tchaikovsky piano concerto

Transcription

www.brevardphilharmonic.org | brevard philharmonic 3
6 brevard philharmonic | www.brevardphilharmonic.org
About the Maestro4
History of the Brevard Philharmonic6
Letter from the President7
SEPTEMBER 13, 2015
TCHAIKOVSKY PIANO CONCERTO
9
NOVEMBER 15, 2015
DUELING GUITARS
15
DECEMBER 17, 2015
HOLIDAY MAGIC
23
FEBRUARY 21, 2016
THE BEST OF BEETHOVEN
24
APRIL 3, 2016
A WALL OF SOUND
29
APRIL 17, 2016
SWAN LAKE
34
Brevard Philharmonic Personnel
41
2015 Contributors42
Sponsorships44
Board of Directors49
C Notes
50
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about the maestro
maestro donald portnoy
D
onald Portnoy is universally recognized as one of America’s dynamic and inspiring
symphony orchestra conductors. He brings to music a unique awareness and
appreciation for the audience and a refreshing sensitivity toward the musicians
with whom he works. As a guest conductor he has earned fame with the major orchestras
of Pittsburgh, Baltimore, Buffalo, and with other major regional orchestras throughout
the United States, Argentina, Brazil, China, England, France, Germany, Poland, Russia,
Taiwan, South Korea, Italy, Romania, Spain, and Switzerland.
Dr. Portnoy has served as music director and conductor of the Pittsburgh Opera Theater
and the Pittsburgh Civic Symphony. In March 2004 Portnoy received Columbia
University’s 2004 Ditson Conductor’s Award for his commitment to the performance of
works by American composers, and in June 2004 he was awarded the Greater Augusta
Arts Council “Artist of the Year” award.
Portnoy holds the Ira McKissick Koger Endowed Chair for the Fine Arts at the University
of South Carolina, where he is Director of Orchestral Studies and conductor of the USC
Symphony and Chamber Orchestra. He is the founder and director of the renowned
Conductors Institute at USC, which has drawn participants from all parts of the United
States and abroad for the past twenty-nine years. The program has been so successful
that an additional Institute has been held in New York for the past four years. This past
May Maestro Portnoy was awarded the Elizabeth O’Neil Verner Award. The Verner
Awards are considered the highest awards in the arts in the state of South Carolina. This
coming summer Maestro Portnoy will be conducting several concerts in both Prague
and Budapest.
letter from the maestro
Dear Friends,
The Brevard Philharmonic will once again stir your musical senses by producing great
live performances that combine celebrated guest artists with compelling music created by
the most dynamic composers. We are confident that you will find the 2015-2016 season
as another exciting and fulfilling year of excellent programming.
Now, I extend to you a personal invitation to experience the Brevard Philharmonic. You
will enjoy the beloved master works and world-class soloists that we take so much pleasure
in bringing to you, our devoted audience.
Donald Portnoy
Artistic Director/Conductor
history of the brevard philharmonic
T
he predecessor of what is now
Brevard Philharmonic was founded
in 1976 by Jackson Parkhurst. In
creating the Brevard Chamber Orchestra,
Parkhurst gave outstanding local musicians
the opportunity to make music together,
at the same time further enhancing the
reputation of Brevard as a place known for
its music-making. Thirty-nine years later,
Brevard Philharmonic has become a vital part
of Transylvania County’s musical identity.
When Parkhurst left Brevard to join the
North Carolina Symphony in 1980, Virginia
Tillotson, chair of the music department at
Brevard College, took over the leadership
of the orchestra. During her twenty-one
year tenure as conductor, what began as
a chamber ensemble playing in various
community venues several times a year
became a full orchestra presenting an annual
series of concerts at Brevard College to a loyal
community following.
Upon Ms. Tillotson’s retirement in 2001,
Vance Reese, Tillotson’s associate conductor,
was named Brevard Chamber Orchestra’s
principal conductor. In 2003 management
of the orchestra was taken over by Brevard
College and BCO became its Orchestra-inResidence. Due to a change in administration
at the college and a new set of priorities, the
orchestra was disbanded the following year.
However, the Brevard Chamber Orchestra
association refused to give up, believing
that Brevard’s music-loving public valued
its community orchestra and that there was
a brighter future ahead. This proved to be
true in 2005 when the Board of Directors
and Dr. Emerson Head joined resources to
revive the orchestra, changing its name to
Brevard Philharmonic.
Dr. Head put down his baton in 2007, and
since then Maestro Donald Portnoy has
been the artistic director and conductor
of Brevard Philharmonic. In the last eight
years the orchestra has flourished and
grown, as noted by a Classical Voice of North
Carolina reviewer, “having Maestro Donald
Portnoy shape this orchestra has yielded great
results … confident features of a very good
orchestra of which the community should be
justifiably proud.”
Once again, the upcoming Brevard
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great works from classical giants, as well as
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and songwriters. Brevard Philharmonic
has the distinction of performing their sixconcert season in Scott Concert Hall of
the Porter Center for the Performing Arts
at Brevard College, which has earned a
reputation as one of the finest performance
halls in the South.
letter from the president
Dear Philharmonic Supporters,
W
e weep and laugh. We struggle
a n d forgive. In quiet or
cacophony, we feel. As humans,
expressions of our feelings are frequently
found in music. This element of human
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talent found in your orchestra and drawn
forth by Maestro Portnoy transforms the
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program of the Brevard Philharmonic
makes a difference today and tomorrow.
I recently introduced my granddaughter
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music, pointing out different instruments,
d i f f e re n t s o u n d s a n d m y p e r s o n a l
interpretations. Later and while listening to
this same selection without my commentary,
this innocent five-year-old remarked, “This
makes my eyes want to have tears.”
May you experience the joys (and possibly
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this season.
Carole Futrelle, President
Brevard Philharmonic
BRE1
TCHAIKOVSKY
PIANO CONCERTO
SEPTEMBER 13, 2015,
AT 3:00 PM
DONALD PORTNOY,
ARTISTIC DIRECTOR/
CONDUCTOR
PORTER CENTER,
BREVARD COLLEGE
Donald Portnoy, conductor
Natasha Paremski, piano
JEAN SIBELIUS Symphony No. 2 in D major, op. 43
Allegretto
Tempo andante, ma rubato
Vivacissimo
Finale: Allegro moderato
INTERMISSION
PYOTR IL’YICH TCHAIKOVSKY Piano Concerto No. 1 in B-flat minor, op. 23
Andante non troppo e molto
maestoso—Allegro con spirito
Andantino semplice
Allegro con fuoco
Ms. Paremski, piano
TOD AY ’S C ONC E RT I S SPONSOR E D BY
CAROLYN A ND T E D FR E D L EY I N R E C O GN I TI O N
O F JO H N LUZEN A’ S DE D I C AT E D SE RV I C E TO B R EVAR D PH I LH AR M O N I C.
TO D AY ’S GUEST ARTI ST I S SPONSOR E D B Y C A ROL E AN D ART H U R S CH R E I BE R .
Please silence and refrain from using cellular phones during this performance. The use of cameras, audio or video recorders
at any Brevard Philharmonic event without authorization from Philharmonic management is strictly prohibited.
about the artist
NATASHA PAREMSKI
“C
omparisons with Argerich should
not be given lightly, but Paremski is
so clearly of the same temperament
and technique that it is unavoidable here.”
—American Record Guide
With her consistently striking and dynamic
performances, pianist Natasha Paremski reveals
astounding virtuosity and voracious interpretive
abilities. She continues to generate excitement
from all corners as she wins over audiences with
her musical sensibility and flawless technique.
Born in Moscow, Ms. Paremski moved to the
United States at the age of eight and became
a U.S. citizen shortly thereafter. She is now
based in New York. She was awarded several
very prestigious artist prizes at a very young age,
including the Gilmore Young Artists prize in
2006 at the age of eighteen, the Prix Montblanc
in 2007,and the Orpheum Stiftung Prize in
Switzerland. In September 2010 she was awarded © Andrea Joynt
the Classical Recording Foundation’s Young Artist
Tomas Netopil, JoAnn Falletta, Fabien Gabel,
of the Year.
and Andrew Litton. Ms. Paremski has toured
Ms. Paremski’s first recital album was released in with Gidon Kremer and the Kremerata Baltica
2011 and it debuted at No. 9 on the Billboard in Latvia, Benelux, the UK, and Austria and
Traditional Classical chart. In 2012 she recorded performed with the National Taiwan Symphony
Tchaikovsky’s First Piano Concer to and Orchestra in Taipei.
Rachmaninoff ’s Paganini Rhapsody with the
Royal Philharmonic Orchestra and Fabien Gabel Ms. Paremski has given recitals at London’s
Wigmore Hall, the Auditorium du Louvre
on the orchestra’s label distributed by Naxos.
in Paris, Schloss Elmau, the MecklenburgNatasha Paremski has performed with major Vorpommern Festival, the Verbier Festival, Seattle’s
orchestras in North America including the Los Meany Hall, Kansas City’s Harriman Jewell
Angeles Philharmonic, Minnesota Orchestra, Series, Santa Fe’s Lensic Theater, Ludwigshafen’s
Dallas Symphony Orchestra, and NAC Orchestra BASF Series, the Teatro Colon in Buenos Aires,
in Ottawa, and the San Francisco, San Diego, Tokyo’s Musashino Performing Arts Center, and
Toronto, Baltimore, Houston, Nashville, Virginia, on the Rising Stars Series of the Gilmore and
Oregon, and Colorado Symphonies. She tours Ravinia Festivals.
extensively in Europe with such orchestras as the
Royal Philharmonic Orchestra, Bournemouth With a strong focus on new music, Ms. Paremski’s
Symphony Orchestra, Vienna’s Tonkünstler growing repertoire reflects an artistic maturity
Orchester, Royal Scottish National Orchestra, beyond her years. In the 2010–11 season, she
Orchestre de Bretagne, Orchestre de Nancy, played the world premiere of a sonata written for
Royal Liverpool Philharmonic Orchestra, Tonhalle her by Gabriel Kahane, which was also included
Orchester in Zurich, and Moscow Philharmonic, in her solo album. At the suggestion of John
under the direction of conductors including Corigliano, she brought her insight and depth to
Peter Oundjian, Andres Orozco-Estrada, Jeffrey his Piano Concerto with the Colorado Symphony.
Kahane, James Gaffigan, Dmitri Yablonski, In recital she has played several pieces by noted
composer and pianist Fred Hersch.
about the artist
M s . Pa r e m s k i c o n t i n u e s t o e x t e n d h e r
performance activity and range beyond the
traditional concert hall. In December 2008
she was the featured pianist in choreographer
Benjamin Millepied’s Danse Concertantes at
New York’s Joyce Theater. She was featured in a
major two-part film for BBC Television on the
life and work of Tchaikovsky, shot on location
in St. Petersburg, performing excerpts from
Tchaikovsky’s First Piano Concerto and other
works. In the winter of 2007 Ms. Paremski
participated along with Simon Keenlyside and
Maxim Vengerov in the filming of Twin Spirits,
a project starring Sting and Trudie Styler that
explores the music and writing of Robert and
Clara Schumann, which was released on DVD.
She has performed in the project live several
times with the co-creators in New York and
the UK, directed by John Caird, the original
director/adaptor of the musical Les Misérables.
Having begun her piano studies at the age of
four with Nina Malikova at Moscow’s Andreyev
School of Music, Ms. Paremski then studied
at San Francisco Conservatory of Music. She
moved to New York to study with Pavlina
Dokovska at Mannes College of Music, from
which she graduated in 2007. Ms. Paremski
made her professional debut at age nine with
the El Camino Youth Symphony in California.
At the age of fifteen she debuted with Los
Angeles Philharmonic and recorded two discs
with Moscow Philharmonic Orchestra under
Dmitry Yablonsky, the first featuring Anton
Rubinstein’s Piano Concerto No. 4 coupled
with Rachmaninoff ’s Paganini Rhapsody and the
second featuring all of Chopin’s shorter works
for piano and orchestra.
program notes
Symphony No. 2 in D major, op. 43
JEAN SIBELIUS
Born in Hämeenlinna (Tavastehus), December 8, 1865;
died in Järvenpää, September 20, 1957
Sibelius’s Second Symphony, associated for so
long with the Finnish landscape and even with
a specific patriotic program, was a work the
composer actually conceived in Italy. Supporter
Baron Axel Carpelan, though not wealthy himself,
had succeeded in raising enough money to help
Sibelius leave his teaching duties for a year in
order to travel and compose. Thus Sibelius and
his wife and daughter spent most of the winter
of 1900–01 in Rapallo, Italy, where he sketched
much of the Symphony. He eventually found it
too disruptive going back and forth constantly
between the Pension Suisse and his rented
study, and he also realized that he needed the
stimulation of artistic life in a big city, so he
simply took off one day—alone—for Rome,
where he was able to be more productive.
Returning to Finland that summer, Sibelius
worked on completing the Symphony—an
arduous task as it happened. He wrote to
Carpelan on June 11, 1901: “I have been
in the throes of a bitter struggle with this
symphony. Now the picture is clearer and I
am now proceeding under full sail.” Further
correspondence with Carpelan shows the
Symphony to have been near completion at the
beginning of November, but extensive revision
caused the premiere of the work to be postponed
first to January 1902, then to March. Sibelius
at last conducted the new Symphony, dedicated
to Carpelan in gratitude, on March 8, 1902, in
Helsinki. The concert, for which he also quickly
composed an Overture in A minor and an
Impromptu for women’s voices and orchestra,
was repeated three times to capacity houses; the
new Symphony proved an enormous success. Its
acceptance outside Finland came more slowly, but
the Second eventually proved to be the composer’s
most popular symphony.
The Finnish people held onto Sibelius and his
music as representative of their national identity,
a fact that alternately impeded and inspired
the composer. With its heroic “anthem” finale,
the Second Symphony began to be taken as
a portrayal of Finland’s resistance to Russian
domination, first described in an article by
conductor Robert Kajanus after the premiere.
Georg Schnéevoigt, another conductor who
did much for Sibelius’s music, perpetuated the
myth in notes for a performance he conducted in
Boston in the 1930s. Though Sibelius repeatedly
denied any such programmatic basis for the
Symphony, the notion understandably persisted.
Erik Tawaststjerna, Sibelius’s comprehensive
biographer, has shown that many of the
Symphony’s ideas sprang from disparate,
apolitical sources. During his Rapallo stay
Sibelius considered writing a set of four tone
poems, one of which was to treat the story of
Don Juan. He first jotted down the main theme
of the Symphony’s Andante (bassoons, cello/
bass pizzicato) for the episode of Don Juan’s
Stone Guest. While in Florence two months
later, Sibelius considered setting part of Dante’s
Divine Comedy. A sketch marked “Christus”
later became the tranquil F-sharp major theme
in the Andante. His wife Aino revealed that
he wrote the Finale’s lamenting wind figure
over scale patterns in memory of his sister-inlaw, Elli Järnefelt, who had taken her own life.
The main theme of the Finale’s coda occurred
to him while he was officiating as pianist at
a christening in 1899 in the exotic Karelian
home of painter Gallén-Kallela. Sibelius was
reported to have stood up suddenly and said,
“Now I will show you what impression this
room makes on me, its basic mood.”
program notes
The Second Symphony follows the standard
symphonic four-movement sequence and employs
traditional forms for the individual movements,
yet Sibelius’s technique of presenting fragments
that evolve into themes led early commentator
Cecil Gray to describe the first movement as “a
veritable revolution . . . the introduction of an
entirely new principle into symphonic form.”
Distinguished commentator Gerald Abraham has
pointed out, however, that even this technique
had been used by Borodin almost forty years
earlier. Nonetheless, Sibelius’s ingenuity can
be measured by the fact that though experts
agree that he employed sonata form here, they
disagree considerably on the numbering and
labeling of themes. Sibelius’s particular strength
lies in his manipulation of the traditional
form combined with the organic growth and
dovetailing of his themes. Of particular interest
is the opening stepwise three-note ascent, which
he inverts for the main theme and reuses in many
guises throughout the work. Another Sibelius
trademark, the falling fifth, appears in the theme
at the Poco allegro, which has been variously
labeled as the second or third theme group, and
reappears in each movement.
Sibelius thought of the form of the Andante in
terms of a Classic slow-movement sonata form,
that is, with a section presenting the main themes
(exposition) and its return (recapitulation),
without an intervening development section.
With its dramatic unfolding and highly
contrasting thematic groups, this second
movement gives a first-movement impression.
The fiery scherzo contains two contrasting trios
in the manner of Beethoven’s Fourth, Sixth,
Seventh, and Ninth Symphonies, here led off
by a famous oboe solo that grows out of nine
repeated B-flats. But, instead of leading to a third
repetition of the scherzo, the music serves as a
dramatic transition to the Finale, which follows
without pause in the manner of Beethoven’s Fifth
Symphony. The rising three-note idea, already
present in the trio, becomes more prominent
in the transition, directly begetting the Finale’s
main theme. In the Finale’s coda, the three-note
motive—D–E–F-sharp—rises triumphantly
another half step to G.
—©Jane Vial Jaffe
Piano Concerto No. 1 in B-flat minor,
op. 23
PYOTR IL’YICH TCHAIKOVSKY
Born in Kamsko-Votkinsk, Vyatka province, May 7, 1840;
died in St. Petersburg, November 6, 1893
Composing did not come as easily to Tchaikovsky
as the finished product might lead one to expect.
“I bite my nails to the quick, smoke endless
cigarettes, and walk up and down the room
for hours before an idea comes to me.” He
had problems with his First Piano Concerto at
the outset and wrote to his brother Modest on
October 29, 1874: “I would like to start a piano
concerto but somehow I have neither ideas nor
inspiration.” Then later to his brother Anatoly
he wrote, “[The Concerto] is not going very
well—very slow progress—but I am sticking
to it and manage to hammer passages for the
instrument out of my brain.”
Filled with doubt and insecurity, the composer
wanted the advice of his friend Nikolay
Rubinstein, whom he hoped would introduce
the Concerto to the public. Tchaikovsky played
it over to him on Christmas Eve 1874. What
followed is perhaps one of the most famous stories
in the history of music, albeit written three years
later to his patroness Nadezhda von Meck.
Rubinstein’s eloquent silence [after the first
movement] had great significance. As much
as if to say—“My friend, how can I speak of
program notes
details when the thing as a whole disgusts
me?” I armed myself with patience, and
played it through to the end. Again silence.
I stood up and said, “Well?” Then from the
lips of N.G.R. poured a torrent of words. . . .
It appeared that my Concerto is worthless,
impossible to play, the themes have been
used before, are clumsy and awkward beyond
possibility of correction; as a composition it is
poor, I stole this from here and that from there,
there are only two or three pages that can be
salvaged, and the rest must be thrown away
or changed completely!
Seeing how mortified Tchaikovsky was,
Rubinstein said that if the Concerto were
changed “according to his wishes by a certain
date” he would perform it at his concert.
Tchaikovsky refused saying, “I won’t change
a single note, and will print it exactly as it is
now.” Tchaikovsky had planned to dedicate the
Concerto to Rubinstein, but upon completing
the orchestral score at the end of January he
dedicated it to a young unknown Russian pianist,
Sergei Taneyev. He crossed this out, however,
penning in the dedication to Hans von Bülow,
the famous German pianist and conductor who
already liked Tchaikovsky’s music and would be
able to give his Concerto more exposure than
someone unknown. Consequently, von Bülow
premiered it on his American tour, on October
13 and 25, 1875, in Boston. The cable von Bülow
sent to Tchaikovsky telling of the Concerto’s
success was possibly the first ever between Boston
and Moscow.
The Russian premiere occurred in St. Petersburg
with Gustav Kross as soloist. Tchaikovsky
was displeased (as were the critics) by the
performance, but much happier with the first
performance in Moscow three weeks later, in
which Taneyev was the soloist and Rubinstein, of
all people, conducted. Tchaikovsky did publish
the first edition “without changing a note,” but
he allowed alterations in the piano part when
Edward Dannreuther performed it in 1876
in London, and included these changes in the
second edition (1879). In 1889 he revised it even
further; it seems that the famous piano chords
accompanying the opening theme did not range
the entire keyboard until this last edition.
Ironically, it was Rubinstein who eventually
showed the Concerto off to its best advantage.
He admitted he had been wrong and he and
Tchaikovsky made up, albeit not for three or
four years after the Christmas Eve incident.
The “oddities” of the First Piano Concerto,
some of which may have caused Rubinstein’s
disparagement, are now considered some of
its greatest charms. Much ink has been spent
over the fact that the first movement’s long
introduction is not really an introduction in
the Classical sonata movement tradition, but
rather a large ternary structure, based on a
beautiful theme that never returns. In addition,
the Concerto is billed in B-flat minor, yet after
only six bars in which B-flat minor is suggested
but not anchored, the opening theme occurs in
D-flat major. The main body of the movement
begins with a scherzando main theme, which
Tchaikovsky said is a tune that every blind
beggar sings in Little Russia (largely the Ukraine).
The second theme is in A-flat major, a curious
key for a second theme, unless one relates it to
the D-flat major opening.
The second movement, in three-part form,
combines the elements of a beautifully lyrical
slow movement and a scherzo. The scherzo-like
middle section, according to Modest, is based
on a French chansonnette, “Il faut s’amuser.”
The finale, a kind of sonata rondo, has the flavor
of a Cossack dance; the first theme is actually
based on the Ukrainian folk song “Come, come,
Ivanka.” Though the movement is in B-flat
minor, it ends emphatically in the parallel major,
thus very little time is spent in the “home” key
throughout the work.
The condescending comments the Concerto
received at first and ironically its later popularity
have obscured the achievement that this work
represents. Its greatness lies in its masterful
orchestration, in the novel structure of the
first movement, and in the advancement of
pianistic virtuosity. If composers like Tchaikovsky
had not written “unplayable” parts, piano
technique could not have advanced to its
present state of excellence.
DUELING
GUITARS
NOVEMBER 15, 2015,
AT 3:00 PM
DONALD PORTNOY,
ARTISTIC DIRECTOR/
CONDUCTOR
PORTER CENTER,
BREVARD COLLEGE
JOAQUÍN TURINA
Janet Hopkins, mezzo-soprano
Beijing Guitar Duo
La oración del torero
(Prayer of the Bullfighter)
MANUEL DE FALLA
El amor brujo (Love, the Magician)
Introduction and Scene
In the Cave: Night
Song of Suffering Love
The Apparition
Dance of Terror
The Magic Circle: The Fisherman’s Story
At Midnight: The Spells
Ritual Fire Dance: To Drive Away the
Evil Spirits
Scene
Song of the Will-o’-the-Wisp
Pantomime
Dance of the Game of Love
Final: The Bells of Sunrise
Ms. Hopkins, mezzo-soprano
INTERMISSION
Continued onto the next page…
DUELING
GUITARS
NOVEMBER 15, 2015,
AT 3:00 PM
DONALD PORTNOY,
ARTISTIC DIRECTOR/
CONDUCTOR
PORTER CENTER,
BREVARD COLLEGE
Beijing Guitar Duo
JOAQUÍN RODRIGO
Concierto madrigal
Fanfarre: Allegro marziale
Madrigal: Andante nostalgico
Entrada: Allegro vivace
Pastorcito, tu que vienes, Pastorcito,
tu que vas: Allegro vivace
Girardilla: Presto
Pastoral: Allegretto
Fandango: Molto ritmico
Arietta: Andante nostalgico
Zapateado: Allegro vivace
Caccia a la española: Allegro vivace
Beijing Guitar Duo, guitars
TODAY ’S CONCERT IS SPONSORED BY KRISTINE AND JOHN CANDLER.
TODAY ’S GUEST ARTISTS ARE SPONSORED BY ALETA AND EDWARD TISDALE.
about the artists
Miss Hopkins holds a Bachelor of Music
degree in Music Education, cum laude, and
a Masters Degree in Vocal Performance,
c u m l a u d e . w w w. Ja n e t E H o p k i n s . c o m ,
www.Twitter.com/TheMetDiva
BEIJING GUITAR DUO
C
omposed of guitarist Meng Su and
Yameng Wang, the Beijing Guitar Duo
has performed throughout Europe, Asia,
and North America. This past season took them
to countries such as Germany, Russia, Spain,
Portugal, Denmark, Poland, China, Panama, and
the United States. The Duo has toured extensively
with their mentor Manuel Barrueco, appearing
in such countries as Germany, Finland, Spain,
Russia, as well as the United States.
The Beijing Guitar Duo’s performances and
recordings have impressed the public with “an
ability and artistry that exceeds their years.”
Their debut CD, Maracaípe, received a LatinGrammy nomination for the title piece, which
was dedicated to them by renowned guitarist/
composer Sergio Assad. Their second CD, Bach
to Tan Dun, has been widely noted for the worldJANET HOPKINS
premiere recording of Tan Dun’s Eight Memories
ew York Metropolitan Opera mezzo- in Watercolor, specially arranged for the duo by
soprano Janet Hopkins has won world Manuel Barrueco. A recording in trio, China West,
wide critical acclaim for her wide-ranging with Maestro Barrueco was released in May 2014.
operatic and concert repertoire. A veteran of The
Met for over 16 years, she has performed in a Meng Su and Yameng Wang were born in the
broad variety of operas, including The Barber of coastal city of Qingdao, China. They came to the
Seville, Die Walkure, Der Rosenkavalier, Cavalleria partnership with exceptional credentials, including
Rusticana, and Rigoletto. Miss Hopkins has a string of competition awards. Ms. Su’s honors
toured extensively with The Metropolitan Opera, include victories at the Vienna Youth Guitar
performing many times in Europe and Japan, as Competition and the Christopher Parkening
well as throughout the United States. She is a Young Guitarist Competition, while Ms. Wang
Carnegie Hall favorite as a featured soloist.
was the youngest guitarist to win the Tokyo
International Guitar Competition at the age of
Diva Janet Hopkins revolutionized the wine and twelve and was invited by Radio France to perform
music worlds with her introduction of ARIA at the prestigious Paris International Guitar Art
in November of 2007. ARIA, a first-of-its-kind Week at age fourteen. Both young artists had given
music and fine wine project, garnered rave reviews solo recitals in China and abroad and had made
from The New York Times and USA Today. Miss solo recordings before they formed the Duo.
Hopkins personally blended her own red wine.
She recorded a CD of well known Italian love In addition to concertizing, the members of the
songs at historic Capitol Records in Hollywood. Duo share a love for teaching which brings them
The limited edition set known as ARIA was an to major conservatories in the world for master
classes and to judge competitions. Since 2011
immediate hit and sold out in 2 months.
they have been artists-in-residence for the San
Francisco Performances. This four-year residency
program brings them to the Bay Area every year
for community outreach, performances, and
N
about the artists
Holland, Ireland, Finland, Croatia, Korea, Japan,
and China, in which she has impressed audiences
with an ability and artistry that exceeds her
years. Ms. Su performs regularly in chamber
music settings and with orchestras as a soloist.
This past season she performed the Concierto
de Aranjuez by Joaquín Rodrigo and Osvaldo
Golijov’s Ayre for a chamber music ensemble.
Meng Su obtained her Performer’s Certificate
and the Graduate Performer’s Diploma from
the Peabody Conservatory in Baltimore, and
is currently continuing her studies with guitar
virtuoso Manuel Barrueco in the chamber music
program. Ms. Su’s discography includes a live
CD and DVD release of a 2005 guitar concert
in Korea as well as a release by the guitar quartet
Four Angels.
YAMENG WANG
B
orn in Qingdao, China, in 1981, Yameng
Wang fell in love with the classical guitar
at a young age and began studying with
the leading guitar professor in China, Chen
Zhi, when she was ten years old. She became
the youngest winner of the Tokyo International
Guitar Competition at the age of twelve. She
master classes in public schools as well as for the went on to win second prize in the Michele
San Francisco Conservatory.
Pittaluga International Guitar Competition in
Italy at the age of thirteen, and at the age of
The Beijing Guitar Duo is proudly supported fourteen she was invited by Radio France to
by the Maryland State Art Council’s Touring perform at the Paris International Guitar Art
Artists Grant program since 2014.
Week and won second prize in La Infanta Doña
Cristina International Guitar Competition in
Spain. Classical Guitar magazine noted that at
MENG SU
the age of fourteen she already played like a
orn in the coastal city of Qingdao, in
seasoned professional.
the province of Shandong, China, in
1988, Meng Su demonstrated her artistic
After graduating from the Central Conservatory
gifts as an exceptionally talented guitarist from
of Music of China in 2006, Ms. Wang enrolled
an early age. Embarking on an exciting guitar
in the Peabody Conservatory in Baltimore.
career as one of the most outstanding guitarists
There she finished her Master of Music degree
of her generation, Meng Su began her training
in 2008 and is currently in the Graduate
in classical guitar with renowned Chen Zhi at
Performance Diploma program, studying
the age of nine, quickly attracting attention as a
with Manuel Barrueco.
remarkable young talent. Before graduating from
China’s High School of the Central Conservatory
Ms. Wang has given acclaimed recitals across the
of Music in 2006, Ms. Su had already won many
U.S., France, Italy, Holland, Germany, Ireland,
th
awards, including the 5 Vienna Youth Guitar
Finland, Croatia, Britain, Austria, Spain, Belgium,
Competition, the 48th Tokyo International Guitar
Switzerland, Poland, Australia, Japan, and Malaysia
Competition, the Christopher Parkening Young
both as a soloist and in chamber music settings.
nd
Guitarist Competition, and the 2 Iserlohn
Her first album, Caprice, was recorded when she
International Guitar Competition in Germany.
was sixteen years old. A Very Special Album was
released in 1999, and in 2003 she contributed to
As a performing artist, she has performed solo,
the collection The Best of Classical Guitar on the
duo, and quartet concerts across the United States,
GHA Records label. In 2005 she released Classic
United Kingdom, Canada, Austria, Germany,
Guitar—Aquarelle, un sueño en la floresta.
B
program notes
harmonic texture—Vaughan Williams or Delius,
perhaps. The bullfighter’s prayer climaxes in the
slow middle section with an intensity in the high
registers that seems particularly well suited to the
sustained sounds of bowed rather than plucked
strings. Turina condenses and varies the return of
the opening section—without its introduction—
which rises again to beseeching heights, but now
quietly, without the previous intensity.
El amor brujo (Love, the Magician)
MANUEL DE FALLA
Born in Cadiz, Spain, November 23, 1876; died in Alta
Gracia, Córdoba province, Argentina, November 14, 1946
La oración del torero
(Prayer of the Bullfighter), op. 34
JOAQUÍN TURINA
Born in Seville, December 9, 1882;
died in Madrid, January 14, 1949
Like most Spanish composers of his time, Turina
went to Paris to study. While there he performed
his already published Piano Quintet, op. 1, to
an audience that included Isaac Albéniz. His
compatriot advised him to look to his native Spain
for material. Turina took the advice to heart, later
claiming that the conversation had changed his
whole attitude to music. More interested than
his countrymen in pursuing the conventional
(German) major forms, he sought to combine
them with his Andalusian, particularly Sevillian,
heritage in a style that had also absorbed Romantic
and Impressionistic elements. His works in the
smaller genres admirably exhibit Spanish traits,
sometimes with humor and often with elegance.
Turina composed La oración del torero in 1924
as a lute quartet, dedicated to the lute virtuosos
of the Aguilar family—Elisa, Ezequiel, José, and
Francisco; he arranged it two years later for string
quartet or string orchestra. The work’s roots in
Andalusian folk music appear not only in the
sounds of plucked strings, achieved by pizzicato
in the string orchestra version, but in the rhythms,
modal inflections, and alternating fast and slow
sections. The piece also shows French influence,
including that of Ravel, and even a bit of English
Falla was frustrated with Spanish institutions
when the promised production of his opera
La vida breve did not materialize, so he left for
Paris in 1907. There he formed friendships with
Debussy, Dukas, and Ravel that greatly influenced
his career and his music. Forced to return to
Spain in 1914 with the outbreak of World War I,
the more experienced Falla found greater success
in his homeland. La vida breve and his Siete
canciones populares españolas were soon performed
in Madrid to great acclaim.
In 1914 and early 1915 Falla toured Spain with
theatrical impresario Gregorio Martínez Sierra
and his wife María Lejárraga, for whom he had
written some incidental music. During their
collaboration Martínez persuaded Falla to write
a short entertainment for legendary Gypsy singer
and dancer Pastora Imperio—the result was El
amor brujo (Love, the Magician). The composer
was particularly attracted by the Andalusian
songs sung to him by Pastora’s mother, Rosario
la Mejorana, which inspired many of his own
original melodies for the work. The wonderful
stories she told contributed to the plot of what
became a sung ballet, the scenario of which is
now thought to have been written by María rather
than Gregorio.
Contrary to his normal slow-paced work habits,
Falla completed El amor brujo in the relatively
short space of four months. The first performance
took place on April 15, 1915, in Madrid, sung
and danced by Pastora in the lead role, with
members of her family taking other roles and
Moreno Ballesteros conducting the small eightpiece ensemble. Some critics chastised Falla’s
music for failing to sound Spanish enough
program notes
because of his “obsession with the modern
French school,” while others thought it colorfully
orchestrated and likely to become world famous.
Falla revised and expanded the score for large
orchestra, retaining the atmospheric piano part
but, perhaps surprisingly, not adding Spanishsounding percussion. This version was first
performed unstaged on March 28, 1916, by the
Orquesta Filharmónica, conducted by Bartolomé
Perez-Casas. The first staged performance of the
revised version did not take place until May 22,
1925, in Paris, danced by the electrifying Antonia
Mercé, “La Argentina,” and the famous Spanish
dancer Escudero, conducted by the composer. In
a fascinating cross section of history, Stravinsky’s
Histoire du soldat also premiered on that program
but met with failure, while El amor brujo was the
hit of the evening.
The story of El amor brujo involves the beautiful
Gypsy Candelas who is so haunted by the spirit
of her jealous dead lover—despite his brutish
and unfaithful nature—that she cannot accept
the wooing of her new admirer Carmelo. The
Introduction briefly and boldly suggests the fury
of the jealous lover who will not release her. The
mysterious atmosphere of the Gypsy cave in the
dark of night (represented by mysterious horn,
bassoon, and clarinet utterances over agitated
strings) makes for wonderful contrast. In her first
solo, the savage Song of Suffering Love, Candelas
despairs at having been abandoned by “that cursed
Gypsy.” The spirit of her former lover appears to
her (in a muted but insistent trumpet call) and
she reacts in the rhythmically patterned, escalating
Dance of Terror.
Following Gypsy lore, Candelas draws a magic
circle to exorcize the spirit (The Magic Circle:
Romance of the Fisherman) and midnight quietly
arrives as she begins her spells. She launches
into the thrilling Ritual Fire Dance, which
alternately wails and pounds but fails to exorcize
the ghost. The free-flowing oboe and flute solos
in an interlude (titled Scene) suggest that the
spirit lingers, and, in her second extended solo,
Song of the Will o’ the Wisp, Candelas laments
love’s elusiveness.
Carmelo realizes that if they can prey on the
dead man’s unfaithful tendencies by having him
captivated by the enchanting Lucía, then he and
Candelas will be free to share the kiss that will
defeat the evil spirit forever. A willing accomplice,
Lucía dances the seductive Pantomime—the Cadiz
tango movement that Falla had originally intended
for his Nights in the Gardens of Spain—which
saps the spirit’s power. The composer reveals this
musically by contrasting the forceful presentation
of the spirit’s theme at the outset with its faint
reappearances later in the movement. The Dance
of the Game of Love completes the exorcism,
coming to a great climax as Candelas denounces
her former lover. The plan has succeeded—
Carmelo and Candelas can now kiss in peace, and
all can rejoice in the power of love as morning
bells peal.
Text and Translation
Canción del
amor dolido
Song of Suffering Love
¡Ay!Ay!
Yo no sé qué siento,
I don’t know what I feel,
ni sé qué me pasa
I don’t know what
happens to me
cuando éste mardito when this accursed
gitano me farta.
gypsy’s away.
Candela qué ardes
Only Hell’s fire
Más arde el infierno burns hotter
que toíta mi sangre
than all my blood
abrasá de celos!
burning with jealousy!
¡Ay!Ay!
Cuando el río suena When there are rumors,
¿qué querrá decir?
what could they mean?
program notes
¡Ay! Ay!
Por querer a otra
For the love of another,
se orvía de mí!
he forgets me!
¡Ay! Ay!
Cuando el fuego abrasa When the fire burns,
Cuando el río suena… When the rumors start…
Si el agua no mata If they cannot kill
el fuego
the fire,
A mí el penar Suffering condemns me!
me condena!
A mí el querer Love poisons me!
me envenena!
A mí me matan Sorrow kills me!
las penas!
¡Ay!Ay!
¡Soy el mar en que naufragas!
Las campanas
del amanecer
¡Ya está despuntando el día!
¡Cantad, campanas, cantad!
¡Que vuelve la gloria mía!
Canción del
Song of the
fuego fatuo
Will o’ the Wisp
Lo mismo que er Like the will-o’fuego fátuo,
the-wisp,
lo mismito es er queré. the very same is to love.
Le juyes y te persigue, You run from it,
le yamas y echa a corré. and it follows you.
¡Lo mismo que er Like the will-o’fuego fatuo,
the-wisp,
lo mismito es er queré! the very same is to love!
¡Malhaya los ojos negros Accursed the dark eyes
que le alcanzaron a ver! that succeeded in
seeing him!
¡Malhaya er
Accursed the
corasón triste
saddened heart
que en su llama that wanted to burn
quiso ardé!
in his flame!
Lo mismo que er
Like the will-o’fuego fatuo
the-wisp
se desvanecer queré. love vanishes the same.
Blind since the age of three, Rodrigo showed great
musical talent and was sent to study in Paris,
where he became a student of Paul Dukas. In
the 1930s he traveled extensively in Switzerland,
Austria, and Germany, returning to Spain
with the outbreak of war in 1939, the year he
composed his famous guitar concerto, Concierto de
Aranjuez. The premiere of this work in November
1940 made Rodrigo an overnight sensation. In
addition to composing over the next six decades,
Rodrigo wrote many articles about music, toured
and lectured, gave piano recitals, and received
numerous awards.
Danza del Juego Dance of the Game
de Amor
of Love
Tú eres aquel mal gitano You are the evil gypsy
que una gitana queria; that a gypsy girl loved;
El queré que ella
The love that she
te daba
gave you,
tú no te lo merecías! you did not deserve!
¡Quién lo había de decí Who could have thought
que con otra la vendías! that with another you
would betray her!
¡Soy la voz de
tu destino!
¡Soy er fuego que te abrasas!
¡Soy er viento en que suspiras!
I’m the voice of
your destiny!
I’m the fire in which
you burn!
I’m the wind in which
you sigh!
I’m the sea in which
you drown!
The Bells of Dawn
Dawn is breaking!
Sing, bells, sing!
That my glory
is returned!
Concierto madrigal
JOAQUÍN RODRIGO
Born in Sagunto, Valencia, November 22, 1901;
died in Madrid, July 6, 1999
In the wake of the Concierto de Aranjuez, Rodrigo
wrote concertos for other instruments using the
traditional three-movement form, but his next
piece for guitar and orchestra, Fantasía para un
gentilhombre (1954), took the form of a suite of
shorter movements. He liked the freedom this
gave him to adapt dances and melodies from
earlier historical periods. So in the early 1960s,
when the husband and wife guitar duo Ida Presti
and Alejandro Lagoya asked him for a concerto
for two guitars, he followed this concept again,
expanding its scope to ten movements.
Rodrigo worked on what he originally called
Concierto para una virreina de España (Concerto
for a Spanish Viceroy) intermittently over the
next few years, but tragically Ida Presti, whom he
had known since her childhood, died suddenly
at the age of forty-two. By 1966, when he finally
completed the work, he titled it Concierto madrigal,
reflecting his main source of inspiration—a
sixteenth-century Italian madrigal by Jacques
Arcadelt, “O felici occhi miei” (O happy eyes of
mine). Might the title have held any significance
program notes
transforms a fragment of the madrigal theme into a
dance. The fourth movement draws on a fifteenthcentury French villancico (rustic song), which he
gives as the title of the movement: “Pastorcito, tue
que vienes, pastorcito, tu que vas” (Little shepherd,
you who come, little shepherd, you who go). Here
the two guitars enter into a lively dialogue with
a treble-oriented group of piccolo, flute, oboe,
and trumpet.
for the blind composer? Rodrigo may also have
known the four studies on this madrigal for
viol and keyboard by sixteenth-century Spanish
composer and theorist Diego Ortiz from his
celebrated treatise on ornamentation of 1553.
In the Concierto madrigal Rodrigo draws not
only on Arcadelt’s madrigal, but on works by
other composers, as in the opening movement,
Fanfarre, which he based on the Toccata of
Monteverdi’s opera Orfeo. The second movement,
appropriately called Madrigal, begins with the
two guitars gently introducing the main theme,
“O felicci occhi miei,” in contrapunal style, soon
joined by flute and horn. In Entrada, Rodrigo
The lightning-quick Girardilla evokes an
Andalusian dance full of pirouetting, aptly
represented by running fast notes and distinctive
trills. The shimmer of the Pastoral creates a dreamy
impression with its patterns of lightly descending
figures over sustained tones and short repeated
gestures. The Fandango, inspired by Spain’s most
popular traditional dance form, struts boldly in
its strummed chords but also “sings” lyrically
with its more fluid melodies. The madrigal theme
returns in the Arietta as a hauntingly beautiful
melody over gently cascading accompaniment.
The vigorous Zapateado (referring to the
rhythmic foot stomping and tapping in flamenco
dancing) combines Rodrigo’s Spanish heritage
with a bit of Italy in a reminiscence from
Rossini’s La danza. In the concluding Caccia a
la española (Spanish Hunt) Rodrigo quotes the
first movement of his own Concierto d’Aranjuez,
before invoking the lively Miller’s Dance from
Falla’s Three-Cornered Hat. At the end a nostalgic
recall of the madrigal theme brings about the
majestic conclusion.
THE BEST OF
BEETHOVEN
FEBRUARY 21, 2016,
AT 3:00 PM
DONALD PORTNOY,
ARTISTIC DIRECTOR/
CONDUCTOR
PORTER CENTER,
BREVARD COLLEGE
Vadim Gluzman, violin
LUDWIG VAN BEETHOVEN
Overture to The Creatures of
Prometheus, op. 43
Symphony No. 7 in A major, op. 92
Poco sostenuto—Vivace
Allegretto
Presto
Allegro con brio
INTERMISSION
Violin Concerto in D major, op. 61
Allegro ma non troppo
Larghetto
Rondo: Allegro
Mr. Gluzman, violin
TODAY' S G U E ST A RT I ST I S SPONSOR E D BY TH E
A. ST UA RT FE ND L E R FA M I LY T RUS T.
VI OLI N C ONC E RTO I N D M A J OR , O P. 6 1 ,
I S SP ON SOR E D B Y RONNI E A ND PE T E PE T E R M AN .
about the artist
VADIM GLUZMAN
V
adim Gluzman’s extraordinary artistry brings
back to life the glorious violinistic tradition
of the nineteenth and twentieth centuries.
His wide repertoire embraces contemporary music
and his performances are heard around the world
through live broadcasts and a striking catalog
of award-winning recordings exclusively for the
BIS label.
The Israeli violinist appears regularly with major
orchestras such as the Chicago Symphony,
Philadelphia Orchestra, London Philharmonic,
Israel Philharmonic, London Symphony, Munich
Philharmonic, San Francisco Symphony, Minnesota
Orchestra, and NHK Symphony, and with leading
conductors including Neeme Järvi, Michael Tilson
Thomas, Tugan Sokhiev, Andrew Litton, Marek
Janowski, Semyon Bychkov, Jukka-Pekka Saraste,
Itzhak Perlman, Paavo Järvi, Rafael Frühbeck
de Burgos, Hannu Lintu, and Peter Oundjian.
His festival appearances include Verbier, Ravinia,
Lockenhaus, Pablo Casals, Colmar, Jerusalem,
and the North Shore Chamber Music Festival
in Northbrook, Illinois, which he founded with
pianist Angela Yoffe, his wife and longstanding
recital partner.
Following highly acclaimed recent performances
with Berlin Philharmonic and Cleveland Orchestra,
the 2015–16 season will see Mr. Gluzman making
first appearances with the Boston Symphony at the
Tanglewood Festival under Christoph von Dohnányi
and with the National Symphony in Washington
under Andrew Litton. He also performs with the
Gewandhaus Orchestra conducted by Riccardo
Chailly; the Konzerthausorchester Berlin; the City
of Birmingham Symphony Orchestra; L’Orchestre
de la Suisse Romande; the Detroit, Oregon, and
Luzern Symphonies; as well as the Philharmonic
Orchestras of Dresden, Stuttgart, St. Petersburg,
and Monte Carlo. Mr. Gluzman will also appear in
recitals in London, Jerusalem, Lyon, and Kronberg.
He will lead performances with the Moscow
Virtuosi, Sinfonietta Cracovia, and Vancouver
Symphony, and will continue his collaboration with
the ProMusica Chamber Orchestra in Columbus,
Ohio, as Creative Partner and Principal Guest Artist.
Vadim Gluzman has given live and recorded
premieres of works by composers such as Giya
Kancheli, Peteris Vasks, Lera Auerbach, and Sofia
Gubaidulina. In 2016 he will give the worldpremiere performances of a major work by Lera
Auerbach for violin, orchestra, and chorus with the
Bergen Philharmonic Orchestra and the Orchestre
de la Suisse Romande, culminating with BBC
Symphony at the London Proms.
Mr. Gluzman’s latest CD features Sergei Prokofiev’s
Violin Sonatas No. 1 and 2 as well as three
transcriptions from Romeo and Juliet. Accolades
for his extensive discography under the exclusive
contract with BIS Records include the Diapason
d’Or of the Year, Gramophone’s Editor’s Choice,
Classica Magazine’s esteemed Choc de Classica award,
and Disc of the Month by The Strad, BBC Music
Magazine, ClassicFM, and others.
Born in the former Soviet Union in 1973, Vadim
Gluzman began violin studies at age seven.
Before moving to Israel in 1990, where he was
a student of Yair Kless, he studied with Roman
Sne in Latvia and Zakhar Bron in Russia. In the
U.S. his teachers were Arkady Fomin and, at the
Juilliard School, the late Dorothy DeLay and
Masao Kawasaki. Early in his career Mr. Gluzman
enjoyed the encouragement and support of Isaac
Stern, and in 1994 he received the prestigious
Henryk Szeryng Foundation Career Award.
Vadim Gluzman plays the extraordinary 1690
“ex-Leopold Auer” Stradivari, on extended loan
to him through the generosity of the Stradivari
Society of Chicago.
program notes
Overture to The Creatures
of Prometheus, op. 43
LUDWIG VAN BEETHOVEN
Born in Bonn, baptized December 17, 1770;
died in Vienna, March 26, 1827
Beethoven put aside work on his Second Symphony
in 1800 when he received an important and
unexpected commission for a ballet designed
by the famous ballet master Salvatore Viganò,
to be presented at the Burgtheater in Vienna.
Beethoven was thrilled to be composing for
the court stage and enthusiastically embraced
the scenario of the Greek Prometheus myth,
reinterpreted in the spirit of the Enlightenment.
The Prometheus of myth is severely punished
for stealing fire from the gods and giving it to
humans. In the ballet he brings two statues to
life and enlightens them with knowledge and art.
Instead of depicting the prolonged martyrdom of
Prometheus, the ballet presents his death, rebirth,
and the subsequent celebration of his creatures,
who begin to understand his heroism.
The Creatures of Prometheus opened on March
28, 1801, for twenty-eight performances, a
modest success compared to other ballets, but
ironically, as pointed out by David Wyn Jones,
the largest number of public performances of
any of Beethoven’s works in his lifetime. The
ballet has hardly ever been revived, though
Constantin Floros was able to reconstruct most
of the choreography in the 1970s. Nor has
Beethoven’s complete music—an overture and
seventeen numbers—become a feature of concert
programs. Had audiences remained familiar with
the entire piece they would have recognized its
importance to the Eroica Symphony: not only do
the variations of the Eroica finale share the theme
of the ballet’s final section, but other movements
borrow from the ballet as well. Like the more
commonly cited Symphony, the ballet plays an
important role in Beethoven’s self-proclaimed
“new artistic path,” in the symbolism of heroism,
and in the composer’s struggle against his own
physical suffering from increasing deafness.
might also be perceived in the opening chord of
the solemn introduction and the configuration
of the first and second themes. As with many
overtures in sonata form, Beethoven skirts a real
development, offering elaborated material to
close the exposition and a brilliant coda.
Beethoven began composing his celebrated A
major Symphony in 1811, completing it in
May of the following year. He conducted the
premiere in Vienna on December 8, 1813, at
a crowd-pleasing concert that also featured his
Wellington’s Victory and two marches played by
an automatic trumpeter and panharmonicon (a
colossal mechanical instrument that imitated
orchestral sounds). These machines had been
invented by Johann Mälzel, famous for his
refinement and patenting of the metronome.
Though the concert was a success both musically
and financially, the Seventh Symphony could
hardly compete with the program’s more spectacular
companion pieces. Nevertheless, the Symphony
was well received and the Allegretto had to be
encored on the spot—such repetition of individual
movements even before the performance of the
work was completed was a common practice in
the days before recordings. The entire performance
was repeated on December 12, much to
Beethoven’s pleasure.
Only the Overture has survived in the concert
hall. Setting the scene rather than previewing
all the events of the story, the Overture focuses
on the ballet’s concluding section, from which it
draws its effervescent main theme and possibly
its contrasting second theme from certain triadic
motives. Connections to the First Symphony
program notes
Composer and violinist Louis Spohr was present
and later wrote of “Beethoven’s uncertain and
sometimes ludicrous conducting.” The composer
would crouch well beneath the music stand
in soft passages and leap into the air for loud
ones. Because of Beethoven’s advanced state of
deafness these moves were occasionally ill-timed,
demonstrating again that the tempos he heard
in his head were hard to realize. His metronome
markings have caused great debate in this regard.
The Symphony’s outward simplicity and joie
de vivre mask a wealth of details that proclaim
Beethoven’s sophisticated and ingenious art of
construction. At the time of composition, the
slow introduction was one of the longest in the
repertoire. It serves to present the harmonic
vocabulary for the entire Symphony—Beethoven
takes third-related excursions to keys outside
the home key’s normal sphere of influence. The
ensuing Vivace also contains brief passages in keys
quite removed from the main tonality. Another
unusual feature is the Symphony’s forgoing of a real
slow movement, presenting instead an Allegretto
for the second movement. Beethoven outdid
himself in the third movement, Presto, which is
an elaboration of the scherzo-trio idea, containing
not one but two “middle” sections, in the form
A-B-A-B-A-coda. His brief coda alludes to the
B section yet a third time as if to say jokingly,
“Here we go again,” but then the movement is
suddenly over.
The rhythmic momentum accumulated in the
Presto and Allegro con brio is no less masterful
for being self evident. Again Wagner’s reference to
the dance comes to mind. The Symphony, in fact,
has been choreographed on several occasions—
by Massine, Isadora Duncan, and the Ballet
Russe de Monte Carlo.
To each his or her own, however: the composer
Vincent d’Indy heard and imagined the Seventh
Symphony as “nothing else than a pastoral
symphony. The rhythm of the piece has nothing
of the dance about it; it would seem, rather, to
come from the song of a bird.”
With all the superlatives that are now heaped
upon the Seventh Symphony, it is incredible—
and smile provoking—to look back on a time
when it was not so universally admired. The
following appeared in the London Harmonicon
in 1825 (quoted in Slonimsky’s Lexicon of Musical
Invective, 1953):
Beethoven’s Seventh Symphony … is a
composition in which the author has indulged
in a great deal of disagreeable eccentricity. Often
as we now have heard it performed, we cannot
yet discover any design in it, neither can we
trace any connection in its parts. Altogether,
it seems to have been intended as some kind
of enigma—we had almost said a hoax.
But perhaps the most salient elements of the
Seventh Symphony are rhythmic, leading Wagner
to describe the work as the “Apotheosis of the
Dance.” Beethoven was fascinated with rhythmic
devices, sometimes to the exclusion of all other
factors, including melody. A prime example occurs
in the first movement in the bridge between the
introduction and the Vivace, where for nine
full bars the only note sounded is a reiterated
E, echoed by winds and strings in prolonged
suspense. The Vivace itself contains several themes,
almost all permeated by the contagious germinal
dotted rhythm.
The second movement, Allegretto, opens with
a passage also predominantly rhythmic. The
subsequent countermelodies and contrasting
sections render the movement beautiful, yet the
incessant rhythmic “cell” of the opening is almost
always present side by side with the lyric subjects.
The oft-repeated assertion that the twenty-sixyear-old virtuoso Franz Clement (former child
prodigy for whom the work was composed) sightread the first performance from the manuscript
rings slightly untrue, since Clement probably
had discussed the Concerto as it progressed
Beethoven’s Violin Concerto is possibly the most
beloved violin concerto of all time. It is one of
his most sheerly beautiful compositions, yet it
was not a great success at its premiere. Beethoven
was notorious for completing compositions at the
last possible moment, and the Concerto was no
exception. According to his friend and pupil Carl
Czerny, he finished the score only two days before
the performance, frequently filling all four extra
staves that he had left empty on each page in the
manuscript with revisions to the solo part.
program notes
with Beethoven. Moreover Clement was noted
for his phenomenal memory and had probably
played parts of it before. Nevertheless, a hastily
prepared performance surely detracted from its
merits. The Concerto must also have suffered
from comparison with the sensationalism of
surrounding numbers on the program. A benefit
for Clement himself, the concert included a
composition of his own on one string with the
violin held upside down.
The version of the solo part generally played today
is one that Beethoven sanctioned—Beethoven
scholar Alan Tyson has shown that Beethoven
corrected proofs for that edition. Yet no manuscript
for that version exists; Beethoven left two strikingly
different versions: one seemingly more original and
untouched by advice from Clement or another
party, and one more idiomatic for the violin and
less technically difficult. The edition that is usually
used lies somewhere in between. One hundred
forty-one years after the fact, both manuscript
versions were published, which answered many
questions, yet the mystery still remains about
the formulation of the first printed edition.
The beginning of the Concerto is one of
Beethoven’s most inspired and famous: five soft
beats of the timpani usher in the calm, radiant
first theme played by the winds. If such a thing is
possible, the four unaccompanied, unharmonized
repeated D-sharps that follow are even more
wondrous. Beethoven’s first sketches show that he
initially thought of them as E-flats; as D-sharps,
however, their function is unusual since the
voice-leading avoids traditional resolutions.
The slow movement opens with a simple chordal
(almost choral) theme in muted strings. A series
of beautiful variations follow, culminating in
a cadenza that leads directly into the merry
rondo finale. The great English writer on music
Donald Francis Tovey called the slow movement
a case of “sublime inaction”:
The point … is that a set of strict variations,
confined to a melody with none but its
own local modulations, and with no change
from major to minor and no change of
time, constitutes a scheme in which there
is no action; or at all events, which is in so
dreamlike a state of repose that it is impossible
to bring the movement to any conclusion
except that of a dramatic interruption. … The
whole point of this slow movement is that it
cannot end.
The dancelike finale, a so-called sonata-rondo
because it incorporates elements of both forms,
closes the Concerto with infectious merriment.
The contrast afforded by the episodes includes
the unusual combination of bassoon and solo
violin taking turns playing a minor-key folklike
melody. We also find luscious little arching
phrases—each time with the second higher
than the first—which change colors between
major and minor. Beethoven provided a space
for a cadenza in all three movements, though
he did not write out any himself. Those most
frequently played are by Ferdinand David,
Joseph Joachim, and Fritz Kreisler.
An interesting historical footnote is that Beethoven
arranged the Violin Concerto for piano and
orchestra after much badgering by Muzio
Clementi, and for this version he did write
out all the cadenzas. The cadenza for the first
movement is particularly striking in that it is
written for piano with “timpani obbligati,” a
novelty without precedent, but which is surely
an outgrowth of the importance of the timpani
at the opening of the Concerto.
A WALL OF
SOUND
APRIL 3, 2016,
AT 3:00 PM
DONALD PORTNOY,
ARTISTIC DIRECTOR/
CONDUCTOR
PORTER CENTER,
BREVARD COLLEGE
SAMUEL BARBER
FRANCIS POULENC
William Bates, organ
Adagio for Strings, op. 11
Concerto for Organ, Strings, and
Timpani in G minor
Andante—Allegro giocoso—
Subito andante moderato—Tempo allegro,
molto agitato—Très calme, lent—
Tempo de l’allegro initial—
Tempo d’introduction: Largo
Mr. Bates, organ
INTERMISSION
FELIX MENDELSSOHN
Symphony No. 4 in A major,
op 90,“Italian”
Allegro vivace
Andante con moto
Con moto moderato
Saltarello: Presto
TO D AY' S CON CERT IS SPONSOR E D B Y D R . A ND M R S . BAR RY H . BO D I E .
about the artist
WILLIAM H. BATES
A
native of Texas, William H. Bates earned
his Bachelor of Music degree in organ and
church music, his Bachelor of Arts degree
in music theory from Howard Payne University,
and both the Master of Music and the Doctor of
Music degrees in organ performance at Indiana
University. During his career, Mr. Bates presented
recitals and workshops for churches and American
Guild of Organists (AGO) chapters throughout
much of the United States and for a number of
music conventions, including national meetings
of the AGO and the Organ Historical Society.
He also played recitals in Europe, including
those at Notre Dame Cathedral in Paris and
King’s College in Cambridge, England. Before
his retirement he contributed articles and reviews
to The American Organist, The Diapason, The
Journal of the American Liszt Society, and BACH:
Journal of the Riemenschneider Bach Institute.
Several of Mr. Bates’s choral works are available
from Hinshaw Music (Chapel Hill, North
Carolina), and six organ collections have been
printed by Concordia Publishing House. His
Sonata Breve is his first work to be published
by MorningStar Publishers. From August 1978
through May 2011 he taught at the University
of South Carolina in Columbia, where he
held the position of professor of organ and
music history. He also served as associate dean
and director of graduate studies for the music
school. He was called back to teach music
history during the 2011–12 academic year, thus
boosting his academic teaching career to forty-six
years. In 2012 he was named a recipient of the
Oswald Gleason Ragatz Distinguished Organist
Alunnus Award at the Jacobs School of Music,
Indiana University.
program notes
SAMUEL BARBER
Born in West Chester, Pennsylvania, March 9, 1910;
died in New York City, January 23, 1981
In an idyllic spot near Salzburg in the summer of
1936, Barber composed his String Quartet in B
minor, op. 11. He arranged the slow movement
for string orchestra in 1937 in the hopes that
Toscanini would perform it during the next season
with the NBC Symphony Orchestra. The great
conductor did indeed perform it, on November
5, 1938. Titled simply Adagio for Strings, the
work has since become Barber’s most popular
and frequently performed piece. Often played at
funerals, in restaurants, in commercials, and on
soundtracks, the Adagio reached a wide audience
in the 1986 movie Platoon, though many have
suggested that Barber would have objected to its
use as the backdrop to such violence.
The movement’s soaring quality is enhanced
by the fact that its key (B-flat minor) is never
explicitly confirmed; the piece even closes on an
open-ended note of resignation. The Adagio’s
single, beseeching theme is introduced by the
first violins, taken up by each string section,
and built to one of the most sublime climaxes in
the repertoire. Following a pause the movement
subsides pensively.
Concerto for Organ, Strings,
and Timpani in G minor
FRANCIS POULENC
Born in Paris, January 7, 1899;
died there, January 30, 1963
Dubbed “Les Six” in 1920 by critic Henri Collet,
a group of young French composers—Georges
Auric, Louis Durey, Arthur Honegger, Darius
Milhaud, Francis Poulenc, and Germaine
Tailleferre—strove for clarity, simple diatonic
harmonies, and down to earth subjects as a
reaction against the excesses of Romanticism
and Impressionism. Certain qualities of
lightheartedness and impertinence through the
use of “dance hall” tunes and nose-thumbing
dissonances contributed to some of their styles,
particularly Poulenc’s, which often resembled the
Neoclassic tendencies of Stravinsky, Prokofiev,
and Hindemith at about the same time. Poulenc
maintained elements of this style throughout his
life, but in 1936, the year he began composing
the Organ Concerto, a new seriousness appeared
in his works as a result of a religious reawakening.
Poulenc himself explained the nature of the
Concerto, which he completed in 1938:
The Organ Concerto occupies an important
place in my oeuvre, alongside my religious
music. Properly speaking, it is not a “concerto
da chiesa” [church concerto], but, in limiting
program notes
the orchestra to strings and three timpani,
I made performance in a church possible. If
one wishes to have an exact idea of the serious
side of my music, one must look here, as
well as in my religious works.
Poulenc’s friendship with the great harpsichordist
and Baroque interpreter Wanda Landowska also
had its effect upon the Concerto, for he credited
her with firing his enthusiasm for the music of
the great seventeenth-and eighteenth-century
composers. That he turned to Johann Sebastian
Bach and Dietrich Buxtehude while composing a
work for organ comes as no surprise, and several
commentators have noted the resemblance of
the opening to Bach’s G minor Fantasia, BWV
542, a piece Poulenc requested to be played at his
own funeral. In constructing a single-movement
piece configured in contrasting sections he
was also following Baroque form, as found
in various fantasias of Buxtehude. Thus the
description “neo-Baroque” fits this Concerto
more accurately than “Neoclassic.”
Poulenc was advised on the organ registration by
Maurice Duruflé, an important composer in his
own right and a masterful organist, who gave the
premiere on June 21, 1939—not in a church but in
the Salle Gaveau on a La Sérénade concert—with
the Orchestre Symphonique de Paris conducted
by Roger Désormière. Often organ works leave
registral decisions up to the performer, but here the
registration is prescribed in the score. By singling
out the strings for his accompaniment, Poulenc
gives them a prominence they do not typically
enjoy in his concertos; the inspired addition of
the timpani lends dramatic color.
The Concerto is laid out in seven sections,
delineated by change of tempo and mood.
Poulenc focuses particularly on the third section,
Andante moderato, not only by virtue of length
but by its relatively extended opening organ solo,
which incorporates some of his rare counterpoint.
Though the Organ Concerto might occasionally
evoke the dance hall or the fair, it always returns
to the serious vein. The concluding Largo recalls
the work’s “Bachian”opening.
Symphony No. 4 in A major,
op. 90, “Italian”
FELIX MENDELSSOHN
Born in Hamburg, February 3, 1809;
died in Leipzig, November 4, 1847
While on an extended visit to Italy in 1830,
Mendelssohn wrote home to his family that he
was making rapid progress on a symphony, which
he already referred to as the Italian. “It will be
the jolliest piece I have so far written, especially
the last movement. I have not yet decided on
the adagio and I think I shall wait until I get
to Naples.” He was concurrently working on
his Scottish Symphony, which together with
other distractions kept him from returning to
the Italian until spurred on by a commission
from the London Philharmonic Society in
November 1832.
Mendelssohn completed the work in time for
the Society’s scheduled premiere on May 13,
1833, in London’s famed Hanover Square
Rooms, where Haydn’s symphonies had met
with such success forty years earlier. Not only
did Mendelssohn conduct his new Symphony,
but he performed the solo part of Mozart’s D
minor Piano Concerto. His playing and his new
program notes
work met with enthusiastic approval from the
audience, which included the delighted violin
virtuoso Paganini. Mendelssohn himself, however,
had reservations about the Symphony and began
revising it. He died having never performed it
again nor publishing it, still intending further
alterations. Commentators have wondered ever
since what he could have possibly objected to in
this masterpiece.
The inspired opening, with its exuberant main
theme set against fast, repeated wind chords,
launches a traditional sonata form. The standard
framework, however, contains a wealth of
ingenuities, such as the little closing theme
that leads to the repeat of the exposition and
a decisive new theme, treated fugally in the
development. Mendelssohn cleverly includes the
“fugue” theme in the second theme group in the
recapitulation and his coda promotes the little
closing theme from the exposition.
Tradition has it that the main theme of the
second movement recalls a religious procession
Mendelssohn had seen in Naples. But, as
biographer Eric Werner suggested in the 1960s,
Mendelssohn may have been paying tribute,
consciously or unconsciously, to his former
teacher—the theme resembles Carl Zelter’s
song “Es war ein König in Thule” (There was a
king in Thule). A striking effect is created at the
repetition of the melody by the scoring for
violins and flutes, which distinguished music
scholar Donald Francis Tovey called “one
of the most delightful tours de force in all
modern orchestration.”
Mendelssohn chose the grace of a minuet rather
than the bustle or wit of a scherzo for his third
movement. The trio features the horns and
bassoons in a reduced texture typical of trios in
Classic period minuets. Here they evoke a fairytale world so often associated with Mendelssohn.
The “jolliest piece” Mendelssohn said he had ever
written makes an exhilarating conclusion to the
Symphony by presenting a saltarello, an Italian
leaping dance, followed by a theme featuring
the running eighth notes of a tarantella. But the
most staggering notion behind the movement is
that Mendelssohn chose the tonic minor key for
his merriment, ending his A major Symphony in
the key of A minor. Thus the Italian Symphony
constitutes one of the great rarities in music:
a work that begins in major but ends in minor—
and victoriously at that.
SWAN LAKE
APRIL 17, 2016,
AT 3:00 PM
DONALD PORTNOY,
ARTISTIC DIRECTOR/
CONDUCTOR
PORTER CENTER,
BREVARD COLLEGE
Inbal Segev, cello
Swan Lake Suite, op. 20a
Scène
Valse
Danse des cygnes
Scène
Czardas: Danse hongroise
Danse espagnole
Danse napolitaine
Mazurka
INTERMISSION
EDWARD ELGAR
Cello Concerto in E minor, op. 85
Adagio; Moderato
Lento; Allegro molto
Adagio
Allegro; Moderato; Allegro, ma non troppo
Ms. Segev, cello
TOD AY ’S C ONC E RT I S SPONSOR E D BY
K ARL A ATK I N SO N, J I NKS R A M SEY, A ND M A RY S . S AU E RT E I G
I N M E M ORY OF R E NE E B R AU N .
about the artist
INBAL SEGEV
I
nbal Segev’s playing has been described as
“characterized by a strong and warm tone …
delivered with impressive fluency and style,”
by The Strad, and “first class,” “richly inspired,”
and “very moving indeed,” by Gramophone.
Equally committed to new repertoire for the
cello and known masterworks, Ms. Segev brings
interpretations that are both unreservedly
natural and insightful to the vast range of solo
and chamber music that she performs. She is
currently recording all of Bach’s cello suites at
the Academy of Arts and Letters in New York
City for release in September 2015. Audiences
will have the opportunity to look behind the
scenes at the making of her album through a
companion documentary currently being filmed
about her journey through the music of Bach.
In February 2015, she made the world-premiere
recording of Lucas Richman’s Three Pieces
for Cello and Orchestra with the Pittsburgh
Symphony Orchestra for release in the fall
of 2015. Her discography also includes cello
sonatas by Beethoven and Boccherini (Opus
One), Bloch’s Nigun (Vox), and Max Schubel’s
Cello ConcertoCello (Opus One). With the
Amerigo Trio she has recorded serenades by
Dohnányi (Navona).
artists such as Emanuel Ax, Agustin Dumay,
Pamela Frank, Gilbert Kalish, Michael Tree, and
the Vogler Quartet at venues and festivals across
North America, Europe, and Israel. She has toured
the U.S. with the American Chamber Players
Ms. Segev’s repertoire includes all of the standard since 2003 and previously played with the Jupiter
concertis and solo works for cello, as well as Chamber Players.
new pieces and rarely performed gems. She has
premiered cello concertos by Avner Dorman, Ms. Segev’s many honors include the AmericaMax Schubel, Maximo Flugelman, and Lucas Israel Cultural Foundation Scholarship and
Richman. Composer Gity Razaz just wrote a top prizes at the Pablo Casals International
new multimedia piece for her, Legend of Sigh, C o m p e t i t i o n , t h e Pa u l o I n t e r n a t i o n a l
which premiered in the spring of 2015. Ms. Competition, and the Washington International
Sebev has performed as soloist with orchestras Competition. She began playing the cello in
including the Boulder Chamber Orchestra, Israel at age five and at sixteen was invited by
Helsinki Philharmonic, Radio Symphony of Isaac Stern to come to the U.S. to continue her
Helsinki, Reutlingen Symphony, Dortmund studies. She earned a bachelor’s degree from the
Philharmonic, the Orchestre National de Lyon, Juilliard School and a master’s degree from Yale
the Bangkok Symphony, and with all the major University, studying with noted masters Joel
orchestras of Israel. She made debuts with the Krosnick, Harvey Shapiro, Aldo Parisot, and
Berlin Philharmonic and Israel Philharmonic, led Bernhard Greenhouse.
by Zubin Mehta, at age seventeen.
Inbal Segev (pronounced Inn-BAHL SEH-gehv)
Ms. Segev is a founding member of the Amerigo lives in New York City with her husband, and
Trio with former New York Philharmonic three young children. She performs on a cello
concertmaster Glenn Dicterow and violist Karen made by Francesco Ruggieri in 1673.
Dreyfus. In addition, she has collaborated with
program notes
Born in Kamsko-Votkinsk, Vyatka province, May 7, 1840;
died in St. Petersburg, November 9, 1893
In 1871 Tchaikovsky spent a particularly
pleasant summer break at his sister’s home in
Kamenka, where he loved to dream up family
activities for his nieces and nephews. This was
most likely when he composed his little ballet
on the subject that several years later would
become his first full-length ballet, Swan Lake.
Tchaikovsky’s nephew Yury left a delightful account
of this production, for which Tchaikovsky’s
brother Modest danced the role of the Prince, his
ten-year-old niece Tatyana presumably danced
Odette, seven-year-old Anna played a cupid,
Uncle Vasily Davidov designed the scenery—
which included several large wooden swans—and
Tchaikovsky himself demonstrated the steps
and pirouettes required of the dancers.
When Tchaikovsky received a commission for
a ballet in the spring of 1875, he doubtless
remembered the subject of this family
divertissement. He may have even borrowed
some of its music—most likely the iconic oboe
theme representing the swans—though no proof
exists. Two other early works provided themes
for Swan Lake—his failed first opera, Voyevoda,
and his ill-fated second opera, Undine, which
was initially accepted but never produced.
Busy with other projects, Tchaikovsky eventually
completed Swan Lake late in April 1876. The
premiere on March 4, 1877, at Moscow’s Bolshoi
Theater met with a distinct lack of success. Critics
blamed the unimaginative choreography by
Julius Reisinger, the poor scenery and costumes,
the lack of first-rate dancers, the inexperience of
conductor Ryabov—and Tchaikovsky’s score,
though one report noted many beautiful moments.
The orchestra musicians complained of the
music’s complexity, and the dancers were indeed
challenged by Tchaikovsky’s innovations which
required new technical standards.
Though perhaps not a brilliant success, Swan
Lake did stay in the Bolshoi’s repertoire until
1883—in a version mangled with insertions
from other ballets. Tchaikovsky never saw a
satisfying complete performance, but in 1888
he experienced “one brief moment of unalloyed
happiness” at a performance in Prague of the
second act alone. Swan Lake’s great success did
not began until two years after his death when a
new production was mounted with the libretto
revised by Modest Tchaikovsky and choreography
by Marius Petipa and Lev Ivanov. Though still
mutilated by cuts, additions, and reordering,
the music at last began to be recognized for its
daring achievement.
The story revolves around Prince Siegfried, who
must take a bride, and Odette, a princess turned
into a swan by an evil sorcerer. After she and her
swan maidens fly over the Prince’s coming-of-age
banquet, he goes out hunting and finds them
swimming on a nearby lake. When Odette appears
to him in human form, he falls instantly in love.
She confides that they regain their human form
only at night, and the enchantment can be broken
only by a lover who has never pledged himself
to another. The next day at the ball where the
Prince is to choose a bride, he declares his love
to a woman dressed in black whom he mistakes
for Odette. Instead she is Odile, daughter of the
sorcerer, sent to trick him into breaking his vow
to Odette. Devastated, he rushes to find Odette,
who already knows that the spell cannot now
be broken. The original ballet ends with the illfated lovers sinking into the lake, whereas later
productions have adopted endings ranging from
romantic apotheosis to “happily ever after.”
program notes
Tchaikovsky wanted to make a concert suite but
never did, so in 1900 his publisher Jurgenson
published a six-movement suite. A second
version in eight movements appeared in 1954
from Moscow publisher Muzgis, omitting
one of Jurgenson’s numbers and adding three
national dances numbers from the ball scene.
Both suites begin with the haunting oboe solo
over rippling harp figuration that represents
Odette and the swans throughout, heard here
as in the second act. The famous waltz that
follows, full of Tchaikovsky’s captivating rhythmic
ingenuity, originated in the Prince’s birthday
celebration in Act I. The third movement comes
from a variation danced in Act II by four swans
holding hands across their bodies and making
quick steps in exact unison to music with the
quality of a Russian folk dance—rhythmic and
slightly exotic. Fourth is the poignant music for
the moonlit pas de deux danced by Odette and
Siegfried in Act II. Harp effects, violin solos,
and a tender violin and cello duet create the
romantic atmosphere.
A Hungarian czardas with its characteristic
contrasting slow and fast sections follows, taken
from Act III’s ball scene where Siegfried is to
choose his bride from women who have arrived
from many lands. The two suites then diverge,
the eight-movement version continuing with
a Spanish dance replete with castanets and
characteristic rhythms, a lively Neapolitan dance
highlighting the trumpet, and a Polish mazurka
in traditional triple meter with contrasting
sections building up to a brilliant conclusion.
EDWARD ELGAR
Born in Broadheath, near Worcester, June 2, 1857;
died in Worcester, February 23, 1934
The Cello Concerto and the three chamber
works that immediately preceded it—the Violin
Sonata, String Quartet, and Piano Quintet—form
a natural grouping as Elgar’s last major works
and are often discussed as “autumnal” in the
same manner as Brahms’s late works. Indeed,
three of the four are in the same key of E minor,
and all show a certain kind of melancholy—but
Elgar had fourteen more years to live, albeit
producing only minor works. It makes more
sense to link these works with his immense
sorrow over the changes in life brought about
by the First World War, as some have done,
than to regard them as “farewells,” especially
in light of the promise of his Third Symphony,
left incomplete at the time of his death.
The Cello Concerto originated with the theme
of the first movement’s moderato section, which
Elgar jotted down immediately upon returning
home after a tonsillectomy in March 1918.
The first mention of the work in his wife Alice’s
diary, however, did not appear until June of
1919, when Elgar concentrated on the Concerto
at Brinkwells, their cottage in the Sussex
countryside. Cellist Felix Salmond, who had
played in the first performances of the Quartet and
Quintet, visited Brinkwells to try out the Concerto
and offer advice. He was delighted when Elgar
offered him the premiere, which the composer
himself would conduct.
Of this performance on October 27, 1919, critic
Ernest Newman wrote, “Never, in all probability,
has so great an orchestra made so lamentable
a public exhibition of itself.” The root of the
problem lay in the lack of rehearsal time: the
remainder of the program was conducted by
the young Albert Coates, who wanted to make
a big impression with Wagner’s Forest Murmurs,
Skryabin’s Poem of Ecstasy, and Borodin’s Second
Symphony, and left next to no time for Elgar’s
challenging new score. Elgar would have pulled
out, but did not want to disappoint Salmond.
program notes
Despite this fiasco, cellists and audiences soon
embraced the work, ranking it with Dvořák’s as
one of the greatest cello concertos of all time.
The solemn opening recitative for the solo
cello, characteristically marked “nobilmente”
(nobly) by the composer, introduces the lilting
moderato theme in the violas that Elgar first jotted
down. Cello and orchestral string reiterations
bring the piece’s first climax, which subsides
into the gently loping second theme (clarinets,
bassoons, and violins). Elgar opts for only brief
developmental passages before initiating his
newly scored recapitulation.
A reminiscence of the opening recitative brings
a hesitant trial of the main theme of the scherzo,
which soon erupts in a plethora of flitting
repeated notes. Occasional tuneful snatches insert
themselves only to be banished by the prevailing
animated motion.
Elgar’s friend William H. Reed, consultant on
the Violin Concerto and founding member of
the London Symphony Orchestra, considered
the composer “the only man who can write a
slow movement,” and this Adagio is one of pure
poetry. The wistful rising lines bring a lump to
one’s throat, intensified by several exquisitely
placed leaps, an impassioned central passage,
and an ending that is left up in the air.
The finale opens with martial vigor, halted by
the solo cello in another recitative. The march
resumes, however, and a lighthearted rondo
ensues—up to a point. The mood becomes
introspective and Elgar introduces a series of
heartrending phrases that finally bring him to
reminisce about the Adagio. The Concerto’s
opening recitative enters boldly and the work
concludes in a defiant, martial rush.
brevard philharmonic personnel
VIOLIN
Kristine Fink Candler,
concertmaster
Ralph Congdon,
co-concertmaster
Renee Bresler,
assistant concertmaster
Paul Stroebel,
principal second violin
Joanne Cohen
Karen Entzi
Lorraine J. Fink
Fred Granros
Cheryl Hagymassy
Kendall Hale
Lynn Killian
Jorge Rodriguez Ochoa
Nyamsaikhan Odsuren
Stephanie Quinn
Emily Shaad
Christopher Stevens
Carolyn Tackett
Michele Tate
Aleta Tisdale
Madeline Welch
VIOLA
Nancy Steffa, principal
Kirsten R. Allen
Daphne Bickley
Lucie Fink
Diane Houle
Michael Lancaster
Emily Shelton Poole
William O. Thomas
Carla Wright
VIOLONCELLO
Jim Lestock, principal
Marie Cole
Carol Beck
Nancy Bourne
Aaron Coffin
Megan Gangwer
Norman Malenke
Kelly Piepho
John Steffa
DOUBLE BASS
Leo Bjorlie, principal
Michael DeTrolio
Bill Fouty
Keith Freeburg
David Lawter
Sarah Nichols
Trevor Stoia
FLUTE
Candace Norton, principal
Linda Lancaster
PICCOLO
Linda Threatte
OBOE
Emily Scheider, principal
MaryAllyeB Purtle
CLARINET
Matthew Hanna, principal
Brian Hermanson
BASSOON
Jennifer Anderson, principal
Rosalind Buda
Karen Molnar
Will Peebles
FRENCH HORN
Rex Gallatin, principal
Anthony Ammons
Christopher Caldwell
Julie Ledford
TRUMPET
Larry Black, principal
William Shank
Peter Voisin
TROMBONE
Zsolt Szabo, principal
L. Rienette Davis
BASS TROMBONE
Matthew Anderson
TUBA
Michael Schallock
TYMPANI
Byron Hedgepeth, principal
Brian Tinkel
PERCUSSION
Linda Carrillo, principal
Christopher Davis
Andrew Knauer
Justin Mabry
Brian Tinkel
KEYBOARD
Patricia Black
HARP
Claire Stam
2015 contributors
W
e invite you to partner
with the Brevard
Philharmonic and
help support its mission of creating
and providing the finest possible
orchestral music. The combination
of gifts from all sources assists the
Brevard Philharmonic to serve the
cultural and educational needs of
the entire regional community.
Gifts as of 7/28/15
directors circle
$10,000 and above
Audrey Love Charitable
Foundation
producers
$5000-$9999
Dr. & Mrs. Barry H. Bodie
Jacquelyn & Bruce Rogow*
Renee Bresler & Wayne Steifle*
underwriters
$2500-$4999
Paul & Polly Averette*
John & Kristine Candler*
Ted & Carolyn Fredley*
A. Stuart Fendler Family Trust
Hampton Inn
Dolores Seiler
Ed & Aleta Tisdale*
patrons
$1000-$2499
Karla Atkinson*
Adelaide Blake
David & Paula Bonner*
Margot Braun
Jon Braun
In memory of Renee Braun
Linda & Allen Delzell
Dugan’s Pub
Ted & Carole Futrelle*
Fred & Nancy Granros*
Barbara Hammock
Harriet Peacock
Virginia W. Ramsey*
Mary S. Sauerteig*
Arthur & Carole Schreiber
Mr. & Mrs. Charles Taylor*
benefactors
$500-$999
Anonymous (2)
Carol Beck
Ginny & Warren Bedell
Nancy Bourne
John Cunningham & Jay Langlois
Marguerite J. Dinehart
Lyn & Bill Edmonds
Bill & Geri Hambley*
William Holmes
Carolyn Mills*
Gus & Margaret Napier
Bob & Inez Parsell*
Ronnie & Pete Peterman*
Jim & Gloria Sanders*
Michael & Diane Schallock
Aleen Steinberg
Ruth Waugaman
Thomas Williamson
sustainers
$250-$499
Asheville Savings Bank
John & Linda Austin*
Gene & Sally Baker*
Mr. Russell Chappell
Lucille & Peter Chaveas
Citizens Telephone Company
Chuck & Edie Dunn
Ann Farash
Kris Fulmer
Ty & Kady Hendrix*
Dr. & Mrs. Luke M. Kitahata*
Lynn & Larry Klein
John Luzena
Mike & Harriette McLain
Jackson & Ann Parkhurst
Alex Sabo & Marge Wendel
Robert & Nancy Scharsich*
Dorothy Semans*
Smith Systems, Inc.
Aleen Steinberg
TCARTS
Ellie Vibert*
Richard & Lucee Wallace
Charitable Fund
Hobart Whitman
Bruce & Monica Williams
supporters
$100-$249
Anonymous (6)
Ace Hardware
Adele & Andy Anderson*
Karla Atkinson*
In honor of Jinks Ramsey’s Birthday
Dorothy Bauer*
Michael & Susan Becker*
Tom Bindrim & Joan Lemire
Richard & Susan Bir*
Bert & Dorothy Blair
Joanna Bliss
Charles & Gail Blunt*
Ms. Peggy Bogardus
Pam Brannon
Charles & Jean Brendle
Anne & Grant Bullard
Carol & John Carrano*
Jane & Dan Carter*
JC Cecconi
Dorothy Chapman
Leslie & Kenneth Chepenik*
Gilbert & Faye Coan
Chloe Coger*
Arthur & Leslie Cole
Bob & Karen Cole*
Robert & Ann Commarota
Frank & Elizabeth Creech*
Hope W. Cushman*
Diane Daniel
Sadye Davenport*
Jane Davidowski & Ted Wesemann
Mr. & Mrs. Michael DiRocco*
Jan & Mary Dryselius*
Dugan’s Pub
Clay Edwards
Sid & Carol Elliott
Paul Feste
Ralph & Kathy Filson
Lorraine Fink*
Larry & Marilyn Fogdall*
Carol Gardner*
Betsy Barefoot & John Gardner*
Jim & Toni Garrett
Phyllis Gillette
Annette Glenn
Anita Goldschmidt*
Goodman Financial Services
Richard & Janet Grey
Karen & John Griggs
Gwynn Valley Camp
Kendall Hale
Sandra & John Harrington*
Mr & Mrs. Harris
John & Carol Helbling
Dana Herrman*
Kent & Catherine Heuser*
Ann Hollingsworth
IBM**
Ann Ives*
In honor of:
Mr. & Mrs. Robert Sargent;
Mr. & Mrs.Ribert McGarry;
Mr. & Mrs. Norman Macoy
Bill & Mary Kay Jennings
Carlene S. Jerome*
David & Lynne Joyce
Adelaide Kersh*
Lynn Killian
Eleanor Kirlin*
2015 contributors
Susan Klopp*
Paul Komar &
Teri Goodall-Komar
Roger & Betty Lamberton*
Linda Lancaster
Bud & Billie Lawing
Laura Ledford*
Mary Lou Leidheiser*
Celeste & Ed Lockard*
Linda Gash Locks*
Al & Demi Loftis
Kim Lott
Dr. & Mrs. Ross D. Lynch*
Virginia MacDonald*
Norman & Sue Macoy*
Main St. Limited
Jean & David Manning*
Hal & Nancy Martin
Lindsay Martin
Jack & Mary Alice McBrayer*
Fred & Pat McGarrahan*
Jack & Peggy McGoldrick*
Betty McIlwain*
Peter McKinney
Ian & Lesley McLachlan*
Horty Menser*
Gretchen Messer
Barbara Meyer*
Gaby & Mike Mikkelson
Roberta & Bob Miller
Paul & Theresa Morgan
Don & Rhae Mozley
David Newmann
John K. Orr
Mr. & Mrs. Jack Parker
Donald & Judith Patrick
Roy Penchansky & Elizabeth Bates
Dee Dee & Jimmy Perkins
Margaret P. Perley*
Nita Porter*
Donald & Karen Portnoy*
Rob Price*
Carlene Ragan*
Elizabeth P. Rahn
Elaine & Arthur Raynolds*
Lucy Reese*
Katinka & Rodney Remus*
Bob & Lucy Rodes
James & Penny Roubion*
Claire Rouse*
Walt & Peggy Schneider*
Betty Scruggs
Lori Shook
Mary Beth Shumate
Paula & Ron Silverman
Virginia Simpson
Stephan & Jeanne Sotkin
Patty & John Stark*
Lila Stewart*
Don & Ellen Stinchcomb
Charles Stohr & Donna Johnston
Anne J. Stoutamire*
Drs. Karol & Bill Strang
Mildred Tanenbaum*
Carole & Frank Taylor*
Tellman
Tempo Music Center
Linda Thompson*
Grace E. Tiffany*
Patricia Tooley*
Susan D. Toscani
Al & Diane Trungale
William Tucker
Ray & Sharyn Tuers
James & Georgiana Ungaro*
Ruth Unger*
United Community Bank
John & Harriett Vanderschaaf*
Cecile Voso*
Mo & Helen Waite
Kenneth & Harriet Walls*
Ian & Rosemary Wedderspoon
Keith & Beverly Wells
Hamilton & Renee Williams
Peter Reilly & Rose Wimsatt*
contributors
up to $99
Anonymous (3)
Don Bieger & Dori Miller
Tony & Linda Brancato
Mr. Arnold Braun
In memory of Adele Chappell
Helen Burnside
Bob Clark
Comporium
Robert & Marite Currier
Saundra Cuyler
Elizabeth & Jeremy Gibbs
Susan Hansel
Carl & Susann Hay
Bernard & Lorraine Heddlesten
Bob & Ann Hoeke
William & Judith Hollenack
Roya June
Ken & Lin Kolb
Chris & Harriett
Newton & Marilyn Lockhart
Dorothy Marlow
Horty Menser
Eleanor Mercer
Daniel Mitchell
James L. Phillips & Elaine B. Long
Ruth & Jack Powers
Larry Maxson
Howard & Jane Shea
Parke Sickler
Charles Van Hagen
Ruth Anne Weisenauer
*C Notes member
**Matching contribution
sponsorships
Living with the Joy of Great Music in Brevard
YOU have the power to insure that YOUR Brevard Philharmonic continues to uphold the standards
set by you and those who came before you in search of affordable, quality, orchestral experiences.
Ticket sales cover only 42% of what it costs to bring you extraordinary live symphonic music, host
international guest artists of distinction, expose each elementary grade of Transylvania County’s
public schools to the elements of a live orchestra—all here in Brevard!
There are many opportunities for YOU to support YOUR Brevard Philharmonic!
Concert and Music Sponsorships
Premiere Concert Sponsorship – $8000+
Your EXCLUSIVE concert sponsorship provides Brevard Philharmonic greater discretion in all
areas of expenditures including repertoire, musicians and guest artists. As Exclusive Sponsor,
you may select a concert of choice (as available at the time of request) and will be prominently
acknowledged for your generosity.
Presenting Concert Sponsorship – $5000
This concert sponsorship will allow Brevard Philharmonic greater flexibility in areas of production and
allows Brevard Philharmonic to continue to bring the varied repertoire and guests to our audience.
As Sponsor you may select a concert of choice, based on availability and you will be recognized
in print and in the lobby of the selected concert. Brevard Philharmonic does not limit Presenting
Concert Sponsorship to a single sponsor.
Music in the Schools Sponsorship – $4000
Your EXCLUSIVE sponsorship of the annual MIS concert will enable all county fifth graders
to experience a live orchestra performance under the direction of Maestro Portnoy in the Porter
Center. Be a part of the event that may change a child’s developing appreciation of the arts!
Concert Sponsorship – $3000
Your sponsorship assists in covering our ever-increasing production and music expenses. Your Concert
Sponsorship will be recognized in print and in the lobby of the selected concert. Brevard Philharmonic
does not limit Concert Sponsorship to a single sponsor.
Musician Sponsorships – $2000
Would you like to sponsor your favorite instrument? This exclusive sponsorship contributes to the
principal player’s stipend and allows your orchestra to hire additional musicians. As Musician Sponsor,
your name will be listed in the program in conjunction with the name of the Sponsored Musician.
Guest Artist Sponsorship – $1500
Your sponsorship of a Guest Artist enables the engagement of established guest artists. As the Guest
Artist Sponsor, you will be recognized in the program book on the appropriate page.
Music Sponsorship – $550
This sponsorship assists in the funding of the ever-increasing cost of renting and purchasing music.
As Music Sponsor, your name will be listed on the appropriate page in the program book.
ADDITIONAL OPPORTUNITIES FOR
SUPPORTING YOUR ORCHESTRA
Like most performing arts organizations, revenue from ticket sales covers
only a fraction of the total expenses for our concerts. If Brevard Philharmonic
makes a difference in your life and you appreciate that we have a year-round
orchestra in our community, please consider supporting Brevard
Philharmonic through one of the following means:
Gift (Bequest) in your will is a gift to be made from your residuary estate. Leaving
a percentage or fixed dollar amount of your residuary estate to Brevard Philharmonic
ensures that the tradition of Brevard Philharmonic continues in our community
for future generations. Your assets remain with you during your lifetime and your
planned giving arrangements are revocable at any time. Your notification of an
intended bequest will be recognized in the Brevard Philharmonic program book as
a Planned Gift.
Corporate Matching Contributions are often available to nonprofit
organizations such as Brevard Philharmonic through matching gifts programs.
Current or retired employees of corporations offering these programs are
encouraged to take advantage of this opportunity, thereby increasing the size of
their gift. This is an easy way for you to potentially double your contribution to
Brevard Philharmonic, and both you and your employer will be recognized in the
program book as having made a matching gift.
For further information please contact the Brevard Philharmonic office at 884-4221
to speak with the president, Carole Futrelle, or the treasurer, Ed Tisdale.
music in the schools
M
usic in the Schools is Brevard
Philharmonic’s very special outreach
program to the elementary school
students of Transylvania County. Through live
performances and demonstrations, many of
which take place right at the County Schools
and Brevard Academy, this program introduces
the students to the four families of instruments
that make up the symphony orchestra.
“Meet the Orchestra” is the kindergarten
program that features four musicians, each
representing a different instrument family. The
musicians play one or more instruments from
their family for the students, showing them the
parts of the instrument and how the sounds
are made. Finally, the four musicians play a
piece together to illustrate the ensemble sound.
The children are also allowed to see and touch
various display instruments.
The woodwinds are the subject of the first
grade program, and the presentation is provided
by Camerata Antiqua, a local well-known
professional recorder ensemble. Thanksgiving
and medieval times have both been themes
in past presentations, with the musicians
wearing costumes and playing songs that match
the theme. They discuss the history of wind
instruments from ancient to modern times and
play on a wide variety of recorders.
Due to the enormous size of the percussion
family, Scott Concert Hall is the setting for the
second grade percussion program. All second
graders in the county (including private and
home schooled) are invited to the Porter Center
for an exciting demonstration of many percussion
instruments presented by the Brevard College
Percussion Ensemble. In addition, Tim Shepard,
director of music at First United Methodist
Church, plays and explains about the Porter
Center’s impressive pipe organ. The children
are thrilled by both performances as well as the
concert hall experience.
Third graders are treated to a presentation of the
string family by the Opal String Quartet, a local
well-respected professional string quartet whose
members also play in area orchestras, including
the Brevard Philharmonic. The students, now
in their fourth year of Music in the Schools
presentations, enjoy learning the history of
the violin family (and bows) and hearing the
sound of the different instruments in their
various registers. The students even get a chance
to compose their own pieces on the spot and
hear their compositions played by the quartet!
The string family presentations are sponsored
by Jacquelyn and Bruce Rogow.
The brass family is introduced to the fourth grade
by Pyramid Brass, a local well-known professional
music in the schools
The Virginia W. Ramsey Fund for
Music in the Schools
The Virginia W. Ramsey Fund for Music
in the Schools was created with gifts from
Brevard Philharmonic Board members and other
community friends to acknowledge Virginia
(Jinks) Ramsey’s efforts to develop an educational
outreach program for the elementary school
students in the Transylvania County Schools.
brass quintet whose members also play in the
Brevard Philharmonic. The program, sponsored
by Jacquelyn and Bruce Rogow, covers the history
of brass instruments and how the sounds are
produced, including the physics of low and high
notes. And it turns out that even a coiled garden
hose can be a brass instrument when played by
these musicians!
On March 4, 2015, the Brevard Philharmonic
presented its second full orchestra concert
experience at the Porter Center for all county
fifth graders, including private and home
schooled. Both Prokofiev’s Peter and the Wolf
and Haydn’s Toy Symphony were performed.
The toy instruments parts were played by
Carolyn Smith’s Pisgah Forest Elementary
School fifth graders and they were wonderful!
On March 2, 2016, Brevard Philharmonic
presents its third full-orchestra experience at
the Porter Center for all County fifth graders
in a concert sponsored by Jacquelyn and Bruce
Rogow. BP is proud of completing its mission
to reach all county elementary school students
with the addition of this fifth grade program to
Music in the Schools.
The Virginia W. Ramsey Fund for Music in
the Schools will help provide financial support
for continuing the MIS program in its entirety.
Ramsey commented that this Philharmonic
program is the only outreach program in the
county that provides a sequenced, in-school,
educational program that introduces local
elementary school children in each grade to live
classical music.
“For many children in our schools, this is the first
time they have ever heard this kind of music in
a live performance. It is our hope that our MIS
program, with a different focus at each grade
level, will plant the seeds for participating in and/
or enjoying orchestral music as they continue
their education,” Mrs. Ramsey said.
Our deepest appreciation to the following for
their generous contributions: Karla Atkinson,
Mary Sauerteig, Renee & Arnold Braun, Renee
Bresler & Wayne Steifle, Kristine & John
Candler, and the Ramsey family.
For more information about the orchestra’s new
fund, please contact Philharmonic President
Carole Futrelle at 884-4221, or visit the orchestra’s
web site at www.brevardphilharmonic.org.
We are indebted to our very supportive teachers
and staff, Sarah Moser, Laura Sullivan, Carolyn
Smith, Derrick Gardner, and Juli Lefler; to
the program founders, Renee Braun and Jinks
Ramsey; and to all the MIS volunteers including
MIS coordinators Mary Beth Shumate (Brevard
Philharmonic board member) and Aleta Tisdale
(Brevard Philharmonic member). MIS Program
sponsorship over the years includes C Notes, a
North Carolina Arts Council Grassroots Grant
through the Transylvania Community Arts
Council, Jacquelyn and Bruce Rogow, and other
generous BP donors.
2015-2016 season
SEPTEMBER 13, 2015 – TCHAIKOVSKY PIANO CONCERTO
© Andrea Joynt
2015-2016 season
Brevard Philharmonic
Symphony No. 2 in D major, op. 43
Jean Sibelius
Piano Concerto No. 1 in B-flat minor, op. 23
Pyotr Il'yich Tchaikovsky
Natasha Paremski, piano
NOVEMBER 15, 2015 – DUELING GUITARS
La oración del torero (Prayer of the Bullfighter)
Joaquín Turina
El amor brujo
Manuel de Falla
Concierto madrigal
Joaquín Rodrigo
Beijing Guitar Duo
DECEMBER 17, 2015 – HOLIDAY CONCERT
FEBRUARY 21, 2016 – THE BEST OF BEETHOVEN
Overture to The Creatures of Prometheus, op.43
Ludwig van Beethoven
APRIL 3, 2016 – A WALL OF SOUND
Samuel Barber
Concerto for Organ, Strings, and Timpani in G minor
Francis Poulenc
William Bates, organ
Symphony No. 4 in A major, op. 90, “Italian”
Felix Mendelssohn
APRIL 17, 2016 – SWAN LAKE
Pyotr Il'yich Tchaikovsky
Edward Elgar
Inbal Segev, cello
board of
directors
2015 / 2016
PRESIDENT
Carole Futrelle
VICE-PRESIDENT
Kristine Candler
SECRETARY
Polly Averette
TREASURER
Ed Tisdale
MEMBERS AT LARGE
Leslie Cole
Jane Davidowski
Ted Fredley
board of directors
staff
Jeremy Gibbs
David Goodman
Jason Lefler
Mike McLain
Mary Beth Shumate
Will Smith
Ellie Vibert
Paul Wilander
Donald Portnoy,
Artistic Director/ Conductor
Ex-Officio Member
ADVISORY BOARD
MEMBERS
Karla Atkinson
Renee Bresler
John Luzena
Layton Parker
Jinks Ramsey
ADMINISTRATIVE
COORDINATOR
Dusty Campbell
ORCHESTRA
MANAGER
Carla Wright
LIBRARIAN
Candace Norton
VOLUNTEER
COORDINATORS
MUSIC IN THE
SCHOOLS
Mary Beth Shumate
Aleta Tisdale
STAGE MANAGER
David Goodman
VISIT US ONLINE AT
www.BrevardPhilharmonic.org
Program Repertoire
Guest Artist Bios & Videos
Photos
Blog Pages
Music in the Schools
C Notes
Order Tickets
Email Us
Volunteer
Donate
c notes
O
rganized in spring 2011, C Notes is a vital supporting affiliate of the Brevard Philharmonic.
The annual fundraising goal is 100 members donating $100 annually to help fund
the Brevard Philharmonic and its community outreach programs. Thanks to increased
membership and donations above $100, C Notes has consistently exceeded that annual goal. Their
benefits to the Philharmonic include increasing the quality and size of the orchestra, providing
monies for more rehearsal time, supporting the cost of outstanding guest artists, and supporting
Brevard Philharmonic’s unique key mission: the Music in the Schools Program. Since its inception,
C Notes has generously furnished refreshments for orchestra members and provided housing for
out-of-town musicians.
Some C Notes members are also ticket holders, additional donors and sponsors, and members of
Bass Line, the volunteer organization of the Brevard Philharmonic. The Brevard Philharmonic
appreciates and is enriched by the generosity of the gifts of C Notes members.
To be part of C Notes and for more information about how you can assist and sustain the needs of
the Brevard Philharmonic, please call 884-4221 or visit www.brevardphilharmonic.org. Brevard Philharmonic is grateful for a generous gift to C Notes made in loving memory of
Renee Braun by her family and friends.
2015 C Notes Members
Adele Anderson
Karla Atkinson
Linda Austin
Polly Averette
Sally Baker
Dorothy Bauer
Susan Becker
Susan Bir
Gail Blunt
Paula Bonner
Renee Bresler
Kristine Candler
Carol Carrano
Jane Carter
Leslie Chepenik
Chloe Coger
Karen Cole
Elizabeth Creech
Hope W. Cushman
Sadye Daavenport
Maggie DiRocco
Mary Dryselius
Lorraine Fink
Marilyn Fogdall
Carolyn Fredley
Carole Futrelle
Carol Gardner
Betsy Barefoot
Anita Goldschmidt
Nancy Granros
John & Karen Griggs
In honor of Jacqueline &
Bruce Rogow
Geri Hambley
Sandra Harrington
Kady Hendrix
Dana Herrman
Catherine J. Heuser
Ann Ives
Carlene Jerome
Adelaide Kersh
Eleanor Kirlin
Kathy Kitahata
Susan Klopp
Betty Lamberton
Laura Ledford
Mary-Lou Leidheiser
Celeste Lockard
Linda Locks
Retha Lynch
Virginia MacDonald
Sue Macoy
Jean Manning
Mary Alice McBrayer
Pat McGarrahan
Peggy McGoldrick
Betty McIlwain
Lesley McLachlan
Horty Menser
Barbara Meyer
Carolyn Mills
Inez Parsell
Peggy Perley
Ronnie Peterman
Nita Porter
Karen Portnoy
Roberta Price
Carlene Ragan
Jinks Ramsey
Elaine Raynolds
Lucy Reese
Katinka Remus
Jacquelyn Rogow
Penny Roubion
Claire Rouse
Gloria Sanders
Mary Sauerteig
Nancy Scharsich
Peggy Schneider
Dorothy Semans
Patricia Stark
Lila Stewart
Anne Stoutamire
Mickey Tanenbaum
Elizabeth Taylor
Carole Taylor
Linda Thompson
Grace Tiffany
Aleta Tisdale
In memory of Adele Chappell
& Renee Braun
Pat Tooley
Georgiana Ungaro
Ruth Unger
Harriett Vanderschaaf
Ellie Vibert
Cecile Voso
Harriet Walls
Rose Wimsatt
bass line
B
ass Line is the volunteer team for the Brevard Philharmonic. Just as a musical bass line
supports the melody above it, volunteers for the Brevard Philharmonic help sustain
excellent orchestral music and outreach in Transylvania County. Time, treasure, and
talent of Bass Line volunteers add to the quality of life, economic development, and culture
of our community through support of our orchestra and the promotion of classical music
for the public and in our schools.
By focusing on their areas of expertise and interest, volunteers are able to customize their
gifts. Teams of volunteers aid special events and fundraisers, help behind-the-scenes with
concert production, provide office support, help the Music in the Schools program, write
grants and organize fund raising, and are greeters and ushers at concerts.
Some Bass Line volunteers are often also members of C Notes, ticket holders, donors, and
sponsors of concerts and soloists. The Brevard Philharmonic appreciates and is enriched by
the generosity of the Bass Line volunteers.
To become a Bass Line volunteer and for more information on how you can assist
and sustain the needs of the Brevard Philharmonic, please call 828-884-4221 or
visit www.brevardphilharmonic.org.
THE ANNUAL
NUMBER OF
HEART ATTACKS
COULD TAKE YOUR
BREATH AWAY.
SO COULD
JUST ONE
HEART ATTACK.
Shortness of breath and difficulty breathing are just two warning signs
of a heart attack. Call 911 if you experience any warning sign.
Learn the other signs at americanheart.org
or call us at 1-800-AHA-USA1.
© 2002, American Heart Association.

tchaikovsky piano concerto

Transcription

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