> time by having an extra pairof bassoons, and <strong>for</strong> <strong>the</strong> Tuba mirum,including off-stage trumpets. The scorerequires a quartet of vocal soloists anda mixed chorus, piccolo and threeflutes, two oboes, two clarinets, fourbassoons, four horns, eight trumpets(four of which play off-stage), threetrombones, tuba, timpani, bass drumand strings.

Friday, November 29, 2013, 8 p.m.Friday, November 29, 2013, 8 p.m.●Strathmore PresentsClassic Albums Live: The BeatlesSgt. Pepper’s Lonely Hearts Club BandThe Music Center at StrathmoreMarriott Concert Stage2013-2014 SeasonJ. Reilly Lewis, Music DirectorPer<strong>for</strong>mances at Washington National Ca<strong>the</strong>dralFor more in<strong>for</strong>mation c<strong>all</strong>: 202-537-5527SUBSCRIPTION CONCERTSdave dicksonAbout Sgt. Pepper’s LonelyHearts Club BandThe Beatles’ masterpiece Sgt. Pepper’sLonely Hearts Club Band is perhaps <strong>the</strong>greatest and most influential album inrock ‘n’ roll history.Released in June 1967, Sgt. Pepper’sLonely Hearts Club Band was The Beatles’eighth studio album. Known <strong>for</strong> itsalbum cover of The Beatles surroundedby a collage of various famous people aswell as its many hits, Sgt. Pepper regularlyappears on lists of greatest <strong>all</strong>-timealbums. The album spent more than20 weeks at <strong>the</strong> top of <strong>the</strong> U.K. chartsand 15 weeks as No. 1 in <strong>the</strong> Billboardcharts in <strong>the</strong> United States.Sgt. Pepper’s Lonely Hearts ClubBand was nominated <strong>for</strong> seven GrammyAwards in 1968 and won four—album of <strong>the</strong> year, best album cover-graphicarts, best engineeredrecording-non-classical and best contemporaryalbum.Incredibly ambitious, innovative andultimately groundbreaking, <strong>the</strong> albumincludes legendary songs such as “ADay In The Life,” “With a Little HelpFrom My Friends,” “When I’m Sixty-Four,” “Lovely Rita” and <strong>the</strong> album’siconic title track.Classic Albums Live will per<strong>for</strong>m<strong>the</strong> album in its entirety with worldclass musicians followed by per<strong>for</strong>mancesof additional favorites fromThe Beatles’ unpar<strong>all</strong>eled song catalog.About Classic Albums LiveClassic Albums Live takes <strong>the</strong> greatestalbums and re-creates <strong>the</strong>m live,on stage—note <strong>for</strong> note, cut <strong>for</strong> cut.Founded in 2003 by musician and producerCraig Martin, Classic AlbumsLive has become an “ultimate destination<strong>for</strong> music lovers wanting to hear<strong>the</strong> greatest albums per<strong>for</strong>med live”(BroadwayWorld.com) in note-perfectrecitals of iconic music and pop culturemainstays. Classic Albums Liveconcentrates solely on <strong>the</strong> music, usingwhat Martin refers to as “<strong>the</strong> world’sbest musicians.” Classic Albums Livehas defined itself as a mainstay in per<strong>for</strong>mingarts centers across NorthAmerica, presenting more than 100shows each year.Like a symphony orchestra per<strong>for</strong>ming<strong>the</strong> works of Mozart, Classic AlbumsLive <strong>for</strong>goes <strong>the</strong> pageantry ofcostumes and impersonations, putting<strong>the</strong> music first. These world-class musicianswill tackle this iconic album,concentrating solely on re-creating itas it is so fondly remembered by audiencesworldwide.The Joy of ChristmasSaturday, December 14, 2013 at noon(family concert)Saturday, December 14, 2013 at 4 pmSunday, December 15, 2013 at 4 pmguest choir Cantigas, Diana Sáez, Directorand Washington Symphonic BrassVoices of LightSaturday, February 22, 2014 at 5 pmRichard Einhorn, Voices of Lightwith <strong>the</strong> Carl Theodor Dreyer 1928 silent film,The Passion of Joan of ArcClassical ShowcaseSunday, May 18, 2014 at 4 pmBeethoven, Calm Sea and Prosperous Voyage Op. 112Mozart, Davidde Penitente K. 469Haydn, Lord Nelson MassCOMMUNITY EVENTSCelebrate Youth!Free, Open to AllWednesday, February 26, 2014 at 7 pmNinth Annual CombinedHigh School FestivalBenjamin Hutto, Festival DirectorCa<strong>the</strong>dral Sings!Community sing-alongsSunday, March 23, 2014 at 7:30 pmFauré Requiem in D minor, Op. 48Sunday, June 22, 2014 at 7:30 pmBrahms Ein Deutsches Requiem, Op. 45program subject to changeGlorious Music in a Glorious Setting®applause at Strathmore • NOVEMBER/DECEMBER 2013 45

Saturday, November 30, 2013, 8 p.m.saturday, November 30, 2013, 8 p.m.Michael McDonald●Strathmore PresentsMichael McDonaldBernie Chiarav<strong>all</strong>e, guitar and vocalsPat Coil, bassMark Douthit, saxophone and keyboardAndrea Merritt, vocals and percussionDan Needham, drumsTommy Sims, bass and vocalsSponsored by Joel and Elizabeth HelkeThe Music Center at StrathmoreMarriott Concert Stagetin’” through two highly acclaimedMotown albums and recent guest spotswith alternative buzz bands GrizzlyBear and Holy Ghost!, <strong>the</strong> five-timeGrammy winner is an artist whosework is both timeless and evolving.Along with his musical contributions,McDonald has long been anactive humanitarian. Over <strong>the</strong> years,he has lent his talents and energies tomany causes and benefits, includingMusiCares, <strong>the</strong> National Council ofAlcoholism and Drug Abuse and <strong>the</strong>7UP Grammy Signature Schools Program.In April 2011, he participatedin Kokua <strong>for</strong> Japan, a concert thatraised $1.6 million <strong>for</strong> tsunami relief.Yet <strong>for</strong> <strong>all</strong> his varied accomplishments,McDonald has kept a modestlylow profile. He has trusted in <strong>the</strong>power of his voice and a deep catalogof memorable songs to point <strong>the</strong> waythrough his long career.Born into a musical family in St.Louis on Feb. 12, 1952, McDonaldstarted singing when he was 4 yearsold. After tinkering with banjo andguitar, he found his true passion at<strong>the</strong> piano. Soon he was writing songsand playing with bands in <strong>the</strong> familyTwo notes. That’s <strong>all</strong> it takes to recognizeMichael McDonald’s distinctiveand soulful voice. To this add <strong>for</strong>midablesongwriting and keyboard skills,and you have an artist who has beena singular musical presence <strong>for</strong> fourdecades.From ’70s-era Doobie Bro<strong>the</strong>rs classicssuch as “What A Fool Believes”and solo hits including “I Keep Forgetgarage.Determined to pursue musicfull-time, McDonald moved to LosAngeles in <strong>the</strong> early ’70s, where hehoned his skills as a session musicianand singer.That soon led to an invitation tojoin Steely Dan. Over <strong>the</strong> course offour albums, McDonald became anintegral part of <strong>the</strong> group’s sound,singing background vocals on “BlackFriday” and “Peg.”In <strong>the</strong> mid-’70s, McDonald joinedThe Doobie Bro<strong>the</strong>rs. He redefined<strong>the</strong> band’s funky R&B sound as asinger, keyboardist and songwriter onsuch Top 40 singles as “Takin’ It ToThe Streets,” “It Keeps You Runnin’,”“Minute By Minute” and “What AFool Believes.”His distinct vocal style also madehim a sought-after session singer. Mc-Donald has lent his voice to recordsby Ray Charles, Aretha Franklin,Elton John, Joni Mitchell and VinceGill, among o<strong>the</strong>r artists. During <strong>the</strong>’80s and ’90s, his solo career included<strong>the</strong> hits “I Keep Forgettin’,” “On MyOwn” (a duet with Patti LaBelle) and<strong>the</strong> Grammy-winning duet with JamesIngram “Yah Mo B There.”Continuing to explore new vistas,in 2003 and 2004, McDonald releasedhis Grammy-nominated, platinumsellingpair of Motown albums. Thenin 2005, he partnered with H<strong>all</strong>mark<strong>for</strong> a special Christmas album, ThroughThe Many Winters, which sold500,000 copies in its first two weeks.On <strong>the</strong> heels of 2008’s acclaimedcrossover album Soul Speak (whichhit three different charts simultaneously)and multiple appearances onPBS’ Soundstage, McDonald continuesto tour <strong>the</strong> world while moonlightingalongside Donald Fagen and BozScaggs with The Dukes Of September,an 11-piece soul supergroup. McDonaldalso has received an honorary doctoratefrom Berklee School of Music.With a career that encompassesfive Grammys, numerous chart successesand both personal and professionalaccolades, Michael McDonaldremains an enduring <strong>for</strong>ce in popularmusic.46 applause at Strathmore • NOVEMBER/DECEMBER 2013

Sunday, December 1, 2013, 4 p.m.SUNDAY, DECEMBER 1, 2013, 4 P.M.●Strathmore PresentsBoston Brass and <strong>the</strong> Brass All-Stars Big Bandwith <strong>the</strong> Strathmore Children’s Chorus:A Stan Kenton Christmas“Joy to <strong>the</strong> World”“God Rest Ye Merry, Gentlemen”“We Three Kings of Orient Are”“Angels We Have Heard on High”Solo Piano SelectionArr. Stan KentonArr. Ralph CarmichaelArr. Ralph CarmichaelArr. Ralph CarmichaelDavid Cutler(1971-)The Nutcracker Dances * Piotr Tchaikovsky (1840-1893)1. Chinese Dance Arr. J.D. Shaw2. Arabian Dance3. Russian Dance“Jingle Bells Forever” * Robert W. Smith (1958-)Arr. J.D. Shaw“Shepherd’s Pipe Carol”“Bethlehem Today”“The Colors of Christmas”Strathmore Children’s Chorus“The Twelve Days of Christmas”John Rutter(1945-)Michael WuJohn RutterArr. Ralph CarmichaelINTERMISSION“Frosty <strong>the</strong> Snowman” *“Good King Wenceslas”“Once in Royal David’s City”“The Holly and <strong>the</strong> Ivy”Jack Rollins(1906-1973)Arr. J.D. ShawArr. Ralph CarmichaelArr. Ralph CarmichaelArr. Ralph Carmichael“O Come, All Ye Faithful” Arr. David CutlerHoliday Combo SelectionDavid Cutler“Angel’s Carol”John Rutter“S’vivon (Dreidel Spin)”Arr. Nancy Grundahl“Go Where I Send Thee” Arr. Paul Caldwell/Sean IvoryStrathmore Children’s Chorus“White Christmas” *“Greensleeves”*Boston Brass aloneIrving Berlin(1888-1989)Arr. J.D. ShawArr. J.D. ShawThe Music Center at StrathmoreMarriott Concert StageBoston BrassFor 26 years, Boston Brass has set out tobridge <strong>the</strong> ocean of classical <strong>for</strong>mality todelight audiences in an evening of greatmusic and boisterous fun.Through more than 100 per<strong>for</strong>manceseach year, <strong>the</strong> members of BostonBrass play to audiences at concerts,educational venues and jazz festivals. Inaddition to solo per<strong>for</strong>mances, BostonBrass regularly per<strong>for</strong>ms with orchestras,bands, organ, jazz bands and a varietyof o<strong>the</strong>r ensembles. The ensemble hasper<strong>for</strong>med in 49 states and 30 countriesand has conducted master classes andresidencies at <strong>the</strong> Eastman School ofMusic, The Julliard School, ShepherdSchool of Music at Rice University, PeabodyConservatory of Music, Universityof North Texas, Royal Academy ofMusic in London, Yong Siew Toh Conservatoryat <strong>the</strong> National University ofSingapore and Mahidol University inBangkok.Boston Brass helped raise more than$100,000 <strong>for</strong> VH1’s Save <strong>the</strong> Musicprogram, which gave musical instrumentsto schools in need. Members of <strong>the</strong>group have been featured educators andper<strong>for</strong>mers at <strong>the</strong> Mid West Band andOrchestra Clinic, World Association <strong>for</strong>Symphonic Bands and Ensembles, MusicEducators National Conference events,American Bandmaster Association Conference,<strong>the</strong> American Band College andat <strong>the</strong> Texas Bandmasters Associationapplause at Strathmore • NOVEMBER/DECEMBER 2013 47

Sunday, December 1, 2013, 4 p.m.Convention.The ensemble’s <strong>latest</strong> offering, LatinNights, features a collection of classicaland jazz works by Latin composers andper<strong>for</strong>mers. O<strong>the</strong>r albums include YaGotta Try, featuring music from HoraceSilver, Chick Corea and Dizzy Gillespie;and Within Earshot, featuring classicalworks by Shostakovich, Ginastera,Dvořák, Liszt and o<strong>the</strong>rs.Boston Brass has two holiday recordings,Christmas Bells are Swingin’ and TheStan Kenton Christmas Carols, featuring<strong>the</strong> Boston Brass All-Stars Big Band.In 2011, Boston Brass celebrated its25th anniversary by undertaking <strong>the</strong> 25Fanfares Project, wherein 25 fanfareswere premiered by composers from <strong>all</strong>over <strong>the</strong> country. Boston Brass alsopremiered a new major commission bynoted wind ensemble composer BrianBalmages and new arrangements bySam Pilafian. Also during <strong>the</strong> 2010-2011 season, Boston Brass collaboratedwith Imani Winds in a program entitled,Sketches of Spain, featuring <strong>the</strong> music ofMiles Davis and Gil Evans. In <strong>the</strong> 2012-2013 season <strong>the</strong> quintet toured withits Notes from <strong>the</strong> Balcony program with<strong>the</strong> Enso String Quartet. The programfeatures music based on Romeo and Juliet.Christopher G. GuerraChristopher Guerrais <strong>the</strong> foundingconductor andartistic director of<strong>the</strong> StrathmoreChildren’s Chorus.In 2005 he was afounding memberof <strong>the</strong> A. Mario Loiederman MiddleSchool <strong>for</strong> <strong>the</strong> Creative and Per<strong>for</strong>mingArts in Silver Spring, where he currentlydirects <strong>all</strong> choral activities andteaches courses in digital music.Guerra is <strong>the</strong> recipient of <strong>the</strong> 2012Maryland Music Educators Association’sOutstanding Teacher Award.His chamber choir recently per<strong>for</strong>med<strong>for</strong> <strong>the</strong> American Choral DirectorsAssociation’s National Middle SchoolChoral Conference in D<strong>all</strong>as, Texas, aswell as at MMEA conferences and severalper<strong>for</strong>mances at <strong>the</strong> Music CenterCONCERT CHORUSNatalia AcostaCa<strong>the</strong>rine AndresGabbie B<strong>all</strong>esterosChristina BloomerHannah BroderAliza BroderMarc BurlinaAna CanalesPriya ChatterjeeAmita ChatterjeeTaira Com<strong>for</strong>tGrace DarbyMahima DewanEmily DonahueKa<strong>the</strong>rine DonahueCaitlyn ForteBrianna FrostLiliana GillespieJerzy GillonMyka GravesSierra HillParis HolbrookRoman HolbrookEllinore HomanAnna HoshSindy JoyaElissa KimMelanie KomolafeAnn LiSophia LieskeSimone LoysenJulia MacAnannyMadeline MatsonLeah McLeanMelissa MelkonianMadeleine MenkesAprill ParkSofia PereiraMackenzie PolgreenTrumpetsJose Sibaja *Jeff Conner *Fred PowellBrian MacDonaldHornsChris Castellanos *Doug QuinziJustin DrewStrathmore Children’s ChorusSarah RankinGrace ReachmackGeneva ReeseMikaela ReidKailyn RichardsNikita SinghOlivia SmithPamela SteimelPreston SteimelSarah StopakArlee TaylorTahirih TocheSamantha VentolaBronwyn WeikertTiana WrightElena Ca<strong>the</strong>rineYeatts-LonskeTREBLE CHORUSLilyana AcharyaAnnabelle AdamsFadbala AdjeiLana AndersonZahra BarnesEleanor Barton-BiegelsenNarmer BellErik Conor BrownAsha BurtinAlana ClaireCampbellVictoria ChaiCamille ChavisCynthia ChenAshley ChenSona ChudamaniColleen CurtoPria DahiyaCa<strong>the</strong>rine RoseDunphyValerie A. DuranAbby EllisMorgan Fanyo-TabakSacha FeldbergRohit GoreAshley Loreley H<strong>all</strong>etCarolyn HoffEvelyn HoonCharlie JenningsAnna JobSvea JohnsonYu KaminishikawaraAmila KapetanovicLancie KearInaya LaubachAudrey LeKaitlyn LeeWilmer Leon IVVivian LiDevin LucasHannah MarkovCaroline MauranoKa<strong>the</strong>rine MauranoElisabeth McCawMegan TownsendMcWrightJansikweMedina-TayacLeilani NtiBenjamin NyeAshley OndouaKongaDaryl Simone PerryLaura PiresTsedey Mari PrettoParker PuleioGenevieve ReinekeJennifer RenNicolas RossiKennedy SalamatBoston Brass and <strong>the</strong>Brass All-Stars Big BandSam Pilafian, conductorTrombonesDomingo Paglicua *Harry WattersBass TromboneJerry AmouryTubaAndrew Hitz *PianoDavid CutlerDrum setDan HostetlerThomas SandersNicoletta SmithCeci Port SnyderKate Juliet StiglitzLeia TerrenziGabriela TuncerNaveen UpenderJacqueline (Jackie)VerbaJasmine VoonAlyssa WangKa<strong>the</strong>rine WeaverMary Claire WrightJulie YangChuning YangLaura YaoKristen YeeJoey YeohKaleigh YoungAmy ZhongYOUNG MEN’SCHORUSFernando AguilarFrederick ChangAlex GreenSimon HoonTyler HowardBen JinDavon KemngangAlan LinJoshua MaysMax PowersKhalil QuinnMat<strong>the</strong>w TwillmanLongfei YangAuxiliary percussionJohn Kilken* Member of Boston Brass48 applause at Strathmore • NOVEMBER/DECEMBER 2013

Sunday, December 1, 2013, 4 p.m.at Strathmore.In 2012 his chamber choir receiveda perfect rating in <strong>all</strong> categories at <strong>the</strong>MMEA State Choral Festival competingat Level IV. His ensembles havereceived numerous county, state and interstatesuperior ratings and Best Chorusawards. Guerra also was music director<strong>for</strong> <strong>the</strong> Chicago and D.C. Church ofChrist and was <strong>the</strong> featured vocalistwith <strong>the</strong> 566th Air Force Band. He hasconducted numerous choral and productionworkshops in <strong>the</strong> U.S. and abroad.Guerra attended <strong>the</strong> Chicago MusicCollege and earned his bachelor’s degreein music education from B<strong>all</strong> State University,with graduate studies at <strong>the</strong> Universityof Maryland, Towson Universityand George Mason University. He wasawarded <strong>the</strong> Level II certificate with<strong>the</strong> Choral Music Experience Institute,having studied with Doreen Rao, LeeKesselman, Phillip Silvey and MichaelJo<strong>the</strong>n. He is an active member of <strong>the</strong>Maryland Music Educators Association,<strong>the</strong> National Association <strong>for</strong> MusicEducation and <strong>the</strong> American ChoralDirectors Association.Katelyn G. Aungst,choral managerChoral managerKatelyn Aungstreceived herbachelor’s degreein music educationfrom <strong>the</strong>University ofMaryland in 2010and has taughtin MontgomeryCounty Public Schools <strong>for</strong> <strong>the</strong> pasttwo years. She is an active sopranosoloist and chorister, regularly per<strong>for</strong>mingwith <strong>the</strong> Washington BachConsort, Six Degree Singers, ChristChurch Georgetown and <strong>the</strong> Universityof Maryland Chamber Singers.This year, Aungst also will be <strong>the</strong>assistant artistic director of <strong>the</strong> SixDegree Singers, a community choirof young professionals based in SilverSpring. Aungst teaches general musicand fourth and fifth grade chorus atBe<strong>all</strong> Elementary School in Rockville.William Gonzales,choral managerChoral managerWilliam Gonzalesattended <strong>the</strong>University of NewMexico, graduatingcum laude with abachelor’s degree inmusic education. InNew Mexico, Gonzales interned <strong>for</strong> anddirected <strong>the</strong> UNM Children’s Chorus aswell as <strong>the</strong> adult choir at St. Mark’s on<strong>the</strong> Mesa Episcopal Church. His o<strong>the</strong>rprofessional experience includes adjudicatingsolo and ensemble festivals andworking as a choral clinician <strong>for</strong> variousmusic programs in Albuquerque PublicSchools.Gonzales is pursuing a master’s degreein music education at <strong>the</strong> Universityof Maryland while teaching choral andgeneral music <strong>for</strong> Montgomery CountyPublic Schools at Newport Mill MiddleSchool in Kensington.Hei Jung Kim, accompanistAccompanist HeiJung Kim is a graduateof <strong>the</strong> Universityof Maryland CollegePark School of Music.While attending <strong>the</strong>University of Maryland,Kim studiedpiano with Santiago Rodriguez.Kim is a music teacher <strong>for</strong> MontgomeryCounty Public Schools, teachinggeneral music and chorus <strong>for</strong> <strong>the</strong> last 12years. She serves as <strong>the</strong> accompanist <strong>for</strong><strong>the</strong> Montgomery County Youth Chorusand <strong>the</strong> Montgomery County ElementaryHonors Chorus.Program NotesBoston Brass members are artist andeducational ambassadors <strong>for</strong> Jupiter BandInstruments. Boston Brass—along withits instrument company, Jupiter and XOInstruments—is helping to make a differencein music education by supporting<strong>the</strong> Give A Note Foundation. BostonBrass records <strong>for</strong> Summit Records.7719 Wisconsin Ave.,Be<strong>the</strong>sda, MD 20814(240) 330-4500www.be<strong>the</strong>sdabluesjazz.comFIRST ANNUAL GRANDMASQUERADE PARTYW/ DOC SCANTLIN:METROPOLIS MADNESS!OCTOBER 31EDDIE PALMIERI’SLATIN JAZZ SEPTETNOVEMBER 1 & 2LANDAU MURPHY, JR.WINNER OF AMERICA’S GOTTALENTNOVEMBER 9OMAR SOSA’SAFRI-LECTRIC SEXTETNOVEMBER 15CINDY BLACKMAN &ANOTHER LIFETIMENOVEMBER 22THE RAT PACKTOGETHER AGAIN!NOVEMBER 30A VERY CHAISE LOUNGECHRISTMASDECEMBER 14CHRISTMAS W/ THE CELTSAS SEEN ON PBSDECEMBER 15THE INCOMPARABLEFREDDIE COLEDECEMBER 28NEW YEAR’S EVE PARTYW/ HAROLD MELVIN’SBLUE NOTESDECEMBER 31Facebook.com/Be<strong>the</strong>sda.Blues.JazzFollow us on Twitter:@Be<strong>the</strong>sdaBluesapplause at Strathmore • NOVEMBER/DECEMBER 2013 49

Wednesday, December 4, 2013, 7:30 p.m.WEDNESday, DECEMBER 4, 2013, 7:30 p.m.●Strathmore PresentsAccademia Teatro Alla Scala OrchestraDaniele Rustioni, conductorSoloists of The Teatro <strong>all</strong>a Scala Academy of Lyric OperaLudmilla Bauerfeldt, sopranoJaeyoon Jung, tenorSuite (La strada)Intermezzo (Manon Lescaut)B<strong>all</strong>abili (Macbeth)Ouverture (Il Barbiere di Siviglia)Nino Rota(1911-1979)INTERMISSIONGiacomo Puccini(1858-1924)Giuseppe Verdi(1813-1901)Gioachino Rossini(1792-1868)Regnava nel silenzio Gaetano Donizetti(Lucia di Lammermoor) (1797-1848)Una furtiva lagrima (L’Elisir d’amore)Ouverture (Nabucco)Signor, né principe….E’ il sol dell’anima (Rigoletto)Ludmilla Bauerfeldt, sopranoJaeyoon Jung, tenorPreludio Atto I (La Traviata)Parigi, o caraLudmilla Bauerfeldt, sopranoJaeyoon Jung, tenorOuverture (I Vespri siciliani)Giuseppe VerdiPresented in conjunction with <strong>the</strong> Embassy of Italy and Bracco FoundationTour Direction, Columbia Artists Management LLC, Tim Fox and Alison AhartThe Music Center at StrathmoreMarriott Concert StageDaniele Rustioni, conductorDaniele Rustioniis one of <strong>the</strong> mostexciting conductorsof his generation,as stated by<strong>the</strong> InternationalOpera Awards2013 that hasrecently namedhim “Best Newcomer of <strong>the</strong> Year.”In March 2011 he appeared <strong>for</strong> <strong>the</strong>first time conducting Aida at <strong>the</strong> RoyalOpera House Covent Garden, where hewill return in <strong>the</strong> 2013-2014 season. InOctober 2012 he made his debut at Teatro<strong>all</strong>a Scala with La bohème and was immediatelyre-invited to celebrate Verdi andits anniversary conducting a new productionof Un b<strong>all</strong>o in maschera directed byDamiano Michieletto.In June 2011 he was appointedprincipal guest conductor of <strong>the</strong> Orchestradella Toscana. In February 2013 hebecame <strong>the</strong> music director of <strong>the</strong> TeatroPetruzzelli, Bari.Rustioni studied at <strong>the</strong> Milan Conservatoire,where he graduated as organist,composer and pianist. He studiedconducting with Gilberto Serembe andcontinued at <strong>the</strong> Accademia MusicaleChigiana, Siena under Gianluigi Gelmettiand <strong>the</strong> Royal Academy of Music in London.In 2007 Gianandrea Noseda becamehis main mentor and gave him <strong>the</strong> chanceto make his debut with <strong>the</strong> Teatro RegioTorino Orchestra. At <strong>the</strong> Royal OperaHouse, Covent Garden, Rustioni receivedAntonio Pappano’s personal guidance onoperatic repertoire.Rustioni regularly conducts at suchopera houses as Teatro Regio Torino, LaFenice in Venice and <strong>the</strong> Maggio MusicaleFiorentino, as well as at festivals suchas Rossini Opera Festival, where he madehis debut in <strong>the</strong> summer of 2012. In <strong>the</strong>f<strong>all</strong> of 2012 he conducted <strong>for</strong> <strong>the</strong> first timeat <strong>the</strong> Teatro Petruzzelli, Bari.In <strong>the</strong> U.K., Rustioni has conductedat <strong>the</strong> Opera North and at <strong>the</strong> WelshNational Opera, where he will returnin <strong>the</strong> f<strong>all</strong> of 2013 <strong>for</strong> a project includingnew productions of Donizetti’s AnnaBolena and Roberto Devereux. Rustionimade his U.S. debut at <strong>the</strong> Glimmerglass50 applause at Strathmore • NOVEMBER/DECEMBER 2013

Wednesday, December 4, 2013, 7:30 p.m.Festival and returned <strong>for</strong> his debut with<strong>the</strong> Washington National Opera inMarch 2013 conducting Angela Meadeas Norma.Future opera engagements includedebuts at <strong>the</strong> Opéra National deLyon <strong>for</strong> a new production of SimoneBoccanegra, at <strong>the</strong> Bayerisches Staatsoper<strong>for</strong> Madama Butterfly, and at <strong>the</strong>Nederlandse Opera in Amsterdam andat <strong>the</strong> Opernhaus in Zurich.The Accademia Teatro <strong>all</strong>aScala OrchestraAccademia Teatro <strong>all</strong>a Scala, a privatefoundation since 2001 and supportedby Bracco Foundation, trains <strong>all</strong> <strong>the</strong>professional figures, both artistic andtechnical, involved in live per<strong>for</strong>mancesand represents something unique inEuropean higher education.The Accademia Teatro <strong>all</strong>a ScalaOrchestra is per<strong>for</strong>ming at <strong>the</strong> MusicCenter at Strathmore on <strong>the</strong> occasionof 2013 being designated Year of ItalianCulture in <strong>the</strong> United States.Musicians have per<strong>for</strong>med in Milanat Teatro <strong>all</strong>a Scala, Piccolo Teatroand Teatro Dal Verme, in Bergamo at<strong>the</strong> Teatro Donizetti, in Brindisi at <strong>the</strong>Teatro Verdi, in Brescia at <strong>the</strong> TeatroGrande, in Turin at <strong>the</strong> Conservatory ofMusic, in Pompei at <strong>the</strong> Greek Theatreand during <strong>the</strong> music events FestivalMiTo, Ravello Festival, CampaniaTeatro Festival Italia and on varioustours.The Accademia Orchestra per<strong>for</strong>msevery year in <strong>the</strong> “Academy Project,” anopera realized by Accademia students, aswell as in various productions per<strong>for</strong>medby Teatro <strong>all</strong>a Scala B<strong>all</strong>et Company.Significant recent events <strong>for</strong> Teatro<strong>all</strong>a Scala include an engagementconducted by John Axelrod with per<strong>for</strong>manceby Lang Lang; an Italian tourwith Rossini’s L’occasione fa il ladro con-ducted by Daniele Rustioni; Giselle at<strong>the</strong> recently opened Royal Opera Housein Muscat (Oman), under <strong>the</strong> DavidColeman’s direction with <strong>the</strong> Teatro<strong>all</strong>a Scala B<strong>all</strong>et Company; and, lastly,<strong>the</strong> Gala concert conducted by GustavoDudamel to celebrate <strong>the</strong> Accademia’sfirst decennial, with <strong>for</strong>mer studentsJaeheui Kwon, Anita Rachvelishvili,Vincenzo Taormina and Pretty Yende.The orchestra’s 2013-2014 season calendarincludes per<strong>for</strong>mances in Milan,Taurin and U.S., under <strong>the</strong> conductionof Fabio Luisi, Gianandrea Nosedaand Daniele Rustioni. Guest conductorsinclude Antonello Allemandi,Giovanni Antonini, Ottavio Dantone,Christopher Franklin, Marco Guidarini,Nicola Luisotti, Enrique Mazzola, PietroMianiti, Stefano Ranzani.Ludmilla Bauerfeldt, sopranoLudmilla Bauerfeldtbegan hervoice and musicstudies in hernative Rio deJaneiro at <strong>the</strong>Brazilian Conservatoryof Musicin 2004, studying with Sergio Lavor.She was <strong>the</strong>n accepted in <strong>the</strong> bachelorof music (voice) course at <strong>the</strong> FederalUniversity of <strong>the</strong> State of Rio de Janeiroin <strong>the</strong> class of Carol McDavit in2008. There she participated with greatsuccess in leading roles in productionsof La Canterina (Gasparina) of Haydnand The Telephone (Lucy) of Menotti,both under <strong>the</strong> baton of GuilhermeBernstein.She also obtained a diploma from<strong>the</strong> acting course at <strong>the</strong> Martins PenaSchool of Drama in 2005. In 2008,Bauerfeldt was chosen among dozens ofcandidates to participate in <strong>the</strong> televisioncompetition Prelude, TV Cultura,where she sang under <strong>the</strong> baton of JulioMedaglia. She also was selected <strong>for</strong> <strong>the</strong>Eighth International Singing CompetitionBidu Sayão, where she was named“Best Per<strong>for</strong>mer of Opera Arias.”In 2010, she was awarded <strong>the</strong> grandprize in <strong>the</strong> 1st Voice Competition(Vozes do Brasil) of <strong>the</strong> Theatro Munici-pal do Rio de Janeiro. In 2011 she returnedto <strong>the</strong> Bidu Sayão InternationalVocal Competition, this time winningfirst prize <strong>for</strong> <strong>the</strong> Best Female Singer.Bauerfeldt has presented manyrecitals of operatic and chamber music,including one in honor of Bidu Sayãoat <strong>the</strong> Teatro Municipal de Niterói in2007, where she also received specialrecognition <strong>for</strong> her artistic achievementsfrom <strong>the</strong> Mayor of Niterói. In 2009, sheparticipated in <strong>the</strong> national premiere of<strong>the</strong> opera Der Zwerg with <strong>the</strong> PetrobrasSymphony Orchestra under <strong>the</strong>conducting of Isaac Karabtchevsky. InNovember 2011, along with SymphonicOrchestra of São Paulo, she was soloistin Mahler’s Symphony No. 2, under <strong>the</strong>baton of Alondra de La Parra.As part of Academy <strong>for</strong> OperaSingers of <strong>the</strong> Teatro Alla Scala, shehas per<strong>for</strong>med at <strong>the</strong> Opera Theatreof Avignon, France, and at <strong>the</strong>Theocharakis Foundation in A<strong>the</strong>ns,Greece. She also has been <strong>the</strong> soloist inRossini’s Petite Messe Solenelle.Jaeyoon Jung, tenorJaeyoon Jung,of South Korea,graduated in singingin 2009 at YonseiUniversity in Seoul.Later, he enrolledat <strong>the</strong> ConservatorySt. Cecilia inRome, where he participated in masterclasses held by Renato Bruson andSalvatore Fisichella. Between 2010and 2011, he took part in <strong>the</strong> competitionsOttavio Ziino (Rome), RolandoNicolosi (Rome) and Città di Caserta,always winning high marks and praise.He made his debut in <strong>the</strong> role of DonCurzio in Le nozze di Figaro, staged in2006 at <strong>the</strong> Auditorium of <strong>the</strong> KoreanBroadcasting System, and <strong>the</strong>n as Einsteinin Die Fledermaus, staged in 2008at <strong>the</strong> Aram Nuri-Goyang CulturalFoundation Art Center of Korea.Between 2011 and 2013 he studied at<strong>the</strong> Teatro <strong>all</strong>a Scala Academy of LyricOpera. At Teatro Filarmonico in Veronahe debuted as Edoardo in Un giorno diRegno (March 2013).applause at Strathmore • NOVEMBER/DECEMBER 2013 51

Thursday, December 5, 2013, 8 p.m.thursday, december 5, 2013, 8 p.m.●Strathmore PresentsCrystal Gayle and Lee GreenwoodCrystal GayleThe Music Center at StrathmoreMarriott Concert StageCrystal Gayle has been a favorite ofaudiences of country and popular musicsince attaining national prominencewith her first chart records in <strong>the</strong> mid-1970s. Perhaps most identified withher is <strong>the</strong> classic recording of “Don’t ItMake My Brown Eyes Blue,” howeverGayle is also well known <strong>for</strong> her multi<strong>for</strong>mathits “You’ve Been Talking InYour Sleep,” “When I Dream,” “Half <strong>the</strong>Way” and her duet with Eddie Rabbitt,“Just You and I.”Gayle has released more than 20 No.1 hits and has received numerous awardsfrom <strong>the</strong> Country Music Association,<strong>the</strong> Academy of Country Music,<strong>the</strong> American Music Awards and <strong>the</strong>American Music Operators Association.In 2009 Gayle received a star on <strong>the</strong>Hollywood Walk of Fame.Gayle is currently in <strong>the</strong> studio workingon a new album. Her most recentalbum, All My Tomorrows, complementsher country heritage. All My Tomorrowsis a collection of classic American standardsthat Gayle produced with Jay Patten,her longtime music director. Thealbum bonds Gayle’s familiar cryst<strong>all</strong>inevoice and mature vocal styling withsome of <strong>the</strong> greatest songs of our popularmusic heritage. The 14 selections rangefrom “You Belong to Me,” “Smile,” “ItHad to Be You,” “Cry Me A River” and“Sentimental Journey” to Ray Charles’“H<strong>all</strong>elujah I Love Him So.”Gayle also found great personal satisfactionin recording two inspirationalalbums. Her Grammy-nominated Somedaywas composed of mostly originalspiritual songs and He Is Beautiful containsmostly traditional hymns. Theseef<strong>for</strong>ts led to Gayle’s 2009 inductioninto <strong>the</strong> Christian Music H<strong>all</strong> of Fame.Gayle has contributed songs to threeGrammy-winning children’s albums:Sesame Country (in which she had aduet with Big Bird), Here Comes <strong>the</strong>Rainbow and Songs From <strong>the</strong> Neighborhood:The Music of Mr. Rogers. Gayleadds to this canon with her first solochildren’s album, In My Arms, a collectionof lullabies.Gayle is a long-time resident ofNashville, Tenn.Lee GreenwoodLee Greenwood continues writing andrecording with <strong>the</strong> same passion and integritythat has always fueled his career.To that end, Greenwood has a newseven-song EP titled I Want to be inYour World. He wrote three of <strong>the</strong> songsand exposes his musical talent on <strong>the</strong>saxophone on <strong>the</strong> track, “Here ComesLove, There Goes My Heart.” He alsocovers <strong>the</strong> Michael McDonald/KennyLoggins b<strong>all</strong>ad “You Can Let Go Now.”McDonald dropped by <strong>the</strong> studio to playpiano on <strong>the</strong> song.Greenwood’s string of hits includes“Ring on Her Finger, Time on HerHands,” “It Turns Me Inside Out,”“Somebody’s Gonna Love You,”“Holdin’ A Good Hand,” “I Don’t Mind<strong>the</strong> Thorns (If You’re <strong>the</strong> Rose),” “She’sLyin” and “Dixie Road.” He has wonnumerous industry accolades including,Male Vocalist of <strong>the</strong> Year <strong>for</strong> <strong>the</strong> Academyof Country Music in 1983, twoMale Vocalist of <strong>the</strong> Year awards from<strong>the</strong> Country Music Association in 1983and 1984, and a Grammy <strong>for</strong> Top MaleVocal Per<strong>for</strong>mance in 1985 <strong>for</strong> “I.O.U.”Also in 1985, he took home CountryMusic Association’s Song of <strong>the</strong> Yearhonor as <strong>the</strong> writer of “God Bless <strong>the</strong>USA.”The song, “God Bless <strong>the</strong> USA” hasbeen in <strong>the</strong> top five on <strong>the</strong> countrysingles charts three times (1991, 2001and 2003), giving it <strong>the</strong> distinction ofbeing <strong>the</strong> only song in any genre of musicto achieve that feat. It was also No. 1on <strong>the</strong> pop charts after 9/11/01.Greenwood per<strong>for</strong>ms <strong>for</strong> manycharitable events and gives his time andname to numerous organizations andfundraisers. He is <strong>the</strong> national spokesperson<strong>for</strong> Products <strong>for</strong> Good and OperationNever Forgotten, and is on <strong>the</strong>advisory board of <strong>the</strong> Ch<strong>all</strong>enger Commission.The singer is also a member of<strong>the</strong> National Endowment <strong>for</strong> <strong>the</strong> ArtsCouncil, a presidential appointment.Greenwood also has written <strong>the</strong> bookDoes God Still Bless <strong>the</strong> USA.Gayle Photo by Gor Madera52 applause at Strathmore • NOVEMBER/DECEMBER 2013

Saturday, December 7, 2013, 8 p.m.SATURDAY december 7, 2013, 8 P.M.●Baltimore Symphony OrchestraMarin Alsop, Music DirectorpresentsThe Four SeasonsJonathan Carney, leader and violin“Spring” (“La Primavera”) Antonio Vivaldifrom The Four Seasons (1678-1741)(Le Quattro Stagioni), Op. 8, no. 1Giont’ è la Primavera: AllegroIl Capraro che dorme: Largodanza pastorale: AllegroJonathan Carney“Autumn” (“L’autunno”)from The Four Seasons(Le Quattro Stagioni), Op. 8, no. 3B<strong>all</strong>o e canto di villanelli: AllegroDormienti ubriachi: Adagio moltola caccia: AllegroJonathan Carney“Summer” (“L’estate”)from The Four Seasons(Le Quattro Stagioni), Op. 8, no. 2Languidezza per il caldo:Allegro non moltoToglie <strong>all</strong>e membra lasse il suo riposo:AdagioTempo impetuoso d’estate: PrestoJonathan Carney“Winter” (“L’inverno”)from The Four Seasons(Le Quattro Stagioni), Op. 8, no. 4Aggiaciatto tremar tra nevi algenti:Allegro non moltoPassar al foco i di quieti: LargoCamminar sopra il ghiaccio: AllegroJonathan Carney“Summer in Buenos Aires” Astor Piazzolla(“Verano Porteño”) from (arr. LeonidThe Four Seasons of Buenos Aires Desyatnikov)(Las Cuatro Estaciones Porteñas) (1921-1992)Jonathan CarneyThe Four Seasons <strong>for</strong>Violin and Orchestra, Op. 8, Nos. 1-4I. Concerto in E Major (“La primavera”)II. Concerto in G minor (“L’estate”)III. Concerto in F Major (“L’autunno”)IV. Concerto in F minor (“L’inverno”)Jonathan Carney“Autumn in Buenos Aires”(“Otoño Porteño”) fromThe Four Seasons of Buenos Aires(Las Cuatro Estaciones Porteñas)Jonathan Carney“Winter in Buenos Aires”(“Invierno porteño”) fromThe Four Seasons of Buenos Aires(Las Cuatro Estaciones Porteñas)Jonathan Carney“Spring in Buenos Aires”(“Primavera Porteña”) fromThe Four Seasons of Buenos Aires(Las Cuatro Estaciones Porteñas)Jonathan CarneyAntonio VivaldiAstor Piazzolla(arr. LeonidDesyatnikov)INTERMISSIONThe concert will end at approximately 10:15 p.m.The Music Center at StrathmoreMarriott Concert Stageapplause at Strathmore • november/december 2013 53

Saturday, December 7, 2013, 8 p.m.Jonathan Carney, concertmasterBSO ConcertmasterJonathan Carney beginshis 12th seasonwith <strong>the</strong> BaltimoreSymphony Orchestraafter 12 seasons in<strong>the</strong> same positionwith London’s RoyalPhilharmonic Orchestra.Born in New Jersey, Carney hailsfrom a musical family with <strong>all</strong> six membershaving graduated from The JuilliardSchool in New York. After completinghis studies with Ivan Galamian andChristine Dethier, he was awarded aLeverhulme Fellowship to continue hisstudies at <strong>the</strong> Royal College of Music inLondon.After enjoying critic<strong>all</strong>y acclaimedinternational tours as both concertmasterand soloist with numerous ensembles,Carney was invited by VladimirAshkenazy to become concertmaster of<strong>the</strong> Royal Philharmonic Orchestra in1991. He also was appointed concertmasterof <strong>the</strong> Bournemouth SymphonyOrchestra in 1994 and <strong>the</strong> BasqueNational Orchestra in 1996.Carney has per<strong>for</strong>med with many of<strong>the</strong> world’s great conductors, includingMaestri Haitink, Abbado, Solti,Tennstadt, Maazel, Gergiev, Previn, Gatti,Muti, Saw<strong>all</strong>isch, Menuhin and KurtSandeling. Recent solo per<strong>for</strong>manceshave included concertos by KurtWeill,Bruch’s first and second concerti as wellas The Scottish Fantasy, Korngold, Khatchaturian,Sibelius, Nielsen, Rodrigo,both Brahms’ concerti and VaughanWilliams’ The Lark Ascending, which wasfeatured as a live BBC broadcast fromLondon’s Barbican H<strong>all</strong>.He has made a number of recordings,including concertos by Mozart,Vivaldi and Nielsen, sonatas by Brahms,Beethoven and Franck, and a disc of virtuosoworks of by Sarasate and Kreislerwith his mo<strong>the</strong>r Gloria Carney as pianist.New releases include Beethoven’sArchduke and Ghost trios, <strong>the</strong> celloquintet of Schubert and a Dvořák discwith <strong>the</strong> Terzetto and four Romanticpieces <strong>for</strong> violin.Carney is an avid music educator andserves on <strong>the</strong> board of <strong>the</strong> BaltimoreSchool <strong>for</strong> <strong>the</strong> Arts, one of <strong>the</strong> country’spremier arts high schools, as well asbeing <strong>the</strong> school’s artist-in-residence.He is also <strong>the</strong> artistic director of <strong>the</strong>Maryland Classic Youth Orchestra atStrathmore.Carney’s violin is a 1687 Stradivarius,<strong>the</strong> Mercur-Avery on which he uses“Vision” strings by Thomastik-Infeld.Carney’s string sponsor is Connolly &Co., exclusive U.S. importer of Thomastik-Infeldstrings.Jonathan Carney last appeared with<strong>the</strong> BSO in October 2012, per<strong>for</strong>mingBrahms’ Double Concerto <strong>for</strong> Violinand Cello in A minor, Op. 102, withCornelius Meister conducting.Program NotesThe Four SeasonsAntonio VivaldiBorn March 4, 1678, in Venice, Italy; diedJuly 21, 1741, in Vienna, AustriaSo popular is Vivaldi’s The Four Seasonstoday that it seems incomprehensiblethat <strong>the</strong>se four delightful concertosshould have languished in <strong>the</strong> musicalattic <strong>for</strong> more than 200 years be<strong>for</strong>ere-appearing around 1950, just in time<strong>for</strong> <strong>the</strong> invention of <strong>the</strong> long-playingrecord. For it was <strong>the</strong> LP that spread<strong>the</strong> Seasons’ fame throughout <strong>the</strong> world;today, with more than 200 renditionsproduced, it ranks as one of <strong>the</strong> mostrecorded classical works in history.How Vivaldi would have loved <strong>all</strong>those royalties! After a long and illustriouscareer in which he composed about800 works—including 500 concertos<strong>for</strong> virtu<strong>all</strong>y every instrument extant inhis time, as well as operas and churchmusic—he died a pauper in 1741 inVienna, far from his native Venice. Butin his prime, he was a celebrated violinvirtuoso, and his dynamic concertosinfluenced many o<strong>the</strong>r contemporarycomposers, including J. S. Bach.Ordained to <strong>the</strong> priesthood as a youngman and known as <strong>the</strong> “Red Priest” <strong>for</strong>his flame-colored hair, Vivaldi rarelycelebrated Mass (he claimed ill healthas an excuse). Instead, he presided <strong>for</strong>some three decades as music masterat Venice’s L’Ospedale della Pietà, acharity school <strong>for</strong> orphaned girls, andmade its concerts one of Venice’s leadingcultural attractions. And his healthproblems did not prevent him fromtraveling far beyond <strong>the</strong> Pietà to purveyhis per<strong>for</strong>ming and creative talents.By <strong>the</strong> 1720s, Vivaldi was devotingsome of his time to <strong>the</strong> service of CountWenzeslaus von Morzin of Bohemia. In1725, he dedicated a remarkable newpublication of 12 concertos, entitledIl cimento dell’armonia e dell’invenzione(“The Trial of Harmony and Invention”),to <strong>the</strong> Count—<strong>the</strong> first four of<strong>the</strong>se concertos being The Four Seasons.But scholars believe <strong>the</strong> Seasons wereactu<strong>all</strong>y composed a few years earlier,probably around 1720, making <strong>the</strong>mcontemporaries of Bach’s BrandenburgConcertos.Although Vivaldi had written o<strong>the</strong>rconcertos with colorful titles, <strong>the</strong> Seasonstook descriptive writing severalsteps far<strong>the</strong>r by graphic<strong>all</strong>y illustratingfour sonnets, possibly written byVivaldi himself, which are included in<strong>the</strong> original printed edition. Moreover,Vivaldi added verbal cues in<strong>the</strong> scores so per<strong>for</strong>mers would knowexactly what <strong>the</strong>y were representing:whe<strong>the</strong>r a barking dog in <strong>the</strong> secondmovement of “Spring” or a drunkardwobbling through <strong>the</strong> first movementof “Autumn.”A word about <strong>the</strong> <strong>for</strong>mat of a Vivaldianconcerto: Vivaldi refined a <strong>for</strong>mulaof three movements, fast-slow-fast, thatdominated <strong>the</strong> late Baroque concerto.The two fast movements are boundtoge<strong>the</strong>r by an ensemble refrain, knownas <strong>the</strong> ritornello, which establishes<strong>the</strong> over<strong>all</strong> character of <strong>the</strong> music. Inbetween, solo episodes display virtuosityand <strong>all</strong>ow scope <strong>for</strong> melodic inventivenessand harmonic modulation. In <strong>the</strong>Seasons, <strong>the</strong> ritornelli set <strong>the</strong> basic scenewhile <strong>the</strong> episodes, dominated by <strong>the</strong>solo violin, provide <strong>the</strong> descriptive details.(Vivaldi himself would have been<strong>the</strong> soloist in <strong>the</strong> original per<strong>for</strong>mances.)The slow-tempo middle movements54 applause at Strathmore • november/december 2013

Saturday, December 7, 2013, 8 p.m.blend soloist and ensemble (a sm<strong>all</strong>group of strings and harpsichord) inexquisite scene painting.Here are a few highlights to listen <strong>for</strong>in each concerto.“Spring” (E major) is viewed, alongwith “Autumn,” as a benign season inwhich Mo<strong>the</strong>r Nature brings uncloudedhappiness to humankind. Its openingmovement features enchanting birdsong<strong>for</strong> <strong>the</strong> soloist and two o<strong>the</strong>r soloviolins. The slow movement describes agoa<strong>the</strong>rd slumbering in <strong>the</strong> fields; listen<strong>for</strong> <strong>the</strong> “woof-woof” of his watchfuldog in <strong>the</strong> violas. The final Allegro is apastoral bagpipe dance in rustic 12/8meter with <strong>the</strong> lower strings providing<strong>the</strong> drone.In G minor, “Summer” is <strong>the</strong> mostthreatening of <strong>the</strong> seasons. Its imaginativeopening is a portrait of summer’sbreathless heat, with rumbles of athunderstorm in <strong>the</strong> distance. The soloistimitates <strong>the</strong> rapid song of <strong>the</strong> cuckooand later <strong>the</strong> turtledove and goldfinch.We hear <strong>the</strong> background buzz of insectsin <strong>the</strong> slow movement as <strong>the</strong> peasantsleeps restlessly, fearing <strong>the</strong> comingstorm that might damage his crops. In<strong>the</strong> last movement, <strong>the</strong> storm fin<strong>all</strong>ybreaks with <strong>all</strong> <strong>the</strong> fury Vivaldi couldmuster from his sm<strong>all</strong> ensemble.The bountiful harvests of “Autumn”(in <strong>the</strong> traditional hunting-horn keyof F major) are celebrated by a soberpeasant-dance ritornello in <strong>the</strong> firstmovement. But <strong>the</strong> soloist has drunkfar too much, and his inebriated anticsprovide delightful virtuoso opportunities.Vivaldi wrote in <strong>the</strong> slow movement’sscore that this is <strong>the</strong> sleep of <strong>the</strong>drunken revelers (<strong>the</strong> harpsichord taking<strong>the</strong> <strong>for</strong>eground over muted strings).The most fascinating movement is <strong>the</strong>last: a detailed scenario of an autumnhunt with <strong>the</strong> horses’ stately prancing,<strong>the</strong> baying dogs, rattling gunfire and <strong>the</strong>soloist as <strong>the</strong> fleeing stag, who dies justbe<strong>for</strong>e <strong>the</strong> final ritornello.In F minor, “Winter” is ano<strong>the</strong>rmenacing season. Vivaldi may be rec<strong>all</strong>inghere <strong>the</strong> terrible winter of 1708–09when Venice’s lagoon froze over. In anextraordinary opening, <strong>the</strong> chatteringinstruments enter one by one, piling upharsh dissonances to evoke <strong>the</strong> bittercold. By contrast, <strong>the</strong> slow movement inwarm E-flat major conjures up <strong>the</strong> cozyatmosphere indoors by <strong>the</strong> fire, with <strong>the</strong>pattering raindrops outside imitated byplucked violins. The final Allegro describespeople attempting to walk slowlyon <strong>the</strong> ice, <strong>the</strong>n more quickly withfrequent f<strong>all</strong>s. As <strong>the</strong> string winds blow,<strong>the</strong> music reminds us that winter alsobrings pleasure as well as discom<strong>for</strong>t.Four Seasons of Buenos AiresAstor PiazzollaBorn March 11, 1921, in Mar del Plata,Argentina; died July 5, 1992, in BuenosAires, ArgentinaHistorians disagree about whe<strong>the</strong>r <strong>the</strong>passionate dance known as <strong>the</strong> tangooriginated in Spain, Africa or Cuba.But it definitely came of age in <strong>the</strong> poorurban neighborhoods of Argentina andUruguay, and by <strong>the</strong> early 20th centurywas established as <strong>the</strong> soul of both danceand song <strong>for</strong> <strong>the</strong> citizens of Buenos Aires.By <strong>the</strong> 1920s, this sensual two-beatcouple dance had crossed <strong>the</strong> Atlanticto become <strong>the</strong> sensation of Europe and<strong>the</strong>n North America.With <strong>the</strong>ir proprietary interest,Argentineans were not at first veryhappy with <strong>the</strong> tango innovations of<strong>the</strong>ir countryman Astor Piazzolla. Theson of Italian immigrants who had spenta good part of his growing-up years inNew York’s Greenwich Village, Piazzollaalways remained a bit of an outsider inhis native land and an artistic maverick.In his late teens, he fin<strong>all</strong>y resettled inArgentina, and his skills playing <strong>the</strong>bandoneon, a variety of accordion thatis <strong>the</strong> signature instrument of au<strong>the</strong>nticArgentinean tango, won him a placein <strong>the</strong> traditional tango orchestras thatwere at <strong>the</strong>ir height during <strong>the</strong> 1940s.But Piazzolla was no traditionalist,and he had a restless musical mind.After studying with composer AlbertoGinastera, in 1954 he won a scholarshipto study with <strong>the</strong> great French pedagogueNadia Boulanger in Paris. Therehe soaked up French impressionism,contemporary atonality and improvisatoryjazz (<strong>the</strong> saxophonist Gerry Mulliganwas a particularly strong inspiration).Never<strong>the</strong>less, Boulanger urgedhim to stay close to his tango roots;while playing one of his own tangos <strong>for</strong>her, he rec<strong>all</strong>ed her saying, “Here is <strong>the</strong>true Piazzolla—do not ever leave him.”And so Piazzolla returned to Argentinaand developed what he c<strong>all</strong>ed “tangonuevo”: an invigorating contemporary<strong>for</strong>m of tango that went far beyondsmooth popular dance into <strong>the</strong> realmof serious concert music. As FernandoGonzalez wrote: “He retained tango’spoignancy and lyricism while rejectingits tendencies toward sentimentality ...He revised its harmonic language byincorporating <strong>the</strong> influences of MauriceRavel, Claude Debussy, GiacomoPuccini and Olivier Messiaen, as wellas <strong>the</strong> occasional nod to <strong>the</strong> cool jazz ofMulligan and Lennie Tristano.”However, while Piazzolla’s tango compositionswon fans abroad, <strong>the</strong> Argentineansresisted his innovations nearlyup until <strong>the</strong> time of his death in 1992.And, in fact, Piazzolla’s domestic andinternational fame has re<strong>all</strong>y blossomedafter his death, as such renowned musiciansas Daniel Barenboim, Yo-Yo Ma,Emanuel Ax and <strong>the</strong> Kronos Quartetbegan championing his music in <strong>the</strong>concert h<strong>all</strong>.The four tangos of Piazzolla’s Quatroestaciones porteñas (“porteño” is <strong>the</strong>Argentinean name <strong>for</strong> a citizen ofBuenos Aires) were composed between1965 and 1970. The composer origin<strong>all</strong>ywrote <strong>the</strong>se dances <strong>for</strong> <strong>the</strong> typical tangoensemble of bandoneon, piano, violin,double bass and electric guitar, but, aswith most of his music, he sanctionedarrangements <strong>for</strong> o<strong>the</strong>r combinations aswell. We will hear an arrangement <strong>for</strong>solo violin and sm<strong>all</strong> string orchestramade by Leonid Desyatnikov <strong>for</strong> <strong>the</strong>great Russian violinist Gidon Kremer;this arrangement matches <strong>the</strong> instrumentation<strong>for</strong> Vivaldi’s The Four Seasonswritten 250 years earlier. Somethingto remember when listening to Piazzolla’sFour Seasons: since Buenos Airesis south of <strong>the</strong> Equator, <strong>the</strong> seasons arereversed from what <strong>the</strong>y are in Europeand America.Notes by Janet E. Bedell copyright 2013applause at Strathmore • november/december 2013 55

Thursday, December 12, 2013, 8 p.m.Thursday, december 12, 2013, 8 P.M.●Baltimore Symphony OrchestraMarin Alsop, Music DirectorJack Everly, Principal Pops ConductorpresentsHoliday Cirque MusicaRobert Bernhardt, conductorCirque MusicaLyric W<strong>all</strong>enda Arestov Angelo IodiceSimon ArestovAmbrose MartosVivian EspanaMatt RobenZore EspanaAJ SilverNoemi EspanaRietta W<strong>all</strong>endaElan EspanaAshley WinnVeronica Gan, violin“Overture”“Entrance of <strong>the</strong> Gladiators”julius FučíkCirque Musica Preludemarcelo Zarvos“Holiday Medley Overture”A Christmas FestivalLeroy AndersonHost ThemeMatt Roben“Where is <strong>the</strong> Host?”marcelo Zarvos“Rolla Bolla”“Flight of <strong>the</strong> Bumblebee”nikolai Rimsky-Korsakov“Can-Can”jacques OffenbachImperial Marchjohn WilliamsSimon ArestovLyric W<strong>all</strong>enda Arestov“Bald Mountain”Night on Bald Mountainmodest MussorgskyNoemi Espana“Evening Prayer”Evening Prayer from Hansel and Gretel Engelbert Humperdinck“A Child’s Christmas”Christmas Memoriesbruce ChaseElan EspanaINTERMISSION“Aerial Waltz of <strong>the</strong> Flowers”“Waltz of <strong>the</strong> Flowers”piotr Ilyich Tchaikovskyfrom The NutcrackerLyric W<strong>all</strong>enda ArestovVivian EspanaNoemi Espana“Sorcerer’s Apprentice Hooped”The Sorcerer’s Apprenticepaul DukasAshley Winn“Country Christmas”“Country Christmas”marcelo Zarvos“Hoe-Down”aaron CoplandOverture from William TellGioachino RossiniAJ Silver“Beethoven’s 5th”Symphony No. 5Ludwig van BeethovenRietta W<strong>all</strong>endaLyric W<strong>all</strong>enda ArestovViolin ConcertoZore EspanaVeronica Gan“A Flying End”piotr Ilyich TchaikovskyBugler’s HolidayMatt Roben“Brassy Holidays”Leroy Anderson“Sleigh Ride”Cirque Musica“The Grande Finale”Leroy AndersonStille NachtAshley WinnVeronica Gan“Silent Night”Franz GrüberThe per<strong>for</strong>mance will run approximately two hours in length,including a 20-minute intermission.Repertoire and artists are subject to changeThe Music Center at Strathmore • Marriott Concert Stage56 applause at Strathmore • november/december 2013

Friday, December 13, 2013, 8 p.m.Bill DouthartFriday, december 13, 2013, 8 p.m.●Strathmore PresentsSpanish Harlem Orchestra:Salsa NavidadThis tour engagement of Spanish Harlem Orchestra is funded through <strong>the</strong> Mid AtlanticTours program of <strong>the</strong> Mid Atlantic Arts Foundation with support from <strong>the</strong> NationalEndowment <strong>for</strong> <strong>the</strong> Arts and <strong>the</strong> Maryland State Arts Council.The Music Center at StrathmoreMarriott Concert StageSpanish Harlem OrchestraSince its original conception byproducer Aaron Levinson in 2000,<strong>the</strong> Grammy Award-winning SpanishHarlem Orchestra has establisheditself as a standard bearer of contemporaryLatin music. Directed bypianist, arranger and producer OscarHernández, <strong>the</strong> 13-member ensemblehas reintroduced <strong>the</strong> classic sounds ofNew York City salsa to music loversworldwide.The Grammy-winning Viva laTradición, <strong>the</strong> orchestra’s fourth album,is a stunning follow-up to <strong>the</strong> 2007Grammy-nominated United We Swing,2004 Grammy-winning album Across110th St. and <strong>the</strong> ensemble’s 2002debut, Un Gran Día En El Barrio.The 12-track collection marks <strong>the</strong>orchestra’s debut album <strong>for</strong> ConcordPicante. The album’s a nod to <strong>the</strong>countless artists—well known and obscure—whohelped usher salsa musicinto <strong>the</strong> cultural mainstream severaldecades ago.A lively and energetic affair, Vivala Tradición draws on inspiration from<strong>the</strong> music’s history and enduringtraditions. The collection is composedlargely of original compositions andarrangements of classic salsa tunes byHernández, and also enlists <strong>the</strong> supportof veteran composer and arrangerGil Lopez on three of Lopez’s compositions(“Son De Corazon,” “NuestraCancion” and “Regala De Dios”).Viva la Tradición opens with <strong>the</strong> exciting“La Salsa Dura,” a song burstingwith punching horn lines and spiritedvocals composed by Cuban salsa composerand bandleader Manuel Simonet.Amid <strong>the</strong> series of salsa tracks, oneof Gil Lopez’s compositions, “NuestraCancion,” acts as an unlikely additionto <strong>the</strong> high-powered energy of <strong>the</strong> set.The collective included this b<strong>all</strong>ad asa historical point of reference <strong>for</strong> listeners,as <strong>the</strong> composition is emblematicof earlier days of <strong>the</strong> genre.The orchestra finishes with twosongs: Hernandez’s “Rumba Urbana,”a percussive and complex tune, and“El Negro Tiene Tumbao,” a tune thatdraws on <strong>the</strong> bold and artistic deliveryby featured guest vocalist IsaacDelgado.From its 2002 debut album, SpanishHarlem Orchestra revived <strong>the</strong> classic1970 New York sounds with a newhard-hitting point of view. Fueled bysingers Frankie Vasquez, Herman Olivera,Ray De La Paz and special guestJimmy Sabater, <strong>the</strong> songs includedback-in-<strong>the</strong>-day hits such as TitoRodriguez’s “Mama Guela” and WillieColon’s “La Banda.”In its 2004 follow-up, Across 110thSt., <strong>the</strong> orchestra was augmentedby <strong>the</strong> roaring trombones of JimmyBosch and Dan Reagan, singersMarco Bermudez, Willie Torres, RayDe La Paz and special guest RubenBlades. It was slamming and garnered<strong>the</strong> group its first Grammy Award in2005 <strong>for</strong> Best Salsa Album. The thirdalbum, United We Swing, paid dueto a neighborhood romanticized inLeonard Bernstein’s West Side Storyand Ben E. King’s, “A Rose in SpanishHarlem.”El Barrio is a hard urban incubatoras described in Piri Thomas’ book,Down These Mean Streets, that in<strong>the</strong> midst of social despair has given<strong>the</strong> world unique Caribbean musicalmixtures. United We Swing received aGrammy nomination <strong>for</strong> Best TropicalAlbum in 2008.applause at Strathmore • NOVEMBER/DECEMBER 2013 57

Saturday, December 14, 2013, 8 p.m. and Sunday, December 15, 2013, 3 p.m.SATURDAY, December 14, 2013, 8 P.M.SUNDAY, DECEMBER 15, 2013, 3 P.M.●The National PhilharmonicPiotr Gajewski, Music Director and ConductorStan Engebretson, National Philharmonic Chorale Artistic DirectorMessiahpart Isinfonia (Overture)Com<strong>for</strong>t ye my peopleEv’ry v<strong>all</strong>ey sh<strong>all</strong> be exaltedAnd <strong>the</strong> glory of <strong>the</strong> LordThus saith <strong>the</strong> LordBut who may abide <strong>the</strong> day of his coming?And he sh<strong>all</strong> purifyBehold, a virgin sh<strong>all</strong> conceiveO thou that tellest good tidings to ZionFor behold, darkness sh<strong>all</strong> cover <strong>the</strong> earthThe people that walked in darknessFor unto us a child is bornPifa (“Pastoral Symphony”)There were shepherds abiding in <strong>the</strong> fieldAnd lo, <strong>the</strong> angel of <strong>the</strong> Lordcame upon <strong>the</strong>mAnd <strong>the</strong> angel said unto <strong>the</strong>mAnd suddenly <strong>the</strong>re was with <strong>the</strong> angelGlory to GodRejoice greatly, O daughter of ZionThen sh<strong>all</strong> <strong>the</strong> eyes of <strong>the</strong> blindHe sh<strong>all</strong> feed his flockHis yoke is easy, and his bur<strong>the</strong>n is lightpresentsHandel’s MessiahStan Engebretson, conductorRosa Lamoreaux, sopranoMagdalena Wór, mezzo-sopranoRobert Petillo, tenorKevin Deas, bassNational Philharmonic ChoraleGeorge FridericHandel(1685-1759)RecitativeAirChorusRecitativeAirChorusRecitativeAir and ChorusRecitativeAirChorusRecitativeRecitativeRecitativeRecitativeChorusAirRecitativeAirChorusINTERMISSIONpart IIbehold <strong>the</strong> Lamb of GodHe was despisedSurely he hath borne our griefsAnd with his stripes we are healedAll we like sheep have gone astrayAll <strong>the</strong>y that see him laugh him to scornHe trusted in GodThy rebuke hath broken his heartBehold, and see if <strong>the</strong>re be any sorrowHe was cut off out of <strong>the</strong> land of <strong>the</strong> livingBut thou didst not leave his soul in hellWhy do <strong>the</strong> nations so furiouslyrage toge<strong>the</strong>rLet us break <strong>the</strong>ir bonds asunderHe that dwelleth in heavenThou shalt break <strong>the</strong>mH<strong>all</strong>elujahpart IIII know that my redeemer livethSince by man came deathBehold, I tell you a mysteryThe trumpet sh<strong>all</strong> soundWorthy is <strong>the</strong> Lamb that was slainChorusAirChorusChorusChorusRecitativeChorusrecitativeAirRecitativeAirAir and recitativeChorusRecitativeAirChorusAirChorusRecitativeAirChorusWeekend Concerts Program Sponsor: Ameriprise FinancialSunday Concert Presenting Sponsor: Ingleside at King FarmAll Kids, All Free, All <strong>the</strong> Time is sponsored by The GazetteThe Music Center at StrathmoreMarriott Concert Stage58 applause at Strathmore • NOVEMBER/DECEMBER 2013

Saturday, December 14, 2013, 8 p.m. and Sunday, December 15, 2013, 3 p.m.Engebretson PHOTO BY Fan Tjong Wong, LAMOREAUX PHOTO BY DAVID ROGERS, WÓR PHOTO BY MAGDALENA MOULSONStan Engebretson, conductorIn demandthroughout <strong>the</strong>United Statesand Europe, StanEngebretson hasled choirs in Venice’sCa<strong>the</strong>dralof St. Mark andtaught in Cologne,Trier, St.Moritz and Barcelona. He has studiedwith <strong>the</strong> great masters of choral music,including Robert Shaw, Gregg Smith,Richard Westenburg, Roger Wagnerand Eric Ericson.After attending <strong>the</strong> University ofNorth Dakota and earning his doctoratefrom Stan<strong>for</strong>d University, Engebretsontaught at <strong>the</strong> University ofTexas Permian Basin and <strong>the</strong> Universityof Minnesota. He also was <strong>the</strong> artisticdirector of <strong>the</strong> Midland-OdessaSymphony Chorale and <strong>the</strong> associateconductor of <strong>the</strong> Minnesota Chorale.In Washington since 1990, Engebretsonis professor of music and directorof choral studies at George MasonUniversity and is <strong>the</strong> director of musicat <strong>the</strong> historic New York Avenue PresbyterianChurch. From 1993 to 2003,he was <strong>the</strong> artistic director of <strong>the</strong> predecessorto <strong>the</strong> National PhilharmonicChorale, <strong>the</strong> Masterworks Chorusand <strong>the</strong> semi-professional NationalChamber Singers.Engebretson remains active in o<strong>the</strong>rareas, per<strong>for</strong>ming as a professionalchorister and lecturer, and leading <strong>the</strong>Smithsonian Institution’s Study Journeysat <strong>the</strong> Spoleto-USA Festival of<strong>the</strong> Arts.Rosa Lamoreaux, sopranoLyric sopranoRosa Lamoreauxhas been a soloist<strong>for</strong> Bruno Weil at<strong>the</strong> Carmel BachFestival; RobertShaw with <strong>the</strong>Atlanta SymphonyOrchestra andCincinnati Symphony Orchestra; SirDavid Willcocks at <strong>the</strong> BethlehemBach Festival; Norman Scribner and<strong>the</strong> Choral Arts Society at The KennedyCenter; <strong>the</strong> Washington BachConsort; and <strong>for</strong> J. Reilly Lewis and<strong>the</strong> Ca<strong>the</strong>dral Choral Society.Lamoreaux has toured with Musiciansfrom Marlboro and is <strong>the</strong> sopranoin <strong>the</strong> award-winning Vocal ArtsQuartet, which has been featured atmany European music festivals. Shehas also been <strong>the</strong> quartet in residenceat <strong>the</strong> National G<strong>all</strong>ery of Art <strong>for</strong> 15years.Many of her per<strong>for</strong>mances havebeen broadcast on National PublicRadio including recitals at The KennedyCenter, Bach Cantatas at <strong>the</strong>Bethlehem Bach Festival, Spain in<strong>the</strong> New World with Hesperus, andBach’s Christmas Oratorio with <strong>the</strong>Smithsonian Chamber Orchestra. AWashington favorite, she has been acastaway guest on WETA’s Desert IslandDiscs.Lamoreaux’s recordings includeBach’s Mass in B minor on Dorian;Luminous Spirit—Chants of Hildegardvon Bingen; My Dancing Day, Christmasmusic from 12th to 17th centuries;Messe Solennelle of Berlioz; andMy Thing Is My Own: Bawdy Songs ofThomas D’Urfey. She is also featuredon three CDs of <strong>the</strong> “Best of <strong>the</strong>Fest” from <strong>the</strong> Carmel Bach Festival.Magdalena Wór, mezzo-sopranoMezzo-sopranoMagdalenaWór is <strong>the</strong> firstplacewinner of<strong>the</strong> Heinz RehfussVocal Competition(2005);a national finalist<strong>for</strong> MetropolitanOpera Competition(2002); a winner of <strong>the</strong> Pro-MozartSociety of Atlanta Competition; andan alumna of <strong>the</strong> San Francisco Opera’sMerola Summer Opera Program,Chautauqua Music Institution’s MarlenaMalas Voice Program and St. LouisOpera Theatre’s Gerdine Young ArtistProgram.Wór was a member of <strong>the</strong>Domingo-Cafritz Young Artist Programat <strong>the</strong> Washington National Opera from2006 to 2008. She has recently appearedwith The Metropolitan Opera, NationalSymphony Orchestra, Atlanta SymphonyOrchestra and New Trinity Baroque.A Polish native, Wór has lived in <strong>the</strong>United States since 1991.She received her bachelor’s and master’sdegrees in vocal per<strong>for</strong>mance fromGeorgia State University.Robert Petillo, tenorRobert Petillospecializes inconcert and oratorioworks of <strong>the</strong>17th and 18thcenturies. For<strong>the</strong> past 30 years,he has frequentlysoloed along<strong>the</strong> East Coast, including <strong>the</strong> WashingtonBach Consort, Folger Consort,Master Chorale of Washington,Ca<strong>the</strong>dral Choral Society, Choralis,New Dominion Chorale, CantateChamber Singers, Fairfax Choral Society,City Choir of Washington andAlexandria Choral Society.A member of The United StatesArmy Chorus since 1986, Sgt. Maj.Petillo is <strong>the</strong>ir senior soloist and historian.He studied music at RutgersUniversity and at <strong>the</strong> University ofMaryland, where he completed hisdoctorate.Kevin Deas, bassAmerican bassKevin Deas is especi<strong>all</strong>ycelebrated<strong>for</strong> his rivetingportrayal of <strong>the</strong>title role in Porgyand Bess with <strong>the</strong>New York Philharmonic,NationalSymphony, St.Paul Chamber Orchestra, PhiladelphiaOrchestra, San Francisco, Atlanta, SanDiego, Utah, Houston, Baltimore andMontreal symphonies and at <strong>the</strong> Raviniaand Saratoga festivals.His recent recordings include Dieapplause at Strathmore • NOVEMBER/DECEMBER 2013 59

Saturday, December 14, 2013, 8 p.m. and Sunday, December 15, 2013, 3 p.m.Meistersinger with <strong>the</strong> Chicago Symphonyunder <strong>the</strong> late Sir Georg Solti andVarèse’s Ecuatorial with <strong>the</strong> ASKO Ensembleunder Ricardo Chailly, both onDecca/London. O<strong>the</strong>r releases includeBach’s B minor Mass and Handel’s Acis& Galatea on Vox Classics and DaveBrubeck’s To Hope! with <strong>the</strong> Ca<strong>the</strong>dralChoral Society on <strong>the</strong> Telarc label.Program NotesMessiahGeorge Frideric HandelBorn Feb. 23, 1685, in H<strong>all</strong>e, Germany;died April 14, 1759, in LondonDuring <strong>the</strong> last decades of his life, beginningin <strong>the</strong> 1730s, Handel began toturn away from <strong>the</strong> world of <strong>the</strong> operain order to devote more and more ofhis ef<strong>for</strong>t to <strong>the</strong> oratorio. The oratoriowas a similar and closely related kindof musical presentation to <strong>the</strong> opera;it differed little outwardly in structureand content from <strong>the</strong> opera music<strong>all</strong>y,but it required no costumes, sceneryor staging, and <strong>the</strong> subjects, gener<strong>all</strong>yelevated and noble, were more oftentaken from <strong>the</strong> Bible, or classic mythsor o<strong>the</strong>r legends.Handel’s oratorios (and Messiah inparticular) became <strong>the</strong> first “immortalmasterpieces” and were per<strong>for</strong>med overand over again long after <strong>the</strong>ir noveltywas gone, even after <strong>the</strong>ir composer’sdeath. Unlike now, until some 75 yearsafter Handel’s death, novelty was asupremely important factor in music<strong>all</strong>ife. Music of <strong>the</strong> past, even of <strong>the</strong>recent past, was per<strong>for</strong>med only witha sense of participating in a revivalof something long gone. The <strong>the</strong>ncurrentrepertoire was always contemporaryand, thus, always in flux.Immediately, Handel’s oratorioscaptivated <strong>the</strong> English people. Thefame of <strong>the</strong>se oratorios inspiredHaydn, Mozart and Beethoven when<strong>the</strong>ir popularity spread to <strong>the</strong> Europeancontinent. Gradu<strong>all</strong>y, <strong>the</strong> oratoriosestablished <strong>the</strong> new idea that some“old” music was too good to abandon,and that, in fact, sometimes, establishedpieces should actu<strong>all</strong>y be givenprecedence over <strong>the</strong> new.Handel composed Messiah during <strong>the</strong>few weeks from Aug. 22 to Sept. 14,1741. Presumably, his friend CharlesJennens assembled <strong>the</strong> text from <strong>the</strong>Bible, assisted by his private chaplainand in consultation with <strong>the</strong> composer.This <strong>the</strong>ory is not definitive, and <strong>the</strong>reare o<strong>the</strong>rs who hold that <strong>the</strong> text was<strong>the</strong> careful work of Handel’s secretary, aclergyman named Pooley. A few weeksafter <strong>the</strong> score was complete, WilliamCavendish, Duke of Devonshire andLord Lieutenant of Ireland, invitedHandel to give some benefit concerts ofhis music in Dublin <strong>for</strong> several charities.He left London early in November,spent a few days at Chester awaitinggood wea<strong>the</strong>r <strong>for</strong> <strong>the</strong> Irish Sea crossingand arrived on Nov. 18. In December,he began his successful series of subscriptionconcerts.On March 23, 1742, a notice appearedin two Dublin newspapers: “For<strong>the</strong> Relief of <strong>the</strong> Prisoners in <strong>the</strong> severalGaols, and <strong>for</strong> <strong>the</strong> Support of Mercer’sHospital, in Stephen’s-street, and of <strong>the</strong>Charitable Infirmary on <strong>the</strong> Inn’s Quay,on Monday, <strong>the</strong> 12th of April, will beper<strong>for</strong>med at <strong>the</strong> Musick H<strong>all</strong> in Fishamble-street,Mr. Handel’s new GrandOratorio, c<strong>all</strong>ed <strong>the</strong> Messiah, in which <strong>the</strong>Gentlemen of <strong>the</strong> Choirs of both Ca<strong>the</strong>dralswill assist, with some Concertoson <strong>the</strong> Organ, by Mr. Handel.”A public rehearsal of <strong>the</strong> Messiahwas held on April 8 be<strong>for</strong>e a largeaudience, and <strong>the</strong> next day, a newspaperreported, “It was <strong>all</strong>owed by<strong>the</strong> greatest Judges to be <strong>the</strong> finestComposition of Musick that ever washeard.” The paper also suggested thatladies should come to <strong>the</strong> concertwithout hoops and <strong>the</strong> gentlemenwithout swords in order to make room<strong>for</strong> a larger than normal audience.The public cooperated and 700 peopleattended <strong>the</strong> premiere, although <strong>the</strong>h<strong>all</strong> re<strong>all</strong>y accommodated only 600.Handel returned to London in <strong>the</strong>f<strong>all</strong>, and in March 1743, he began aseries of per<strong>for</strong>mances of <strong>the</strong> Messiahat Covent Garden. London did notimmediately share Dublin’s enthusiasm,and <strong>the</strong> clergy even attemptedto close <strong>the</strong> <strong>the</strong>ater on <strong>the</strong> groundsthat “any Work about <strong>the</strong> Omnipotentshould never be per<strong>for</strong>med ina playhouse.” However, Handel’sold patron, George II, attended <strong>the</strong>London premiere, and legend has itthat he was so moved by <strong>the</strong> H<strong>all</strong>elujahchorus that he rose and remainedstanding until its end. Of course,when <strong>the</strong> king stood up, <strong>the</strong> rest of<strong>the</strong> audience stood too, and, sincethat time, almost <strong>all</strong> audiences havetradition<strong>all</strong>y risen at that point in<strong>the</strong> per<strong>for</strong>mance. Handel said of <strong>the</strong>H<strong>all</strong>elujah that while composing it, “Idid think I did see <strong>all</strong> Heaven be<strong>for</strong>eme, and <strong>the</strong> great God Himself.” It is aglorious musical moment, but cynicalhistorians think that if <strong>the</strong> reputedincident took place at <strong>all</strong>, <strong>the</strong> kingprobably thought that intermissioncame be<strong>for</strong>e, not after it.In 1749, Handel presented anorgan to <strong>the</strong> chapel of <strong>the</strong> FoundlingHospital, a home <strong>for</strong> abandoned andmaltreated children founded in 1739by a retired American sea captain. OnMay 1, 1750, he dedicated <strong>the</strong> organwith a revival of <strong>the</strong> Messiah thatturned out to be <strong>the</strong> first in a series ofannual benefits that continued longafter his death, and that initiated Messiah’sgreat popular appeal.Handel himself made many changesin both <strong>the</strong> text and music during hislifetime, and in <strong>the</strong> long years sincehis death, countless variants havecrept into <strong>the</strong> score. It is impossiblenow to hear <strong>the</strong> oratorio exactly as itwas origin<strong>all</strong>y conceived and as it wasper<strong>for</strong>med in Handel’s time. No oneabsolutely au<strong>the</strong>ntic version of <strong>the</strong>music has come down to us. The singers’art of decorating <strong>the</strong> composer’ssimple melodic lines with brilliantornament was lost <strong>for</strong> about 200 yearsand is now being revived only tentatively,or sometimes, clumsily. We nolonger have <strong>the</strong> altered male sopranosand altos who sang <strong>the</strong> treble solos inHandel’s time. In addition, we do notknow Handel’s exact scoring. Thirtyyears after Handel’s death, Mozartcompletely modernized <strong>the</strong> orchestra-60 applause at Strathmore • NOVEMBER/DECEMBER 2013

Saturday, December 14, 2013, 8 p.m. and Sunday, December 15, 2013, 3 p.m.tion, and o<strong>the</strong>rs have done so againand again since <strong>the</strong>n.Handel divided Messiah into threeparts. Part I contains <strong>the</strong> prophecyand narrative of <strong>the</strong> Nativity. Part II is<strong>the</strong> passion and <strong>the</strong> resurrection. Thefinal section, Part III, includes <strong>the</strong> resurrectionof <strong>all</strong> mankind to <strong>the</strong> gloryof God. The portion being per<strong>for</strong>medin this concert is <strong>the</strong> Christmas portion,which tradition<strong>all</strong>y includes PartI, <strong>the</strong> H<strong>all</strong>elujah chorus from Part II,and <strong>the</strong> Amen from Part III.Handel’s Messiah is unique in that<strong>the</strong> text that <strong>the</strong> soloists and chorussing are removed from outwardlydramatic situations; unlike in opera,or even choral cantatas or dramas thatHandel had written, in <strong>the</strong> Messiah,<strong>the</strong> singing is an extension of devotionalcontemplation. Handel gives us<strong>the</strong> life of <strong>the</strong> Christ in <strong>all</strong> its phasescovering <strong>the</strong> whole liturgical year. YetMessiah is not liturgical music. Handeldealt with his subject as a nonsectarianhumanist, glorifying <strong>the</strong> validity ofjust and moral action more than <strong>the</strong>dogmas of Christianity.A new edition, released in February2000, incorporates orchestrationby Sir Eugène Goossens. Goossenscreated <strong>the</strong> orchestration during <strong>the</strong>early months of 1959 at <strong>the</strong> invitationof Beecham, <strong>the</strong>n conductor of<strong>the</strong> Royal Philharmonic Orchestra.Beecham wished to record <strong>the</strong> Messiahwith a 20th-century-sized fullorchestra and wanted Sir Goossensto create <strong>the</strong> mammoth score. Theprecedent <strong>for</strong> <strong>the</strong> request had numeroushistorical antecedents. We knowthat Handel himself had, on variousoccasions, considerably increased <strong>the</strong>choral and instrumental <strong>for</strong>ces <strong>for</strong> per<strong>for</strong>mancesby adding oboes, bassoons,contrabassoon and horns. The Handelcommemoration per<strong>for</strong>mances in 1784involved 500 singers and an orchestraincluding trombones, contrabassoonand four sets of timpani. Subsequentlyvarious musicians re-orchestratedMessiah <strong>for</strong> <strong>the</strong>ir own time, thus Bee-cham’s idea to present <strong>the</strong> work witha 20th-century orchestra was not awholly original nor outlandish idea.When Beecham actu<strong>all</strong>y made <strong>the</strong>recording of Messiah, just be<strong>for</strong>e hisdeath, he substituted o<strong>the</strong>r orchestrations<strong>for</strong> a number of <strong>the</strong> selections,and, although he used <strong>the</strong> Goossensorchestration primarily, he did notpresent <strong>the</strong> whole work as Goossensenvisioned it. Sadly, Goossens neverheard his orchestration per<strong>for</strong>med,and his manuscript and orchestral materialwere never published, but heldclosely by Beecham’s widow. Recently,<strong>the</strong> manuscript was mysteriouslysold to <strong>the</strong> University of Sheffield inEngland, although apparently Beechamhad never purchased it, but onlycommissioned <strong>the</strong> orchestration. Thepresent score was created from a poorquality photocopy, and <strong>the</strong> publisher,Theodore Presser Company, hopes toeventu<strong>all</strong>y print <strong>the</strong> complete scoreeven more precisely to Goossens’specifications.EXPERIENCE NEW ORLEANS WITH STRATHMOREA JAZZY ESCAPEMARCH 20–24, 2014Join Strathmore CEO Eliot Pfanstiehl and Donor andCommunity Relations Director Bill Carey on a culture-filled,4-day behind-<strong>the</strong>-scenes trip to explore The Big Easy andrediscover <strong>the</strong>ir rich history of art, music and food.Stroll through <strong>the</strong> French Quarter...plus more as you andyour Strathmore friends enjoy <strong>the</strong> many jazz clubs includingan exclusive per<strong>for</strong>mance at Preservation H<strong>all</strong> and specializedvisits to Mardi Gras World and <strong>the</strong> National World War IIMuseum—not to mention fantastic cuisine at restaurantssuch as da Giovanni, Bayona, Commanders Palace and aprivate reception in <strong>the</strong> Garden District at <strong>the</strong> home of<strong>for</strong>mer Strathmore board member Rocky Sorrell.To learn more about <strong>the</strong> itinerary and details:Bill Carey: (301) 581-5135 or bcarey@strathmore.orgapplause at Strathmore • NOVEMBER/DECEMBER 2013 61

Saturday, December 21, 2013, 4 p.m and 8 p.m.saturday, december 21, 2013, 4 P.M. and 8 p.m.●Strathmore PresentsThe Irish Tenors: The Premiere IrishHoliday Celebration TourThe Music Center at StrathmoreMarriott Concert StageTenors and has been with <strong>the</strong> groupsince its inception.Kearns is a true lyric tenor. He hastoured solo in Germany, Italy and <strong>the</strong>United States and is a popular presencein Ireland’s music scene.For <strong>all</strong> his devotion to <strong>the</strong> opera,Kearns has a deep, abiding love <strong>for</strong><strong>the</strong> music of his homeland. ”I takegreat pride delivering <strong>the</strong>se songs ofour people <strong>all</strong> over <strong>the</strong> world,” Kearnssays. He has incredible vocal agility,flexibility and a sublime natural abilityto color notes with grace and beauty.Kearns has been featured in manych<strong>all</strong>enging operatic roles, includingDon Jose in Carmen and Romeoin Romeo & Juliet, and has had manydistinguished solo per<strong>for</strong>mances.Finbar WrightFinbar Wright, tenor, songwriterand poet, was born in Cork, Ireland.Growing up on a farm, his musicaleducation began at age 6 and he laterstudied music <strong>the</strong>ory at one of <strong>the</strong>oldest schools of music in <strong>the</strong> world,The Cork School of Music. He wenton to win many major singing awardsand released his first album, Because,produced by Phil Coulter, on <strong>the</strong> SonyRecords label.Since <strong>the</strong>n Wright has recorded sixsolo albums and six albums with TheIrish Tenors, with whom he has enjoyedphenomenal success. With TheIrish Tenors, Wright has per<strong>for</strong>med<strong>all</strong> over <strong>the</strong> world in venues such asCarnegie H<strong>all</strong>, and The Irish Tenorshave appeared in many successful PBSTV specials.Wright has per<strong>for</strong>med at <strong>the</strong> readingof <strong>the</strong> Gospel at Pope John PaulII’s first Papal Mass at <strong>the</strong> PhoenixPark, Dublin, in 1979 and <strong>the</strong> StateDinner given in honor of U.S. PresidentBill Clinton at Dublin Castle in1995. He also per<strong>for</strong>med live on GoodMorning America during its coverageof President Reagan’s funeral on CapitolHill in 2004, and has appearedin concert with such music legendsas Monserrat Cab<strong>all</strong>é, Dame Kiri TeKanawa and Jerry Lee Lewis.Anthony KearnsAnthony Kearns was born in a sm<strong>all</strong>Irish village in County Wex<strong>for</strong>d. Kearns’interest in music began at aboutage 4, He studied at Leinster Schoolof Music and The College of Musicin Wales. In 1998 he joined The IrishRonan TynanFaced with numerous ch<strong>all</strong>engesthroughout his life, Ronan Tynan haspersevered with enormous passion anddetermination.Born with a lower limb disabilitythat threatened to sideline himthroughout his childhood, Tynannever let that deter his dreams. WhenTynan was 20, his legs were amputatedbelow <strong>the</strong> knee and within a year,he was winning gold medals in <strong>the</strong>Paralympics.He became <strong>the</strong> first disabled personever admitted to <strong>the</strong> National Collegeof Physical Education and became amedical doctor, specializing in orthopedicsports injuries, with a degreefrom Trinity College. Though Tynanenjoyed singing as a boy, he did notseriously consider <strong>for</strong>mal voice studyuntil he was 33, when he was wellinto his residency as a physician.Tynan won both <strong>the</strong> John McCormackCup <strong>for</strong> Tenor Voice and <strong>the</strong>International Operatic Singing Competitionin Maumarde, France. He madehis operatic debut as Pinkerton in Puccini’sMadame Butterfly. Tynan joinedThe Irish Tenors in 1998 and releasedhis self-titled debut album in 2005. Hiscareer has included appearances on PrimetimeLive, Good Morning America, TheHour of Power, 700 Club, Fox & Friendsand o<strong>the</strong>r television shows.62 applause at Strathmore • NOVEMBER/DECEMBER 2013

Saturday, December 21, 2013, 4 p.m. and 8 p.m.The Craig Turley OrchestraThe Craig Turley Orchestra has a richhistory of live concerts with headliners,prominent entertainers andBroadway stars.Established in 1992, <strong>the</strong> orchestrais composed of acclaimed musicianswith a seasoned energetic approach toa variety of musical styles and genres.Orchestra members are from <strong>the</strong>greater New York area and representa unique group of individuals andprofessional musicians.The orchestra per<strong>for</strong>ms annu<strong>all</strong>ywith such notables as The Irish Tenors,Bernadette Peters, Johnny Mathisand Marie Osmond.The orchestra has also per<strong>for</strong>medwith George Benson, MichaelAmante and Jackie Evancho.The orchestra also has a longstandingper<strong>for</strong>mance relationship with <strong>the</strong>Christmas favorite, The Nutcracker,featuring <strong>the</strong> Sarasota B<strong>all</strong>et, as wellas national tours with MannheimSteamroller.ViolinsKaren Banos,concertmasterSean CarneyKatie KresekErin BenimNicole SharlowDana WeiderholdKiku EnomotoJennifer K. LeeViolasPetula Perdikis, stringcoordinatorDavid GoldJon WeberCellosGlenn FischbachSusan LernerThe Craig Turley OrchestraBassesMarc SeidenburgPerry OrfanellaFlutesSvjetlana KabalinJoseph TrentOboeBJ KarpenBassoonJim JeterClarinetLarry TietzeFrench HornsSteve ShertsWill de VosTrumpetsJustin NurinCraig TurleyTrombonesChauncey MaysPhil McLellandHarpMargery FittsPercussionBeran HarpJeff TemplePianoDean SchneiderCapturing <strong>the</strong> Magic...Julian Wachner, Music DirectorA CANDLELIGHTCHRISTMASWashington’s GraMMY® award winner presentsglorious music of <strong>the</strong> season. The splendor ofbrass, organ, percussion, <strong>the</strong> 200-voice chorus,and <strong>the</strong> candlelight processional—<strong>the</strong>se concertsare always a highlight of <strong>the</strong> season and sell outearly. order your tickets now!Sunday, December 15 at 5 PMSaturday, December 21 at 1 PMSunday, December 22 at 7 PMKennedy Center Concert H<strong>all</strong>Thursday, December 19 at 7:30 PMMonday, December 23 at 7:30 PMMusic Center at StrathmoreTo PurchaSe TickeTS:caLL The Washington chorus: 202.342.6221oNLiNe www.<strong>the</strong>washingtonchorus.orgwww.kennedy-center.org www.strathmore.orgapplause at Strathmore • NOVEMBER/DECEMBER 2013 63

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Sunday, December 22, 2013, 4 p.m.sunday, december 22, 2013, 4 P.M.●The National PhilharmonicPiotr Gajewski, Music Director and ConductorpresentsHoliday Celebration with <strong>the</strong>Washington Symphonic BrassWashington Symphonic BrassPhil Snedecor, Artistic DirectorPiotr Gajewski, conductor“A Christmas Fanfare”arr. Phil Snedecor“Noel”arr. Anthony DiLorenzo (1967-),based on “The First Noel”“Es ist ein Ros Entsprungen”Michael Praetorius (1571-1621)German carol“A Little Barley Corne”Traditional English“Angelus ad Virginem”Traditional Franciscan Medieval carol“Tonttu” (“Christmas Gnome”)Traditional Finnish carol“Infant Holy, Infant Lowly”Traditional Polish carol“O Come O Come Emmanuel”15th century French hymn“In Dulcio Jubilo” (“In Sweet Rejoicing”)arr. Karl JenkinsTraditional German carol“Quelle est cette odeur agréable?”(“What is <strong>the</strong> Lovely Fragrance?”)Traditional French carol“Bring A Torch, Jeanette, Isabella”(“Un flambeau, Jeannette, Isabelle”)16th century French carol“Twelve Days of Christmas”Traditional English carolINTERMISSION“The Coventry Carol”16th century English carolHanukkah MedleyTraditionalarr. G. Pascuzzi and P. Snedecor“Here We Come A-wassailing”Traditional English carolSt. Paul Suite, Op. 29, No. 2, JigGustav Holst (1874-1934)“The Holly and <strong>the</strong> Ivy”Traditional English carol“Hark! The Herald Angels Sing”Traditional English carol, arr. DiLorenzoAll Kids, All Free, All <strong>the</strong> Time is sponsored by The GazetteThe Music Center at StrathmoreMarriott Concert Stage66 applause at Strathmore • NOVEMBER/DECEMBER 2013

Sunday, December 22, 2013, 4 p.m.Washington Symphonic Brass photo by Ed Kelly, gajewski photo by Michael VenturaWashington SymphonicBrassThe Washington Symphonic Brass,founded in 1993, is dedicated to enriching<strong>the</strong> cultural life of <strong>the</strong> Washington,D.C., Maryland and Virginiaregion with world-class per<strong>for</strong>mancesof music <strong>for</strong> modern brass ensemble.Founders Milton Stevens and PhilSnedecor <strong>for</strong>med this group of playersin order to ch<strong>all</strong>enge traditional per<strong>for</strong>manceboundaries with fresh interpretationsof <strong>the</strong> standard brass repertoire,and to create innovative arrangementsof classical literature.WSB members are in constant demand<strong>for</strong> orchestral, solo and chambermusic per<strong>for</strong>mances. Individu<strong>all</strong>y, <strong>the</strong>yhave per<strong>for</strong>med with many of <strong>the</strong> nation’sbest orchestras, such as <strong>the</strong> Nationaland Baltimore symphony orchestras,in addition to <strong>the</strong> nation’s topmilitary bands.The ensemble per<strong>for</strong>ms throughout<strong>the</strong> Washington and Baltimore metropolitanarea, and has received a WAM-MIE (Washington Area Music) Awardand a Grammy nomination. Specializingin tailor-made arrangements writtenby Phil Snedecor <strong>for</strong> large brass ensembleand percussion (four trumpets,four horns, four trombones, tuba, timpaniand percussion instruments) <strong>the</strong>varied repertoire of <strong>the</strong> WashingtonSymphonic Brass spans more than fivecenturies.Piotr Gajewski, conductorPiotr Gajewski iswidely credited withbuilding <strong>the</strong> NationalPhilharmonic to itspresent status as oneof <strong>the</strong> most respectedensembles of its kindin <strong>the</strong> region. The Washington Post recognizeshim as an “immensely talentedand insightful conductor,” whose“standards, taste and sensitivity areimpeccable.”In addition to his appearances with<strong>the</strong> National Philharmonic, Gajewski ismuch in demand as a guest conductor.In recent years, he has appeared withmost of <strong>the</strong> major orchestras in his nativePoland, as well as <strong>the</strong> Royal LiverpoolPhilharmonic in England, <strong>the</strong>Karlovy Vary Symphony in <strong>the</strong> CzechRepublic, <strong>the</strong> Okanagan Symphony inCanada and numerous orchestras in <strong>the</strong>United States.Gajewski attended Carleton Collegeand <strong>the</strong> University of Cincinnati,College-Conservatory of Music, wherehe earned a bachelor’s of music and amaster’s of music in orchestral conducting.Upon completing his <strong>for</strong>mal education,he continued refining his conductingskills at <strong>the</strong> 1983 Tanglewood MusicFestival in Massachusetts, where he wasawarded a Leonard Bernstein ConductingFellowship. His teachers <strong>the</strong>re includedLeonard Bernstein, Seiji Ozawa,André Previn, Gun<strong>the</strong>r Schuller, GustavMeier and Maurice Abravanel.Gajewski is also a winner of manyprizes and awards, among <strong>the</strong>m a prizeat New York’s prestigious Leopold StokowskiConducting Competition and,in 2006, Montgomery County’s ComcastExcellence in <strong>the</strong> Arts and HumanitiesAchievement Award.Program Notes“A Christmas Fanfare”arr. Snedecor“A Christmas Fanfare” was written byPhil Snedecor as <strong>the</strong> opening piece<strong>for</strong> <strong>the</strong> new WSB CD, Home <strong>for</strong> <strong>the</strong>Holidays. As Snedecor describes it,“Going ‘home’ <strong>for</strong> <strong>the</strong> holiday seasoncan mean many different things. Butwhe<strong>the</strong>r you return to your hometownor spend <strong>the</strong> holidays far awayfrom it, you know you are homewhen you reunite with your familyand friends.”“Noel”arr. Anthony DiLorenzo, based on “TheFirst Noel”“Noel” <strong>for</strong> Brass Ensemble, Organ andChoir was commissioned by <strong>the</strong> PrestonHollow Presbyterian Church Choir ofD<strong>all</strong>as, Texas, in memory of Cormac Ryan.The music of Emmy Award-winning composerAnthony DiLorenzo is per<strong>for</strong>medinternation<strong>all</strong>y by symphony orchestrasand chamber groups.“Angelus ad Virginem”Traditional Franciscan Medieval carol“Angelus ad Virginem”—or its Englishtitle, “Gabriel, From Heven King Was ToThe Maide Sende”—was a popular medievalcarol, whose text is a poetic versionof <strong>the</strong> Hail Mary and <strong>the</strong> Annunciation to<strong>the</strong> Virgin Mary. French friars brought itto Britain in <strong>the</strong> 13th century. A manuscriptfrom 1361, <strong>the</strong> Dublin Troper, amusic book <strong>for</strong> use at Mass and a 13thvellum Sequentiale may have been linkedto <strong>the</strong> Church of Addle, Yorkshire. “Angelusad Virginem” presumably origin<strong>all</strong>ycontained 27 stanzas, with each stanzabeginning with <strong>the</strong> next consecutive letterof <strong>the</strong> alphabet.It appears in Geoffrey Chaucer’s “Miller’sTale,” in <strong>the</strong> Canterbury Tales, where<strong>the</strong> scholar Nicholas sings it in Latin to<strong>the</strong> accompaniment of his psaltery.For many years, it was <strong>the</strong> first piece ofmusic sung at <strong>the</strong> annual Bracebridge Dinner,a lavish Christmas feast held at <strong>the</strong>Ahwahnee Hotel in Yosemite NationalPark. In 1929, as <strong>the</strong> guests entered <strong>the</strong>dining room this piece of music, selectedby Ansel Adams, who was director of <strong>the</strong>pageant at that time, was sung.“Infant Holy, Infant Lowly”Traditional Polish carol“Infant Holy, Infant Lowly” is based on atraditional Polish Christmas carol,“W żłobie leży” (“He lies in <strong>the</strong> cradle”).It is thought to be very old although its originsare not known. It was first publishedin 1908 in a book of Polish carols. EdithM. Reed created <strong>the</strong> English-language versionof it in 1921. With a hymn-like spirit,applause at Strathmore • NOVEMBER/DECEMBER 2013 67

Sunday, December 22, 2013, 4 p.m.it has a stately character, but never<strong>the</strong>less,is able to convey its joyousness. Itsfirst four notes recur in different patternsthroughout much of <strong>the</strong> song.“In Dulci Jublio” (“In SweetRejoicing”)Traditional German carolarr. Karl Jenkins“In Dulci Jubilo” (“In sweet rejoicing”)origin<strong>all</strong>y appeared as a macaronictext (one that alternates between twolanguages) of German and Latin inmedieval times. It was first published asa hymn in 1582. J.S. Bach composed achorale prelude based on <strong>the</strong> melody,BWV 729, frequently used as a postlude<strong>for</strong> Christmas services. It is thoughtthat “In dulci jubilo” was written by <strong>the</strong>German mystic Heinrich Seuse around1328. According to folklore, Seuseheard angels sing <strong>the</strong> words and joined<strong>the</strong>m in a dance of worship. The melodyfirst appears in Codex 1305, dating fromc.1400, although it has been suggestedthat <strong>the</strong> melody may have existedbe<strong>for</strong>e. This music is based on <strong>the</strong> sametune as <strong>the</strong> modern Christmas carol,“Good Christian Men Rejoice.”“Quelle est cette odeuragréable?” (”What is <strong>the</strong>Lovely Fragrance?”)Traditional French carol“Quelle est cette odeur agréable?” isa traditional French Christmas carolabout <strong>the</strong> Nativity. It was set to musicwritten by John Gay <strong>for</strong> his famousBeggar’s Opera in 1728, when he used itas a variant <strong>for</strong> <strong>the</strong> drinking song “FillEvery Glass.” The carol must have beenin existence by that time in Englandas well as popular because Gay wasknown to use only familiar tunes in hisproduction. The melody of this song hasbeen used <strong>for</strong> o<strong>the</strong>r French carols, andscholars feel it most likely originatedin France during <strong>the</strong> 17th century. Themelody is from an anonymous source, asis its French text. The warm melody hasjoyous spirit. It is lyrical; in particular,its second subject soars. The carol’s textmentions <strong>the</strong> baby’s fragrance, which, itis noted, is even more outstanding than<strong>all</strong> <strong>the</strong> flowers of spring.“Bring A Torch, Jeanette,Isabella” (”Un flambeau,Jeannette, Isabelle”)16th century French carol“Bring a Torch, Jeanette, Isabella” isa 16th century Christmas carol (firstpublished in 1553) originating in <strong>the</strong>Provence region of France. It was firstpublished in 1553 in French and wastranslated into English in <strong>the</strong> 18thcentury. The song was origin<strong>all</strong>y notsung at Christmas, but ra<strong>the</strong>r functionedas seasonal dance music <strong>for</strong> <strong>the</strong>French nobles.The torches, or candles of Hanukkah’sFestival of Lights were an importantpart of Christmas celebrationsin Provence and sou<strong>the</strong>rn Europe.“Bring a Torch, Jeanette, Isabella” is awonderful example of <strong>the</strong> torch songsof that time.In <strong>the</strong> carol, visitors to <strong>the</strong> stablehave to keep <strong>the</strong>ir voices down so <strong>the</strong>newborn can enjoy his dreams. Stilltoday in Provence, children dress upas shepherds and milkmaids and <strong>the</strong>ycarry torches and candles to MidnightMass on Christmas Eve while <strong>the</strong>ysing this carol. The painter George dela Tour painted a nativity scene tha<strong>the</strong> based on <strong>the</strong> carol.“Twelve Days of Christmas”Traditional English carolOne of <strong>the</strong> most requested Christmascarols of <strong>all</strong> time, <strong>the</strong> “Twelve Daysof Christmas” has always been, andcontinues to be, ra<strong>the</strong>r repetitive.In light of this fact, <strong>the</strong> WashingtonSymphonic Brass took some libertieswith <strong>the</strong> statement of each progressiveday of Christmas. Listen <strong>for</strong> Wagner,Mahler, Handel and Count Basie’sinfluence infused in this presentationof a classic.“The Twelve Days of Christmas”is an English Christmas carol thatsuccessively enumerates <strong>the</strong> increasinglygrand gifts given on each of <strong>the</strong>12 days of Christmas. The song, firstpublished in England in 1780 withoutmusic, as a chant or rhyme, is thoughtto be French in origin. The best knownEnglish version was first printed in 1780in a little book intended <strong>for</strong> children,Mirth without Mischief, as a “memoriesand-<strong>for</strong>feits”game, in which a leaderrecited a verse, <strong>the</strong>n each of <strong>the</strong> playersrepeated it; <strong>the</strong> leader added ano<strong>the</strong>rverse, and so on until one of <strong>the</strong> playersmade a mistake, and had to pay apenalty, such as giving a kiss or a sweet.Although <strong>the</strong> melody of versions vary,<strong>the</strong> standard one now associated with itis derived from a 1909 arrangement of<strong>the</strong> traditional folk melody by Englishcomposer Frederic Austin, who introduced<strong>the</strong> prolongation of <strong>the</strong> melody to<strong>the</strong> words “five gold rings.”The 12 days are <strong>the</strong> 12 days beginningon Christmas Day, or in sometraditions, <strong>the</strong> day after, until <strong>the</strong> daybe<strong>for</strong>e Epiphany (Jan. 6, or TwelfthDay), <strong>for</strong>m<strong>all</strong>y <strong>the</strong> end of Christmasfestivities and celebrated as a time ofmerrymaking.“Es ist ein Ros Entsprungen”Michael PraetoriusBorn Feb. 15, 1571 in Creuzburg, Germany;died Feb. 15, 1621 in Wolfenbüttel,GermanyGerman carol“Es ist ein Ros entsprungen,” most commonlytranslated to English as “Lo, Howa Rose E’er Blooming” or “A SpotlessRose,” is a carol of German origin. Thetext is anonymous; both Catholics andProtestants used <strong>the</strong> hymn, with its focuson ei<strong>the</strong>r Mary or Jesus. The melody appearedin <strong>the</strong> Speyer Hymnal printed inCologne in 1599; Praetorius supplied itsharmonization in 1609.Praetorius was a great musical academic;his importance derived from his discussionsof <strong>the</strong> normal use of instruments andvoices in ensembles, <strong>the</strong> standard pitch of<strong>the</strong> time, and <strong>the</strong> state of modal, metricaland fugal <strong>the</strong>ory. His encyclopedia ofmusical instruments, Syntagma Musicum,richly illustrated and annotated, is a valuablesource of <strong>the</strong> bewildering variety ofmusical devices in use in <strong>the</strong> 17th century.Johannes Brahms used <strong>the</strong> carol in a cho-68 applause at Strathmore • NOVEMBER/DECEMBER 2013

Sunday, December 22, 2013, 4 p.m.rale fantasy <strong>for</strong> organ; it was transcribed<strong>for</strong> orchestra by mid-20th centuryBoston Symphony Orchestra conductorErich Leinsdorf.“A Little Barley Corne”Traditional English“A Little Barley Corne” is a medley of anumber of medleys, here featuring tromboneand horn. The central melody,“Stingo” is intertwined with “Underand Over,” “Bobbing Joe,” “Jenny PluckPears” and “The Country Coll.”As winter can be a dull time wi<strong>the</strong>xtended periods of cloudy days andlong, damp nights, many 16th centuryEnglishmen (and women) would headto <strong>the</strong> pubs in <strong>the</strong> evening to lift <strong>the</strong>irspirits by having a pint and singing.Many were able to play <strong>the</strong> tin whistle,fiddle, flute or o<strong>the</strong>r instruments, and<strong>the</strong>y would accompany <strong>the</strong> customerswhile <strong>the</strong>y danced, drank and sangwhile having just a bit too much of <strong>the</strong>old Barley Corne.“Tonttu” (“ChristmasGnome”)Traditional Finnish carol“Tonttu,” also known as “Christmasgnome,” is a traditional Finnish carol.A tonttu is a humanoid mythicalcreature of Scandinavian folklore,known by different names in variouscountries. It was believed that <strong>the</strong>creature took care of farmers’ homesand children, especi<strong>all</strong>y when it wasdark, protecting <strong>the</strong>m from mis<strong>for</strong>tunewhile <strong>the</strong>y slept. The name in <strong>all</strong><strong>the</strong> Scandinavian languages derivesfrom a place of residence and area ofinfluence: <strong>the</strong> house lot or <strong>the</strong> buildingground. The Swedish mythicalcharacter turned into a white-bearded,red-capped friendly figure associatedwith Christmas, who started bringingChristmas presents. In Finland, it isbelieved that he lives in Lapland anddoes not come down <strong>the</strong> chimney, butra<strong>the</strong>r through <strong>the</strong> front door, delivering<strong>the</strong> presents directly to children,just like <strong>the</strong> original creature; now hesometimes rides in a sleigh drawn byreindeer.“O Come O ComeEmmanuel”15th century French hymnAlthough it is thought that <strong>the</strong> solemnAdvent hymn “O Come O ComeEmmanuel” originated as a 15th centuryFrench processional <strong>for</strong> Franciscan nuns,many also believe that it has eighthcentury Gregorian roots. It is a metricalversion of a collation of various AdventAntiphons whose title originates in Isaiah7:14: “Behold, a virgin sh<strong>all</strong> conceive,and bear a son, and sh<strong>all</strong> c<strong>all</strong> his nameImmanuel.” Immanuel is Hebrew <strong>for</strong>“God with us.” The composer OttorinoRespighi used <strong>the</strong> melody in “The Giftof <strong>the</strong> Magi” in his Trittico Botticelliano,and Arvo Pärt incorporated it into hisSymphony No. 3 (1977).“The Coventry Carol”16th century English carolMusic & Arts supportsyour local schools!Find Your Voice.Visit Us:Arundel Mills(410) 799-0200Bailey's Crossroads(703) 820-3610Ellicott City(410) 461-1844Bel Air(410) 569-3500Bowie(301) 262-5950Burke(703) 764-1400Germantown(301) 353-1113Instruments | Lessons | Rentals | RepairsHagerstown(301) 733-1441Laurel(240) 568-0600Manassas(703) 361-0149McLean(703) 356-9394North Frederick(301) 620-2015Oakton(703) 281-0400Rockville(301) 881-6440Severna Park(410) 544-1010South Frederick(301) 694-0007Springfield(703) 451-0875Sterling(703) 444-3700MusicArts.comTimonium(410) 453-0811Woodbridge(703) 491-4196applause at Strathmore • NOVEMBER/DECEMBER 2013 69

Sunday, December 22, 2013, 4 p.m.“The Coventry Carol,” dating from1591, often c<strong>all</strong>ed “The Lullay Song,”by an unknown author, is one of <strong>the</strong>very earliest polyphonic carols. It isnamed after <strong>the</strong> city of Coventry,England, where <strong>the</strong> mystery play c<strong>all</strong>edThe Pageant of <strong>the</strong> Shearmen and Tailorswas per<strong>for</strong>med. The play brings to life<strong>the</strong> Christmas story from <strong>the</strong> Gospelof Mat<strong>the</strong>w, 2:16 while <strong>the</strong> carol, <strong>the</strong>only carol that survived from <strong>the</strong> play,specific<strong>all</strong>y refers to <strong>the</strong> Massacre of <strong>the</strong>Innocents, in which Herod orders <strong>all</strong>male children under 2 in Bethlehem tobe killed.“The Coventry Carol” is actu<strong>all</strong>ynot strictly a Christmas carol becauseit refers to Jesus as a baby not to <strong>the</strong>birth itself; never<strong>the</strong>less, it has tradition<strong>all</strong>ybeen included at Christmas.This haunting carol tells of a mo<strong>the</strong>r’slament <strong>for</strong> her doomed child who sufferedHerod’s brutality. In <strong>the</strong> 15th and16th centuries, “lully” and “lullay” werecommon slang words that meant, “Isaw, I saw!”Hanukkah MedleyTraditionalarr. G. Pascuzzi and P. SnedecorHanukkah Medley was arranged <strong>for</strong> <strong>the</strong>Washington Symphonic Brass in 2008.The traditional melodies that makeup this arrangement were suggested byRabbi Leonard Cahan, National Philharmonicboard member, who felt <strong>the</strong>seselections were <strong>the</strong> most recognizableand <strong>the</strong> most essential <strong>for</strong> inclusion insuch a suite. Using <strong>the</strong> orchestral colorsof brass, <strong>the</strong> medley has <strong>the</strong> characterof symphonic version of <strong>the</strong>se melodieswhile it preserves <strong>the</strong> playfulness of <strong>the</strong>original tunes.“Here We ComeA-wassailing”Traditional English carol“Here We Come A-wassailing” (or “HereWe Come A-caroling”) is an Englishtraditional Christmas carol and NewYear’s song from <strong>the</strong> 17th century. Wassailingis <strong>the</strong> practice of singing carols doorto door and wishing good health; <strong>the</strong> prefix“a-” that precedes <strong>the</strong> word “wassailing” isan old-fashioned intensifier; it is <strong>the</strong> sameusage as “A-Hunting We Will Go” or “Sixgeese a-laying.” As Christmas spirit oftenmade <strong>the</strong> rich feel a little generous, be<strong>for</strong>eChristmas, groups of beggars and orphanswould make <strong>the</strong>ir way through local streetsoffering to “sing good cheer” and to “tellgood <strong>for</strong>tune” in exchange <strong>for</strong> a drink from<strong>the</strong> wassail bowl, a penny or a pork pie or ashort stint of standing briefly be<strong>for</strong>e a richman’s warm hearth. The wassail bowl usu<strong>all</strong>ycontained hot ale or beer, apples, spicesand mead.St. Paul Suite, Op. 29, No. 2 JigGustav HolstBorn Sept. 21, 1874, in Cheltenham,England; died May 23, 1934, in LondonGustav Holst, one of <strong>the</strong> finest Englishcomposers of <strong>the</strong> first half of <strong>the</strong> 20th century,was born into a family of musicians.His fa<strong>the</strong>r Adolph, a pianist, organist andAt TD Bank we strive toprovide legendary customerexperiences every day.We’re proud to supportStrathmore’s legacy ofoutstanding per<strong>for</strong>mances.TD Bank, N.A. | Equal Housing Lender70 applause at Strathmore • NOVEMBER/DECEMBER 2013

TrumpetsPhil SnedecorMatt HardingChris GekkerScott SaboHornsMarty HacklemanChandra CervantesAmy HornWashington Symphonic BrassShawn HagenTrombonesCharles CaseyBryan BourneJeff GaylordRandy CamopraTubaDavid BrownSunday, December 22, 2013 , 4 p.m.TimpaniBill RichardsPercussionJoe ConnellShari RakReadBe<strong>the</strong>sdaMagazine®on Your iPadchoirmaster, taught piano lessons andgave recitals; his mo<strong>the</strong>r was a singerwho died when Gustav was only 8.Holst, as a fragile, asthmatic child, wastaught to play <strong>the</strong> piano and violin. Helater took up <strong>the</strong> trombone and beganto compose when he was about 12. Heworked as an organist and choirmasterwhen he was only 18.In 1905, Holst was appointed directorof Music at St. Paul’s Girls’ School in<strong>the</strong> Hammersmith section of London.In 1913, he composed <strong>the</strong> delightfulSt. Paul Suite <strong>for</strong> <strong>the</strong> school orchestra.Although <strong>the</strong> St. Paul Suite was origin<strong>all</strong>ywritten <strong>for</strong> strings alone, Holsteventu<strong>all</strong>y added wind parts so it wouldbe scored <strong>for</strong> an entire orchestra.The St. Paul Suite has four movements.The first is a lively, robust Jigin alternating 6/8 and 9/8 time, has acatchy folk tune <strong>for</strong> its first <strong>the</strong>me anda very tricky rhythmic variant of it <strong>for</strong><strong>the</strong> second. Holst introduces a contrasting<strong>the</strong>me, <strong>the</strong>n skillfully develops andblends <strong>the</strong> two <strong>the</strong>mes.“The Holly and <strong>the</strong> Ivy”Traditional English carol“The Holly and <strong>the</strong> Ivy” is a traditionalEnglish Christmas carol containingboth Christian and pagan imagery.It was included in a 1710 broadside;an early book mentions <strong>the</strong> carol aswell as a manuscript containing amore ancient song, over 1,000 yearsold. Holly and ivy have been usedin church decoration since <strong>the</strong> 15thcentury. The Druids considered hollysacred and associated it with <strong>the</strong> wintersolstice. Pagans customarily usedevergreens fashioned into wreaths andgarlands <strong>for</strong> decorations in winter toremind <strong>the</strong>m of <strong>the</strong> return of a greenlandscape in spring. Considered sacredto Saturn, it was used in <strong>the</strong> Romancelebration of <strong>the</strong> Saturnalia uponwhich <strong>the</strong> Christmas holiday wasdirectly modeled.“Hark! The Herald AngelsSing”Traditional English carolarr. DiLorenzeThe carol first appeared in 1739 in <strong>the</strong>collection Hymns and Sacred Poems byCharles Wesley, who had requested andreceived slow and solemn music <strong>for</strong> hislyrics, not <strong>the</strong> joyful tune we know today.The popular version is <strong>the</strong> result ofalterations by various hands, especi<strong>all</strong>yGeorge Whitefield, Wesley’s co-worker,who changed <strong>the</strong> opening couplet to<strong>the</strong> familiar one. One hundred yearsafter <strong>the</strong> publication of Hymns andSacred Poems, in 1840, Mendelssohncomposed a cantata to commemorateGutenberg’s invention of <strong>the</strong> printingpress, and a melody from this cantata,adapted by <strong>the</strong> English musician WilliamH. Cummings to fit <strong>the</strong> lyrics of“Hark! The Herald Angels Sing,” is <strong>the</strong>carol we know today.This version of “Hark! The HeraldAngels Sing” was commissioned andrecorded by The Bay Brass on A Brass& Organ Christmas.Copyright Susan Halpern, 2013Watch videosSee photoslideshowsAccess on youriPad, most o<strong>the</strong>rmobile devicesand computerFREE<strong>for</strong> printsubscribersDownload Today!www.be<strong>the</strong>sdamagazine.com/digitalapplause at Strathmore • NOVEMBER/DECEMBER 2013 71

Asbury.Where making ato-do list is fun.Lunch outing @ noonSign up to volunteer<strong>for</strong> literacy programFill your list with fresh opportunities.Find out how moving to Asbury willmake so many good things possible.Come see <strong>for</strong> yourself <strong>the</strong> life youcould lead at Asbury.Strathmore concert FridayC<strong>all</strong> 301-637-8132 to learn about <strong>the</strong>Strathmore Society at Asbury, with specialprogramming <strong>for</strong> Asbury residents and guests.AsburyMethodistVillage.org201 RUSSELL AVENUE, GAITHERSBURG, MARYLAND 20877WLet <strong>the</strong> musicmove you.e are now accepting wait list reservations! A visit toIngleside could turn out to be a moving experience!Spectacular, gracious and outstanding describes life atIngleside at King Farm. Become part of a communitythat sets <strong>the</strong> standards of excellence in amenities, lifestyle,security and af<strong>for</strong>dability by joining <strong>the</strong> IKF Club. Thisunique program <strong>all</strong>ows you to enjoy many benefits andamenities of Ingleside right now.To learn more or schedule a personaltour, please c<strong>all</strong> (240)499-9019.A Remarkable Retirement Community701 King Farm Blvd. • Rockville, MDwww.inglesidekingfarm.com • (240)499-901972 Applause at Strathmore • NOVEMBER/DECEMBER 2013

Special advertiSing Section profiles | senior services“five star premier residences8100 Connecticut Ave., Chevy Chase, MD 20815301-907-8895 | www.fivestarseniorliving.com“We focus on residents who are hard to please and we go so faras to ask <strong>for</strong>, and replicate, family recipes.”—Brandon Williams, executive cheftony lewis jrThe crabmeat in <strong>the</strong> crab cakes seems to be held toge<strong>the</strong>r byair at Premier Residences of Chevy Chase, where about 300 peopledine seven nights a week. On Executive Chef Brandon Williams’resume, popular DC restaurants Zaytinya and Jaleo are highlights.This husband and fa<strong>the</strong>r was looking <strong>for</strong> a traditional chef positionand found this job <strong>the</strong> old-fashioned way, through an ad in <strong>the</strong>Washington Post. Yes, <strong>the</strong> newspaper classifieds.“I came to Five Star Premier Residences because it has everyelement of food service, and I like <strong>the</strong> variety,” he says. The kitchenalso offers event catering, room service and buffet breakfasts. Atdinner, which always consists of four courses, 80 percent of <strong>the</strong>dishes are made to order individu<strong>all</strong>y.The kitchen is practiced at <strong>all</strong> kinds of dietary preferences andrestrictions: gluten-free, vegetarian, low sodium, no sugar addedand o<strong>the</strong>rs. That is not a ch<strong>all</strong>enge <strong>for</strong> Williams, who says <strong>the</strong>greatest ch<strong>all</strong>enge is that he and his staff—which includes a souschef and a pastry chef—are feeding <strong>the</strong> same people every day.“We focus on residents who are hard to please,” he says, “and wego so far as to ask <strong>for</strong>, and replicate, family recipes.”Like so many aspects of living in this luxurious community,chef-prepared meals that might include octopus, mussels and o<strong>the</strong>rtop-choice ingredients are not considered extras. Five Star PremierResidences, <strong>inside</strong> <strong>the</strong> Beltway in Chevy Chase, offers activeindependent living and assisted living in a wooded, park-like settingwith spacious one and two bedroom apartments. Residents pay amonthly fee, without having any upfront buy-in costs.Applause ApplAuse at Strathmore • November/December NOVEMBER/DECEMBER 2013 73

profiles | senior servicesSpecial advertiSing Sectionleah Whetzel, Ceo, lNHA, rNcollingswood Nursing & rehabilitation center299 Hurley ave., rockville, MD 20850301-762-8900 | www.collingswoodnursing.comCollingswood Nursing & Rehabilitation Centeroffers sophisticated capabilities far beyond <strong>the</strong>routinely offered 24-hour skilled nursing andrehabilitation <strong>the</strong>rapy. For several yearsCollingswood has provided onsite hemodialysis<strong>for</strong> residents needing treatment in <strong>the</strong> short-termor as a result of chronic kidney disease.Most recently, Collingswood added comprehensiverespiratory services to fulfill an unmet needin Montgomery County. For older adults who havedifficulty breathing or cannot brea<strong>the</strong> independentlydue to compromised or nonfunctioning lungs,Collingswood’s Respiratory Care Program offersventilator support and airway management. Theyalso care <strong>for</strong> persons with tracheostomies. Bothcapabilities were natural additions to Collingswood’so<strong>the</strong>r “Programs of Excellence.”Residents benefiting from <strong>the</strong> respiratoryprogram at Collingswood include those withchronic conditions like bronchitis, cystic fibrosis,emphysema, COPD, asthma or respiratory failure,as well as short-term illnesses like pneumonia.The programs also supports individuals withpermanent or temporary tracheostomies. Ifsomeone is using a ventilator or tracheostomytube during recovery from surgery or illness, <strong>the</strong>plan to wean him or her from it begins at <strong>the</strong>outset of <strong>the</strong>ir stay.The staff at Collingswood work hard toenhance residents’ confidence in managingrespiratory limitations and realize <strong>the</strong>ir highestlevel of independence. Collingswood’sinterdisciplinary team of respiratory <strong>the</strong>rapists,skilled nurses, pulmonologists, medical director,dietitians, social workers and speech <strong>the</strong>rapistdevelop respiratory and comprehensive careplans designed to support both over<strong>all</strong> quality ofhealth and quality of life.Whe<strong>the</strong>r staying <strong>for</strong> a short while or longertime, residents at Collingswood can enjoy ei<strong>the</strong>rprivate or semi-private rooms with en suitebath, outdoor decks and patios, great room withfireplace, and a vibrant Life Enrichment Program.Collingswood is conveniently located near I-270and <strong>the</strong> Capital Beltway.The staff at Collingswood work hard toenhance residents’ confidence in managingrespiratory limitations and realize <strong>the</strong>ir“highest level of independence.”Hilary ScHwab74 ApplAuse Applause at Strathmore • November/December NOVEMBER/DECEMBER 2013

Special advertiSing Section profiles | senior servicescourtesy photoriderwood, an erickson living Community3140 Gracefield road, silver spring, MD 20904301-760-4416 | www.ericksonLiving.com“The largest continuing care retirement community in <strong>the</strong> mid-Atlantic, Riderwood is an exciting alternative in senior living, witha 60+ retirement lifestyle that’s <strong>all</strong> about discovering new experiences.Over 250 clubs engage residents, who enjoy fitness centers,an <strong>all</strong>-season swimming pool, and seven restaurants.One of <strong>the</strong> most important aspects of our lifestyle is peace of mind.When you live here, you can feel secure that your needs will be met.”“Here, you make your own schedule and decide how you want tospend your time,” says sales director Jason Longwell. “If you love tomeet new people and do lots of fun things, this is <strong>the</strong> place <strong>for</strong> you.If you prefer more quiet pursuits like reading in <strong>the</strong> com<strong>for</strong>t of yourapartment, Riderwood is also <strong>for</strong> you. There is truly something <strong>for</strong>everyone.”Af<strong>for</strong>dable and beautiful, Riderwood is situated on a wooded120-acre campus convenient to <strong>all</strong> <strong>the</strong> DC area has to offer. To<strong>all</strong>eviate <strong>the</strong> inevitable stress of relocating, a complimentary moving—Jason Longwell, Sales Directorconsultant helps right-size and stage incoming residents’ homes<strong>for</strong> sale, and handles many of <strong>the</strong> stressful chores associated withmoving.“One of <strong>the</strong> most important aspects of our lifestyle is peace ofmind,” says Longwell. Residents know <strong>the</strong>y don’t have to move, orlose friendships, if <strong>the</strong>ir health changes. “When you live here, youcan feel secure that your needs will be met. It’s a wonderful feeling,like a weight being lifted.”Riderwood has a medical center that is fully staffed with six doctorsand a variety of specialists. Their continuing care neighborhoodearned Medicare’s 5-star rating <strong>for</strong> its extensive array of amenities,activities, and services in assisted living, memory care, nursingcare and post-acute rehabilitation. Riderwood is one of 16 EricksonLiving communities across <strong>the</strong> country.Applause ApplAuse at Strathmore • November/December NOVEMBER/DECEMBER 2013 75

PRofileS | senior servicesSpecial advertiSing SectionAnnie Durkin, MSN, CRNP, ACHPNPotomac V<strong>all</strong>ey Nursing & wellness center1235 Potomac V<strong>all</strong>ey road, rockville, MD 20850301-762-0700 | www.potomacv<strong>all</strong>ey.comP<strong>all</strong>iative care is a compassionateblend of medical care and personcenteredcare that honors choice“and dignity.”P<strong>all</strong>iative care is an interdisciplinaryapproach promoting com<strong>for</strong>t and quality of lifethrough pain and symptom management <strong>for</strong>those with progressive life-limiting illnesses.The focus is holistic, addressing physical,psychological, social and spiritual needs.P<strong>all</strong>iative care is a compassionate blend ofmedical care and person-centered care thathonors choice and dignity.Since 2006, <strong>the</strong> P<strong>all</strong>iative Care Programat Potomac V<strong>all</strong>ey has provided skilled andcompassionate care to hundreds of residentsand <strong>the</strong>ir families. What makes it unique is<strong>the</strong> core team of board-certified hospice andp<strong>all</strong>iative care professionals, nurses, socialworkers, dietitians, life enrichment and pastoralcare staff. The program has been recognized by<strong>the</strong> American Medical Directors Association.The collaborative ef<strong>for</strong>t between <strong>the</strong> resident,<strong>the</strong> family and <strong>the</strong> Potomac V<strong>all</strong>ey p<strong>all</strong>iativecare team begins with an assessment of <strong>the</strong>resident and identification of approaches toenhance com<strong>for</strong>t and quality of life, which areincorporated into a comprehensive plan.Unlike hospice, p<strong>all</strong>iative care does notrequire <strong>the</strong> diagnosis of a terminal illness andcan be incorporated at any point in <strong>the</strong> care ofindividuals with progressive life-limiting illness.For those who are experiencing <strong>the</strong> end of life,p<strong>all</strong>iative care can continue to provide servicesalong with hospice.In addition to clinical <strong>the</strong>rapies directedtoward pain and symptom management, o<strong>the</strong>rp<strong>all</strong>iative care approaches may include music,massage, relaxation <strong>the</strong>rapy, com<strong>for</strong>t foods orsimply quiet reflection in <strong>the</strong> Serenity Room.Family support, an essential component, mayinclude counseling, education and assistanceobtaining additional resources.P<strong>all</strong>iative care meshes seamlessly withPotomac V<strong>all</strong>ey’s o<strong>the</strong>r capabilities, including24-hour skilled nursing, rehabilitative <strong>the</strong>rapy,memory care and behavioral health services.hilary schwab76 Applause ApplAuse at Strathmore • NOVEMBER/DECEMBER November/December 2013

Special advertiSing Section profiles | senior servicesCharles e. smith life Communitiescohen-rosen house / hebrew home / hirsh health centerlandow house / revitz house / ring house6121 Montrose road, rockville MD 20852301-816-5012 | www.smithlifecommunities.orghilary schwabIn six distinct communities on a beautiful campus inRockville, <strong>the</strong>re are lots of choices and life environments. Notthat residents just hang around <strong>the</strong>ir homes! Award winningprogramming including trips to Strathmore, <strong>the</strong> KennedyCenter, museums and more keep residents on <strong>the</strong> go.New kitchens and baths at Ring House are earning ravereviews. Pet-friendly Revitz House is unique <strong>for</strong> af<strong>for</strong>dableservices. Assisted living at Landow House offers personalizedservices, and <strong>the</strong> new Cohen-Rosen House provides memorycare in an amazing setting. Plus, each year hundreds recoverand move back to <strong>the</strong>ir own homes thanks to outstandingrehabilitation at <strong>the</strong> Hebrew Home.Jewish heritage, a full-time medical staff, and extensiverecreation and cultural programs enrich <strong>the</strong> Charles E. SmithLife Communities, which are not-<strong>for</strong>-profit and open to <strong>all</strong>.Special advertiSing Section profiles | family businessesBARWOOD TAXILee barnes4900 Nicholson court, Kensington, mD 20895301-984-1900 | www.barwoodinc.comDarrEN hiGGiNsIn 1960, Lee Barnes’ dad, Harry, started a taxi company inBe<strong>the</strong>sda with his bro<strong>the</strong>r Harold, who <strong>the</strong>n founded a car business.Lee Barnes, <strong>the</strong> CEO, grew up in <strong>the</strong> business. “As a little guy, Irode around with my dad in a cab,” he says. “I progressed to addingmachines, <strong>the</strong> garage and <strong>the</strong> phones.”His parents’ influence is long lasting. Betty Barnes had a heart <strong>for</strong>customer service. “And I credit my dad <strong>for</strong> our national reputation <strong>for</strong>innovation,” says Lee. “In Montgomery County, he was first to leasetaxis, making drivers independent. He invested in two-way radios,and hired <strong>the</strong> first African-American and first female drivers.”Barwood constantly improves its computer technology and customerservice. Executive Taxi offers a closely monitored, high levelof service. Reloadable Barwood Gift Cards enable people to providepre-paid transportation <strong>for</strong> teens and elderly parents. Soon <strong>the</strong>re willbe an exclusive Smartphone app.Applause ApplAuse at Strathmore • November/December NOVEMBER/DECEMBER 2013 77

profiles | family businessesSpecial advertiSing SectionW.c.& a.n. Miller listing - circa 1921Andy & JessicA AlderdiceW.c. & a.n. Miller realtorsA Long & Foster company4701 Sangamore road, be<strong>the</strong>sda, mD 20816301-466-5898 | 301-229-4000andy4homes@gmail.com | www.andy4homes.com“Jessica and I offer buyers andsellers peace of mind wi<strong>the</strong>xcellent customer service,professionalism and ourknowledge of this area.”As a well-established Realtor in <strong>the</strong> mid-2000s, Andy Alderdicewas very busy serving clients throughout <strong>the</strong> metro area. Whenshe needed some help <strong>for</strong> her growing business, she turned toher daughter Jessica, who had just graduated from DickinsonCollege. “She started helping with clients and contracts andsales, and it stuck,” said Andy.Today, <strong>the</strong> mo<strong>the</strong>r-daughter, Andy-Jessica team has becomequite a dynamic duo, attending to client’s real estate needs inMaryland, DC and Virginia. It’s a true family business, and Andyknows that well, having grown up in one. Her grandfa<strong>the</strong>r, HaroldSmith, opened Smith’s Radio and TV Shop in Adams Morganin 1919. He also started a fire alarm business in 1933. Andy’sparents, Tom and Pat, acquired <strong>the</strong> business and trans<strong>for</strong>med itinto Security, Inc., a leading home alarm company. Andy and her78 Applause ApplAuse at Strathmore • NOVEMBER/DECEMBER November/December 2013siblings grew up working <strong>the</strong>re. “I still see our Security, Inc. stickerson doors and windows in homes,” said Andy.When <strong>the</strong> family sold <strong>the</strong> business in <strong>the</strong> early 1990s, Andyprogressed from securing homes to selling <strong>the</strong>m. She became aRealtor in 1994 and joined W.C. & A.N. Miller in 2001—ano<strong>the</strong>rlocal area family business. “It seemed like a natural fit,” saidAndy. “Jessica and I offer buyers and sellers peace of mind wi<strong>the</strong>xcellent customer service, professionalism and our knowledgeof this area.”A top agent team nation<strong>all</strong>y, Andy and Jessica have built<strong>the</strong>ir business on referrals and <strong>the</strong>ir amazing network. After <strong>all</strong>,both grew up and went to schools in Be<strong>the</strong>sda. They live where<strong>the</strong>y work and give back to <strong>the</strong>ir community in many ways—where <strong>the</strong>ir family has been an institution <strong>for</strong> many generations.SHAWN HEIFERT

Music Center atStrathmoreimportant in<strong>for</strong>mation5301 Tuckerman LaneNorth Be<strong>the</strong>sda, MD 20852-3385www.strathmore.orgEmail: tickets@strathmore.orgTicket Office Phone: (301) 581-5100Ticket Office Fax: (301) 581-5101Via Maryland Relay Services <strong>for</strong> MDresidents at 711 or out of state at1(800) 735-2258TICKET OFFICE HOURSMonday, Tuesday, Thursday,Friday 10 a.m. – 5 p.m.Wednesday 10 a.m. – 9 p.m.Saturday 10 a.m. – 2 p.m.Sixty minutes prior to eachper<strong>for</strong>mance in <strong>the</strong> Music Centerthrough intermission.GROUP SALES, FUNDRAISERSFor in<strong>for</strong>mation, c<strong>all</strong> (301) 581-5199 oremail groups@strathmore.org.TICKET POLICIESUnlike many venues, Strathmore<strong>all</strong>ows tickets to be exchanged.Tickets may only be exchanged <strong>for</strong>shows presented by Strathmore orits resident partner organizations at<strong>the</strong> Music Center. Exchanges mustbe <strong>for</strong> <strong>the</strong> same presenter within<strong>the</strong> same season. Ticket exchangesare NOT available <strong>for</strong> independentlyproduced shows. Please contact <strong>the</strong>Ticket Office at (301) 581-5100 <strong>for</strong>details on how to exchange tickets.If a per<strong>for</strong>mance is cancelled orpostponed a full refund of <strong>the</strong> ticketprice will be available through <strong>the</strong>Ticket Office <strong>for</strong> 30 days after <strong>the</strong>original scheduled per<strong>for</strong>mance date.All tickets are prepaid andnon-refundable.WILL CALLPatrons must present <strong>the</strong> credit cardused to purchase tickets or a valid IDto obtain will c<strong>all</strong> tickets.TICKET DONATIONIf you are unable to use yourtickets, <strong>the</strong>y may be returned <strong>for</strong> atax-deductible donation prior to <strong>the</strong>per<strong>for</strong>mance. Donations can be madeby mail, fax or in person by 5 p.m. <strong>the</strong>day of <strong>the</strong> per<strong>for</strong>mance.MISPLACED TICKETSIf you have misplaced your ticketsto any per<strong>for</strong>mance at Strathmore,please contact <strong>the</strong> Ticket Office <strong>for</strong>replacements.CHILDRENFor ticketed events, <strong>all</strong> patronsare required to have a ticketregardless of age. Patrons are urgedto use <strong>the</strong>ir best judgment whenbringing children to a concert thatis intended <strong>for</strong> adults. There aresome per<strong>for</strong>mances that are moreappropriate <strong>for</strong> children than o<strong>the</strong>rs.Some presenters do not <strong>all</strong>owchildren under <strong>the</strong> age of six yearsto non-family concerts. As always, ifany person makes a disruption duringa concert, it is appropriate that <strong>the</strong>ystep outside to accommodate <strong>the</strong>com<strong>for</strong>t and convenience of o<strong>the</strong>rconcert attendees. Contact <strong>the</strong> TicketOffice at (301) 581-5100 <strong>for</strong> additionalin<strong>for</strong>mation.PARKING FACILITIESConcert parking is located in <strong>the</strong>Grosvenor-Strathmore Metro garageoff Tuckerman Lane. At <strong>the</strong> end ofeach ticketed event in <strong>the</strong> MusicCenter at Strathmore, <strong>the</strong> exit gatesto <strong>the</strong> garage will be open <strong>for</strong> 30minutes to exit <strong>the</strong> garage. If you leavebe<strong>for</strong>e, or up to 90 minutes after this30-minute period, you must showyour ticket stub to <strong>the</strong> stanchionvideo camera at <strong>the</strong> exit gate to exitat no cost. For <strong>all</strong> non-ticketed events,Monday-Friday, parking in <strong>the</strong> garageis $5 and may be paid using a MetroSmarTrip card or major credit card.Limited short-term parking also isavailable at speci<strong>all</strong>y marked metersalong Tuckerman Lane. To access <strong>the</strong>Music Center from <strong>the</strong> Grosvenor-Strathmore Metro garage, walk across<strong>the</strong> glass-enclosed sky bridge locatedon <strong>the</strong> fourth level.PUBLIC TRANSPORTATIONStrathmore is located immediatelyadjacent to <strong>the</strong> Grosvenor-StrathmoreMetro station on <strong>the</strong> Red Line and isserved by several Metro and Ride-Onbus routes. See www.strathmore.org, or <strong>the</strong> Guide to <strong>the</strong> Music Centerat Strathmore <strong>for</strong> detailed directions.DROP-OFFThere is a patron drop-off circle offTuckerman Lane that brings patronsto <strong>the</strong> Discovery Channel Grand Foyervia elevator. No parking is <strong>all</strong>owedin <strong>the</strong> circle, cars must be moved to<strong>the</strong> Metro garage after dropping offpatrons. Both main entrances havepower- assisted doors.GIFT CERTIFICATESGift certificates may be purchased at<strong>the</strong> Ticket Office.COAT CHECKLocated in <strong>the</strong> Promenade acrossfrom <strong>the</strong> Ticket Office. As wea<strong>the</strong>rrequires, <strong>the</strong> coat check will beavailable as a complimentary serviceto our patrons. If you would like tokeep your coat or o<strong>the</strong>r belongingswith you, please place <strong>the</strong>m underyour seat. Coats may not be placedover seats or railings.THE PRELUDE CAFÉThe Prelude Café in <strong>the</strong> Promenadeof <strong>the</strong> Music Center at Strathmore,operated by Restaurant Associates,features a wide variety of snacks,sandwiches, entrees, beverages anddesserts. It is open <strong>for</strong> lunch anddinner and seats up to 134 patrons.CONCESSIONSThe Interlude intermission barsoffer beverages and snacks on <strong>all</strong>levels be<strong>for</strong>e <strong>the</strong> show and duringintermission. There are permanentbars on <strong>the</strong> Orchestra, Promenadeand Grand Tier levels.LOST AND FOUNDDuring a show, please see an usher.All o<strong>the</strong>r times, please c<strong>all</strong> (301)581-5100.LOUNGES AND RESTROOMSLocated on <strong>all</strong> seating levels, except in<strong>the</strong> Upper Tier.PUBLIC TELEPHONESCourtesy telephones <strong>for</strong> local c<strong>all</strong>s arelocated around <strong>the</strong> corner from <strong>the</strong>Ticket Office, in <strong>the</strong> Plaza Level Lobby,and at <strong>the</strong> Promenade Right Boxes.ACCESSIBLE SEATINGAccessible seating is available on<strong>all</strong> levels. Elevators, ramps, speci<strong>all</strong>ydesigned and designated seating,designated parking and many o<strong>the</strong>rfeatures make <strong>the</strong> Music Center atStrathmore accessible to patrons withdisabilities. For fur<strong>the</strong>r in<strong>for</strong>mationor <strong>for</strong> special seating requests in <strong>the</strong>Concert H<strong>all</strong>, please c<strong>all</strong> <strong>the</strong> TicketOffice at (301) 581-5100.ASSISTIVE LISTENINGThe Music Center at Strathmore isequipped with a Radio FrequencyAssistive Listening System <strong>for</strong> patronswho are hard of hearing. Patrons canpick up assistive listening devicesat no charge on a first-come, firstservedbasis prior to <strong>the</strong> per<strong>for</strong>manceat <strong>the</strong> coatroom when open, or at <strong>the</strong>ticket taking location as you enter <strong>the</strong>Concert H<strong>all</strong> with a driver’s license oro<strong>the</strong>r acceptable photo ID. For o<strong>the</strong>raccessibility requests, please c<strong>all</strong>(301) 581-5100.ELEVATOR SERVICEThere is elevator service <strong>for</strong> <strong>all</strong> levelsof <strong>the</strong> Music Center at Strathmore.EMERGENCY CALLSIf <strong>the</strong>re is an urgent need to contacta patron attending a Music Centerconcert, please c<strong>all</strong> (301) 581-5112and give <strong>the</strong> patron’s name andexact seating location, and telephonenumber <strong>for</strong> a return c<strong>all</strong>. The patronwill be contacted by <strong>the</strong> ushering staffand <strong>the</strong> message relayed left withHead Usher.LATECOMER POLICYLatecomers will be seated at <strong>the</strong> firstappropriate break in <strong>the</strong> per<strong>for</strong>manceas not to disturb <strong>the</strong> per<strong>for</strong>mers oraudience members. The decision asto when patrons will be seated is setby <strong>the</strong> presenting organization <strong>for</strong>that night.FIRE NOTICEThe exit sign nearest to your seat is<strong>the</strong> shortest route to <strong>the</strong> street. In<strong>the</strong> event of fire or o<strong>the</strong>r emergency,please WALK to that exit. Do not run.In <strong>the</strong> case of fire, use <strong>the</strong> stairs, not<strong>the</strong> elevators.WARNINGSThe use of any recording device,ei<strong>the</strong>r audio or video, and <strong>the</strong> takingof photographs, ei<strong>the</strong>r with orwithout flash, is strictly prohibited bylaw. Violators are subject to removalfrom <strong>the</strong> Music Center withouta refund, and must surrender<strong>the</strong> recording media. Smoking isprohibited in <strong>the</strong> building.Please set to silent, or turn offyour cell phones, pagers, PDAs,and beeping watches prior to <strong>the</strong>beginning of <strong>the</strong> per<strong>for</strong>mance.Applause at Strathmore • NOVEMBER/DECEMBER 2013 79

Strathmore H<strong>all</strong> Foundation, Inc.Board of DirectorsEXECUTIVE COMMITTEEWilliam G. RobertsonChairDale S. RosenthalVice Chair and TreasurerRobert G. Brewer, Jr., Esq.Secretary and ParliamentarianBOARD OF DIRECTORSCathy BarnardJoseph F. BeachDickie S. CarterDavid M.W. DentonHope B. Eastman, Esq.Suzanne Brennan FirstenbergHon. Nancy FloreenWilliam R. FordDonorsBarbara Goldberg GoldmanSol GrahamThomas H. GrahamNancy E. HardwickPaul L. HatchettDr. Sachiko KunoDelia K. LangCarolyn P. LeonardHon. Laurence LevitanJ. Alberto Martinez, MDThomas A. NatelliKenneth O’BrienDeRionne P. PollardDonna Rattley WashingtonGraciela Rivera-OvenRegina Brady VasanStrathmore thanks <strong>the</strong> individuals and organizations who have made contributionsbetween July 1, 2012 and June 30, 2013. Their support of at least $500 andcontinued commitment enables us to offer <strong>the</strong> af<strong>for</strong>dable, accessible, qualityprogramming that has become our h<strong>all</strong>mark.$250,000+Arts and Humanities Council ofMontgomery CountyMaryland State Arts Council$100,000+Hogan Lovells (in-kind)Post-Newsweek Media, Inc.(includes in-kind)$50,000+Booz Allen HamiltonDelia and Marvin LangLockheed Martin CorporationThe Morris and Gwendolyn CafritzFoundationSymphony Park LLC$25,000+Alban Inspections, Inc.Asbury Methodist VillageFederal Realty Investment TrustGEICOGlenstone FoundationYanqiu He and Kenneth O’BrienCarolyn and Jeffrey LeonardPEPCOTD BankCarol Trawick$15,000+Capital One, N.A.Nancy and Raymond HardwickLyle and Cecilia Jaeger (in-kind)MARPAT FoundationMontgomery County Department ofEconomic DevelopmentPaul M. Angell Family FoundationTower Companies$10,000+Adventist Health CareBank of AmericaJonita and Richard S. CarterClark Construction Group, LLCComcastElizabeth W. CulpEagleBankSuzanne and Douglas FirstenbergGiant Food LLCDorothy and Sol GrahamGuardian Realty Management, Inc.Elizabeth and Joel HelkeSachiko Kuno and Ryuji UenoLerch, Early & Brewer, Chartered(includes in-kind)Lerner EnterprisesJanet L. MahaneyNatelli Communities LPJanine and Phillip O’BrienPBSDella and William RobertsonMilton and Dorothy Sarnoff FoundationReginald Van Lee$5,000+Gary BlockMary and Greg BruchFrances and Leonard BurkaD<strong>all</strong>as Morse Coors Foundation <strong>for</strong> <strong>the</strong>Per<strong>for</strong>ming ArtsHope EastmanCarl M. Freeman FoundationEllen and Michael GoldBarbara Goldberg GoldmanLana HalpernJulie and John HamreThe Kiplinger FoundationAllen KronstadtSharon and David LockwoodConstance Lohse and RobertBrewerArtists in Residence (AIR) Mary Alouette, Jay Hayden, Deborah Bond and ChristieDashiell rock a Motown tune on <strong>the</strong> stage at Strathmore Cabaret. The band was ledby Frédéric Yonnet, AIR class of 2005-06.Effie and John MacklinJ. Alberto MartinezPatricia and Roscoe MooreKatharine and John PanCarol Salzman and Michael MannJohn Sherman, in memory ofDeane ShermanPhyllis and J. Kenneth SchwartzAnn and Jim SimpsonWendy and Donald SussweinMeredith Weiser and Michael RosenbaumEllen and Bernard YoungWGL Holdings, Inc.Nancy and Harold Zirkin$2,500+AnonymousAgmus Ventures, Inc.Louise AppellAtsite, Inc.Bank of GeorgetownAlison Cole and Jan PetersonMargaret and James ConleyCarin and Bruce CooperCORTCarolyn DegrootStarr and Fred EzraMichelle FeaginCarolyn Goldman and Sydney PolakoffDiana and Paul HatchettMonica Jeffries Hazangeles andJohn HazangelesCheryl and Richard HoffmanA. Eileen HoranIgersheim Family FoundationAlexine JacksonDianne KayPeter S. Kimmel, in memory ofMartin S. KimmelEleanor Kleinman and Mark ZaidTeri Hanna Knowles and John M. KnowlesBarbara and Laurence LevitanJudie and Harry LinowesJill and Jim LiptonMontgomery County Executive’s B<strong>all</strong>FundNOVA Research Co., Paul and PeggyYoungKa<strong>the</strong>rine and William ParsonsCarol and Jerry PeroneMindy and Charles PostalPotomac V<strong>all</strong>ey Alumnae Chapter,Delta Sigma Theta SororityLorraine and Barry RogstadKaren Rosenthal and M. AlexanderStiffmanDale S. RosenthalBarbara and Ted RothsteinJanet and Michael RowanLynne SendejoKerri SharabiChristine Shreve and Thomas BowersoxTanya and Stephen SpanoVictor Shargai and Craig PascalMary Kay Shartle-Galotto andJack GalottoLeon and Deborah SneadSoltesz Associates, Inc.Paulette and Larry WalkerWard & Klein, CharteredSusan WellmanVicki and Steve WillmannAnne Witkowsky and John Barker$1,000+AnonymousMarie AllenMary Kay and Dave AlmyDena Baker and Terry JacobsSheila and Kenneth BermanMary Barton and Elizabeth BiegelsonJane Beard and Jeff DavisCarol and Scott BrewerVicki Britt and Robert SelzerJeff BroadhurstEleanor and Oscar CaroglanianConference and Visitors Bureau ofMontgomery CountySusan CorriganMarlies and Karl FlickerTheresa and William FordSenator Jennie Forehand andWilliam E. Forehand, Jr.Sandra and Victor FrattaliNoreen and Michael FriedmanCarol FrombolutiJuan GaddisPamela Gates and Robert SchultzLeslie and Art GreenbergGreene-Milstein Family FoundationJai GuptaLinda and John HansonMaureen and Brent HansonSara and James A. HarrisVickie Hawkins-Jones andMichael JonesHess Foundation, Inc.Linda and I. Robert HorowitzArlene and Robert HillersonLinda and Van HubbardJane Elizabeth Cohen FoundationDeirdre and John JohnsonPamela and Senator Edward KasemeyerJoan and Howard KatzDeloise and Lewis KellertRenee Korda and Mark OlsonIris and Louis KormanCarole and Robert KurmanLucie Ling and Guy CampbellLinowes and Blocher LLP80 Applause at Strathmore • NOVEMBER/DECEMBER 2013

Left: Ray Hardwick with Board Member and immediate past Chair Nancy Hardwick, Board Member Sachiko Kuno and Ryuji Ueno, founders of Sucampo Pharmaceuticals, withBoard Chairman Bill Robertson, President & CEO of Adventist HealthCare, Inc. Center: Former Board member Carol Trawick,philanthropist and founder of <strong>the</strong> Jim and Carol TrawickFoundation, with Montgomery County First Lady Ca<strong>the</strong>rine Leggett and Strathmore Education Coordinator Betty Scott. Right: Strathmore CEO Eliot Pfanstiehl with Board memberDale Rosenthal, Jessica and Andrew Chod, Michael Cutler, Strathmore President Monica Jeffries Hazangeles and Board Chairman Bill Robertson.Douglas LiuNancy and Dan LongoSandy and Gerald LoubierSandra and Charles LyonsM&T BankJacqueline and J. Thomas MangerEdith and Fred MarinucciCa<strong>the</strong>rine and David MeloyLeanne and Tim MertzGerry MurphyEs<strong>the</strong>r and Stuart NewmanPaley, Rothman, Goldstein, Rosenberg,Eig & Cooper ChtdDale and Anthony PappasGloria Paul and Robert AtlasNick PerdikisCynthia and Eliot PfanstiehlCharla and David PhillipsTammy and Vincent PrestipinoRandy Hostetler Living Room FundRepublic National Distributing Co.Jane and Paul (deceased) RiceRivkin Livingston Levitan & Silver LLCTasneem Robin-BhattiCharlotte and Hank SchlosbergFran and Richard SilbertMerle and Steven SteinerMary SturtevantAnnie and Sami (deceased) TotahRegina and Ken VasanJudy Wh<strong>all</strong>ey and Henry OttoIrene and Steven WhiteIrene and Alan WurtzelCindy and Rick Zitelman$500+AnonymousJune AbelJudy and Joseph AntonucciAli ArbBenita and Eric BaileyLaura Baptiste and Brian KildeeMargaret BashSusan and Brian BaylyDebra Benator and Rand<strong>all</strong> WagnerBe<strong>the</strong>sda Blues and Jazz Supper ClubChristina and James BradleyEileen CahillTrish and Timothy CarricoKathy and C. Bennett ChamberlinMichael CurtoAmy and Tony DiazDavid DiseSue DownesKim Elliott and Mark Ray<strong>for</strong>dSue and Howard FeibusWinifred and Anthony FitzpatrickGail FlederMichael FrankhuizenSusan and Mark FriisNancy and Peter G<strong>all</strong>oRiva GambrellCheryl and Harold GearhartMr. and Mrs. Alan GourleyGerri H<strong>all</strong> and David NickelsWilma and Arthur Holmes Jr.Carol and Larry HornZora and James HostetlerBarbara and David HumptonHenrietta and Christopher KellerPaula KirkPatricia and James KrzyminskiCa<strong>the</strong>rine and Isiah LeggettRoberta and Howard LehrerScott LeventhalRonald LewisDorothy LinowesClaire and Scott LivingstonSusan Shaskan Luse and Eric LuseRichard MarloGlen MarvinJanice McC<strong>all</strong>Nancy McGinness andThomas TarabrellaVijaya and Daniel MelnickDee and Robert MetzAnn Morales and Rice OdellDenise and Thomas MurphyJoyce and George NewmyerSue and Edward O’ConnellMargie Pearson and Richard LamplBrian PottsDiane and Gregory ProctorRodgers ConsultingJacqueline RogersJan RothmanS<strong>all</strong>y Sachar and Robert MullerHenry Schalizki and Bob Davis(deceased)Imogene SchreiderEstelle SchwalbJean and Louis SeidenRoberta and Lawrence ShulmanEric and William SiegelDonald SimondsJill and Carl SlagleValerye and Adam StrochakJudith and Richard SugarmanChris SyllabaSusan Talarico and MichaelSundermeyerAurelie ThieleLinda and Stewart ThomsenMarion and Dennis TorchiaPeter Vance TreibleyMyra Turoff and Kenneth WeinerAnne and James TysonKaren and Roger WinstonJean and Robert WirthSusan and Jack YanovskiGerson ZweifachCon Brio SocietySecuring <strong>the</strong> future of Strathmorethrough a planned gift.AnonymousLouise AppellJohn CahillJonita and Richard S. CarterIrene CoopermanTrudie Cushing and Neil BeskinJulie and John HamreYanqiu He and Kenneth O’BrienA. Eileen HoranVivian and Peter HsuehTina and Art LazerowChiu and Melody LinSTRATHMORE STAFFEliot PfanstiehlChief Executive OfficerMonica Jeffries HazangelesPresidentCarol MarymanExecutive Assistant to <strong>the</strong> President& CEOMary Kay AlmyExecutive Board AssistantDEVELOPMENTBianca BeckhamDirector of Institutional GivingBill CareyDirector of Donor andCommunity RelationsLauren CampbellDevelopment & Education ManagerJulie HamreDevelopment AssociatePROGRAMMINGShelley BrownVP/Artistic DirectorGeorgina JavorDirector of ProgrammingHarriet LesserVisual Arts CuratorSarah JennyHospitality CoordinatorEDUCATIONBetty ScottEducation CoordinatorOPERATIONSMark J. GrabowskiExecutive VP of OperationsMiriam TeitelDirector of OperationsAllen V. McC<strong>all</strong>um, Jr.Director of Patron ServicesJasper CoxDirector of FinanceLaura WebbStaff AccountantMarco VasquezOperations ManagerPhoebe Anderson DanaOperations AssistantDiana Locke and Robert ToenseJanet L. MahaneyCarol and Alan MowbrayCynthia and Eliot PfanstiehlBarbara and David RonisHenry Schalizki and Robert Davis(deceased)Phyllis and J. Kenneth SchwartzAnnie Simonian Totah and Sami Totah(deceased)Maryellen Trautman and Darrell LemkeCarol TrawickPeter Vance TreibleyMyra Turoff and Kenneth WeinerJulie ZignegoAllen C. ClarkManager of In<strong>for</strong>mation ServicesChristopher S. InmanManager of SecurityChadwick SandsTicket Office ManagerWil JohnsonAssistant Ticket Office ManagerAileen RobertsRentals ManagerChristian SimmelinkTicket Services CoordinatorChristopher A. DunnIT TechnicianJohnathon FuentesOperations SpecialistBrandon GowenOperations SpecialistJon FosterProduction Stage ManagerWilliam KassmanLead Stage TechnicianLyle JaegerLead Lighting TechnicianCaldwell GrayLead Audio TechnicianTHE SHOPS AT STRATHMORECharlene McClellandDirector of Retail MerchandisingLorie WickertDirector of Retail Operationsand Online SalesMARKETING ANDCOMMUNICATIONSJennifer A. BuzzellVP, Marketing and CommunicationsJerry HasardMarketing DirectorJenn GermanMarketing ManagerJulia AllalGroup Sales and Outreach ManagerMichael FilaManager of Media RelationsSTRATHMORE TEA ROOMMary Mendoza GodboutTea Room ManagerApplause at Strathmore • NOVEMBER/DECEMBER 2013 81

Baltimore Symphony OrchestraBoard of directorsOFFICERSKenneth W. DeFontes, Jr.*, ChairmanKathleen A. Chagnon, Esq.*, SecretaryLainy LeBow-Sachs*, Vice ChairPaul Meecham*, President & CEOThe Honorable Steven R. Schuh*,TreasurerBOARD MEMBERSA.G.W. Biddle, IIIBarbara M. Bozzuto *Constance R. CaplanRobert B. CouttsAlan S. Edelman*Susan G. EssermanMichael G. Hansen*Denise Hargrove^, Governing MemberCo-ChairMurray M. Kappelman, M.D.Stephen M. LansSandra Levi GerstungAva Lias-Booker, Esq.Susan M. Liss, Esq.*Howard Majev, Esq.Liddy MansonHilary B. Miller*Marge Penh<strong>all</strong>egon^, President,Baltimore Symphony AssociatesMichael P. PintoE. Albert Reece, M.D.Scott Rifkin, M.D.Ann L. RosenbergBruce E. Rosenblum*Stephen D. Shawe, Esq.The Honorable James T. Smith, Jr.Solomon H. Snyder, M.D. *Andrew A. SternMaria TildonGregory W. TuckerAmy WebbJeffrey Zoller^, BSYO ChairLIFE DIRECTORSPeter G. Angelos, Esq.Willard HackermanH. Thomas Howell, Esq.Yo-Yo MaHarvey M. MeyerhoffDecatur H. Miller, Esq.Linda Hambleton PanitzDIRECTORS EMERITIBarry D. Berman, Esq.M. Sigmund ShapiroCHAIRMAN LAUREATEMichael G. BronfeinCalman J. Zamoiski, Jr.BOARD OF TRUSTEESBALTIMORE SYMPHONYENDOWMENT TRUSTBenjamin H. Griswold, IV, ChairmanTerry Meyerhoff Rubenstein, SecretaryMichael G. BronfeinKenneth W. DeFontes, Jr.Mark R. FettingPaul MeechamThe Honorable Steven R. SchuhCalman J. Zamoiski, Jr.*Board Executive Committee^ ex-officioSUPPORTERS OF THEBALTIMORE SYMPHONY ORCHESTRAThe Baltimore Symphony Orchestra is deeply grateful to <strong>the</strong> individual, corporate,foundation and government donors whose annual giving plays a vital role in sustaining<strong>the</strong> Orchestra’s tradition of musical excellence. The following donors havegiven between August 1, 2012 and August 28, 2013.LEADERSHIP CIRCLEArts and Humanities Council ofMontgomery CountyLori Laitman & Bruce RosenblumThe Andrew W. Mellon FoundationThe Maryland State Arts CouncilNational Endowment <strong>for</strong> <strong>the</strong> ArtsCHAIRMAN’S CIRCLE PARTNERS($25,000 and above)The Morris and Gwendolyn CafritzFoundationMr. and Mrs. Stephen M. LansM&T BankPNCVOCUSMAESTRA’S CIRCLE($10,000 and above)Mr. and Mrs. A. G. W. Biddle, IIIMs. Susan Esserman andMr. Andrew MarksMichael G. Hansen & Nancy E. RandaJoel and Liz HelkeSusan Liss and FamilyIn memory of James Gavin MansonHilary B. Miller & Dr. Ka<strong>the</strong>rine N. BentMr. and Mrs. Arnold PolingerTotal Wine & MoreGoverning Members Gold($5,000-$9,999)AnonymousThe Charles Delmar FoundationSusan FisherDr. David Leckrone & Marlene BerlinDr. James and Jill LiptonMr. and Mrs. William RogersMike & Janet RowanDaniel and Sybil SilverMs. Deborah Wise/Edith and HerbertLehman Foundation, Inc.GOVERNING MEMBERS SILVER($2,500-$4,999)Anonymous (3)Alan V Asay and Mary K SturtevantDr. Nancy D. Bridges82 Applause at Strathmore • NOVEMBER/DECEMBER 2013Lt Gen (Ret) Frank B. and Karen CampbellGeri & David CohenJane C. CorriganKari Peterson and Benito R. andBen De LeonMarcia Diehl and Julie KurlandMs. Marietta EthierMr. Joseph FainbergSherry and Bruce FeldmanGeorgetown Paper Stock of Rockville, Inc.John and Meg HaugeMadeleine and Joseph JacobsS. Kann Sons Company Foundation,Amelie & Bernei BurgunderMr. and Mrs. Charles KelberKiplinger FoundationMarc E. Lackritz & Mary DeOreoBurt & Karen LeeteMr. & Mrs. Howard LehrerMrs. June Linowitz & Dr. Howard EisnerDr. Diana Locke & Mr. Robert E. ToenseHoward and Linda MartinMr. & Mrs. Humayun MirzaDavid Nickels & Gerri H<strong>all</strong>Ms. Diane M. PerinJan S. Peterson & Alison E. ColeMartin and Henriette PoretskyPatricia Smith and Dr. Frances LussierDon Spero and Nancy ChasenMr. Alan Strasser & Ms. Patricia HartgeJohn & Susan WarshawskyThe Washington Post CompanyDr. Edward WhitmanPaul A. & Peggy L. Young,NOVA Research CompanySYMPHONY SOCIETY($1,000-$2,499)Anonymous (5)Mr. and Mrs. Anthony AbellCharles Alston and Susan DentzerMr. William J. Baer andMs. Nancy H. HendryPhebe W. BauerLeonard and Gabriela BebchickMrs. Elaine BelmanDavid and Sherry BerzDrs. Lawrence and Deborah BlankDorothy R. BloomfieldHon. & Mrs. Anthony BorwickMr. Kurt Thomas BrintzenhofeBruce and Deborah BroderGordon F. BrownMr. Vincent CastellanoDr. Mark Cinnamon & Ms. Doreen KellyMr. Harvey A. Cohen andMr. Michael R. TardifMr. and Mrs. Arthur C. CoxJoan de PontetDelaplaine FoundationDimick FoundationMr. John C. DriscollChuck Fax and Michele WeilMr. and Mrs. Kenneth R. FeinbergDr. Edward FinnMr. and Mrs. Anthony FitzpatrickCatoctin Breeze VineyardMr. and Mrs. Arthur P. FloorMr. and Mrs. John FordMr. and Mrs. Roberto B. FriedmanMr. and Mrs. William GibbPeter GilDr. and Mrs. San<strong>for</strong>d GlazerGeorge and Joni GoldDr. and Mrs. Harvey R. GoldJoanne and Alan GoldbergMr. & Mrs. Frank GoldsteinDrs. Joseph Gootenberg & SusanLeibenhautMr. David GrizzleMark & Lynne GrobanMr. & Mrs. Norman M. GurevichMs. Lana HalpernMr. & Mrs. John HansonSara and James A. Harris, Jr.Mr. Fred Hart and Ms. Elizabeth KnightEs<strong>the</strong>r and Gene HermanEllen & Herb HerscowitzDavid A. & Barbara L. HeywoodFran and Bill HolmesBetty W. JensenDr. Henry KahwatyDr. Phyllis R. KaplanMr. & Mrs. Christopher KellerVirginia and Dale KiesewetterDarrell Lemke and Maryellen TrautmanMs. Marie Lerch and Mr. Jeff KolbDrs. David and Sharon LockwoodDr. and Mrs. Peter C. LuchsingerMichael & Judy MaelMr. Winton Mat<strong>the</strong>wsMarie McCormackDavid and Kay McGoffThe Meisel GroupMr. and Mrs. David MenottiDr. & Mrs. Stanley R. MilsteinMs. Zareen T. MirzaTeresa and Don MullikinDouglas and Barbara NorlandMr. and Mrs. Peter PhilippsHerb and Rita PosnerRichard and Melba ReichardDr. and Mrs. Gerald RogellMr. and Mrs. Barry RogstadBill and Shirley RookerMarcia and John RounsavilleEstelle D. SchwalbRoger and Barbara SchwarzMrs. Phyllis SeidelsonMr. Donald M. SimondsDr. and Mrs. Jeffrey R. SingerDr. Allyson SlaterMr. and Mrs. Richard D. SperoJennifer Kosh Stern and William H. TurnerMargot & Phil SunshineMr. and Mrs. Richard SwerdlowDonna and Leonard WartofskyDavid Wellman & Marjorie CoombsWellmanMs. Susan WellmanRichard and Susan WestinDr. Ann M. WillisSylvia and Peter WinikMarc and Amy WishH. Alan Young & Sharon Bob Young, Ph.D.BRITTEN LEVEL MEMBERS($500-$999)Ellen Apatov and Linda ClarkDonald BakerMr. and Mrs. Gilbert BloomMs. Cynthia L. Bowman-GholstonMr. Philip BrannenMr. Richard H. Broun & Ms. Karen E. DalyFrances and Leonard BurkaMr. and Mrs. John CarrCecil Chen & Betsy HaanesBradley Christmas and Tara FlynnMr. Herbert CohenMarion Fitch ConnellMr. & Mrs. Jim CooperMs. Brenda K. EdwardsMr. and Mrs. Robert FauverMr. Kenneth J. GoldsmithMs. Alisa GoldsteinFrank & Susan GrefsheimMs. Melanie Grishman &Mr. Herman Flay, MDMs. Haesoon HahnKeith and Linda HartmanMr. Jeff D. Harvell & Mr. Ken MontgomeryMr. & Mrs. William L. HickmanMr. & Mrs. Howard IamsMs. Daryl KaufmanMs. Kristine KingeryDr. Birgit KovacsDr. Arlin J. KruegerMs. Delia LangMs. Pat Larrabee and Ms. Lauren MarkleyMs. Mary LesarHarry and Carolyn LincolnMs. Laura LiswoodMr. Christopher LovelessMr. and Mrs. Martin McLeanMerle and Thelma MeyerMs. Ellen MilesMr. & Mrs. Walter MillerMr. William MorganEugene and Dorothy MulliganMrs. Jane PapishThomas Plotz and Ca<strong>the</strong>rine KlionAndrew and Melissa PolottMr. and Ms. Donald RegnellHarold RosenMs. Ellen RyeLois and David SacksMr. Allen Shaw and Ms. Tina ChisenaDonna and Steven ShriverMs. Terry Shuch and Mr. Neal MeiselmanMs. Sonja Soleng

Governing Members David Leckrone and MarleneBerlin with bassist Jonathan Jensen at <strong>the</strong> BSOOpening Night Cast PartyGoverning Members Janet and Mike Rowan (couple at left)and Howard and Linda Martin (couple at right). BSO Presidentand CEO Paul Meecham, Music Director Marin Alsop and VP ofDevelopment Dale HeddingShirley Rooker and Nancy Randa at <strong>the</strong> “Dinner and Conversationwith Marin Alsop” in SeptemberGloria and David SolomonMr. and Mrs. Duane StraubMr. Peter ThomsonMr. & Mrs. Richard TullosMr. and Mrs. Mark and Debra UdeyLinda and Irving WeinbergMr. David M. WilsonRobert and Jean WirthMs. MaryAnn ZamulaBRAHMS LEVEL MEMBERS($250-$499)Anonymous (3)Ms. Kathryn AbellMs. Judith AgardRhoda and Herman AldermanDr. Don D. AndersonMr. Bill ApterPearl and Maurice AxelradMr. and Mrs. James BaileyMr. Paul BalabanisMr. Robert BarashMr. & Mrs. John W. BeckwithMelvin BellMr. and Mrs. Robert BennaAlan Bergstein and Carol JoffeMr. Donald BerlinMr. Neal BienMs. Ruth BirdMs. Judith A. BrahamDr. Chris H. and James D. BridgemanMs. Sharon Phyllis BrownMr. and Mrs. Serefino CambareriMs. June ColillaDr. and Mrs. Eleanor CondliffeMr. Kevin Connell and Ms. Mary TheresaBurtonMr. and Mrs. Herbert CooperMs. Ellen CullMr. and Mrs. Charles DavenportDr. & Mrs. James R. DavidMr. David S. DavidsonMr. Jeffrey DavisAnne and Arthur DelibertWilliam DietrichMs. Sandra Kay DusingDrs. Stephen and Irene EckstrandMr. Ahmed El-HoshyLionel and Sandra EpsteinClaudia and Eliot FeldmanMr. Michael FinkelsteinDr. & Mrs. David FirestoneRobert and Carole FontenroseMr. & Mrs. Michael Scott FriedmanLucian & Lynn M. FurrowRoberta GeierMr. Bernard A. GelbIrwin GerdukMr. and Mrs. Stephen GiddingsMr. Harry Glass and Ms. Judy CanahuatiDrs. Marlene and Bill HaffnerDr. Marlene HaffnerBrian and Mary Ann HarrisMr. Lloyd HaughMrs. Jean N. HayesMr. John C. HendricksMr. Robert HenryMr. Pat HernandezJoel and Linda HertzMs. Linda Lurie HirschMr. Frank HopkinsDr. and Mrs. Robert HorowitzMr. Joel HorwichMr. John HowesMr. & Mrs. Paul HymanCarol and Terry IrelandMs. Susan IrwinMrs. Lauri JosephMr. and Mrs. Norman KamerowMr. Peter KaplanDr. & Mrs. Robert W. KarpLawrence & Jean KatzMr. & Mrs. James KempfMs. Jennifer Kimb<strong>all</strong>Mr. and Ms. George KinalDr. Richard D. Guerin and Dr. Linda KohnMr. William and Ms. Ellen D. KominersMs. Nancy KoppMichael Lazar & Sharon FischmanMs. Sandra LebowitzMs. Flora LeeMr. Myles R. LevinAlan and Judith LewisDr. Richard E. and Susan Papp LippmanLucinda Low and Daniel MagrawMs. Donna MalarkeyMr. David MarcosMr. and Mrs. Charles H. MattersonMr. Mark MattucciMs. Susan McGeeAnna Therese McGowanMr. Steve MetalitzMr. Gary MetzMrs. Rita MeyersDr. and Mrs. Arve MichelsenMs. Barbara MilesMs. Carol MoorefieldMr. Koji MukaiMr. Jose MunizMs. Caren NovickDr. Jon ObergMs. Marian O’DonnellAmanda & Robert OgrenMr. Joseph O’HareMr. Jerome OstrovMr. and Mrs. Philip PadgettMr. and Mrs. James PalmerMr. Kevin ParkerJohn and Maureen PelosiDr. Maria A Pena-GuerreroMs. Johanna PleijsierMarie Pogozelski and Richard BelleMr. Douglas PolandMr. and Mrs. Edward PortnerMr. and Mrs. Stanley RabinMs. Laura Ramirez-RamosBENEFITS OF MEMBERSHIP WITH THE BSOMake a donation today and become a Member of <strong>the</strong> BSO! There is a gift level that is right<strong>for</strong> everyone, and with that comes an <strong>inside</strong>r’s perspective of your world-class orchestra.For a complete list of benefits, please c<strong>all</strong> our Membership Office at 301.581.5215 orcontact via e-mail at membership@BSOmusic.org. You may also visit our Web site atBSOmusic.org/benefits.Mr. Samuel G. Reel Jr.Dr. and Mrs. Bernard ReichMr. Thomas ReichmannDr. Joan Rittenhouse & Mr. Jack RittenhouseMr. & Mrs. Robert SandlerMr. Timothy Sc<strong>all</strong>yMs. Beatrice SchiffNorman and Virginia SchultzMr. J. Kenneth SchwartzMs. Debra ShapiroDr. Janet ShawMr.and Mrs. Donald A. SillersMr. and Mrs. Micheal D. SlackMs. Deborah SmithRichard SniffinPaul Meecham, President & CEOJohn Verdon, Vice President and CFOLeilani Uttenrei<strong>the</strong>r, Executive AssistantEileen Andrews, Vice President of Marketingand CommunicationsCarol Bogash, Vice President of Educationand Community EngagementDale Hedding, Vice President of DevelopmentMat<strong>the</strong>w Spivey, Vice President of ArtisticOperationsARTISTIC OPERATIONSToby Blumenthal, Manager of Facility SalesTiffany Bryan, Manager of Front of HousePatrick Chamberlain, Artistic CoordinatorAnna Harris, Operations ManagerChris Monte, Assistant Personnel ManagerTabitha Pfleger, Director of Operations andFacilitiesMeg Sippey, Artistic Planning Manager andAssistant to <strong>the</strong> Music DirectoreDUCATIONNicholas Cohen, Director of CommunityEngagementAnnemarie Guzy, Director of EducationPatrick Locklin, Education Program ManagerNick Skinner, OrchKids Site ManagerLarry Townsend, Education AssistantDan Trahey, OrchKids Artistic DirectorDEVELOPMENTMegan Beck, Donor Stewardship CoordinatorAdrienne Bitting, Development AssistantAllison Burr-Livingstone, Director of <strong>the</strong> BSOCampaign <strong>for</strong> <strong>the</strong> Second CenturyKate Caldwell, Director of PhilanthropicServicesStephanie Johnson, Manager of Annual Giving,BSO at StrathmoreStephanie Moore, Annual Fund CoordinatorJoanne M. Rosenthal, Director of Major Gifts,Planned Giving and Government RelationsValerie Saba, Institutional Giving CoordinatorRebecca Sach, Director of <strong>the</strong> Annual FundJesse and Deborah StillerDr. Andrew TangbornMr. Alan ThomasMr. John TownsleyDr. and Ms. George UrbanMs. Maria VolpeMr. M<strong>all</strong>ory WalkerMr. David W<strong>all</strong>aceMr. and Mrs. Mat<strong>the</strong>w WaugamanMs. Roslyn WeinsteinEileen and Lee WoodsMrs. Sandra WoolDr. & Mrs. Richard N. WrightMr. Warren ZwickyBaltimore symphony Orchestra STAFFRichard Spero, Community Liaison <strong>for</strong> BSOat StrathmoreFACILITIES OPERATIONSShirley Caudle, HousekeeperBertha Jones, Senior HousekeeperCurtis Jones, Building Services ManagerFINANCE ANDINFORMATION TECHNOLOGYSarah Beckwith, Director of AccountingSophia Jacobs, Senior AccountantJanice Johnson, Senior AccountantEvinz Leigh, Administration AssociateChris V<strong>all</strong>ette, Database and Web AdministratorDonna Waring, Payroll AccountantJeff Wright, Director of In<strong>for</strong>mation TechnologyMARKETING AND PUBLIC RELATIONSNora Dennehy, Web Content CoordinatorJustin Gillies, Graphic DesignerDerek A. Johnson, Senior Marketing ManagerTheresa Kopasek, Marketing and PR AssociateBryan Joseph Lee, Marketing and PR Manager,BSO at StrathmoreAlyssa Porambo, PR and PublicationsCoordinatorAdeline Sutter, Group Sales ManagerElisa Watson, Art DirectorRika Dixon White, Director of Marketing andSalesTICKET SERVICESAmy Bruce, Director of Ticket ServicesTimothy Lidard, Manager of VIP TicketingJuliana Marin, Senior Ticket Agent <strong>for</strong> StrathmorePeter Murphy, Ticket Services ManagerMichael Schultz, Senior Ticket Agent,Special EventsThomas Treasure, Ticket Services AgentBALTIMORE SYMPHONY ASSOCIATESLarry Albrecht, Symphony Store VolunteerManagerLouise Reiner, Office ManagerApplause at Strathmore • NOVEMBER/DECEMBER 2013 83

National PhilharmonicBoard of directorsBoard of DirectorsRabbi Leonard Cahan*Todd Eskelsen*Carol EvansRuth FaisonDr. Bill Gadzuk*Dr. Robert GerardKen Hurwitz*Dieneke JohnsonWilliam LascelleGreg LawsonJoan LevensonDr. Jeff LeviDr. Wayne Meyer*Kent MikkelsenDr. Roscoe M. Moore, Jr.Dr. Kenneth MoritsuguRobin C. PeritoJaLynn Prince*Peter RyanS<strong>all</strong>y SternbachDr. Charles TonerElzbieta Vande SandeBoard Officers*Albert Lampert, ChairWilliam Lascelle, Treasurer*Paul Dudek, Secretary*Todd R. Eskelsen, Chair EmeritusBoard of AdvisorsJoel AlperAlbert LampertChuck LyonsRoger TitusJerry D. WeastAs of Oct. 1, 2013*Executive CommitteeAs of Oct. 1, 2013SUPPORTERS OF THE NATIONAL PHILHARMONICThe National Philharmonic takes this opportunity to gratefully acknowledge <strong>the</strong>following businesses, foundations and individuals which have made <strong>the</strong> Philharmonic’sambitious plans possible through <strong>the</strong>ir generous contributions.Maestro Circle $10,000+Concertmaster Circle $7,500 to $9,999Principal Circle $5,000 to $7,499Philharmonic Circle $3,500 to $4,999Benefactor Circle $2,500 to $3,499Sustainer Circle $1,000 to $2,499Patron $500 to $999Contributor $250 to $499Member $125 to $249ORGANIZATIONSMaestro CircleAmeriprise FinancialPaul M. Angell Family FoundationArts and Humanities Council ofMontgomery CountyMorris and Gwendolyn Cafritz FoundationPhilip L. Graham FundIngleside at King FarmMaryland State Arts CouncilMontgomery County, MDMontgomery County Public SchoolsMusician Per<strong>for</strong>mance Trust FundNational Endowment <strong>for</strong> <strong>the</strong> ArtsSchiff Hardin, LLPThe State of MarylandConcertmaster CircleClark-Winchcole FoundationThe GazettePRINCIPAL CIRCLEAnn and Gordon Getty FoundationJohnson & JohnsonJim and Carol Trawick Foundation, Inc.Philharmonic CircleExxon Mobil FoundationNational Philharmonic/MCYO EducationalPartnershipThe Washington Post CompanyBENEFACTOR CIRCLERockville Christian Church, <strong>for</strong> donationof spaceSUSTAINER CIRCLEAmerican Federation of Musicians, DCLocal 161-170Bank of AmericaDimick FoundationExecutive B<strong>all</strong> <strong>for</strong> <strong>the</strong> ArtsLucas-Spindletop FoundationTargetPatronAmerican String Teachers’ AssociationDC/MD ChapterGailes Violin Shop, Inc.GE FoundationIBMLashof ViolinsPotter Violin CompanyWashington Music CenterCONTRIBUTORFoxes Music CompanyViolin House of WeaverINDIVIDUALSGIFTS OF $50,000+Ms. Anne Claysmith* <strong>for</strong> <strong>the</strong> ChoraleChair-Soprano II FundRobert & Margaret Hazen <strong>for</strong> <strong>the</strong> SecondChair Trumpet FundMrs. Margaret MakrisGIFTS OF $25,000+Ann & Todd Eskelsen <strong>for</strong> <strong>the</strong> ChoraleMusic FundTanya & Albert Lampert <strong>for</strong> <strong>the</strong> GuestArtist FundGIFTS OF $15,000+Mrs. Hilda GoodwinPatricia Haywood Moore and Roscoe M.Moore, Jr. <strong>for</strong> <strong>the</strong> Guest Artist FundDieneke Johnson <strong>for</strong> <strong>the</strong> All Kids Free FundPaul & Robin Perito <strong>for</strong> <strong>the</strong> Guest ArtistVocal FundMaestro CircleThe Jacob & Malka Goldfarb CharitableFoundation, Inc.Dr. Kenneth P. Moritsugu, Emily Moritsugu& Ms. Lisa R. Kory, includes match byJohnson & JohnsonDaniel Nir & Jill Braufman Family FoundationLaszlo N. Tauber Family Foundation, Inc.Paul A. & Peggy L. YoungConcertmaster CircleMr. and Mrs. Paul DudekPrincipal CircleAnonymousDr. Paul Jay FinkDr. Ryszard GajewskiDr. & Mrs. Val G. HemmingDrs. Charles and Edna Foa KahnMr. Arthur LangermanMr. Robert MisbinDr. Gregory & JaLynn PrinceDr. Saul SternbergPhilharmonic CircleMrs. Ruth BermanDr. & Mrs. John V. EvansJ. William & Anita Gadzuk *Dr. Robert Gerard & Ms. Carol Goldberg *Mr. & Mrs. Joseph HamerMr. Ken HurwitzMr. William A. Lascelle & Ms. BlancheJohnsonPfeffer Family FoundationMr. & Mrs. Peter RyanDrs. Charles and Cecile TonerMs. Elzbieta Vande Sande, in memory ofGeorge Vande Sande, Esq.Benefactor CircleMr. Edward Brinker & Ms. Jane LiuMr. Dale Collinson *Dr. Lawrence Deyton * & Dr. Jeffrey LeviMr. & Mrs. John L. DonaldsonMr. Greg Lawson, includes match byBank of AmericaMr. & Mrs. Kent Mikkelsen *Michael & Janet RowanSUSTAINER CIRCLEAnonymous (3)Mrs. Rachel AbrahamMr. & Mrs. Joel AlperFred & Helen Altman *Ms. Sybil Amitay *Mr. Stanley AsraelMs. Nurit Bar-JosefMr. Robert BeizerJohn & Marjorie BleiweisDr. Etsuko Hoshino-BrowneDr. Ronald Cappelletti *Dr. Mark Cinnamon & Ms. Doreen KellyMr. Steven C. Decker & Ms. Deborah W. DavisDrs. Eileen & Paul DeMarco *Mr. & Mrs. Robert DollisonMs. Justine D. EnglertMr. William E. Fogle & Ms. Marilyn Wun-FogleDr. Maria A. Friedman *Mr. & Mrs. Darren & Elizabeth Gemoets *Ms. Sarah Gilchrist *Mr. Barry GoldbergDr. Joseph Gootenberg & Dr. SusanLeibenhautMr. & Mrs. Joseph A. HuntDrs. William & Shelby JakobySarah Liron & Sheldon KahnMs. Margaret KeaneMs. Ka<strong>the</strong>rine KoppMs. Joanna Lam, in memory ofMr. Chin-Man LamMr. & Mrs. John R. Larue, includes matchby IBMMr. & Mrs. Harald LeubaMrs. Joan M. LevensonMr. Larry Maloney *Ms. Cecily MangoMr. Winton Mat<strong>the</strong>wsMrs. Eleanor D. McIntire *Susan & Jim Murray *Mr. & Mrs. Charles NaftalinMr. Thomas Nessinger *Ms. Martha Newman *David Nickels & Gerri H<strong>all</strong>Dr. & Mrs. Goetz OertelMr. & Mrs. William PairoDr. and Mrs. Edward PerlMr. & Mrs. Jerome Pinson, includes matchby GE FoundationMs. Phyllis RatteyMs. Aida Sanchez *Mrs. Jan Schiavone *Ms. Kathryn Senn, in honor of DienekeJohnsonSeltzer Family FoundationShara Family, in honor of <strong>the</strong> LangermanFamilyMs. Carol A. Stern *Sternbach Family FundDr. & Mrs. Robert Temple *Ms. Ellen van Valkenburgh *Mr. & Mrs. Robert Vocke *Mr. & Mrs. Royce WatsonDr. Jack & Susan YanovskiMr. & Mrs. Bernard J. YoungMs. Sandra ZismanPATRONMr. & Mrs. Richard Azrael, in honor ofMary Azrael and Janice HamerMr. Thomas M. BoyleRabbi & Mrs. Leonard CahanSusan Linn & Clif<strong>for</strong>d CraineMr. & Mrs. Norman DoctorMs. Linda EdwardsMr. John EklundDr. Joseph FainbergDavid & Berdie FirestoneDr. & Mrs. Arnold FridlandMr. & Mrs. Herbert GoldmanMr. & Mrs. William HickmanMr. David HofstadWilliam W. & Sara M. Josey*Mr. Michael LameMs. May LesarMs. Judy LiebermanMr. Pardee Lowe, Jr.Ms. Jane Lyle *Mr. Jerald MaddoxMr. & Mrs. Raymond MountainMr. Larz Pearson & Mr. Rick TrevinoMrs. Bernice SandlerMs. Kari W<strong>all</strong>ace & Dr. Michael SapkoMr. & Mrs. Steven SeeligMs. Lori J. Sommerfield * and Mr. DennisDollingerMr. Walter Zachariasiewicz84 Applause at Strathmore • NOVEMBER/DECEMBER 2013

The National Philharmonic Singers in <strong>the</strong> welcome parade of <strong>the</strong> 67th LlangollenInternational Musical Eisteddfod held in Wales.National Philharmonic Music Director Piotr Gajewski, Board Chair Al Lampert, Board Chair EmeritusTodd Eskelsen and President Ken Oldham celebrating Todd’s dedicated service as board chair.CONTRIBUTORAnonymous (2)Mr. & Mrs. Byron AlsopMr. Robert B. AndersonMrs. Marietta Balaan *Mike & Cecilia B<strong>all</strong>entineMr. Michael BelferMr. & Mrs. Richard BenderMs. Patricia BulhackMr. John H. Caldwell, in honor ofDale CollinsonMr. John ChoiMrs. Patsy ClarkMs. Irene CoopermanMs. Kimberly ElliottMr. Eliot FeldmanMs. Shannon FinneganMr. & Mrs. Mayo FriedlisMr. & Mrs. William GibbMr. & Mrs. Paul GoldsteinDr. William & Dr. Marlene HaffnerDr. & Mrs. John HelmsenMr. & Mrs. Robert HenryMs. Katharine Cox JonesMr. & Mrs. William KominersCherie & Ron KrugMs. Rachel LeitonMr. & Mrs. Elliot Lieberman *Dr. Marcia D. LitwackDr. & Mrs. David LockwoodMr. Kevin MacKenzieMr. David E. M<strong>all</strong>oy & Mr. John P. Crockett *Mr. David McGoff *Dr. & Mrs. Oliver Moles, Jr. *Ms. Cecilia Muñoz & Mr. Amit PandyaDr. Stamatios MylonakisMr. & Mrs. Harvey NathanDr. Ruth S. NewhouseMrs. Jeanne NoelMr. and Mrs. Kenneth A. Oldham, Jr.Evelyn & Peter PhilippsDr. & Mrs. Manuel PorresMrs. Dorothy PratsMr. Mark Price, in honor of Dale CollisonMr. Jacques RosenbergMs. Lisa Rovin *Mr. J. Michael Rowe & Ms. Nancy ChesserMr. Ronald SekuraDr. & Mrs. Kevin ShannonMr. John I. Stewart & Ms. Sharon S.StoliaroffMr. Gerald VogelMr. & Mrs. John F. WingTom & Bobbie WolfDr. & Mrs. Richard WrightMrs. Beatrice ZuckermanMEMBERAnonymousMr. Dan AbbottMs. Ann AlbertsonMr. Robert BarashMr. & Mrs. Herman BransonMr. & Mrs. Jerome BreslowMr. & Mrs. Frederick BrownMrs. Dolores J. BryanJohn & Rosemary BuckleyDr. John CaldwellDr. & Mrs. Gordon M. CraggMr. Alan T. CraneMs. Louise CraneMr. Dean CullerMr. & Mrs. David DancerMr. Carl DeVoreMr. Paul DragoumisMr. & Mrs. Tom DunlapMr. & Mrs. J. Steed EdwardsF.W. EnglandMr. & Mrs. Elliott FeinDr. John FergusonMr. Philip FlemingMr. John FrancisMr. Harold FreemanMr. Bernard GelbMr. & Mrs. Richard O. GilbertMs. Jacqueline HavenerMs. Lisa HelmsMr. & Mrs. James Hochron *Dr. & Mrs. Terrell HoffeldMr. Myron HoffmannMr. & Mrs. Doug JacobsonMr. & Mrs. Barbara JarzynskiMrs. Harriett G. JenkinsDr. Elke JordanMr. Gerald KaizMs. Elizabeth KingMr. & Mrs. Allan Kirkpatrick*Dr. Mark & Dr. Cathy KnepperMs. Martha Jacoby KriegerMr. Dale KrumviedeMr. & Mrs. Sheldon LandsmanMs. Sandra LebowitzMs. Michelle LeeMr. & Mrs. Paul LegendreMr. & Mrs. Herbert J. LernerMr. & Mrs. Forbes ManerDr. Lorenzo MarcolinMr. and Mrs. James MasonMrs. Nancy C. MayMr. Alan E. Mayers *Mr. & Mrs. Robert McGuireMr. & Mrs. Edward MillsMr. & Mrs. Thaddeus MireckiMs. Stephanie MurphyMrs. Gillian NaveMr. Leif Neve *, includes match byAquilentMr. Stephen NordlingerDr. Sammy S. NoumbissiMr. & Mrs. Kenneth OldhamDr. & Mrs. David PawelMr. & Mrs. Alan PeterkofskyAnton PierceMr. & Mrs. Paul PlotzDrs. Dena & Jerome PuskinMr. & Mrs. Clark Rheinstein *Ms. Sandi SavilleMr. and Mrs. John SchnorrenbergChorale Sustainers CircleFred and Helen AltmanMs. Sybil AmitayDr. Ronald CappellettiMs. Anne ClaysmithMr. Dale CollinsonDrs. Eileen and Paul DeMarcoDr. Lawrence Deyton & Dr. Jeffrey LeviDr. Maria A. FriedmanDr. & Mrs. Bill GadzukElizabeth Bishop & Darrin GemoetsDr. Robert Gerard & Ms. Carol GoldbergMs. Sarah GilchristHeritage SocietyThe Heritage Society at <strong>the</strong> National Philharmonic gratefully recognizes thosededicated individuals who strive to perpetuate <strong>the</strong> National Philharmonicthrough <strong>the</strong> provision of a bequest in <strong>the</strong>ir wills or through o<strong>the</strong>r estate gifts.For more in<strong>for</strong>mation about <strong>the</strong> National Philharmonic’s Heritage Society, pleasec<strong>all</strong> Ken Oldham at 301-493-9283, ext. 112.Mr. David Abraham*Mrs. Rachel AbrahamMr. Joel AlperMs. Ruth BermanMs. Anne ClaysmithMr. Todd EskelsenMrs. Wendy Hoffman,in honor of Leslie SilverfineMs. Dieneke JohnsonNational Philharmonic StaffPiotr Gajewski, Music Director & ConductorStan Engebretson, Artistic Director,National Philharmonic ChoraleVictoria Gau, Associate Conductor &Director of EducationKenneth A. Oldham, Jr., PresidentFilbert Hong, Director of Artistic OperationsDeborah Birnbaum, Director of Marketing & PRGabriela & Dennis ScottDr. & Mrs. Paul SilvermanMs. Myra W. SklarewMr. Victor SteigerMs. Priscilla StevensMs. Sarah ThomasMs. Maureen TurmanMs. Virginia W. Van Brunt *Mr. David B. WardMr. Stephen WelshMs. Joan WikstromMr. Robert E. WilliamsDr. & Mrs. Kevin Woods* Chorale membersMr. Larry MaloneyMr. & Mrs. Carl McIntireMr. & Mrs. Kent MikkelsenMr. & Mrs. James E. MurrayMr. Thomas NessingerMs. Martha NewmanMs. Aida SanchezMrs. Jan SchiavoneMs. Carol A. SternDr. & Mrs. Robert TempleMs. Ellen van ValkenburghMr. & Mrs. Robert VockeMr. & Mrs. Albert LampertMrs. Margaret MakrisMr. Robert MisbinMr. Kenneth A. Oldham, Jr.Mr. W. Larz PearsonMs. Carol A. SternMs. Elzbieta Vande SandeMr. Mark Williams*DeceasedLeanne Ferfolia, Director of DevelopmentKatie Tukey, Manager of Development OperationsAmy Salsbury, Graphic DesignerLauren Aycock, Graphic DesignerWilliam E. Doar Jr. Public Charter School<strong>for</strong> <strong>the</strong> Per<strong>for</strong>ming Arts StaffDr. Scarlett Zirkle, Suzuki Violin InstructorApplause at Strathmore • NOVEMBER/DECEMBER 2013 85

Board of directorsReginald Van Lee,Chairman* (c)James J. Sandman,Vice Chair* (c)Christina Co Ma<strong>the</strong>r,Secretary* (c)Steven Kaplan, Esq.Treasurer* (c)Burton J. Fishman, Esq.,General Counsel* +Jenny Bilfield,President and CEODouglas H. Wheeler,President EmeritusNeale Perl,President EmeritusPatrick Hayes,Founder †Ka<strong>the</strong>rine M. AndersonAlison Arnold-SimmonsPaxton BakerArturo E. Brillembourg*Hans Bruland (c)Rima CalderonCharlotte CameronKaren I. Campbell*Yolanda CarawayLee ChristopherEric D. CollinsJosephine S. CooperDebbie DingellPamela FarrRobert Feinberg*Norma Lee FungerBruce Gates*Felecia Love Greer, Esq.Jay M. Hammer* (c)Brian HardieGrace Hobelman (c)Jake Jones*David Kamenetzky*Jerome B. Libin, Esq. (c)David MarventanoTony OttenWPAS Annual FundRachel Tinsley Pearson*Joseph M. RigbyElaine RoseIrene RothCharlotte SchlosbergSamuel A. SchreiberJohn SedmakRoberta SimsRuth Sorenson* (c)Dr. Paul G. SternWendy Thompson-MarquezMary Jo Veverka*Carol W. WilnerCarol Wolfe-RalphHonorary DirectorsNancy G. BarnumRoselyn Payne Epps, M.D.Michelle Cross FentySophie P. FlemingEric R. FoxPeter Ladd Gilsey †Barbara W. GordonFrance K. GraageJames M. Harkless, Esq.ViCurtis G. Hinton †Sherman E. KatzMarvin C. Korengold, M.D.Peter L. KreegerRobert G. LiberatoreDennis G. LyonsGilbert D. Mead †Gerson Nordlinger †John F. Olson, Esq. (c)Susan PorterFrank H. RichAlbert H. Sm<strong>all</strong>Shirley Sm<strong>all</strong>The HonorableJames W. SymingtonStefan F. Tucker, Esq. (c)Paul Martin Wolff86 Applause at Strathmore • NOVEMBER/DECEMBER 2013PAST CHAIRSTodd Duncan †,Past Chairman LaureateWilliam N. CafritzAldus H. Chapin †Kenneth M. Crosby †Jean Head Sisco †Kent T. Cushenberry †Harry M. LinowesEdward A. FoxHugh H. SmithAlexine Clement JacksonLydia Micheaux Marsh<strong>all</strong>Stephen W. Porter, Esq.Elliott S. H<strong>all</strong>Lena Ingegerd Scott (c)James F. LafondBruce E. RosenblumDaniel L. KorengoldSusan B. HepnerJay M. HammerWOMEN’S COMMITTEEOFFICERSElaine Rose, PresidentAlbertina Lane, Recording SecretaryLorraine Adams, 1st Vice PresidentBeverly Bascomb, AssistantRecording SecretaryRuth Hodges, 2nd Vice PresidentCheryl McQueen, TreasurerZelda Segal, CorrespondingSecretaryJanet Kaufman, Assistant TreasurerGladys Watkins, Immediate PastPresidentLAWYERS’ COMMITTEECO-CHAIRSJerome B. Libin, Esq.James J. Sandman, Esq.* Executive Committee+ Ex Officio† Deceased(c) Committee ChairAs of September 1, 2013WPAS gratefully acknowledges <strong>the</strong> contributions of <strong>the</strong> following individuals, corporations,foundations and government sources whose generosity supports our artistic and educationprogramming throughout <strong>the</strong> National Capital area. Friends who contribute $500 or moreannu<strong>all</strong>y are listed below with our thanks. (As of July 24, 2013)$100,000+Altria Group, Inc.Ms. Christina Co Ma<strong>the</strong>r andDr. Gary Ma<strong>the</strong>rD.C. Commission on <strong>the</strong> Artsand HumanitiesBetsy and Robert FeinbergMars, IncorporatedMs. Jacqueline Badger MarsThe Morris & Gwendolyn CafritzFoundationMr. Reginald Van Lee$50,000-$99,999Abramson Family FoundationDaimlerD<strong>all</strong>as Morse Coors Foundation<strong>for</strong> <strong>the</strong> Per<strong>for</strong>ming ArtsNational Arts and Cultural AffairsProgram/The Commission ofFine ArtsPark Foundation, Inc.Dr. Paul G. Stern$35,000-$49,999AnonymousMr. Bruce Rosenblum andMs. Lori LaitmanMs. Wendy Thompson-Marquez$25,000-$34,999AnonymousAmbassador and Mrs. TomAndersonBank of AmericaBB&T Private Financial ServicesBET NetworksBilly Rose FoundationMrs. Ryna CohenErnst and YoungMark and Terry McLeodMr. and Mrs. Herbert S. MillerNational Endowment <strong>for</strong> <strong>the</strong> ArtsPEPCORuth and Arne Sorenson$15,000-$24,999Arcana FoundationAT&T ServicesDiane and Norman BernsteinMr. and Mrs. Arturo E.BrillembourgMr. Eric Collins and Mr. MichaelProkopowEmbassy of South Africa, HisExcellency Ebrahim RasoolMs. Pamela FarrMr. and Mrs. Jose FigueroaMr. and Mrs. Morton FungerMr. and Mrs. Bruce GatesMr. and Mrs. Jay M. HammerCarl D. † and Grace P. HobelmanMr. and Mrs. Terry JonesKiplinger Foundation Inc.KPMG LLPJudith A. Lee, Esq. (L)Ms. Marcia MacArthurMr. and Mrs. John Marsh<strong>all</strong> DanCameron Family Foundation, Inc.The Meredith FoundationPricewaterhouseCoopers LLPMr. James J. Sandman andMs. Elizabeth D. Mullin (L)Mr. and Mrs. Hubert M.Schlosberg (L) (W)NoraLee and Jon SedmakMr. and Mrs. Daniel SimpkinsVerizon Washington, DCVersarMs. Mary Jo VeverkaWashington Gas Light CompanyWells Fargo Bank$10,000-$14,999Avid Partners, LLCMr. and Mrs. Eliezer H. BenbassatBooz Allen HamiltonDiamondrock HospitalityCompanyFedEx CorporationMr. and Mrs. Kenneth R. FeinbergGeorge Wasserman FamilyFoundation, Inc.Ms. Carolyn GuthrieDr. Maria J. Hankerson, SystemsAssessment & ResearchJ. Willard and Alice S. MarriottFoundationMr. Jake Jones and Ms. VeronicaNyhan-JonesRobert P. and Arlene R. KogodFamily FoundationJune and Jerry Libin (L)Macy’s FoundationThe Max and Victoria DreyfusFoundation, Inc.The Honorable BonnieMcElveen-HunterMr. and Mrs. Herbert MilsteinJohn F. Olson, Esq. (L)Ms. Janice J. Kim andMr. Anthony L. OttenMs. Aileen Richards andMr. Russell JonesMr. and Mrs. Stefan F. Tucker (L)Mrs. Judith WeintraubMr. Marvin F. Weissberg andMs. Judith Morris †Wiley Rein LLPMr. and Mrs. Bernard Young$7,500-$9,999AnonymousApollo GroupMr. Wes Combs and Mr. GregAlbrightHilton WorldwideDavid and Anna-Lena KamenetzkyMs. Danielle Kazmier and Mr.Ronald M. BradleyMr. and Mrs. Paul LiistroThe Hon. Mary V. Mochary andDr. Philip E. WineOurisman Automotive of VAAdam Clayton Powell IIIPrince Charitable TrustsDr. Irene RothSu<strong>the</strong>rland Asbill & Brennan$5,000-$7,499Dr. and Mrs. Clement C. AlpertKa<strong>the</strong>rine M. AndersonMr. and Mrs. Joseph BrodeckiCapitol Tax PartnersMrs. Dolly ChapinMs. Josephine S. CooperMr. Joaquin FajardoBob and Jennifer FeinsteinJames A. Feldman andNatalie WexlerMr. and Mrs. Robert S. GilesMr. and Mrs. Stephen GrahamMr. and Mrs. Carlos GutierrezMr. and Mrs. Brian J. HardieHost Hotels & ResortsMs. Debra LeeMs. Sandy LernerMr. Mark London and Ms. DaniaFitzgeraldMr. and Mrs. David O. MaxwellDr. Robert MisbinMr. and Mrs. Glenn A. MitchellMs. Rachel Tinsley PearsonThe Honorable and Mrs. StephenPorterMr. and Ms. Steve SilvermanMs. Diane TachmindjiMr. and Mrs. John V. ThomasVenable Foundation$2,500-$4,999Anonymous (2)Mr. Alvin AdellMr. and Mrs. Barry BarbashMr. and Mrs. Boris BrevnovMs. Beverly J. BurkeMr. Peter Buscemi andMs. Judith MillerMr. and Mrs. William N. CafritzThe Charles Delmar FoundationDr. and Mrs. Abe CherrickMs. Nadine CohodasMr. and Mrs. J. Bradley DavisDr. Morgan Delaney and Mr.Osborne P. MackieDyalCompassMr. and Mrs. Melvin Eagle (L)Mr. and Mrs. Glenn EpsteinLinda R. Fannin, Esq. (L)Mr. and Mrs. Burton J. FishmanMr. and Mrs. Wayne GibbensDr. and Mrs. Michael S. GoldJames R. GoldenMr. and Mrs. Rolf GraageMr. and Mrs. Raymond HardwickJames McConnell Harkless, Esq.Ms. Dena Henry andMr. John AhremAlexine and Aaron † Jackson (W)Mr. and Mrs. Joseph JacobsDrs. Frederick Jacobsen andLillian Comas-DiazMr. and Mrs. Merritt JonesMr. and Mrs. David T. KenneyArleen and Edward Kessler (W)Mr. Daniel L. Korengold andMs. Martha DippellMrs. Stephen K. KwassMr. and Mrs. Steve LansMr. and Mrs. Harry M. LinowesJames M. Loots, Esq. and BarbaraDougherty, Esq. (L)Mr. and Mrs. Christoph E. Mahle (W)The Honorable and Mrs. RafatMahmoodMr. and Mrs. Ralph ManakerMarsh<strong>all</strong> B. Coyne FoundationMr. Scott MartinMrs. Joan McAvoyMr. Larry L. MitchellMr. and Mrs. Robert MonkDr. William Mullins and Dr. PatriciaPetrickMs. Ca<strong>the</strong>rine NelsonMr. Paul Nelson and Mrs.Labrenda Garrett-NelsonMs. Nicky Perry and Mr. AndrewStiflerMr. Trevor Potter and Mr. DanaWestringMr. and Mrs. Robert RamsayDr. and Mrs. Douglas RathbunMrs. Lynn RhombergMr. and Mrs. Peter RichMr. Ken Rietz and Ms. UrsulaLandsrath

Mr. and Mrs. David RouxMs. Christine C. Ryan andMr. Tom GrahamMr. Claude SchochMr. and Mrs. Samuel A. SchreiberLena Ingegerd Scott and LennartLundhMr. and Mrs. Albert H. Sm<strong>all</strong>Ms. Mary Sturtevant andMr. Alan AsayMr. and Mrs. George R. Thompson Jr.Mr. and Mrs. R. Moses ThompsonMr. and Mrs. Brian TommerMr. Richard M. TuckermanDrs. Anthony and Gladys Watkins (W)Mr. and Mrs. James J. WilsonDr. and Mrs. William B. WolfMr. Bruce Wolff and Ms. Linda MillerMr. and Mrs. Paul A. Young, NOVAResearch Company$1,500-$2,499Anonymous (4)Ms. Lisa AbeelMrs. Arthur ArundelLisa and James BaughRobert and Arlene BeinMr. and Mrs. Robert S. BennettJane C. Bergner, Esq. (L)Ms. Bunny Bialek (W)Ms. Carol A. BogashMr. and Mrs. Leonard BurkaDr. C. Wayne C<strong>all</strong>away andMs. Jackie ChalkleyMr. and Mrs. Jordan CasteelDr. and Mrs. Purnell W. ChoppinDrs. Judith and Thomas ChusedDr. Mark Cinnamon andMs. Doreen KellyMr. and Mrs. Douglas CookMr. Paul D. CroninDr. and Mrs. Joseph H. DanksDCI GroupMs. Lisa Egbuonu-DavisMs. Lynda EllisMrs. John G. EssweinMrs. Sophie P. FlemingFriday Morning Music Club, Inc.Mr. Tom G<strong>all</strong>agherMrs. Paula Seigle Goldman (W)Mrs. Barbara GoldmuntzMr. J. Michael H<strong>all</strong> andDr. Natalie H<strong>all</strong>Dr. and Mrs. Joseph E. Harris (W)Mr. and Mrs. James Harris, Jr.Ms. Leslie HazelMs. Gertraud HechlDr. Charlene Drew JarvisMrs. Enid T. Johnson (W)Mr. E. Scott KasprowiczStephen and Mary Kitchen (L)Ms. Betsy Scott KleeblattMr. and Mrs. Steven LambMr. and Mrs. Gene Lange (L)Mr. and Mrs. Richard F. LarkinDr. and Mrs. Lee V. Leak (W)Ms. Jacqueline RosenbergLondon and Mr. Paul LondonMr. James LynchRear Adm. and Mrs. Daniel P.MarchMr. and Mrs. Michael Marsh<strong>all</strong>Howard T. and Linda R. MartinMrs. Gail Ma<strong>the</strong>sonMs. Ka<strong>the</strong>rine G. McLeodMs. Cheryl C. McQueen (W)Mr. and Mrs. Samuel MuscarellaLt. Gen. and Mrs. Michael A. NelsonMs. Michelle NewberryThe Nora Roberts FoundationMr. and Mrs. Jack H. OlenderMr. and Mrs. Gerald W. PadweDr. and Mrs. Ron PaulMs. Jean PerinMr. Sydney M. PolakoffMr. James RichMs. Mary B. SchwabVirginia Sloss (W)Mrs. Nadia StanfieldCita and Irwin StelzerMr. Richard Stro<strong>the</strong>rMs. Loki van RoijenMs. Viviane WarrenA. Duncan Whitaker, Esq. (L)$1,000-$1,499AnonymousRuth and Henry AaronMrs. Rachel AbrahamMr. John B. AdamsMr. and Mrs. James B. AdlerMr. and Mrs. Dave AldrichMs. Carolyn S. AlperMr. and Mrs. Michael BarnelloHon. and Mrs. John W. BarnumMr. Mark Bisnow and Ms. MargotMacholMr. A Scott BoldenMs. Liz BuchbinderMr. and Mrs. Calvin CafritzMr. Arthur CirulnickMr. Jules CohenMr. David D’AlessioMr. and Mrs. Gregory DavisEdison W. Dick, Esq. (L)Mr. and Mrs. Sidney DicksteinMr. Anthony E. DiResta (L)Ms. Nancy Ruyle DodgeDaniel J. DuBray and KayleenM. JonesMarietta Ethier, Esq. (L)Dr. Irene Farkas-ConnMs. Janet FarrellFierce, Isakowitz & Blalock, LLCMr. Gregory I. FlowersMs. Gloria GarciaMr. Donald and Mrs. Irene GavinGelman, Rosenberg & FreedmanThe Hon. Ruth Bader GinsburgMr. and Mrs. William L. Goldman (W)Mrs. Barbara W. Gordon (W)Mr. Michael HagerMs. Gail HarmonMr. Charles E. Hoyt and Ms.Deborah Weinberger (L)Mr. David Kahn and Ms. Sherry A.BindemanMrs. Carol KaplanMr. and Mrs. Sherman E. Katz (L)Dr. Marvin C. KorengoldSimeon M. Kriesberg andMartha L. KahnSandra and James LafondMr. and Mrs. Eugene I. Lambert (L)Ms. Patricia MarvilDr. Jeanne-Marie A. MillerMr. and Mrs. Adrian L. Morchower (W)Mr. Richard MoxleyMr. and Mrs. Daniel MulcahyNancy Peery Marriott Foundation,Inc.Mr. and Mrs. Patrick NettlesMr. and Mrs. Lawrence C.NussdorfMr. and Mrs. John OberdorferMrs. Elsie O’Grady (W)Tom and Thea Papoian withMr. SmoochyMrs. Linda Parisi andMr. J.J. FinkelsteinDr. Gerald PermanMr. and Mrs. Arnold PolingerReznick GroupMr. and Mrs. Martin RitterMr. and Mrs. Michael RowanMs. Yvonne Mentzer SabineSteven and Gretchen SeilerMr. and Mrs. Arman SimoneMs. Karen SowellAnn and Stuart StockSid Stolz and David HatfieldMr. and Mrs. Thomas StrongChris SyllabaMr. and Mrs. Tom TinsleyMr. and Mrs. Aaron TomaresMr. J. Rock Tonkel, Jr.Mr. and Mrs. Jim TrawickMr. and Mrs. J. Christopher TurnerG. Duane Vieth, Esq. (L)Mr. John Warren McGarry (L)Mr. and Mrs. Stanley WeissMr. and Mrs. Stephen WeiswasserDrs. Irene and John WhiteMr. Peter L. WinikMr. and Mrs. Robert H. WinterMr. John C. WohlstetterChristopher Wolf, Esq. (L)$500-$999Anonymous (4)Ms. and Mrs. Edward Adams (W)Mr. Donald R. AllenMr. and Mrs. Gary Altman EsqMr. Jerome Andersen and JuneHajjarMr. and Mrs. Ricardo AndradeMs. Amy B<strong>all</strong>ardMiss Lucile E. BeaverMs. Patricia N. Bonds (W)Mr. and Mrs. Charles BothMs. Francesca Britton (W)Mrs. Elsie Bryant (W)Mr. Robert BuslerMrs. Gloria Butland (W)Ms. Deborah Clements and Mr.Jon MooreMr. John W. CookDr. and Mrs. Chester W. De LongMr. and Mrs. James B. Deerin (W)Mr. and Mrs. Carlos Del ToroMrs. Rita DonaldsonMr. John DriscollMr. and Mrs. Marc DuberMrs. Yoko EguchiMr. and Mrs. Harold FingerFitness For Older Adults, LLCMr. Michael FrankhuizenMr. Juan GaddisDr. and Mrs. Robert Gagosian (W)Dr. Melvin GaskinsJack E. Hairston Jr.Ms. June HajjarDr. and Mrs. Harry Handelsman(W)Mrs. Robert A. HarperMs. Tatjana HendryMr. and Mrs. Carl F. Hicks, Jr.Mr. and Mrs. Laszlo HogyeJ.S. Wagner CompanyMr. and Mrs. Ernest Drew JarvisRalph N. Johanson, Jr., Esq. (L)Ms. Anna F. Jones (W)Mr. and Mrs. Charles JonesMr. and Mrs. Sunny KapoorMs. Janet Kaufman (W)Mr. Daniel Kazzaz and Mrs.Audrey CorsonDr. Rebecca Klemm, Ph.D.Dr. Allan KolkerMr. and Mrs. John KoskinenMr. and Mrs. Nick KotzMs. Debra LadwigMs. Albertina D. Lane (W)Mr. William Lascelle and BlancheJohnsonMr. and Mrs. Christopher LernerThe Honorable and Mrs. Jan LodalMr. and Mrs. David Maginnes (W)Shaila ManyamMr. and Mrs. Glenn Marsh<strong>all</strong>Mr. Winton E. Mat<strong>the</strong>ws, Jr.John C. McCoy, Esq. (L)Mr. and Mrs. Paul McDonnellMs. Hope McGowanMr. and Mrs. James McIntyreMr. and Mrs. Rufus W. McKinney (W)Ms. Jacqui MichelMs. Rachel MondlMrs. Ann MoralesMr. and Mrs. Bruce D. MoretonMs. Dee Dodson MorrisMr. Charles NaftalinMr. and Mrs. David NealMs. Christine PieperMr. and Mrs. Herbert PosnerDr. and Mrs. Linwood Ray<strong>for</strong>dMr. Spencer K. RaymondMr. and Mrs. Dave RiggsMr. and Mrs. Robert RosenfeldMr. Lincoln Ross and Changamire (W)Mr. Burton RothlederAnne & Henry Reich FamilyFoundation Lee G. Rubenstein,Co-PresidentDr. and Mrs. Jerome SandlerMr. and Mrs. Michael SchultzIn memory of Mr. H. MarcMoyensMrs. Zelda Segal (W)Dr. Deborah Sewell (W)Mrs. Madelyn Shapiro (W)Dr. Deborah J. SherrillMr. Peter ShieldsDaniel and Sybil SilverDr. and Mrs. Michael H. SilverMr. Jeffrey Z. SlavinMr. and Mrs. John SlaybaughMr. and Mrs. Stephen SmithMrs. Therrell C. Smith (W)Mr. and Mrs. L. Bradley Stan<strong>for</strong>dDr. and Mrs. Moises N. SterenSternbach Family FundMr. and Mrs. David SulserMr. Akio TagawaMr. Daniel TarulloMaria Voultsides and ThomasChisnell, IIDr. June Whaun and Dr. PaulineTingMr. William H. WheelerMr. Craig Williams and Ms.Kimberly SchenckMr. and Mrs. John WilnerMr. and Mrs. James D. Wilson (W)Ms. Christina WitsbergerDr. Saul YanovichMr. James YapPaul Yarowsky and KathrynGrumbachIN-KIND DONORSBooz Allen HamiltonMr. and Mrs. Charles BothEmbassy of JapanEmbassy of SpainJamalFelder Music Productions LLCThe Hay-Adams HotelMr. Daniel L. Korengold and Ms.Martha DippellDr. and Mrs. Marc E. LelandThe Honorable and Mrs. Jan LodalMars, IncorporatedMr. Neale PerlSt. Gregory Luxury Hotels & SuitesMr. Anthony WilliamsKa<strong>the</strong> and Edwin D. WilliamsonElizabeth and Bill WolfKey:(W) Women’s Committee(L) Lawyers’ Committee† DeceasedWashington Per<strong>for</strong>ming Arts Society StaffJenny BilfieldPresident & CEODouglas H. WheelerPresident EmeritusAllen LassingerChief Administrative OfficerMurray HorwitzDirector of Special ProjectsLeah ManningAdministrative AssistantDevelopmentMeiyu TsungAssistant Director of Development/Directorof Major GiftsDaren ThomasDirector of Leadership andInstitutional GiftsMichael SyphaxDirector of Foundation andGovernment RelationsHelen AbergerMembership Coordinator andTessitura Application SpecialistCa<strong>the</strong>rine TrobichDevelopment AssociateEducationMichelle HoffmannDirector of EducationKa<strong>the</strong>ryn R. BrewingtonAssistant Director of Education/Director of Gospel ProgramsMegan MerchantEducation Program CoordinatorKoto MaesakaEducation AssociateFinance and AdministrationRebecca TailsmanAccounting AssociateRobert FergusonDatabase AdministratorMarketing and CommunicationsJonathan KerrDirector of Marketing andCommunicationsHannah Grove-DeJarnettAssociate Director of Marketingand CommunicationsScott ThureenCreative Media and AnalyticsManagerWynsor TaylorAudience Engagement ManagerCelia AndersonGraphic DesignerBrenda Kean TaborPublicistStephanie AboukasmMarketing InternMichelle EiderMarketing InternProgrammingSamantha PollackDirector of ProgrammingTorrey ButlerProduction ManagerRachael PattonProgramming and ProductionCoordinatorStanley J. ThurstonArtistic Director, WPAS GospelChoirsTicket Services OfficeFolashade OyegbolaTicket Services ManagerCara ClarkTicket Services CoordinatorEdward KerrickGroup Sales CoordinatorApplause at Strathmore • NOVEMBER/DECEMBER 2013 87

Audra McDonald withWPAS board memberBeverly Burke and guestsWPAS Legacy SocietyLegacy Society members appreciate <strong>the</strong> vital role <strong>the</strong> per<strong>for</strong>ming arts play in <strong>the</strong>community, as well as in <strong>the</strong>ir own lives. By remembering WPAS in <strong>the</strong>ir will or estateplans, members enhance our endowment fund and help make it possible <strong>for</strong> <strong>the</strong> nextgenerations to enjoy <strong>the</strong> same quality and diversity of presentations both on stagesand in our schools.Mrs. Shirley and Mr. Albert H. Sm<strong>all</strong>, Honorary ChairsMr. Stefan F. Tucker, ChairAnonymous (6)Mr. David G.† and Mrs. Rachel AbrahamDr. and Mrs. Clement C. AlpertMr. and Mrs. George A. AveryMr. James H. Berkson †Ms. Lorna Bridenstine †Ms. Christina Co Ma<strong>the</strong>rMr. and Mrs. Douglas CookMr. and Mrs. F. Robert CookMs. Josephine CooperMr. and Mrs. James DeerinMrs. Luna E. Diamond †Mr. Edison W. Dick andMrs. S<strong>all</strong>y N. DickMr. and Mrs. Sidney DicksteinMs. Carol M. DreherMr. and Mrs. Melvin EagleMs. Eve Epstein †Mr. and Mrs. Burton FishmanMrs. Charlotte G. Frank †Mr. Ezra Glaser †Dr. and Mrs. Michael L. GoldMs. Paula GoldmanMrs. Barbara GordonMr. James HarklessMs. Susan B. HepnerMr. Carl Hobelman † andMrs. Grace HobelmanMr. Craig M. Hosmer and Ms. Daryl ReinkeCharles E. HoytJosephine Huang, Ph.D.Dr. † and Mrs. Aaron JacksonMrs. Enid Tucker JohnsonMr. and Mrs. Charles JonesMr. Sherman E. KatzMr. and Mrs. Bruce KimbleMr. Daniel L. KorengoldDr. Marvin C. KorengoldMr. and Mrs. James LafondMs. Evelyn Lear † and Mr. Thomas Stewart†Mrs. Marion Lewis †Mr. Herbert Lindow †Mr. and Mrs. Harry LinowesMr. and Mrs. David MaginnesMs. Doris McClory †Mrs. Carol MelamedRobert I. MisbinMr. Glenn A. MitchellMs. Viola MusherMr. Jeffrey T. NealThe Alessandro Niccoli Scholarship AwardThe Pola Nirenska Memorial AwardMr. Gerson Nordlinger †Mrs. Linda Parisi and Mr. J.J. FinkelsteinMr. and Mrs. Neale PerlDr. W. Stephen and Mrs. Diane PiperMrs. Mildred Poretsky †The Hon. and Mrs. Stephen PorterMrs. Betryce Prosterman †Miriam Rose †Mr. James J. Sandman andMs. Elizabeth D. MullinMrs. Ann ScheinMr. and Mrs. Hubert (Hank) SchlosbergMs. Lena Ingegerd ScottMrs. Zelda SegalMr. Sidney SeidenmanMs. Jean Head Sisco †Mr. and Mrs. San<strong>for</strong>d L. SlavinMr. and Mrs. Albert H. Sm<strong>all</strong>Mr. Robert Smith andMrs. Natalie Moffett SmithMrs. Isaac SternMr. Leonard TopperMr. Hector TorresMr. and Mrs. Stefan TuckerMr. Ulric † and Mrs. Frederica WeilMr. and Mrs. Douglas WheelerMr. and Mrs. Robert H. WinterWPAS Women’s CommitteeMs. Margaret S. WuIn memory of Y. H. and T. F. WuFor more in<strong>for</strong>mation, please contactDouglas H. Wheeler at (202) 533-1874, ore-mail dwheeler@wpas.org.88 Applause at Strathmore • NOVEMBER/DECEMBER 2013

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