program notes - Baltimore Symphony Orchestra

Transcription

Marin Alsop, Music Director
SEPTEMBER –OCTOBER 2015
A MAGAZINE FOR THE PATRONS OF THE BALTIMORE SYMPHONY ORCHESTRA
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EDWARD BERKELEY
TAKES ON
SHAKESPEARE’S
ROMEO AND JULIET
SAVE THE DATES
AT STRATHMORE
THIS SEASON,
TOO
HAMPTON
CHILDRESS,
A BASSIST WITH A
CULINARY TALENT
THIS FALL, CENTER STAGE BRINGS
15/16 SEASON
TWO LITERARY CLASSICS to LIFE
IN WORLD-CLASS PRODUCTIONS
THE SECRET GARDEN
Book and Lyrics by Marsha Norman
Music by Lucy Simon
Based on the novel by Frances Hodgson Burnett
Oct 30–Nov 29
A BREATHTAKING
NEW ADAPTATION
Jane Austen’s
PRIDE AND PREJUDICE
A World Premiere Production
Adapted by Christopher Baker
Sep 11–Oct 11
Tickets start at $19!
AN ENCHANTING MUSICAL
FOR THE ENTIRE FAMILY
See both as part of a Center Stage Membership
410.332.0033 | centerstage.org
contents
{
DEPARTMENTS
STAR POWER
The Orchestra’s first “star” maestro,
Sergiu Comissiona, represented
an investment in a real music director,
not simply a conductor.
2 ) Letter from the President & CEO
4 ) In Tempo: News Of Note
6 ) BSO Live: Calendar of Events
7) Orchestra Roster
38) Honor Roll
44) Impromptu: Hampton Childress,
Associate Principal Bass
10
44
PROGRAM NOTES
12) Rachmaninoff’s Rhapsody
September 17, 18 & 19
18) Beethoven’s Pastoral
September 25, 26 & 27
5
24) Don Giovanni
October 1& 4
31) Off the Cuff: Don Giovanni
October 2 & 3
32) Classic FM
October 8, 9, 10 & 11
FEATURES
8)
Words and Music
BY MARTHA THOMAS
Edward Berkeley turns Shakespeare’s classic love story
into so much more.
34) Romeo and Juliet
October 16, 17 & 18
10)
Symphony Tales
BY CHRISTIANNA MCCAUSLAND
A new book by BSO musician Michael Lisicky captures
100 years of BSO history.
ON THE COVER
Dummy. Dummy. Dummy. Dummy.
Dummy. Dummy. Dummy. Dummy.
Dummy. Dummy. Dummy.
Be Green: Recycle Your Program!
Please return your gently used program to the Overture racks
in the lobby. Want to keep reading at home? Please do!
Just remember to recycle it when you’re through.
SEPTEMBER– OCTOBER 2015 |
O v ertur e
1
overture
The Baltimore
Symphony Orchestra
2015–2016 Season
410.783.8000 | 1.877.BSO.1444
BSOmusic.org
THE BALTIMORE
SYMPHONY ORCHESTRA
Marin Alsop
Music Director
Barbara M. Bozzuto
Chair
Paul Meecham
President & CEO
Martha Thomas
Publications Editor
Janet E. Bedell
Program Annotator
BALTIMORE MAGAZINE
DESIGN AND PRINT DIVISION
Director
Ken Iglehart
[email protected]
443.873.3916
Art Director
Vicki Dodson
Senior Graphic Artist
Michael Tranquillo
Contributing Writers
Laura Farmer
Christianna McCausland
Martha Thomas
{ from the president
WELCOME
Welcome to the BSO’s 2015 –2016 season! What we have in store for you over the coming
months is unprecedented—in tradition, innovation and star power. Our Centennial Season
is indeed a time for celebration, of what the BSO has achieved since its humble beginnings in
1916, and of what is in store for the future.
In partnership with the Towson radio station WTMD, we are pleased to announce an
innovative series, Pulse, that brings together BSO musicians and some of today’s best indie
bands to the Meyerhoff. Supported by a generous grant from The Wallace Foundation, the
first Pulse concert on September 24 pairs BSO musicians performing the music of Philip Glass
with American folk-rock group Dawes. Pulse is the
first initiative in our multi-year strategy to attract
PULSE BRINGS
new and younger audiences to the BSO. Future
TOGETHER BSO
in the season include the Baltimore
MUSICIANS AND SOME collaborations
band Wye Oak, Dr. Dog and The Lone Bellow.
OF TODAY’S BEST
This season we also welcome Markus Stenz, our
INDIE BANDS TO
new Principal Guest Conductor. Maestro Stenz,
THE MEYERHOFF
who, like Marin Alsop, studied with Leonard
Bernstein as a Tanglewood conducting fellow in the late 1980s,
and with whom I also worked at the London Sinfonietta in the mid-90s,
brings to Baltimore a distinguished symphonic and operatic background.
In early October he will conduct a program of Mozart — including scenes
from Don Giovanni with an impressive cast — followed by two more
weeks with the BSO next spring.
If you are currently sitting at the Music Center at Strathmore,
you will notice that the publication in your hands is new.
Overture magazine, long the program book for the Meyerhoff,
is now our Strathmore publication as well. We hope you will
enjoy the coverage uniquely dedicated to the Baltimore
Symphony Orchestra’s people and performances.
Plenty has changed at the BSO in the last 100 years.
Stay with us as the season unfolds and you will see
just how much!
Advertising
Account Representatives
Lynn Talbert
[email protected]
443.974.6892
Baltimore magazine
Design and Print Division
1000 Lancaster Street, Suite 400
Baltimore, MD 21202
410. 873. 3900
Paul Meecham
President and CEO, Baltimore Symphony Orchestra
BALTIMORE SYMPHONY ORCHESTRA AND 89.7 WTMD PRESENT
A NEW CONCERT EXPERIENCE
Experience Pulse. Expand your musical horizons with Pulse,
a new concert series that brings together the classical world
and the indie rock scene on one stage!
Made possible through a generous grant from The Wallace Foundation
To view a full schedule of bands performing in the Pulse Series, please visit BSOpulse.org
2
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| WWW. BSOMUSIC .ORG
D E AN ALE X AN D ER
Research
Rebecca Kirkman
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PEND
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HANDEL’S MESSIAH
Fri, Dec 4, 7:30 pm [M]
Sun, Dec 6, 3 pm [M]
‘TIS THE SEASON
WITH BRIAN STOKES
MITCHELL
Wed, Dec 9, 2 pm [M]
Thu, Dec 10, 8 pm [S]
Fri, Dec 11, 2 pm & 8 pm [M]
Sat, Dec 12, 2 pm & 8 pm [M]
Sun, Dec 13, 3 pm [M]
org
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i
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BSOm
CHRISTMAS WITH
THE MORGAN STATE
UNIVERSITY CHOIR
Thu, Dec 17, 7:30 pm [M]
Fri, Dec 18, 7:30 pm [M]
HOME ALONE:
MOVIE AND MUSIC
Sat, Dec 19, 3 pm & 7 pm [M]
Presenting Sponsor: Chick-Fil-A
CIRQUE DE LA SYMPHONIE
Thu, Dec 31 & Fri, Jan 1, 8 pm [M]
Sat, Jan 2, 3 pm [M]
[M] = Joseph Meyerhoﬀ Symphony Hall
[S] = The Music Center at Strathmore
BRIAN STOKES MITCHELL
{ IN tempo
THE BALTIMORE SYMPHONY ORCHESTRA
NEWS OF NOTE
{ I n e Duc at Ion}
ORCHKIDS
LEADS A
CLEAN-UP
PARADE
The OrchKids Green Festival,
held in July at West Baltimore’s
Lockerman-Bundy Elementary
School, was designed to continue
the conversation about change
—environmental, musical and
cultural. Students participated in
a community-wide trash pick-up
parade, led by a marching band.
OrchKids marching band.
{ I n D e v e l opm e n t}
{ a t S t r at h mor e}
A Fitting Prelude
Serving the Washington metropolitan area
since 1928, Ridgewells Catering will be taking over the
kitchen at the The Music Center at Strathmore’s Prelude
Café this season. Three course menus, including soup or
salad and entrées from risotto to braised short rib will be
offered in time for audiences attending the pre-concert
lectures for all classical concerts on Thursdays, Saturdays
and Sundays. Ridgewells is known among discerning
Washingtonians as caterers to events that range from
intimate gatherings to weddings and corporate meetings.
An Overture for Strathmore
Beginning with this issue, Overture—formerly
exclusive to the Meyerhoff—will now also be distributed
to audiences at the Music Center at Strathmore.
Overture’s content is uniquely dedicated to all things
BSO, with feature stories about our programming,
profiles of musicians and news of upcoming events.
We welcome your feedback.
For advertising information, contact Baltimore
magazine’s Design and Print Division at 443.873.3916.
4
O v ertur e
SYMPHONY V.P. RETURNS
TO MUSICAL ROOTS
Jamie Kelley describes his appointment as
the BSO’s Vice President of Development
as “a return to my passion.”
Though his most recent jobs have
involved raising money in the healthcare
field—most recently as Associate Dean of
Development and Alumni Relations at the
Johns Hopkins School of Nursing—Kelley
started out as a musician. A graduate of the
Jamie Kelley
Peabody Institute, where he studied percussion and audio engineering, Kelley freelanced as a musician until he
landed a desk job with the Muscular Dystrophy Association.
Kelley says he was convinced that the development position
was a perfect fit after meeting Marin Alsop. “I saw her passion, and
the legacy that she is creating,” he says. “The Orchestra is so good
right now, and I am proud to be associated with this institution that
is at the top of its game.”
Kelley, who lives in Locust Point with his wife Marguerite
(also in fundraising) and their yellow lab, Whitaker, says he loves
Baltimore’s “fierce pride.” He adds, “I can get into an argument
with someone from Canton about whose neighborhood is better.”
{I n h I Story}
On October 4, 1935,
Prokofiev played his new ballet score Romeo and Juliet for the staff of
Moscow’s Bolshoi Theater. But in Prokofiev’s treatment, the lovers did not die! His excuse: “The dead cannot
dance.” The composer was assured Shakespeare’s ending could work as a ballet and he altered his scenario.
On October 16–18, the BSO will present a unique staged synthesis combining it with Shakespeare’s play.
{ I n r e l e a Se }
Bernstein’s
“Kaddish”
now available
from Naxos
Soulful
Symphony
{ I n h ouSe}
SOULFUL SYMPHONY
RETURNS TO THE BSO
The Soulful Symphony, founded in 2000 by Darin Atwater, returns to the BSO
Thanksgiving weekend with its 15th Anniversary Concert. The program will include
music of Nina Simone and Ledisi, excerpts from Atwater’s Song in a Strange Land,
and three movements from Audacity of Hope, Atwater’s tribute to President Obama’s
book of the same name. Mr. Atwater records exclusively for Mack Avenue Records
and released his debut album Stone Tablet with the label this past summer.
{ I n K I n D}
GIFT BY ASSOCIATION
Sandra Feldman
with Paul Meecham
Each year, the Baltimore Symphony
Associates (BSA) raises money for
the BSO through such activities as the
annual Decorators’ Show House and the
lobby gift shop. In addition, the members
hold “Parties of Note,” gatherings in
private homes with guest musicians. This
past season the BSA introduced “Music
Adventures,” lectures by BSO players.
A check for $50,000 presented by
BSA President Sandra Feldman to Paul
Meecham, BSO president and CEO,
completed the BSA’s annual $100,000
donation to the BSO, money that is designated for BSO education programs.
Bernstein's Symphony No. 3,
“Kaddish,” the first release in the
BSO’s recordings of the Bernstein
symphonies under the baton of Marin
Alsop, is now available on the Naxos
label exclusively through the BSO.
The “Kaddish” symphony features
a narrator, mixed chorus, boychoir,
and a soprano soloist. It was premiered
soon after President John F. Kennedy’s
assassination, and, like much of
Bernstein’s music, grapples with faith,
doubt and fundamental questions
of existence.
The “Kaddish” was recorded in
September 2012 from live performances
of the BSO. Two additional Bernstein
symphonies, Symphony No. 1, “Jeremiah” and Symphony No. 2, “The Age of
Anxiety” will be released in 2016.
The Naxos CD of the BSO and
Marin Alsop’s recording of Leonard
Bernstein’s Symphony No. 3, “Kaddish”
is available in the lobby gift shop at
the Meyerhoff.
The BSO gratefully acknowledges
the generosity of Sandra Levi Gerstung
and the Hecht-Levi Foundation for
underwriting this recording.
O v ertur e
5
{ BSOlive
NOVEMBER/DECEMBER
Boléro
THURS, NOV 5, 8 PM
Meyerhoff
FRI, NOV 13, 8 PM
SUN, NOV 15, 3 PM
Meyerhoff
Marin Alsop, conductor
Jonathan Carney, violin
Andrew Balio, trumpet
René Herrnandez, trumpet
Qing Li, violin
Ivan Stefanonic, violin
Angela Lee, violin
Kevin Smith, violin
Scott Simon, narrator
Brian Greene, special guest
Chang Woo Lee, cello
Philip Glass: "Into the Air” from
Life: A Journey Through Time
Vivaldi: Concerto for Four
Violins and Cello
Vivaldi: Concerto for Two Trumpets
Vivaldi: “Spring” from
The Four Seasons
Vivaldi: “Summer” from The Four
Seasons
Philip Glass: Icarus at the
Edge of Time
SAT, NOV 14, 8 PM
Strathmore
Jun Märkl, conductor
Lise de la Salle, piano
Ravel: Alborada del gracioso
Falla: Nights in the
Gardens of Spain
Debussy: Images
Ravel: Boléro
Revel in the flamenco rhythms,
colorful sounds and evocative scents
of Spain as Falla, Debussy and Ravel
each draw on a Spanish muse. The
crowd-pleasing crescendo and
orchestral textures of Ravel’s Boléro
bring the program to a rousing
conclusion.
Hilary Hahn
Plays Dvořák
THUR, NOV 19, 8 PM
Strathmore
Vivaldi’s beloved depiction of the
seasons contrasts with the collision
of real science and science fiction
in Brian Greene’s novella, Icarus at
the Edge of Time. Glass’ intoxicating
score accompanies video images of
a young boy’s time-traveling journey
towards a black hole.
FRI, NOV 20, 8 PM
SAT, NOV 21, 8 PM
Meyerhoff
Off-the-Cuff
Hilary Hahn, Baltimore’s own international star violinist, brings her unique
flair to Dvořák’s lyrical and playful
concerto. Sibelius’ Four Legends tells
the saga of the mythological hero,
Lemminkäinen. Hannu Lintu offers
Finnish authenticity in his commanding
interpretation of this masterpiece.
A Season of Vivaldi
FRI, NOV 6, 8:15 PM
Strathmore
SAT, NOV 7, 7PM
Meyerhoff
Hannu Lintu, conductor
Hilary Hahn, violin
Dvořák: Violin Concerto
Sibelius: Four Legends
Marin Alsop, conductor
Jonathan Carney, violin
Vivaldi: The Four Seasons
Why do we hear a thunderstorm,
winter’s chill or a bird song when
we listen to an orchestra? Vivaldi
set out to show Baroque critics that
“program music” had its place among
serious compositions. Ideas he captures in music have made The Four
Seasons a concert hall staple and a
popular cultural touchstone.
6
Events at The Music Center at Strathmore and at the Joseph Meyerhoff Symphony Hall
Time Travel
SUN, NOV 8, 3 PM
Strathmore
O v ertur e
Hilary Hahn
upcoming key events
Soulful Symphony’s
15th Anniversary
Concert
FRI, NOV 27, 8 PM
SAT, NOV 28, 8 PM
Meyerhoff
Spice up your Thanksgiving Weekend
with Soulful Symphony’s triumphant
return to the Meyerhoff Symphony Hall
for a 15th Anniversary concert.
Program highlights include a full
array of Soulful favorites— Leonard
Bernstein’s Candide Overture, jazz,
soul, pop, excerpts from Song in a
Strange Land, a tribute to André
Crouch and the world premiere
four-movement preview of The
Audacity of Hope, a piece composed
by Darin Atwater based on President
Barack Obama’s political biography
of the same name.
Please Note: The BSO does not
perform in this concert.
Judy Collins
SUN, NOV 29, 4 PM
Meyerhoff
The Grammy Award-winning
performer of “Both Sides Now,”
“Chelsea Morning” and “Send in the
Clowns” brings her solo show to the
Meyerhoff for one performance only.
Please Note: The BSO does not
perform in this concert.
Handel’s Messiah
FRI, DEC 4, 7:30 PM
SAT, DEC 6, 3 PM
Meyerhoff
Edward Polochick, conductor
and harpsichord
Concert Artists of Baltimore
Symphonic Chorale
Handel: Messiah
Composed in just 24 days of divine
inspiration, Handel’s Messiah is a
staple of the jubilant holiday season.
Conductor and harpsichordist
Edward Polochick performs and
leads the BSO and the Concert
Artists of Baltimore Symphonic
Chorale in an inspired performance
of this treasured oratorio, exalted for
its glorious "Hallelujah" chorus.
‘Tis the Season with
Brian Stokes Mitchell
THURS, DEC 10, 8 PM
Strathmore
WED, DEC 9, 2PM
FRI, DEC 11, 2PM & 8 PM
SAT, DEC 12, 2PM & 8 PM
SUN, DEC 13, 3 PM
Meyerhoff
Damon Gupton, conductor
Brian Stokes Mitchell,
host and vocalist
Tony Award-winning Broadway
phenomenon Brian Stokes Mitchell
joins the BSO SuperPops to warm your
heart with traditional and contemporary holiday favorites. The charismatic
performer is sure to delight in this
festive holiday treat that includes a
special appearance by Santa himself!
Home Alone:
Movie and Music
SAT, DEC 19, 3 PM & 7PM
Meyerhoff
Nicholas Hersh, conductor
Baltimore Choral Arts Society,
Tom Hall, director
The score to Home Alone contains
some of John Williams’ most instantly
recognizable and beloved melodies.
Conductor Nicholas Hersh leads
the BSO and Baltimore Choral Arts
Society in a live score accompaniment of the classic 1990 film.
Cirque de la
Symphonie
THU, DEC 31, 8 PM
FRI, JAN 1, 8 PM
SAT, JAN 2, 3 PM
Meyerhoff
Jack Everly, conductor
Ring in the New Year as Cirque
de la Symphonie pairs world-class
acrobats and gymnasts with music by
the BSO. Classical favorites take on
new meaning as they accompany an
aerial ballet with jugglers, balancing
acts and contortionists.
{ orchestra roster
2015–2016
SEASON
Marin Alsop — Music Director, Harvey M. and Lyn P. Meyerhoff Chair
Jack Everly: Principal Pops Conductor, Yuri Temirkanov: Music Director Emeritus
FIRST VIOLINS
Jonathan Carney ∫
Concertmaster, Ruth
Blaustein Rosenberg
Chair
Madeline Adkins †
Associate
Concertmaster,
Wilhelmina Hahn
Waidner Chair
Kevin Smith
Acting Assistant
Concertmaster
James Boehm
Kenneth Goldstein
Wonju Kim
Gregory Kuperstein
Mari Matsumoto
Gregory Mulligan
Rebecca Nichols
E. Craig Richmond
Ellen Pendleton Troyer
Andrew Wasyluszko
SECOND VIOLINS
Qing Li
Principal, E. Kirkbride
and Ann H. Miller Chair
Ivan Stefanovic †
Associate Principal
Angela Lee ∫
Assistant Principal
Leonid Berkovich
Leonid Briskin
Boram Kang
Julie Parcells
Christina Scroggins
Wayne C. Taylor*
James Umber
Charles Underwood
Minsun Choi**
VIOLAS
D E AN ALE X AN D ER (AL SO P);
Lisa Steltenpohl
Principal, Peggy Meyerhoff
Pearlstone Chair
Noah Chaves
Associate Principal
Karin Brown
Assistant Principal
Richard Field
Viola Principal Emeritus
Peter Minkler
Sharon Pineo Myer
∫
CLARINETS
Rob Patterson**
Acting Principal,
Anne Adalman
Goodwin Chair
Lin Ma
Assistant Principal
William Jenken
Delmar Stewart
Jeffrey Stewart
Mary Woehr
CELLOS
E-FLAT CLARINET
Dariusz Skoraczewski
Principal,
Joseph and Rebecca
Meyerhoff Chair
Chang Woo Lee
Associate Principal
Bo Li ∫
Acting Assistant Principal
Seth Low
Susan Evans
Esther Mellon
Kristin Ostling
†∫
BASSES
Robert Barney
Principal, Willard and
Lillian Hackerman Chair
Hampton Childress
Associate Principal
Owen Cummings
Mark Huang
Jonathan Jensen
David Sheets
Eric Stahl
FLUTES
Emily Skala
Principal, Dr. Clyde
Alvin Clapp Chair
Chelsea Knox**
Acting Assistant
Principal
Marcia Kämper
PICCOLO
Laurie Sokoloff
OBOES
Lin Ma
BASSOONS
Fei Xie
Principal
Julie Green Gregorian
Assistant Principal
Schuyler Jackson**
CONTRABASSOON
David P. Coombs
HORNS
Philip Munds
Principal, USF&G
Foundation Chair
Gabrielle Finck
Associate Principal
Lisa Bergman
Mary C. Bisson
Bruce Moore*
Jeanne Getz**
TRUMPETS
Andrew Balio
Principal, Harvey M. and
Lyn P. Meyerhoff Chair
René Hernandez
Assistant Principal
Nathaniel Hepler
TROMBONES
Aaron LaVere
Principal, Alex Brown
& Sons Chair
James Olin*
Co-Principal
John Vance
Katherine Needleman
Principal, Robert H. and
Ryda H. Levi Chair
Melissa Hooper
Assistant Principal
Michael Lisicky
ENGLISH HORN
Jane Marvine
Kenneth S. Battye and
Legg Mason Chair
Ken Lam: Artistic Director of BSYO
& Associate Conductor for Education
Markus Stenz: Principal Guest Conductor
TIMPANI
James Wyman
Principal
Christopher Williams
Assistant Principal
PERCUSSION
Christopher Williams
Principal, Lucille
Schwilck Chair
John Locke
Brian Prechtl
MARIN ALSOP
KEYBOARD
Marin Alsop is an inspiring and
powerful voice in the international
music scene, a music director of
vision and distinction who passionately
believes that “music has the power
to change lives.” She is recognized
across the world for her innovative
approach to programming and for
her deep commitment to education
and to the development of audiences
of all ages.
As Music Director of the Baltimore
Symphony Orchestra since 2007,
Maestra Alsop’s bold initiatives
contribute to the wider community
and reach new audiences. Shortly
after her arrival in Baltimore, she and
the orchestra launched “OrchKids,” a
revolutionary program that provides
music education, instruments,
mentorship and inspiration to some of
the city’s neediest young people. Under
her leadership, the orchestra also offers
adult amateur musicians the opportunity
to play side-by-side with professional
musicians through the BSO Academy
and Rusty Musicians programs.
Marin Alsop is the only conductor
to receive the prestigious MacArthur
Fellowship, and was inducted into the
American Classical Music Hall of Fame
in 2010. In 2013, she became the first
woman to conduct the BBC’s Last Night
of the Proms.
Alsop was appointed Principal
Conductor of the São Paulo Symphony
Orchestra in 2012, and became its
music director in July 2013. She is also
music director of California’s Cabrillo
Festival of Contemporary Music.
Sarah Fuller**
Lura Johnson**
Sidney M. and Miriam
Friedberg Chair
DIRECTOR
OF ORCHESTRA
PERSONNEL
Nishi Badhwar
ASSISTANT
PERSONNEL
MANAGER
Jinny Kim
LIBRARIANS
Michael Ferraguto
Principal, Constance A.
and Ramon F. Getzov
Chair
Raymond Kreuger
Associate
STAGE PERSONNEL
Ennis Seibert
Stage Manager
Todd Price
Assistant Stage
Manager
Charles Lamar
Audio Engineer
Mario Serruto
Electrician
* On leave
** Guest Musician
Performing with an instrument
(†) or a bow ( ∫ ) on loan to the
BSO from the private collection
of the family of Marin Alsop.
BASS TROMBONE
Randall S. Campora
TUBA
Seth Horner**
Acting Principal
{ m uSIc D I r e c tor}
HARP
The musicians who perform for the
Baltimore Symphony Orchestra
do so under the terms of an
agreement between the BSO
and Local 40-543, AFM.
Nicholas Hersh: Assistant Conductor
Michael Repper: BSO-Peabody
Conducting Fellow
O v ertur e
7
ONE
onONE
{
How did all this come about?
The idea for this, which really came about
after I did Midsummer, was combining the
Prokofiev ballet score with Shakespeare.
I first went through the Prokofiev score
—which is enormous — to see which elements went best with Shakespeare. Then
I went to Shakespeare to see what parts of
the text could be cut to help with meshing the two pieces. Then I came up with
a script that puts the two together. There
are sections where dialogue is acted on top
of Prokofiev, then sections where Prokofiev
and Shakespeare are on their own. The
combining of it creates a powerful mix using the music and the text. What Prokofiev
did was very savvy in terms of specifying
different scenes. The musical beauty, for
example, of the balcony scene, or the moment when Romeo and Juliet meet for the
first time—the music captures the beauty
of the text. The score is like the emotional
subtext or undercurrent of the play. I’m
hoping that acting scenes mixed with
music will be the best of both.
WORDS
and
MUSIC
Edward Berkeley turns Shakespeare’s
classic love story into so much more
by MARTHA THOMAS
E
dward Berkeley, a seasoned director of both plays and opera,
has worked for more than 25 years on the faculty of The
Juilliard School. He staged A Midsummer Night’s Dream for
the BSO’s 2013–2014 season with Marin Alsop conducting,
and for the New York Philharmonic in 2005 under the baton
of Sir Neville Marriner. His award-winning work has spanned from
Broadway to the Aspen Opera Theater Center to The Old Globe,
with opera venues from Houston to Ravinia in the mix. He directs
Romeo and Juliet with Marin Alsop and the BSO October 16–18.
8
O v ertur e
Is this the first time to your knowledge
that the ballet score has been
performed with words?
It’s the first time I’ve done it. It is an experiment. Having text with the music will
be really gorgeous. I think it will be quite
an event. I’m sure there may be moments
where we go, “oops, that didn’t go as well as
we hoped.” But mostly there will be some
very powerful places.
Will the play be dramatically
shortened?
It’s a two-and-a-half-hour play. The concert as a whole will be less than that, so
combining text and music meant some
text had to be trimmed. I want the text to
feel natural with the music. I hope with
judicious cutting I don’t lose the meaning
or the elegance of Shakespeare’s language,
while at the same time supporting the music. I always assume in projects like this
that people don’t know the plot. We need
to tell the story as if it’s the first time
anyone has heard the tale.
You enjoy a first class
music experience.
Will there be a narrator to move
the plot along?
There’s a relatively small group of actors
playing all the roles. Romeo and Juliet
is written with a chorus; it already has
a narrative voice. In our production, the
choruses will be spoken by different
actors. It’s a little bit like they are telling
their own stories.
Tell me about the cast.
It’s a deliberately multi-racial cast. I think
one of the things the piece is about is
disagreements between families in the
modern world. I felt having a multi-racial
cast is important.
Is there any connection to events
last spring in Baltimore?
The piece is about how society can break
down over issues between people. That
can be as simple as “you planted a tree
too close to my yard.” What causes these
conflicts is not necessarily something
huge. One of the lessons in R & J is a
need for generosity in people towards
each other in order for society to survive.
When a passionate love is found, what
interferes is that society itself has become
so rigid in its attitudes that it can’t see
the beauty.
I’ve always considered Romeo and
Juliet a play about young and heightened passion. Maybe it’s really about
the parents. When they’re looking at
their two dead children and saying,
“Holy (expletive), what did we do?”
It’s a very big moment. It’s actually one of
the places where the score is very powerful. It deals with what do you do after
two children kill themselves. What does
society do when they watch people in
love commit suicide?
People say it’s a play about fate, but it
seems to me, it’s very clear the role of the
parents and the way they’re feuding make
it almost impossible for the children to be
together. In the end, the parents have to
face the role they had in causing these two
people to kill themselves.
Do the Montagues
and Capulets learn?
I think they do. If we’re only fated to
constantly repeat the mistakes, we’re always
in a cycle of destruction. It’s up to everyone
to struggle to get past that. In the end when
they talk about the families doing something together, it’s exciting—though they
are in sadness; they’re struggling to find a
way past the children’s death.
Maybe we should talk about
something happier.
I’ll tell you something happy. I’m very excited about our team for Romeo and Juliet.
We have very strong actors for both these
roles. Romeo is a young actor, Sebastian
Stimman, making a name for himself
mostly in New York and film work; Juliet
is Christina Sajous, who is spectacular,
and whose previous Shakespeare includes
a terrific performance as Cordelia with the
Folger. Both Sebastian and Christina are
definitely actors on the way up.
What about the production?
It’s going to be very simple. I believe pretty
firmly that with the orchestra on stage,
you try to create an atmosphere that is
suggestive, but not done as if it’s an opera or a ballet. The orchestra should be at
the center of the event. It’ll be a couple
of platforms, some fabric that can take
light, so we can suggest time of day as
well as the fragility of the two as a couple.
I believe that something like this, with a
substantial musical score, the music itself
is important to telling the story. The orchestra and conductor are a big part of
the drama of the event.
Do you think this production will shift
the way we look at Romeo and Juliet?
Having the Prokofiev score is huge. It’s a
very romantic score, with very nasty moments. It’s that mix that make the score so
exciting. It’s incredibly hopeful, balanced
with some harsh ideas musically. It’s a
chance to look starkly at ourselves. What
does the world learn from this? What do
we become because of this?
Shoul dn’t you
also enjoy a first class
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Long & Foster Real Estate
REALTOR/RELOCATION SPECIALIST
410-804-3400
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DIRECT TO BALTIMORE FROM
THE ROCK AND ROLL HALL OF FAME
October 11, 2015 - January 18, 2016
at 15 Lloyd Street, Baltimore, MD
Learn more:
jewishmuseummd.org/paul-simon
This exhibit curated by the Rock and Roll Hall
of Fame and Museum, Cleveland, Ohio
O v ertur e
9
SYMPHONY
TALES
A NEW BOOK BY
BSO MUSICIAN
MICHAEL LISICKY
CAPTURES 100 YEARS
OF BSO HISTORY
BSO
PIONEERS
Wilmer Wise
First AfricanAmerican
BSO musician,
trumpeter,
1965.
Gustav Strube,
The BSO’s
first conductor,
1916.
Sarah Feldman
One of the first
five female BSO
musicians, violist,
10
O v ertur e
I
By Christianna McCausland
n 1916, 53 musicians gathered as the Baltimore
Symphony Orchestra to play a season that consisted of three concerts. Ticket prices ranged
from 25 cents to one dollar. When it performed
on stage, the Symphony was breaking unprecedented ground, the first U.S. orchestra ever to be
formed using public funds. As a municipal agency,
the early Symphony was very much for the people of
the city, a mission largely unchanged today.
A new history of the BSO, by oboist and nonfiction author Michael Lisicky, sheds new light on the
pioneering history of the orchestra in this, its 100th
year of existence. Though like many things in history,
even the anniversary could be debated. As Lisicky’s
research reveals, there has been contention since the
Symphony’s earliest days over when to mark the
BSO’s founding. Was it in 1914 when then-Mayor
Preston first formed a municipal band that would
grow into the symphony? Or perhaps in 1915 when
the city provided $6,000 to create the country’s firstever city-supported symphony? Or, more complicated
still, does one need to hark back to the 1890s when
the precursor of the BSO was in operation?
It’s an important point for Lisicky who, through his
history books about the nation’s bygone department
stores, has become a stickler for accuracy. Since 1916 is
widely acknowledged as the first season, that is where
Lisicky’s story begins. Shortly after its creation, the
Symphony gained its first conductor, Gustav Strube,
the head of the harmony department at Peabody. There
was plenty of competition for concert-goers at this time;
the Philadelphia, New York and Boston orchestras all
took the train down to perform for the upper crust at
the Lyric, Lisicky explains.
“The higher end people in town didn’t go to
the BSO,” he states. “At a time before television,
the BSO was entertainment for the masses. They
did mostly traveling concerts and occasionally
rented space in the Lyric.”
The book follows the chronology of the Symphony
by decade. The BSO’s early concerts in the ’20s were
often patriotic in theme, as the nation after World
War I demanded America develop its own culture
(Clockwise from right):
BSO Concert Series print
during Gustav Strube’s tenure;
Joseph Meyerhoff; BSO in
1918; Print highlighting thenfuture music director Sergiu
Comissiona; Marvin Hamlisch
and the BSO SuperPops.
rather than relying on Europe for its arts identity.
During this decade it continued to show its pioneering spunk when the BSO became the first symphony
to perform children’s concerts (with separate performances for caucasian and African-American schools).
The 1930s were marked by a revolving door of music
directors as the symphony tried to find its feet, and by
the addition of one of the first five female musicians,
a violist named Sarah Feldman.
“By the 1930s the community knew the quality [of
the Symphony] needed to be better and as a fixed line
item in the city budget; the Symphony was too hamstrung to grow,” says Lisicky. In 1942, the municipal
symphony disbanded and the BSO reorganized as
a private institution under music director Reginald
Stewart, who led it for the next decade. Lisicky says
Stewart is a bit of an unsung hero, noting that he was
the conductor who took the BSO to Carnegie Hall for
the first time and kept performances going through
the war years when music was important for home
front morale.
In 1959, Peter Herman Adler became conductor,
and Lisicky points out that his greatest contribution
The BSO on a return flight from Tallahassee, Florida in 1964.
BSO
FIRSTS
1916
First U.S. orchestra
is created using
public funds
was a lack of artistic growth. “But by not growing
While the book commemorates 100 years of mu[the Symphony] it brought in people to right the ship.”
sical development, it is the characters and zany stories
Most important of those people would be Joseph
that Lisicky finds most engaging. There’s Werner
Meyerhoff, who became BSO president in 1965 (the
Janssen, conductor from 1937–39, who Baltimoreans
same year the BSO hired its first African-American
exalted less for his musical prowess than for the fact
musician, trumpeter Wilmer Wise). Meyerhoff
that he was married to film star Ann Harding.
hired the Orchestra’s first “star” maestro, Sergiu
Ditto Massimo Freccia, music director in 1952,
Comissiona, the Orchestra’s first investment in a real
whose fashionable, Cuban-born wife was the
music director, not simply a conductor. Comissiona
toast of the Baltimore Sun style pages. There are
raised the BSO’s national and international
tales of performances at the Lyric where
credibility and helped it draw more presti“WE ALWAYS prominent soloists were upstaged by the
gious soloists. Under Meyerhoff, the new PERSEVERED display put on by that building’s resident
OVER
symphony hall opened in 1982, providing
bats, and the episode in the ’40s when the
MONUMENTAL Orchestra was on tour as their train broke
the Orchestra a permanent home.
“Meyerhoff’s relationship with Comis- CHALLENGES, down near an orange grove in Florida. MuAND THAT IS
siona built the orchestra into what it is
IMPORTANT sicians helped themselves to the fruit until
today,” says Lisicky. “[Meyerhoff’s] power TO REMEMBER the grove’s owner called the police.
AS WE LOOK
and influence and willingness to get things
“When the police came they hid all the
FORWARD.”
done and effect change were essential.”
oranges in the women’s berths knowing
Under the direction of more recent
the police would never have the nerve to
Michael Lisicky
music directors, including David Zinman
search them,” Lisicky laughs.
and Yuri Temirkanov, the BSO raised its profile
Throughout its history, Lisicky describes the
and evolved the quality of its musicianship as it
symphony as being a bit like Rodney Dangerfield,
broke new ground with televised concerts and
always working harder to get respect and improve
international tours.
its musical quality. And he does not shy away from
To research the book, Lisicky spent countless
acknowledging the BSO’s low notes, including
hours in the BSO files housed at the Baltimore City
labor disputes throughout the decades. Yet even in
Archives and poured through the archives of the
setbacks, the history proves that the BSO emerged
Baltimore Sun. The book contains statements from all
stronger from its growing pains.
three living music directors—Alsop, Temirkanov and
“We always persevered over monumental chalZinman—and interviews with luminaries like Itzhak
lenges, and that is important to remember as we look
Perlman and members of the Meyerhoff family.
forward,” says Lisicky. Even as it acknowledges its
Lisicky is most proud of the roster of musicians from
history, the BSO now looks ahead, cultivating the
almost the entire 100-year history.
next generation of advocates and musicians.
1924
to have its own
children’s
educational
concerts
1974
First young
conductor
competition,
shown nationally
on public
television
1981
to tour
East Germany
1987
to perform in the
USSR in over a
decade.
2007
Marin Alsop
becomes the first
woman to lead
a major
U.S. orchestra
O v ertur e
11
{
{ program notes
Rachmaninoff’s Rhapsody
Music Center At Strathmore
Thursday, September 17, 2015 — 8 p.m.
Joseph Meyerhoff Symphony Hall
Friday, September 18, 2015 — 8 p.m.
Saturday, September 19, 2015 — 8 p.m.
Marin Alsop, Conductor
Olga Kern, Piano
arr. Nicholas Hersh The Star Spangled Banner
Anna Clyne Masquerade [East Coast Premiere]
Sergei Rachmaninoff Rhapsody on a Theme of Paganini, opus 43
OLGA KERN
INTERMISSION
Richard Strauss An Alpine Symphony, opus 64
The concert will end at approximately 9:55 p.m. on Thursday, and at 9:50 p.m.
on Friday and Saturday.
The Wagner Tuben used in this concert are a gift from
Beth Green Pierce in memory of her father, Elwood I. Green.
For Marin Alsop’s bio., please see pg. 7.
Olga Kern
Olga Kern, recognized
as one of her generation’s great pianists,
jumpstarted her U.S.
career with her historic Gold Medal at
the Van Cliburn International Piano
Competition in Fort Worth, Texas, as the
first woman to do so in 30 years.
O v ertur e
Olga Kern last performed with the
BSO in Piano Concerto No. 1 with
Marin Alsop, conductor.
ABOUT THE CONCERT:
MASQUERADE
Marin Alsop
12
Philharmonic and San Antonio Symphony, and recitals at Sarasota’s Van Wezel
Hall, New York’s 92nd Street Y and the
University of Kansas’ Lied Center.
Last season, Ms. Kern appeared with
the NHK Symphony, Orchestre National
De Lyon, New Mexico Philharmonic, the
symphonies of Detroit, Nashville, Madison
and Austin and gave a recital at Seattle’s
Meany Hall. Ms. Kern has performed in
such famed concert halls as Carnegie Hall,
the Great Hall of the Moscow Conservatory, Symphony Hall in Osaka, Salzburger
Festspielhaus, La Scala in Milan, Tonhalle
in Zurich and the Châtelet in Paris.
Ms. Kern’s discography includes her
Grammy nominated recording of Rachmaninoff’s Corelli Variations and other
transcriptions (2004), Brahms’ Variations (2007) and Chopin Piano Sonatas
No. 2 and 3 (2010). She was featured in
the award-winning documentary about
the 2001 Cliburn Competition, Playing
on the Edge. Olga Kern is a Steinway
Artist and records exclusively for Harmonia Mundi. Her dresses are designed
by Alex Teih.
The first prize winner of the Rachmaninoff International Piano Competition at 17, Ms. Kern is a laureate of many
international competitions and is also a
corresponding member of the Russian
Academy of Sciences, Division of the Arts.
In the 2015–2016 season, Ms. Kern
debuts with the Royal Philharmonic
Orchestra with Pinchas Zukerman and
Orchestre Philharmonique de Nice with
Giancarlo Guerrero. Other highlights
include a two-month tour of South
Africa, appearances with the Rochester
Anna Clyne
Born in London, England, March 9, 1980; now
living in Brooklyn, New York
Marin Alsop describes the work she
has chosen to open the BSO’s 100th
anniversary season, Masquerade by the
exciting young composer Anna Clyne,
as “a right-between-the-eyes barn burner
of a show piece.” Maestra Alsop introduced it to the world on September 7,
2013, at London’s fabled “Last Night at
the Proms,” the finale of the immensely
program notes {
popular summertime Promenade Concerts held in the huge Royal Albert Hall.
The piece was specifically commissioned
by BBC Radio 3 for the BBC Symphony
Orchestra playing at this special event,
which is as much party as concert.
Born in London, Clyne currently
lives in the United States, where for
several seasons she has served as the
Chicago Symphony Orchestra’s Mead
Composer-in-Residence, a post she has
also held with Alsop’s Cabrillo Festival
of Contemporary Music and will be
assuming this season with Orchestre
National d’île de France. The CSO’s
music director Riccardo Muti describes
Clyne as “an artist who writes from
the heart, who defies categorization,
and who reaches across all barriers and
boundaries.” In her working methods, Clyne frequently reaches across
the boundaries between the different
art forms. “My passion,” she says, “is
collaborating with innovative and risktaking musicians, filmmakers, visual
C
Anna Clyne
“Masquerade draws
inspiration from the original
mid-18th century promenade
concerts held in London’s
pleasure gardens…”
artists and, in particular, choreographers.” Since she is an extremely visual
musician, crafting a composition is as
likely to begin with her painting an
image on her studio walls as scribbling
notes on score paper.
Masquerade demonstrates Clyne’s
ability to show off a large orchestra in
spectacular fashion (she is currently
working on a piece for 100 cellos for the
Los Angeles Philharmonic to be premiered at the Hollywood Bowl in 2016).
In her words, “Masquerade draws inspiration from the original mid-18th century
promenade concerts held in London’s
pleasure gardens … These concerts were
a place where people from all walks of
life mingled to enjoy a wide array of
music. Other forms of entertainment
ranged from the sedate to the salacious
with acrobatics, exotic street entertainers,
dancers, fireworks and masquerades.
“I am fascinated by the historic and
sociological courtship between music and
dance. Combined with costumes, masked
guises and elaborate settings, masquerades
created an exciting, yet controlled, sense
of occasion and celebration. It is this that
I wish to evoke in Masquerade.
g
n
i
t
a
elebr
50 GLORIOUS YEARS
The French Connection
Sunday, November 1, 2015 at 3 pm
Kraushaar Auditorium at Goucher College
Tom Hall leads the Chorus and Orchestra in the
Requiems of Fauré and Duruflé.
Sing-Along Messiah
Friday, December 18, 2015 at 7:30 pm
Christmas with Choral Arts
Tuesday, December 1, 2015 at 7:30 pm
The Baltimore Basilica, 409 Cathedral Street
Join in singing the choruses of Handel’s Messiah,
or just enjoy the surround-sound!
Celebrate the holiday season with this annual tradition,
performed in the historic Baltimore Basilica.
Christmas for Kids
Hallelujah: Celebrating 50 Years
Sunday, March 20, 2016 at 3 pm
Saturday, December 19, 2015 at 11 am
Tom Hall leads the Chorus and Orchestra in a
retrospective of Choral Arts’ 50 years, from Mozart’s
Requiem, to founding Music Director Theodore Morrison
conducting, and a rousing Hallelujah Chorus featuring
chorus members past and present.
Holiday fun for the entire family, featuring
Pepito the Clown and a visit from Santa!
50
Y EARS
Call 410-523-7070
or visit BCAsings.org
Baltimore Choral Arts is also grateful for the support of The William G. Baker, Jr. Memorial
Fund, creator of the Baker Artist Awards, www.bakerartistawards.org.
Tom Hall, Music Director
O v ertur e
13
… the sweetness
of the sound ...
cast quite a spell.
—Tim Smith, The Baltimore Sun
Handel Choir
of Baltimore
Arian Khaefi
Artistic Director & Conductor
{ program notes
“The work derives its material from
two melodies. For the main theme
[which follows a descending, then
ascending shape], I imagined a chorus
welcoming the audience and inviting
them into their imaginary world. The
second theme, ‘Juice of Barley,’ is an
old English country dance melody and
drinking song.”
This performance of Masquerade is its
East Coast premiere.
Instrumentation: Two flutes, piccolo, two oboes,
English horn, two clarinets, bass clarinet, two
bassoons, contrabassoon, four horns, three
trumpets, three trombones, tuba, timpani,
percussion, two harps and strings.
music to move you
R HAPSODY ON A THEME OF PAGANINI
2015-2016 Concert Season
Born in Oneg, Novgorod, Russia,
April 1, 1873; died in Beverly Hills, California,
March 28, 1943
Handel
Messiah
Sergei Rachmaninoff
With period instrument orchestra
Sat & Sun Dec 12 & 13
Karen Vuong soprano
Carla Jablonski alto
Ian McEuen tenor
Andrew Pardini bass
$47, $37, $10 student
Joby Talbot
Path of Mir acles
Sat Mar 5, 2016
$37, $27, $10 student
The Heart’s Age
With Children’s Chorus of Maryland
Sat May 7, 2016
$37, $27, $10 student
SUBSCRIBE and SAVE
$100, $75, $25 student
handelchoir.org
667.206.4120
14
O v ertur e
FY16 Overture 08.07.2015.indd 1
8/7/15 2:14 PM
One of the proudest moments in Baltimore’s musical history came on November
7, 1934, when Sergei Rachmaninoff played
the world premiere of his newly composed
Rhapsody on a Theme of Paganini with The
Philadelphia Orchestra on the stage of the
Lyric Opera House. Rachmaninoff was in
Baltimore because the Russian Revolution
of 1917 had forced him to flee his native
land at age 44 and begin his career again
in the West. Once primarily a composer
and conductor, he now became a touring
piano virtuoso — one of the 20th century’s
greatest— in order to support his family.
America, with its insatiable demand for his
concert appearances, made him richer than
he’d ever been in Russia. But he never got
over his homesickness.
His music, too, remained rooted in Russia. And while audiences loved his lushly
Romantic melodies, many musicians and
critics scorned him as out of date. Pondering his predicament, he wrote: “Perhaps I
feel that the kind of music I care to write
is not acceptable today. … For when I
left Russia, I left behind me the desire to
compose: losing my country I lost myself
also. To the exile whose musical roots,
traditions, and background have been
annihilated, there remains no desire for
self-expression.”
But the desire for self-expression did
remain, and in 1934 it produced the
brilliantly imaginative Paganini Rhapsody. The work springs from the 24th
Caprice for unaccompanied violin by a
virtuoso of another age and instrument,
Niccolò Paganini (1782–1840). Rachmaninoff took Paganini’s spry two-part
tune and built 24 highly contrasted
variations on it. Most of these whiz by at
high speed, so listeners should not struggle to keep count, but simply absorb the
work as a continuous flight of fancy. Providing structural shape, Rachmaninoff
grouped the variations into three larger
units, making a mini-concerto: variations
one through ten forming a fast “movement,” 12 through 18 a slow movement,
and 19 through 24 a virtuoso finale.
A theme-and-variations composition
usually begins with a full presentation of
the theme itself. But here Rachmaninoff
gives a witty “preview” — just the teasing
first notes of each measure — before
the violins sing the theme for us. At the
seventh variation, the tempo slows a bit,
and the piano intones in stark chords the
melody of the “Dies Irae” chant from the
Catholic mass for the dead; this somber
tune was a signature theme throughout
Rachmaninoff’s music. It returns again in
the tenth variation amid dazzling orchestral music, along with some syncopated
brass writing that sounds more New York
than Novgorod.
The 12th variation opens the middle
section with a dream-like minuet in 3/4
time. The shadows deepen in the 16th
and 18th variations as the piano gropes for
light at the end of the tunnel. This is gloriously achieved in the golden sunlight of
the 18th variation, the work’s most beloved
and surely one of the most gorgeous tunes
ever written. From this tranquil oasis, the
music builds in speed, excitement and
virtuoso display for the soloist until the
charming surprise ending.
English horn, two clarinets, two bassoons, four
horns, two trumpets, three trombones, tuba,
timpani, percussion, harp and strings.
A N ALPINE SYMPHONY
Richard Strauss
Born in Munich, Bavaria, June 11, 1864;
died in Garmisch-Partenkirchen,
West Germany, September 8, 1949
Richard Strauss’ last and most massive
tone poem, An Alpine Symphony, is a
work for special occasions. Calling for a
gargantuan orchestra, it is economically
and logistically an enormous challenge for
any organization and thus is more often
enjoyed on recording than in a live performance. And yet nearly every orchestra
musician longs to play it, for it will call on
his or her utmost virtuosity. And so as the
BSO begins its 100th season, the stars are
aligned for this epic work.
An Alpine Symphony is
a symphony in name only …
Norman Del Mar more
appropriately calls it
“a free descriptive fantasia.”
Composed between 1911 and 1915,
An Alpine Symphony was a last, retrospective glance by a middle-aged Strauss at a
musical genre he had exalted in his earlier
years: the virtuoso symphonic tone poem
that describes in a most precise and imaginative way an elaborate scenario down to
the last detail. Needing new challenges, he
had since moved on to the world of opera
and had already created three extraordinary operatic successes in a row: Salome,
Elektra, and the enchanting Viennese
rococo comedy Der Rosenkavalier. All
these operas had been premiered by the
Dresden Court Opera; dedicated to the
director of the Dresden ensembles, Count
Nicholas Seebach, An Alpine Symphony
thus became a huge thank-you present to
its orchestra. Premiered in Berlin under
the composer’s baton on October 28,
1915, it was only a muted success, as in the
second year of the Great War, audiences
were in no mood to fully appreciate its
sonic splendors.
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O v ertur e
15
An Alpine Symphony is a symphony in
name only; Strauss scholar Norman Del
Mar more appropriately calls it “a free
descriptive fantasia.” In 22 interlocking
sections covering a 24-hour period, it describes the young Richard Strauss’ ascent
of an Alpine peak in August 1879, when
he was 15. Immediately after the hike,
he described it to a friend: “Recently, we
made a great hiking party to the top of the
Heimgarten, on which day we walked for
twelve hours. At two in the morning, we
rode on a handcart to the village, which
lies at the foot of the mountain. Then we
climbed by the light of lanterns in pitchdark night and arrived at the peak after a
five-hour march. There one has a splendid
view: Lake Stafelsee, Riegsee … then
the Isar valley with mountains, Ötz and
Stubeir glaciers, Innsbruck mountains.
…The next day I described the whole
hike on the piano. Naturally huge tone
paintings and smarminess à la Wagner.”
This memory was reinforced daily for the
older Strauss by the superb views of the
Bavarian Alps he could see from his study
window in the luxurious new villa his
operatic profits had recently enabled him
to build at Garmisch-Partenkirchen.
Despite the specific titles given each
section in the score, this work is much
more than a moment-by-moment musical
diary of that long-ago climb; it is musical worship of Nature in all its splendor
and terror. It mixes its powerful action
sequences with rapt, reflective moments
of great beauty — such as “Entrance
into the Forest,” “Vision,” “Elegy” and
“After Tones” — in which the climber
muses on the internal emotions of wonder
elicited by his adventure. And despite the
intimidating instrumental masses at his
command — complete with wind and
thunder machines for the climactic storm
— Strauss often pares down his forces for
the most subtle chamber-music effects.
LISTENING TO THE MUSIC
The tone poem begins — and ends —
with “Night,” a slow-tempo section in
darkest B-flat minor. From out of the
gloom, the assembling climbers can
just make out the imposing bulk of the
mountain, portrayed by a rising chordal
16
O v ertur e
CH R IS LEE
{ program notes
The BSO
motive in trombones and tubas. The
music gradually builds in volume and
excitement until the sun finally rises —
in a magnificent full-orchestra orchestral scale that, oddly, descends rather
than ascends — and illuminates the
Alpine peaks.
Now the climbers begin “The Ascent” to a vigorous theme announced
by the strings, which will be the tone
poem’s most important melodic element.
As they enter a wooded region, we hear
an extraordinary, extravagant passage
for 12 off-stage horns (in German culture horns were traditionally associated
with hunting and thus with forests).
“In the Wood” is an extended lyrical
paean to the beauty of Nature, with
a marvelous soft development of the
climbing theme led by the strings.
The next stages of the adventure are
also serene and lyrical, featuring very
delicate and imaginative scoring. The
climbers wander along a mountain
brook until they come to its source in a
waterfall, where they see a magical,
illusionary sprite playing in the rainbowflecked foam (“Apparition”). This section also introduces another important
theme: a lovely rocking melody in the
horns that alert listeners will identify as
a virtual steal from the beautiful slow
movement of Bruch’s First Violin Concerto. Eventually, the climbers move out
onto the Alm: a high mountain meadow
where the cattle herds graze during the
summer months, where we hear cowbells
and yodeling (a rustic blend of bassoons
and clarinets) motives.
Now the trail becomes more difficult,
and our climbers are temporarily lost
in a thicket of confusing counterpoint
and contradictory harmonies (“Lost
in the Thickets and Underbrush”).
Finally, they emerge “On the Glacier,”
where glorious visions of the mountain
(the powerful chordal motive from the
work’s opening) encourage them on
their perilous progress.
At last, they are “On the Summit.”
This is the emotional climax of the
work and one of the most thrilling
moments in the orchestral repertoire.
But Strauss is not a conventional composer who only gives us exaltation; he
also expresses the climbers’ awe, even
fear, in the face of this tremendous
panorama with a frail, stammering oboe
solo. The horns toll out the rocking
theme. This sublime feeling continues
into the next section, “Vision,” which
movingly explores the mountaineers’
inner response to their achievement.
The glory fades, and in a superbly
veiled and eerie passage, Strauss
describes the approach of a mountain storm. Here is some of An Alpine
Symphony’s finest and most imaginative music. A counterpart to “Vision,”
the “Elegy” section tellingly captures
the apprehensive mood as we hear the
rumbles of distant thunder. Then the
winds rise, the raindrops very audibly
begin to fall, and we are swept into the
greatest “Storm” sequence in symphonic literature, complete with wind and
thunder machines and a pealing organ
to further inflate the din.
While the storm still rages, the climbers begin their descent, with the shape
of their climbing theme now reversed.
The music subsides into a prolonged
and intensely beautiful coda as the
storm passes and the sun reappears then
slowly sets. The organ leads the gentle,
elegiac “Ausklang” (“After Tones”)
in which the weary climbers absorb
and reflect on the emotions they have
experienced on this remarkable day. As
the last light fades, the dark, minormode “Night” music returns, much as
we heard it at the beginning. But the
final murmurs of the violins reveal the
exalted, new emotions now attached
to the great mountain in the hearts of
those privileged to bestride her peak.
Instrumentation: Four flutes, two piccolos,
three oboes, English horn, Heckelphone, three
clarinets, bass clarinet, piccolo clarinet, four
bassoons, contrabassoon, eight horns, four
Wagner Tuben, four trumpets, four trombones,
two tubas, timpani, percussion, two harps,
organ, celesta and strings.
Notes by Janet E. Bedell, Copyright ©2015
Photo by Broadmead
resident: Erroll Hay
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O v ertur e
17
{ program notes
Beethoven’s Pastoral
Friday, September 25, 2015 — 8 p.m.
Sunday, September 27, 2015 — 3 p.m.
Saturday, September 26, 2015 — 8 p.m.
Presenting Sponsor:
Juanjo Mena, Conductor
Jonathan Carney, Violin
Sergei Prokofiev
Alexander Glazunov
Symphony No. 1 in D Major, opus 25, “Classical”
Allegro con brio
Larghetto
Gavotte: Non troppo allegro
Finale: Molto vivace
Violin Concerto in A Minor, opus 82
Moderato
Andante sostenuto
Allegro
JONATHAN CARNEY
INTERMISSION
Ludwig van Beethoven
DHMH RSA # R24924
Symphony No. 6 in F Major, opus 68, “Pastoral”
Allegro ma non troppo
Andante molto mosso
Allegro
Allegro
Allegretto
The concert will end at approximately 9:35 p.m. on Friday, and 4:35 p.m. on Sunday.
Music Center at Strathmore
The concert will end at approximately 9:40 p.m.
WWW.ELIZABETHCOONEYAGENCY.COM
TRUST, INTEGRITY &
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18
O v ertur e
Media Sponsor:
Juanjo Mena
Chief Conductor of
the BBC Philharmonic in Manchester,
United Kingdom,
Juanjo Mena is one of Spain’s most
distinguished conductors.
Reengaged in 2015–2016 at the New
York Philharmonic just one year after
his debut there, Maestro Mena will
return to the Cincinnati Symphony for
Falla’s complete La vida breve, the Boston Symphony at Tanglewood, and the
Toronto Symphony. Other recent North
American orchestral engagements
include the Los Angeles Philharmonic,
Cleveland and Philadelphia orchestras
and Chicago, Montréal, Houston, St.
Louis and Pittsburgh symphonies.
Maestro Mena’s European highlights
in the 2015 –2016 season include his
debut with the Berlin Philharmonic
as well as concerts with the Dresden
Philharmonic, Orquesta Nacional de
España, RTVE Symphony and Bergen
Philharmonic.
A guest of international festivals,
Maestro Mena has appeared at the
Stars of White Nights Festival in
Russia, the Hollywood Bowl, Grant
Park and La Folle Journée (Nantes).
He recently led the BBC Philharmonic on
two tours of Europe and Spain, including
performances in Cologne, Frankfurt,
Munich, Vienna and Madrid, and
performs with them every year at the
BBC Proms in London. Maestro Mena
leads his BBC Philharmonic on a tour
of China in October 2015.
He has made several recordings with
the BBC Philharmonic, including a
disc of Manuel de Falla, which was a
BBC Music Magazine Recording of
the Month, and one of Gabriel Pierné,
which was a Gramophone Editor’s
Choice. He has also recorded a critically acclaimed rendering of Messiaen’s
Turangalîla Symphony for Hyperion with
the Bergen Philharmonic Orchestra.
Juanjo Mena last appeared with the
BSO in October 2012, conducting
a program of Dvořák, Bartók and
Tchaikovsky.
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O v ertur e
19
{ program notes
CH R IS LEE
Jonathan
Carney
Concertmaster
Jonathan Carney is
in his 14th season with
the BSO, after 12 seasons in the same
position with London’s Royal Philharmonic Orchestra. Born in New Jersey,
Mr. Carney hails from a musical family
with all six members graduates of The
Juilliard School. Following his studies
with Ivan Galamian and Christine
Dethier, he was awarded a Leverhulme
Fellowship to continue his studies in
London at the Royal College of Music.
After enjoying critically acclaimed
international tours as both concertmaster
and soloist with numerous ensembles,
Mr. Carney was invited by Vladimir
Ashkenazy to become concertmaster of
the Royal Philharmonic Orchestra in
1991. He was also appointed concertmaster
of the Bournemouth Symphony Orchestra
in 1994 and the Basque National Orchestra
in 1996. Recent solo performances have
included concertos by Bruch, Korngold,
Khachaturian, Sibelius, Nielsen, the
Brahms Double Concerto and Vaughan
Williams’ The Lark Ascending, which
was featured as a live BBC broadcast
from London’s Barbican Hall. He has
made a number of recordings, including concertos by Mozart, Vivaldi and
Nielsen, sonatas by Brahms, Beethoven
and Franck, and a disc of virtuoso works
by Sarasate and Kreisler with his mother
Gloria Carney as pianist. New releases
include Beethoven’s Archduke and Ghost
trios, the cello quintet of Schubert and a
Dvořák disc with the Terzetto and four
Romantic pieces for violin.
Mr. Carney is passionate about music
education and currently serves as Artistic
Director for the Maryland Classic Youth
Orchestras. He is also an artist-in-residence at the Baltimore School for the
Arts, one of the country’s premier high
schools and also serves on its Board
of Directors.
Jonathan Carney last appeared
as a violin with the BSO in July 2015
as leader and soloist in Vivaldi’s
The Four Seasons.
20
O v ertur e
ABOUT THE CONCERT:
Symphony No. 1 in D Major,
“Classical”
Sergei Prokofiev
Born in Sontsovka, Ukraine April 23, 1891;
died in Moscow, March 5, 1953
Although his earliest works had been
aggressively modern, in 1917, Prokofiev
decided to try his hand at a symphony in
neo-Classical style, anticipating a movement his archrival Igor Stravinsky would
popularize just a few years later. As Prokofiev explained in his autobiography, his
First Symphony was also an experiment
in composing away from the piano. “Up
to that time, I had usually composed at
the piano, but I had noticed that thematic
material composed without the piano was
often better in quality.”
He wrote, “So this was how the project
of writing a symphony in the style of
Haydn came about … it seemed it would
be easier to dive into the deep waters of
writing without the piano if I worked
in a familiar setting. If Haydn had lived
in our era, I thought, he would have retained his compositional style but would
also have absorbed something from what
was new. That’s the kind of symphony I
wanted to compose: a symphony in the
classical style.” The result was a witty,
bright-spirited work that combined
Classical form and musical material with
rhythmic and harmonic twists that were
pure 20th century.
Retreating back to an earlier musical
era also provided a welcome escape for
the composer, for 1917 was the year of the
Russian Revolution. Prokofiev managed
to largely ignore it from various country
retreats, where he composed prolifically,
producing not only the “Classical” Symphony, but also his First Violin Concerto.
The fiery upward rush that opens the
Allegro con brio first movement was
known in Haydn’s day as the “Mannheim
skyrocket,” because it was one of the virtuoso effects associated with the celebrated
German orchestra of Mannheim. The effervescent principal theme it introduces is
initially in the home key of D Major, but
in a 20th-century maneuver, Prokofiev
promptly drops it down to C Major.
More memorable is the second theme —
a mincing 18th-century dance made more
comical by a sly bassoon accompaniment.
Notice the marvelously bright and sassy
writing for woodwinds throughout this
movement and the symphony as a whole.
Movement two has all the grace and
charm of Haydn’s lighter slow movements.
Violins, in the very high range Prokofiev
loved throughout his career, sing a theme
of beguiling sweetness, which grows lovelier still when a flute is added. In the more
animated middle section, the bassoon
again moves into the spotlight.
Throughout his career, Prokofiev loved
the vigorously rhythmic gavotte dance,
and in the third movement, he substitutes it for the minuet Haydn would have
written. This gavotte opens clumsily with
an exaggerated stress on all the strong
beats of its angular melody. But after a
middle section led by woodwinds over a
bagpipe drone in strings, the flute reprises
it with enchanting gentleness and grace.
The Molto vivace finale is like
movement one on amphetamines. More
Mannheim skyrockets, a comical repeated-note theme, and a whimsical little
melody for flute fly by at breakneck speed.
Along with an abundance of comic spirits,
this whirlwind movement demands the
orchestra’s utmost virtuosity.
Instrumentation: Two flutes, two oboes, two
clarinets, two bassoons, two horns, two trumpets, timpani and strings.
Violin Concerto in A Minor
Alexander Glazunov
Born in St. Petersburg, Russia, August 10, 1865;
died in Paris, March 21, 1936
While prodigy instrumentalists are
relatively common, prodigy composers
are much rarer beings. Like Mozart and
Mendelssohn, Russia’s Alexander Glazunov launched his professional composing
career at a very young age. At 13, he
began lessons with Rimsky-Korsakov,
who exclaimed that Glazunov made
progress “not from day to day, but from
hour to hour.” When he was 16, his
However, though he went on to enjoy
an honorable career as a composer and
director of the St. Petersburg Conservatory (both Prokofiev and Shostakovich
studied with him), Glazunov, like
many prodigies, did not quite fulfill his
early promise. He remained a staunch
conservative, wedded to the lyrical
Romantic style of late-19th-century
Russian composers, especially Tchaikovsky. However, like Tchaikovsky,
he was a master of heartfelt, expressive
melody, and his finest works—such as
his Violin Concerto—have remained
popular with performers and audiences.
Written in 1904, the Violin Concerto
is an immensely appealing work, full of
marvelous tunes, sparkling orchestration
and the kind of virtuoso pyrotechnics top
violinists love to sink their bows into. In
true Romantic style, its three movements
flow together continuously. Moreover,
its first and second movements are, in
the manner of Liszt, completely fused,
sharing the same thematic material.
Movement one: Over the throb of
clarinets and bassoons, the violin immediately sings a soulful Slavic melody that
favors its warm low register. Sweeter still
is its second theme, which opens with
a pensive four-note descent, but then
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SEPT 27, 2015
Boris Slutsky & Friends
Featuring members of the
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SEPT 20, 2015
OCT 11, 2015
Barbara Dever & Phillip Collister
eption
NOV 15, 2015
Free Post-Concert Reception
Duo Baldo
NOV 01, 2015
NOV 22, 2015
For more information call 443.759.3309 or visit CommunityConcertsAtSecond.org
All concerts take place at the Second Presbyterian Church, 4200 St. Paul St., Baltimore, MD
Photo by James Bartolomeo
Over the throb of clarinets
and bassoons, the violin
immediately sings a soulful
Slavic melody.
SUNDAYS
@7:30PM
Rec
First Symphony was premiered to great
acclaim at a major professional concert
in St. Petersburg, and later that year he
introduced his First String Quartet as
well. The Russian arts patron Belyayev
was so impressed he founded the Russian
Symphony Concerts in St. Petersburg
to promote the music of Glazunov
and other, not quite so young, Russian
talents. In 1884, Belyayev brought the
teenager to meet Franz Liszt in Weimar,
and Liszt, too, promoted Glazunov’s
reputation in western Europe.
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21
{ program notes
Robert Shafer, Artistic Director
We are proud to present our
2015 -2016 SE A SON
robert shafer, conductor
bach CANTATA 118
br it t en CANTATA MISERICOR DIUM
hay dn THERESA MASS
Sunday, October 25, 2015 | 4:30 pm
The City Choir of Washington
The City Choir Chamber Orchestra
THE HOLLY AND THE IVY
music for chr ist m a s
Sunday, December 13, 2015 | 4:30 pm
The City Choir Brass Ensemble
tavener REQUIEM FR AGMENTS
<
a m er ic an pr e m ier e
>
handel MESSIAH PART III
Sunday, April 10, 2016 | 4:30 pm
The City Choir Chamber Orchestra
Performances will be held at the
National Presbyterian Church, Washington, D.C.
the city choir of washington: a sound like no other.
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Senior, student, and group discounts available.
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exploits the instrument’s upper range.
With charming contributions from
the high woodwinds, this music moves
directly into the slow movement.
Here the soloist introduces yet another
melody — the most romantic of them all
— played on the warm-toned G string and
enhanced by rich double-stopping. This
extended rhapsody closes in a high trill
for the violin and a gently rising cadence
for the woodwinds. Now we return to the
first movement’s two themes: the Slavic
first theme murmured by violas and the
descending second in flute and oboe. In a
delayed development section, the orchestra muses over both melodies; the violin
eventually joins in, at first playfully, then in
passionate double stops. Eventually, it floats
off into a lengthy, virtuosic cadenza that
completes the movement and paves the way
for the finale.
A pair of trumpets in dialogue with
the soloist outlines the finale’s dashing,
playful theme. And there are yet more engaging tunes to come as this folk-inspired
rondo gives both soloist and orchestra
plentiful opportunities to shine.
Instrumentation: Two flutes, piccolo, two
oboes, two clarinets, two bassoons, four horns,
two trumpets, three trombones, timpani,
percussion, harp and strings.
Matthew Kleiser ‘17
Symphony No. 6 in F Major,
“Pastoral”
Ludwig van Beethoven
Born in Bonn, Germany, December 16, 1770;
died in Vienna, Austria, March 26, 1827
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22
O v ertur e
Beethoven spent most of his adult life as
an urban man living in Vienna, but his
heart belonged to the country. Even when
he was confined to the city, he seldom
missed a daily walk on the walls that then
encircled Vienna and from which he could
gaze off into the surrounding countryside.
During the summers, he escaped town
altogether and spent the warm months in
outlying villages such as Heiligenstadt,
Mödling, and Baden. Musical sketchbook in hand, he roamed the fields and
woodlands from dawn to dusk. He looked
forward to these rural sojourns, he wrote,
“with the delight of a child. No man on
earth loves the country more; woods,
trees, and rocks give the response which
man requires. … Every tree seems to say
‘Holy, Holy.’ ”
So perhaps it is surprising that we have
only one “Pastoral” Symphony from his
pen: a work unique among Beethoven’s
output for its sense of geniality and relaxation. Almost simultaneously with this
piece written in 1807 and early 1808,
the composer was creating his Fifth
Symphony, a work that is terse, dramatic,
harmonically daring and driven by a
mood of heroic struggle. The “Pastoral”
is its sunnier sibling: leisurely, lyrical,
conflict-free and radiating a joyful
acceptance of life.
Since Beethoven gave descriptive titles
to each of the movements, Romantic
composers and commentators seized on
the work as an early example of program
music — a genre that describes scenes and
events through music. But this was not
Beethoven’s intention, as he suggests in his
subtitle for the work as a whole: “Pastoral
Symphony, or a recollection of country
life. More an expression of feeling than
a painting.” And in his sketchbooks he
wrote: “Pastoral Symphony: no picture,
but something in which the emotions are
expressed which are aroused in men by the
pleasure of the country [or] in which some
feelings of country life are set forth.”
Movement 1 (“Cheerful impressions
awakened by arrival in the country”):
The work’s uniquely serene mood
emerges instantly in the gracious, slightly
naive opening phrase of this sonata-form
movement. Unusual for Beethoven,
harmonies are simple and straightforward, and they will generally remain
so throughout the work. The scoring is
gentle; only strings and woodwinds are
used in this and the second movement.
We share with Beethoven the mood of
contentment and happiness he described
feeling whenever he arrived at his country haunts. Notice the ecstatic burbling
of the solo clarinet near the end of the
movement — reminiscent of birdsong
but also a sound of sheer delight.
Movement 2 (“Scene by the Brook”):
The gentle second movement is
program notes {
the heart of this symphony and one
of Beethoven’s most sublime creations.
Arpeggios on muted cellos, violas and
second violins conjure the murmuring
sounds of the brook at Mödling, which
pervade the entire movement. The lovely
themes unfold in leisurely, repetitious
fashion in music that is as lazy and
intoxicating as a summer day. Real
birdcalls appear in an exquisite passage
near the end, in which the solo flute,
oboe and clarinet mimic, respectively,
the nightingale, quail and cuckoo.
Movement 3 (“Merry gathering of
country folk”): In this scherzo movement, we finally meet the people who
populate Beethoven’s pastoral landscape.
According to his amanuensis Anton
Schindler, there was an amateur band that
played at The Three Ravens Tavern near
Mödling, one of the composer’s favorite
summer haunts. These musicians weren’t
the world’s most polished ensemble, but
Beethoven loved them and even composed waltzes for them. Their spirit and
Beethoven
style influenced this jovial peasant-dance
movement. The middle or trio section
has two parts: a pert melody introduced
by solo oboe and a boisterous dance that
sounds like a real Austrian hoedown.
Movement 4 (“Thunderstorm”):
In the “Pastoral”’s most overtly descriptive
passage, the dance is suddenly interrupted
by the ominous rumbling of thunder in
the cellos and double basses. The timpani,
in its only appearance in the symphony,
imitates the crack of thunder, the piccolo
shrieks overhead, and two trombones
add to the ruckus. The frightening sound
deep in the orchestra is produced by
cellos playing rapid five-note patterns
clashing against four-note patterns in the
double basses.
Movement 5 (“Shepherd’s Song:
Glad and grateful feelings after the
storm”): The storm subsides, and a
rainbow appears in the rain-cleansed air.
Beethoven opens his uplifting finale with
the yodeling call of a ranz des vaches or
Swiss shepherd’s song, from which his
“Hymn of Thanksgiving” principal theme
immediately develops. When this theme
reappears near the end, it gradually sheds
its folk simplicity and grows in grandeur
to a sublime apotheosis.
Instrumentation: Two flutes, piccolo,
two oboes, two clarinets, two bassoons,
two horns, two trumpets, two trombones,
timpani and strings.
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O v ertur e
23
{ program notes
J OSEF M O LI NA
Markus Stenz
Don Giovanni
Thursday, October 1, 2015 — 8p.m.
Sunday, October 4, 2015 — 3p.m.
Markus Stenz, Conductor
Madeline Adkins, Violin
Lisa Steltenpohl, Viola
Andrea Dorf McGray, Stage Director
DON GIOVANNI CAST
In order of appearance:
Morgan Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Don Giovanni
Thomas Richards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Leporello
Timothy Bruno . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Il Commendatore
Angela Meade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Donna Anna
Yi Li . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Don Ottavio
Jennifer Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Donna Elvira
Javier Arrey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Masetto
Pureum Jo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zerlina
Students from the Peabody Institute
Opera Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Chorus
Wolfgang Amadeus Mozart
Symphony No. 1 in E-flat Major, K. 16
Molto allegro
Andante
Presto
Sinfonia Concertante in E-flat Major, K. 364
Allegro maestoso
Andante
Presto
MADELINE ADKINS
LISA STELTENPOHL
Markus Stenz is
principal conductor
of the Netherlands
Radio Philharmonic
Orchestra and Principal Guest Conductor
of the Baltimore Symphony Orchestra. He
has appeared at many of the world’s major
opera houses and international festivals
including La Scala Milan, La Monnaie
in Brussels, English National Opera, San
Francisco Opera, Stuttgart Opera, Frankfurt Opera, Glyndebourne Festival Opera,
Chicago Lyric Opera and Edinburgh
International Festival.
His previous positions have included
artistic director and chief conductor of the
Melbourne Symphony. Until the summer
of 2014 he was general music director of
the City of Cologne and Gürzenich-Kapellmeister and principal guest conductor
of the Hallé.
Recent engagements include concerts
with Bamberg Symphony Orchestra, the
Konzerthausorchester Berlin, Helsinki
Philharmonic, Orchestre de la Suisse
Romande, London Philharmonic, Seoul
Philharmonic, Sao Paolo Symphony Orchestra, Royal Concertgebouw Orchestra,
and the BBC Scottish Symphony Orchestra at the 2014 BBC Proms. He continues
a regular relationship with the Hallé.
His extensive discography was
recently enlarged by the addition of the
Dutch premiere of K. A. Hartmann’s
Simplicius Simplicissimus (Challenge
Classics), the complete Mahler symphonies (Oehms Classics) and Arnold
Schönberg’s Gurrelieder.
Markus Stenz last appeared with the
BSO in May 2015, conducting a program
of Weber, Richard Strauss and Schumann.
INTERMISSION
Scenes from Don Giovanni, K. 527
The concert will end at approximately 10 p.m.
24
O v ertur e
CA SSI DY D U H O N
Madeline
Adkins
Madeline Adkins was
appointed to the
position of associate
concertmaster of the BSO by Maestro
Yuri Temirkanov in 2005 after performing
five years as assistant concertmaster. She
appears annually as a soloist with the
12581 - Overture magazine Sept October 2015_DT October 2015 8/26/15 9:47 AM Page 1
BSO, and is also the concertmaster of
the Baltimore Chamber Orchestra.
Ms. Adkins has served as guest concertmaster of the Hong Kong Philharmonic,
the Indianapolis and Oregon Symphonies,
and the Grant Park Symphony Orchestra
in Chicago, where she was featured in
Beethoven’s Missa Solemnis. She has won
first prize in numerous competitions,
including the Stulberg International
String Competition, the ASTA National
Solo Competition and the New England
Conservatory Concerto Competition,
and won second prize in the Irving Klein
International String Competition.
Ms. Adkins has been active in period
instrument performance since the age
of 11, and has been a member of the
Handel and Haydn Society, Boston Baroque, the Dallas Bach Society, and currently Pro Musica Rara. With the BSO,
Ms. Adkins has appeared as conductor
and soloist in several baroque programs
of her own design.
The daughter of noted musicologists,
Ms. Adkins is the youngest of eight
children, six of whom are professional
musicians. She received her bachelor’s
summa cum laude from the University of
North Texas and her master’s degree from
the New England Conservatory where she
studied with James Buswell.
When not on stage, she volunteers and
fosters cats and kittens for Small Miracles
Cat and Dog Rescue in Ellicott City.
Ms. Adkins performs on a 1753
Guadagnini graciously loaned by
Marin Alsop.
Madeline Adkins last appeared as a
soloist with the BSO in February 2015,
performing J.S. Bach’s Concerto for
Two Violins with conductor
Nicholas McGegan.
Tiffany Glass:
Painting with Color and Light
SEPTEMBER 5–JANUARY 3
IN THE WINTERTHUR GALLERIES
Enjoy a captivating exhibition that showcases some of the most
iconic and celebrated of Louis C. Tiffany’s works. Included with
admission. Members free.
For more information, please call 800.448.3883 or visit
winterthur.org/tiffanyglass.
Lisa Steltenpohl
Lisa Steltenpohl,
the newly appointed
principal viola of the
Baltimore Symphony
Orchestra, is a graduate of the Curtis
Institute of Music and The Juilliard School.
She has served as principal violist of the
Presented by
The exhibition at Winterthur is organized by The Neustadt Collection of Tiffany Glass.
Dragonfly hanging shade (detail), Tiffany Studios, New York City, ca. 1905. The Neustadt Collection of Tiffany Glass, Queens, N.Y.
Winterthur is nestled in Delaware’s beautiful Brandywine Valley
on Route 52, between I-95 and Route 1. Take I-95 to Exit 7 in Delaware.
O v ertur e
25
{ program notes
Lisa Steltenpohl last appeared as a
soloist with the BSO in March 2014,
leading J.S. Bach’s Brandenburg
Concerto No. 6.
Andrea Dorf McGray
Andrea Dorf McGray is a freelance
stage director whose recent work
includes year three of American Opera
Initiative: Twenty Minute Operas for
Washington National Opera (WNO)
at the Kennedy Center, a semi-staged
Candide for Ash Lawn Opera, scenes
from L’elisir d’amore with the Apollo
Orchestra and WNO, and remounting
Francesca Zambello’s production of
Salome for The Dallas Opera.
26
O v ertur e
Upcoming projects include Don
Giovanni for Maryland Opera Studio,
year four of American Opera Initiative, and
the fourth remounting of her production of Amahl & the Night Visitors for
Ash Lawn Opera. She is also an adjunct
professor at the University of Maryland’s
School of Music.
Ms. McGray received her BA in
English, magna cum laude, from Amherst
College, studied with the Shakespeare
Programme in London, holds an MFA in
Directing from Cincinnati’s College-Conservatory of Music and is a graduate of
Washington National Opera’s DomingoCafritz Young Artist Program.
Andrea Dorf McGray is making her
debut with the BSO.
Morgan Smith
Don Giovanni
N I CO H U DAK
Curtis Symphony Orchestra and the
Haddonfield Symphony, now Symphony
in C. Ms. Steltenpohl has also performed
with such ensembles as the Philadelphia
Orchestra and the Chamber Orchestra
of Philadelphia. She began her musical
studies on viola at age eleven and while
a student in high school was one of the
youngest members of the Civic Orchestra
of Chicago.
Ms. Steltenpohl made her Orchestra
Hall debut performing Bartók’s Viola
Concerto with the Chicago Youth Symphony Orchestra in 2001. In addition to
her orchestral career, she has participated
in many chamber music concerts and festivals, performing alongside such notable
musicians as Arnold Steinhardt, Leonidas
Kavakos and others.
Originally from North Barrington,
Illinois, Ms. Steltenpohl comes from a
musical family. She and her twin sister
Anna, who plays oboe and English horn,
have been featured on the educational
series “Musical Encounters” and have performed many recitals together highlighting the viola and oboe repertoire. Prior to
joining the BSO, Ms. Steltenpohl was a
member of the Rochester Philharmonic
Orchestra. Her teachers have included
Misha Amory, Roberto Diaz, Desiree
Ruhstrat and Stephen Wyrczynski. She
made her BSO solo debut performing
Bach’s Sixth Brandenburg Concerto in
the 2013 –2014 season.
This season, Morgan
Smith makes his role
debut as Sharpless in
Madama Butterfly with Opéra de Montréal. He travels to Los Angeles Opera to
revive his role as Starbuck in Moby-Dick
and returns to his home company, Seattle
Opera, for Le Nozze di Figaro, playing
Count Almaviva. He repeats the title role
in Don Giovanni at Arizona Opera and
joins Madison Opera for his role debut as
Four Villains in Les Contes d’Hoffmann.
Recent successes include Escamillo at
Vancouver Opera and Pittsburgh Opera
and the title role Don Giovanni at Austin
Lyric Opera. He finished the season at Cincinnati Opera as Aaron in Morning Star.
A graduate of Columbia College and
Mannes College of Music in New York
City, Mr. Smith became a Seattle Opera
Young Artist 2001–2003 and made his
professional debut as Donald in Billy
Budd, followed by the title role in Don
Giovanni. He made his European debut
at the Berlin Staatsoper in 2009–2010
as Marcello, and at Oper Leipzig as
Rossini’s Figaro, Mozart’s Papageno
and in several other roles.
Morgan Smith is making his debut with
the BSO.
Thomas
Richards
Leporello
A native of Burnsville, Minnesota,
Thomas Richards was named a winner of the 2013 Grand Finals of the
Metropolitan Opera National Council
Auditions and took First Place in the
2013 Houston Grand Opera Eleanor
McCollum Competition. He earned his
master of music degree at the University
of Cincinnati College-Conservatory of
Music (CCM). His roles with CCM
Opera include Leporello in Don Giovanni and Frank Maurrant in Street Scene.
Recently, he performed Colline in La
bohème at the Central City Opera Festival,
Dr. Bartolo in Le Nozze di Figaro with
the Merola Opera Program, The Bonze
in Madama Butterfly, Orville Mason in
An American Tragedy at the Glimmerglass
Festival and Figaro in Le Nozze di Figaro
with Wolf Trap Opera. In the spring of
2015 he made his company debut as the
Baritone in The Tempest Songbook with
Gotham Chamber Opera, a performance called “riveting” by the New
York Times. He is a recent graduate of
the Houston Grand Opera Studio and
currently resides in Houston.
Thomas Richards is making his debut
with the BSO.
Timothy Bruno
The Commendatore
Bass Timothy J.
Bruno has quickly
become a sought
after performer in the United States.
In the 2015–2016 season, Bruno joins
Wolf Trap Opera’s Filene Young Artist Program, where he will be singing
Louis XVI in John Corigliano’s The
Ghosts of Versailles. He will be making
his debut at The Kennedy Center as
part of Washington National Opera’s
Domingo-Cafritz Young Artist Program. While there, Bruno will perform
as General Howell Cobb and James
Fowler in Philip Glass’ Appomattox
and premiere the role of Judge Judd in
program notes {
Luna Pearl Woolf’s Better Gods as part of
the American Opera Initiative. Recent
engagements include Méphistophélès in
Faust with Winter Opera St. Louis, Colline in La bohème with El Paso Opera,
The Bonze in Madama Butterfly with
Opera Columbus, and Abimélech in
Samson et Dalila with Atlanta Symphony
next to Stephanie Blythe and Stuart
Skelton in the title roles.
Timothy Bruno is making his debut
with the BSO.
Angela Meade
Donna Anna
American soprano
Angela Meade is the
winner of the 2012
Beverly Sills Artist Award and the 2011
Richard Tucker Award. Since her professional debut in 2008, she has been recognized as one of the outstanding vocalists
of her generation. She excels in the most
demanding heroines of the nineteenthcentury bel canto repertoire as well as in
the operas of Verdi and Mozart.
Ms. Meade made her professional operatic debut at the Metropolitan Opera as
Elvira in Verdi’s Ernani in 2008. She had
previously sung on that stage as a winner
of the 2007 Metropolitan Opera National
Council Auditions, a process documented
in the film The Audition.
Highlights of the 2015–2016 season
include Ms. Meade’s return to the Met as
Leonora in Verdi’s Il trovatore and to the
title role in Bellini’s Norma, this time with
the Los Angeles Opera. On the concert
stage, Meade performs the title role in
Rossini’s Ermione at the Palacio de la
Ópera and makes her BBC Proms debut
in Verdi’s Requiem. She will make her
Minnesota Orchestra debut in Beethoven’s
Ninth under Osmo Vänskä, and appear with the Philadelphia Orchestra for
Mahler’s Second conducted by Yannick
Nézet-Séguin.
Angela Meade last appeared with
the BSO in June 2014, in Beethoven’s
Symphony No. 9 with Marin Alsop
conducting.
Yi Li
Don Ottavio
A native of Jinan,
China, tenor Yi Li
recently graduated
from WNO’s Domingo-Cafritz Young
Artist Program. Last season at WNO, he
sang Rodolfo in La bohème (Young Artist
Performance) and First Commissioner in
Dialogues of the Carmelites. A 2014 grand
finals winner of the Metropolitan Opera
National Council Auditions, a participant in the 2014 Operalia Competition
and a second prize winner at the Gerda
Lissner Foundation Competition, Mr.
Li was in The Magic Flute at WNO and
Otello at the National Centre for the
Performing Arts in Beijing. He won first
prizes at the 2012 Opera Columbus Irma
M. Cooper Vocal Competition, the 2009
International Singing Competition in
Marmande, France and the 2008 World
Chinese Singing Competition of Taipei.
Mr. Li is a graduate of San Francisco
Opera’s Merola Opera Program and the
University of Cincinnati CollegeConservatory of Music (CCM).
Yi Li last performed with the BSO in
April 2015, singing selected opera scenes
with Washington National Opera Young
Artists, with Grant Gershon conducting.
Jennifer Black
Donna Elvira
Lyric soprano Jennifer Black is in high
demand on international opera and concert stages. In
addition to her appearance as Donna
Elvira with the BSO, Ms. Black will
perform as soprano soloist in Orff ’s
Carmina Burana at Southwest Florida
Symphony, Lida in La battaglia di
Legnano with Sarasota Opera, Strauss’
Four Last Songs with Ridgefield Symphony, Desdemona in Otello with the
Boston Youth Symphony Orchestra,
and she returns to the Metropolitan
Opera for La donna del Lago.
Recent seasons saw Ms. Black’s
Munich Philharmonic debut performing Musetta in La bohème, her Santa
BORN IN
BALTIMORE
2015-2016
SEASON
JOIN US!
FALL CONCERTS
SUNDAYS @ 5:30 PM
OPENING NIGHT
YEFIM BRONFMAN,
PIANO
September 20
MONTROSE TRIO
October 25
TAKÁCS QUARTET
November 15
MISCHA MAISKY, CELLO
LILY MAISKY, PIANO
December 6
DISCOVERY SERIES
SATURDAYS @ 3 PM
FREE! GEN. ADMISSION
BEHZOD ABDURAIMOV,
PIANO
October 3
Carver Center for Arts
and Technology
8-CONCERT SUBSCRIPTION
Regular $249 | Students $129
INDIVIDUAL-CONCERT TICKETS
Regular $42 | Students $21
FOR MORE INFORMATION & FULL SEASON
410.516.7164
WWW.SHRIVERCONCERTS.ORG
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27
{ program notes
Barbara Symphony debut in Mahler’s
Symphony No. 2 and a return to the
Castleton Festival as the soloist in
Mahler’s Symphony No. 4. On the
opera stage, she performed the role of
Mimì in La bohème in her Seattle Opera
debut, Juliette in Roméo et Juliette in a
return to Arizona Opera and her role
debut of Norina in Don Pasquale in a return to the Théâtre du Capitole de Toulouse. Ms. Black has performed with the
Metropolitan Opera, the Atlanta Opera
and the Teatro Municipal in Santiago,
among many others. She played Elle in
the one-woman production La voix
humaine for the Castleton Festival
with Maestro Lorin Maazel.
Jennifer Black is making her debut with
the BSO.
Javier Arrey
Masetto
A graduate of Washington National
Opera’s DomingoCafritz Young Artist Program, Chilean
baritone Javier Arrey was a finalist at
the 2009 Cardiff Singer of the World
competition and winner of the CulturArte prize at the 2011 Operalia
competition in Moscow. Mr. Arrey
made an acclaimed debut under Lorin
Maazel as Iago (Otello) at the Castleton
Festival and continued that association
in the summer of 2014 in the title role
of Don Giovanni.
This season, in addition to his appearance with the BSO under Markus
Stenz, he appears as Alphonse (La
favorite) with Washington Concert
Opera under Antony Walker and gives
performances of Orff’s Carmina Burana
with Charlotte Symphony under Christopher Warren-Green. He will make his
Wiener Staatsoper debut next season.
Javier Arrey also features as Lescaut
on the recording of Manon Lescaut on
Decca Classics under the baton of
Plácido Domingo.
Javier Arrey is making his debut with
the BSO.
28
O v ertur e
Pureum Jo
Zerlina
Pureum Jo is in
her second season
with the Houston
Grand Opera Studio; last season her roles
included Papagena in The Magic Flute
and Pamina in select performances of that
opera. She has performed the title role
of Matsukaze (Spoleto Festival U.S.A.,
Lincoln Center Festival); Blanche in Dialogues of the Carmelites (The Chautauqua
Institution) and Micaela in Carmen. In
recital and concert, she has performed
in Juilliard’s Wednesdays at One series
and New York City’s Voices of Ascension
in Haydn’s Mass in Time of War; and in
Mozart’s Laudate Dominum, Requiem,
and Coronation Mass. This past summer,
she sang Juliette in Roméo et Juliette with
the Aspen Music Festival. During the
2015–2016 season, she will sing Becca
in HGO company’s world premiere of
Gregory Spears and Royce Vavrek’s O
Columbia, the Rose in The Little Prince,
Barbarina in The Marriage of Figaro and
Miss Frayn in the world premiere of
Carlisle Floyd’s Prince of Players.
Pureum Jo is making her debut with
the BSO.
Students from the Peabody
Institute Opera Department
A division of the Johns Hopkins University, the Peabody Institute takes its place
beside the university’s other world- famous centers of research and learning in
the sciences, humanities and medicine.
An acknowledged leader in Maryland’s
artistic community, the conservatory has
been at the forefront of higher education
in music for more than 150 years, providing aspiring artists with the skills to
pursue professional careers in music and
music education. Peabody students go on
to occupy the top echelons of the music
profession worldwide and become leaders
in the cultural lives of their communities. This season, the opera department
presents Kurt Weill’s Street Scene, the
U.S. premiere of Paul Crabtree’s Ghost
Train and Mozart’s Cosi fan Tutte in ad-
dition to its regular program of operatic
scenes, and its educational outreach in
and around Baltimore.
ABOUT THE CONCERT:
Symphony No. 1 in E-flat Major
Born in Salzburg, Austria, January 27, 1756;
died in Vienna, December 5, 1791
In June 1763, the Mozart family left Salzburg for a three-and-a-half-year grand
tour of Europe to earn their fortune
through displaying the prodigious talents
of their two children: Marianne, then
aged 12, and Wolfgang Gottlieb, only 7.
Wending their way through the German states, Brussels and Paris, in April
1764, they arrived in London, where the
children were received so rapturously
they stayed on for nearly a year. Received
twice by the king and queen at Buckingham Palace, the Mozarts were taken up
by the nobility and showered with money
and precious gifts. In an advertisement, Leopold Mozart enumerated the
wondrous feats his son performed before
hundreds of English gentry: “The boy
will also play a concerto on the violin, accompany symphonies on the clavier, and
play on the cloth [covering the keyboard]
as well as though he had the keyboard
under his eyes; he will further most
accurately name from a distance any
notes that may be sounded for him either
singly or in chords, on the clavier or on
every imaginable instrument including
bells, glasses, and clocks. Lastly, he will
improvise out of his head, not only on
the pianoforte but also on an organ.”
Despite the aura of performing in a circus
sideshow, little Wolfgang did manage
to mature artistically during this heady
period. He was exposed to the best music
of the period at the various courts he
visited and rapidly absorbed their styles
and techniques. In London, at age 8, he
began seriously composing. His First
Symphony was probably written during
the summer or fall of 1764, when his
father’s serious illness temporarily curtailed the Mozart family performances,
program notes {
and it was likely premiered in London in
the winter of 1765.
In three movements and the key of
E-flat Major (a favorite key of the mature
Mozart), Symphony No. 1 faithfully
mirrors the style of older composers of
this period while exuding the high spirits
of a little boy with the world at his feet.
Its brisk, chirpy first movement shows a
fondness for stormy string tremolos. The
slow movement has a marvelous nocturnal
atmosphere, with a spooky little theme for
the cellos under vibrating string triplets
and slow-moving woodwind chords. In
the infectious finale, Mozart exults in
colorful chromatic writing (using altered
pitches outside the key); note the playful
little upward whoop of strings that links
two of these chromatic passages.
Instrumentation: Two oboes, two horns
and strings.
Sinfonia Concertante
in E-flat Major
We know very little about the genesis of
Mozart’s sublime Sinfonia Concertante,
K. 364, the greatest of his string concerto
works — neither the occasion for which
it was composed nor exactly when it was
written, though scholars have generally
settled on the summer of 1779. But we
know a great deal about the events that
preceded it and surely contributed to Mozart’s maturation. From September 1777
to January 1779, the young composer
traveled from one German princely court
to another and finally to Paris in search
of a lucrative musical post. While on this
journey, he fell seriously in love for the
first time — with Aloysia Weber, the older
sister of the woman he would marry four
years later, Constanze Weber. In Paris, his
mother, who was chaperoning him, fell ill
and died. In the end, the job search failed
and Mozart returned empty-handed to
Salzburg and his unrewarding drudgery
at Archbishop Colloredo’s court. But his
head was full of the spectacular music he
had heard in Mannheim and Paris and his
heart with new emotions instilled by love
and loss. The Sinfonia Concertante was
the beneficiary of all these experiences.
Works showcasing several solo instruments in an orchestral setting and known
as sinfonia concertante were very popular
in this period. But Mozart went far
beyond the genre to create a true double
concerto in which the violin and viola
are treated as equal and highly virtuosic
partners. Mozart was an accomplished
player of both instruments and was aware
of the difficulties in balancing the darker,
cloudier sound of the viola against the
brilliant tone of the violin. Ingeniously,
he made the viola play in D major — a
key that utilizes the resonance of its open
strings — but with its strings tuned onehalf step higher so the notes sound in the
home key of E-flat. In the orchestra, he
divided violas as well as violins into two
parts; this brings the ensemble violas into
greater prominence and adds marvelous
richness to the accompaniment.
This work demonstrates Mozart’s
extraordinary sensitivity to instrumental
colors. The contrast between the darkness
and brightness of the two solo instruments
is beautifully exploited in statement-andresponse dialogue. And their emergence in
the first movement, like celestial apparitions from the earthy core of the orchestra,
constitutes one of the most effective solo
entrances ever conceived.
Ravishing melody is the Sinfonia’s
other hallmark. In the leisurely sonataform first movement, there are so many
melodic strands that it is pointless to
speak of a “principal theme” and a “second
theme.” Melody reaches its apotheosis in the C-minor second movement,
one of the greatest of all Mozart’s slow
movements. Here in an Italianate aria
of heartbreaking beauty, the soloists
We are pleased
to join the
Baltimore
Symphony
Orchestra
in celebrating
100 successful
years of music,
inspiration and
commitment to
our community.
The BSO has been the soundtrack
and the inspiration of Maryland s
music makers and music lovers for
ﬁve generations. Venable is proud
to support this legacy of creative
excellence, and we look forward to
another 100 years of artistic vision
and community engagement.
Mozart
O v ertur e
29
{ program notes
become two operatic divas, soprano and
contralto. Chromatic harmonies and bold
dissonance color long-spun vocal lines
and reveal a grownup Mozart who has
suffered and learned how to transform
pain into high art. The vivacious finale
is in the rondo form Mozart favored for
his concerto last movements, with a
merry, infectious theme returning over
and over in between contrasting episodes.
Instrumentation: Two oboes, two horns
and strings.
Selections from DON GIOVANNI
In January 1787, just as Mozart’s
popularity in Vienna went into a slump,
the city of Prague, capital of the thenAustrian province of Bohemia, came to
the rescue. His latest opera, Le nozze di
Figaro, was such a tremendous success
at the Prague National Theater that the
entire city was gripped by Figaro-mania.
Mozart was there to witness it all and
described a ball given in his honor: “I
looked on … with the greatest pleasure
while all these people flew about in
sheer delight to the music of my Figaro,
arranged for contradances and German dances. For there, they talk about
nothing but Figaro. Nothing is played,
sung, or whistled but Figaro. No opera
is drawing like Figaro. … Certainly a
great honor for me!” Not surprisingly,
the National Theater promptly offered a
commission for a new comic opera, and
it turned out to be one of his greatest
masterpieces: Don Giovanni, premiered
in Prague on October 29, 1787.
Nevertheless, the new opera wasn’t
exactly a light-weight comedy; Mozart
and his librettist Lorenzo Da Ponte called
it a “dramma giocoso” because, to an
unprecedented degree, it combined comic
elements with a very serious drama of
crime and punishment. It was based on
an already familiar story about a dissolute
nobleman who relentlessly seduces women
and is finally brought to justice by the
ghost of a man he killed during one of his
amorous escapades. The Spaniard Tirso
30
O v ertur e
de Molina had published the tale in 1630,
and numerous playwrights and librettists,
including Molière and Goldoni, had created their own versions. And in Mozart’s
own day, Gluck had composed a ballet
on the subject and Gazzoniga an Italian
opera that had premiered a few months
earlier. Knowing he could crib from these
other sources, Da Ponte suggested this
plot to Mozart partly because it would
make his own job crafting a libretto that
much easier.
Also the librettist for Figaro, the colorful Lorenzo Da Ponte (1749–1838) was
in such demand as a librettist that he was
then working on three projects simultaneously, including an opera for Mozart’s
rival, Antonio Salieri. Perhaps because he
was a friend of a real-life lover of prodigious appetites, Giacomo Casanova, and,
though ordained a priest, had enjoyed
plenty of amorous adventures of his own,
he made the seducer Don Giovanni into
a more sympathetic character — someone
audiences would find as irresistible as did
his legions of feminine conquests.
Undoubtedly the opera’s
most famous aria,
“Madamina, il catalogo’
è questo,” is sung by
Giovanni’s servant Leporello.
Nevertheless, it is the splendor of
Mozart’s score and his unique ability to
devise music that revealed the individual
personality of each character that lofted a
shopworn tale into a masterpiece. We will
hear a selection of numbers that introduces
us to the Don himself, his nimble servant
Leporello and three of the ladies he tries
in vain to seduce. We will also experience
the opera’s spectacular last scene in which
Giovanni finally meets his doom.
In two parts, the opera’s riveting
Overture encapsulates both the tragic and
the comic aspects of this dramma giocoso.
First, we hear a slow introduction in D
Minor, full of darkness and foreboding;
its whirling scales terrifyingly portray the
supernatural forces that will ultimately
destroy the Don; this music returns in
the opera’s final scene. Then the tempo
accelerates, and the key brightens to
D Major for music of comic verve, its
dashing fanfares a portrait of the virile
Don himself.
Undoubtedly the opera’s most famous
aria, “Madamina, il catalogo’ è questo,”
is sung by Giovanni’s servant Leporello
to the distraught Donna Elvira after
his boss has left her in the lurch once
again. Unfurling a seemingly endless
list of names — Giovanni’s thousands of
conquests throughout the lands of Europe
— he assures her she was not the first of
his victims, nor will she be the last. This is
one of Mozart’s slyest and most skillfully
conceived comic arias, its breathless pace
capturing the enormity of Giovanni’s
career and the breadth of his appetites.
Rivaling this aria in fame is the sweetly
reassuring duet “Là ci darem la mano”
Giovanni uses to try to seduce the pretty
peasant bride Zerlina. Mozart gives his
hero an ingratiating, almost paternal
melody perfectly designed to appeal to a
naive young girl of the lower classes. Only
the appearance of Donna Elvira prevents
this ploy from succeeding.
Later in Act I, the Don is planning a
party at his estate where he expects to
make quite a few more conquests. In the
testosterone-driven aria “Finch’ han dal
vino,” he details the arrangements to Leporello at a whirlwind pace. Throughout
the opera, Mozart never gives Giovanni an
extended aria — running on nerves, this
character simply hasn’t got time for one.
We now jump to late in Act II. Fooled
yet again by Giovanni when he deputizes
Leporello to woo her disguised in his
borrowed clothes, Donna Elvira voices
her despair in her finest aria “Mi tradi.”
Mozart’s music with its beautiful woodwind colors shows us that she is more
than a woman scorned and longing for
vengeance; she truly loves Giovanni and,
despite his abuse, longs to save
him from his fate.
Donna Anna is the grand noblewoman whose father, the Commendatore,
Giovanni killed while trying to escape
from his assault on her virtue at the beginning of the opera. Still grieving for her
program notes {
father, she keeps refusing Don Ottavio’s
pleas to marry him. In one of the greatest
of all of Mozart’s soprano arias, “Non mi
dir,” she explains her need for patience
until she recovers emotionally. It is is two
parts: a restrained, meltingly beautiful
Larghetto and a more forceful Allegretto
featuring coloratura of testing difficulty.
The Finale to Act II — and the opera
itself — begins as pure comedy: Giovanni
is gorging himself on fine food and wine
in his dining room while Leporello surreptitiously tries to help himself to a few
morsels. The onstage wind band plays
excerpts from three contemporary operas
the first audiences would have known
well: first, a tune from Martin y Soler’s
Una cosa rara, then from Sarti’s Fra i due
litiganti, and finally, as an in-joke for the
Praguers, the aria “Non più andrai” from
Figaro itself.
Then as Donna Elvira runs in, the
atmosphere becomes much darker. The
Don treats her warnings with disdain. Her
scream on departing sets up the awe-inspiring drama of crime and punishment as
dreadful blows announce the arrival of the
Commendatore’s ghost, the stone statue
Giovanni had so recklessly invited to dinner a few scenes earlier. The key switches
to D minor, ferocious dissonances are
heard and trombones — rarely used in
operas in that era — lend a somber, otherworldly sound. The sonorous basso of the
Commendatore demands Giovanni repent
before it is too late while Leporello babbles
in fear. Fiercely proud and unwilling to
give up his pleasures, Giovanni bravely
refuses and, grasping the statue’s hand, is
dragged down to a flaming hell.
Mozart appends a comic-opera epilogue
to this stunning scene as the six surviving
characters return to the stage to gloat over
Giovanni’s punishment. We now move to
its triumphant conclusion in D Major as
they proclaim: “Evil doers always die the
death they have deserved.”
Instrumentation: Two flutes, two oboes,
two clarinets, two bassoons, two horns,
two trumpets, three trombones, timpani,
harpsichord and strings.
Off the Cuff: Don Giovanni
Friday, October 2, 2015 — 8:15p.m.
Saturday, October 3, 2015 — 7p.m.
Markus Stenz, Conductor
Andrea Dorf McGray, Stage Director
DON GIOVANNI CAST
In order of appearance:
Morgan Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Don Giovanni
Thomas Richards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Leporello
Timothy Bruno . . . . . . . . . . . . . . . . . . . . . . . . . . . . Il Commendatore
Angela Meade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Donna Anna
Yi Li . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Don Ottavio
Jennifer Black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Donna Elvira
Javier Arrey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Masetto
Pureum Jo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Zerlina
Students from the Peabody Institute
Opera Department . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chorus
Scenes from Don Giovanni, K. 527
ABOUT THE CONCERT:
For notes on the program, see pg. 30.
Everyone loves an anti-hero, and Mozart’s
titular libertine Don Giovanni — or Don
Juan — seduces and preys upon women
before ultimately receiving his karmic
undoing. Don Giovanni is Mozart’s most
Romantic opera which deals in psychological and supernatural drama balanced
with dark humor that would go on to inspire 19th-century composers and delight
audiences long after.
O v ertur e
31
M I CHAEL TAM MARO
{ program notes
JACK EVERLY | PRINCIPAL POPS CONDUCTOR
Classic FM
Thursday, October 8, 2015 — 8 p.m.
Friday, October 9, 2015 — 8p.m.
Saturday, October 10, 2015 — 8p.m.
Sunday, October 11, 2015 — 3p.m.
Presenting Sponsor:
Jack Everly, Conductor
STARRING
JIM HOGAN
RON REMKE
JOSH TURNER
Arr. Everly
Andersson, Andersson, Ulvaeus
Arr. Reineke
John / Arr. Barton
Simon
N’KENGE
MELISSA SCHOTT
Prelude to a Decade
ABBA
Tiny Dancer / Don’t Let the Sun Go Down on Me
Graceland
Simon / Arr. Barton
The Sound of Silence
Simon / Arr. Barker
Bridge Over Troubled Water
Anderson-Lopez, Lopez / Arr. Ricketts
Lennon / Arr. Everly
Arr. Barker / Orch. Barton
Let It Go*
Imagine
Valli and the Dolls
INTERMISSION
Arr. Everly
Cohen
Diamond / Arr. Barton
Lamm / Arr.Everly
Williams / Arr. Runyan
Perren, Fekaris / Arr. Anthony
Marks / Anka Arr. Barton
Lennon & McCartney / Arr. Barker
Prelude to Another Decade
Hallelujah
Sweet Caroline
Chicago Medley
Happy
I Will Survive
My Way / I Gotta Be Me
The Beatles Medley
Music Center at Strathmore
32
O v ertur e
Jack Everly
Jack Everly is the principal pops conductor
of the Indianapolis
and Baltimore Symphony Orchestras, Naples Philharmonic
Orchestra and the National Arts Centre
Orchestra (Ottawa). He has conducted
the Los Angeles Philharmonic at the
Hollywood Bowl, the New York Pops at
Carnegie Hall and appears regularly with
the Cleveland Orchestra at Blossom Music
Center. This season Maestro Everly will
conduct over 90 performances in more
than 20 North American cities.
As music director of the National
Memorial Day Concert and “A Capitol
Fourth” on PBS, Everly proudly leads the
National Symphony Orchestra in these
patriotic celebrations on the National
Mall. These concerts attract hundreds of
thousands of attendees on the lawn and
the broadcasts reach millions of viewers
and are some of the very highest rated
programming on PBS television.
Originally appointed by Mikhail
Baryshnikov, Mr. Everly was music director of the American Ballet Theatre for 14
years. In addition to his ABT tenure, he
teamed with Marvin Hamlisch on Broadway shows that Mr. Hamlisch scored. He
conducted Carol Channing hundreds
of times in Hello, Dolly! in two separate
Broadway productions.
Maestro Everly, a graduate of the Jacobs
School of Music at Indiana University, is
a recipient of the 2015 Indiana Historical
Society Living Legends Award and holds
an Honorary Doctorate of Arts from
Franklin College in his home state of
Indiana. He is a proud resident of the
Indianapolis community for over 12 years,
and when not on the podium you can find
Maestro Everly at home with his family
which includes Max the wonder dog.
Jack Everly last appeared with the BSO in
June 2015 when he led the Orchestra is a
program of music by John Williams.
*Let It Go
Music and Lyrics by Kristen Anderson-Lopez
and Robert Lopez
© 2013 Wonderland Music Company, Inc.
program notes {
Jim Hogan
Jim Hogan is
thrilled to be
making his debut
with the Baltimore
Symphony Orchestra under the direction of Maestro Jack Everly. At just 24
years of age, Jim has already made a
name for himself as one of Broadway’s
upcoming performers to watch. Broadway/National Tour credits include
Spring Awakening, while regional
credits include Henrik Egerman in
A Little Night Music (Arden Theatre
Company), Huey Calhoun in Memphis
(Arvada Center for the Arts, Theatre
Colorado Best Actor in a Musical
Award) and as Gordon in the world
premiere of The Circus in Winter
(Goodspeed Musicals). In 2016, Jim
will make his feature film debut in
Anton Chekhov’s The Seagull, directed
by Tony Award winner Michael Mayer. In addition to performances with Jack
Everly as a soloist in Classic FM: Radio
Hits of the Decades, The Beat Goes On:
The Music of the Baby Boomers, and the
Indianapolis Symphony Orchestra’s
Yuletide Celebration, Jim created the
role of Charley in the world premiere
of Maestro Luke Frazier’s I’ ll Be Seeing You with the Fairfax Symphony
Orchestra. Interact with Jim on Twitter
and Instagram @JimHogan220
Jim Hogan is making his debut with
the BSO.
Ron Remke
Ron Remke is
currently performing in the largest
spectacle on the
Las Vegas strip, Jubilee! He was a
featured soloist with the renowned 12
Irish Tenors and is a guest artist with
symphonies throughout the United
States and Canada. He is also a soughtafter performer on the high seas and
has had the privilege of visiting over 80
countries. Select credits include lead
tenor in The Producers (Westchester
Broadway Theater, Pioneer Theater),
Hugo in Aspects of Love, Captain Tarnitz
in The Student Prince (Media Theater),
dance captain for Kiss Me, Kate (US
National Tour) and appearances at the
Fulton Opera House, Marriott Lincolnshire, the Merry-Go-Round Playhouse,
Struther’s Library Theater and Cortland
Repertory among others. Mr. Remke
has also worked with Sesame Street and
Nickelodeon as a voice-over character
artist and is the voice of Juan in Sonia
Monzano’s (Maria from Sesame St.)
No Dog Allowed!. His full symphonic
CD entitled Broadway Classics is available on iTunes and on his website,
www.ronremke.com.
Ron Remke last appeared with the
BSO SuperPops in October 2014, in
“Broadway Standing Ovations,” with
Jack Everly conducting.
Josh Turner
Indianapolis native
Josh Turner is a 2015
graduate of Butler
University with a B.A.
in music. Mr. Turner’s YouTube channel
has garnered nearly nine million views,
and his performance of Paul Simon’s
“Graceland” earned him an appearance
on ABC’s “Good Morning America.”
Mr. Turner recently had the opportunity
to perform alongside members of the
Backstreet Boys at the 2015 Kentucky
Music Hall of Fame induction ceremony.
In his spare time, Mr. Turner enjoys making a pot of tea and playing bluegrass.
Josh Turner is making his debut with
the BSO.
N’Kenge
N’Kenge, who originated the role of Mary
Wells in Broadway’s
Motown: The Musical,
made her Broadway debut in Sondheim on
Sondheim alongside Barbara Cook, Vanessa
Williams, Norm Lewis and Tom Wopat,
directed by Pulitzer Prize winner James
Lapine. In London, N’Kenge made her
West End debut starring in The Genius of
Ray Charles. She was hailed by The New
York Times as “a classically trained diva
that can stretch from Broadway, Pop Soul
to Opera.” N’Kenge starred in the Michael
Jackson Tribute Show world tour and has
also been seen as a soloist at Carnegie Hall
with The New York Pops Orchestra, Baltimore Symphony Orchestra, Cincinnati
Symphony, Indianapolis Symphony and
Cleveland orchestra to name a few.
This 2015–2016 season sees N’Kenge as the witch in Big Fish and Matron
“Mama” Morton in Chicago with Alpine
Music Project Theater. She was also cast as
Queen Ti in Broadway bound Akhenaten:
The Musical and Tanya in the Broadway
bound musical 54: The Musical. In addition, N’Kenge will appear as a soloist with
numerous symphonies across the U.S.
this season. Nominated for outstanding
lead actress by the Helen Hayes Awards in
D.C. for her performance in 3 Mo’ Divas,
N’Kenge had the honor of performing for
President Obama at the Commander-inChief’s Inaugural Ball. Visit N’Kenge at
www.nkengemusic.com.
N’Kenge last appeared with the BSO
SuperPops in May 2012, in “The Beat
Goes On! Music of the Baby Boomers,”
with Jack Everly conducting.
BSO SuperPops
O v ertur e
33
{ program notes
Melissa Schott
Melissa Schott is
thrilled to be performing once again
with Maestro Jack
Everly. A featured singer/dancer in
Cirque du Soleil’s original company of
Banana Shpeel, choreographed by Jared
Grimes and directed by David Shiner,
she performed at New York City’s Beacon Theatre, Chicago’s Chicago Theatre
and Toronto’s Canon Theatre. Ms.
Schott was also with the National Company of Irving Berlin’s White Christmas
(Judy Understudy), choreographed by
three-time Tony award nominee Randy
Skinner and directed by Tony Award
winner Walter Bobbie. Regionally she
has appeared in 42nd Street (Peggy),
Always…Patsy Cline (Patsy), Thoroughly Modern Millie (Millie) and MTI’s
Broadway Jr. recordings of Pirates of
Penzance (Ruth), Willy Wonka (Violet
and Mrs. Gloop) and Into The Woods
(Witch). Ms. Schott enjoys her roles as
choreographer for Music K-8 magazine
and director of Dance Connection.
She happily shares her time between
New York City and the Indianapolis
area with her husband, Aaron, and
their Yorkie family. For more, visit
melissaschott.com.
Melissa Schott is making her debut
with the BSO.
Co-Produced along with
Symphonic Pops Consortium.
The Symphonic Pops Consortium mission is
to conceive, create and produce high quality,
innovative, symphonic Pops concerts by uniting
a group of symphony orchestras and combining
their resources. The Symphonic Pops Consortium
is comprised of the Indianapolis (managing
partner), Detroit, Milwaukee, National and
Seattle Symphony Orchestras.
Music Director: Jack Everly
Producer: Ty A. Johnson
Production Management: Brandy Rodgers
Costume Designer: Clare M. Henkel
34
O v ertur e
In association with:
Shakespeare’s
Romeo and Juliet: In Concert
Friday, October 16, 2015 — 8 p.m.
Sunday, October 18, 2015 — 3 p.m.
Saturday, October 17, 2015 — 8 p.m.
Marin Alsop, Conductor
Edward Berkeley, Stage Director and Concert Adaptation
Sebastian Stimman
Christina Sajous
Louis Butelli
Kelley Curran
Nehal Joshi
Brad Koed
Lise Bruneau
CAST
Romeo, Gregory
Juliet, Abram
Friar Lawrence, Juliet’s Nurse,
Lord Montague
Lady Capulet
Benvolio, Paris, Prince Escalus
Mercutio, Lord Capulet
Chorus, Tybalt, Lady Montague,
Citizen, Servant, Masker, Servant, Balthasar,
Father John, Watch, Page
Kate Ashton, Lighting Designer
Ashley Pollard, Production Stage Manager
Lewis Shaw, Combat Director
PERFORMANCE
Sergei Prokofiev
Selections from Romeo and Juliet, opus 64
This Performance will include one 20 minute intermission
These performances are by arrangement with G. Schirmer, Inc., publisher and copyright owner.
The concert will end at approximately 10:30 p.m. on Friday and 5:30p.m. on Sunday.
Media Sponsor:
Tuxedos for the performances of R OMEO
by J.S. Edwards Ltd.
AND
J ULIET provided
program notes {
Marin Alsop
For Marin Alsop’s bio., please see pg. 7.
Edward
Berkeley
Edward Berkeley,
who directed the
BSO’s 2014 production of A Midsummer Night’s Dream, has
worked for more than 25 years at The
Juilliard School (primarily as director of
undergraduate opera studies) and teaches
Shakespeare at Circle in the Square Theatre School. On Broadway, he directed
the Tony Award and Drama Desk–
nominated Wilder, Wilder, Wilder and
other award-winning productions. Mr.
Berkeley’s New York Shakespeare Festival
productions include Pericles and “Best
Revival” winner The Tempest. He directed
Beatrice and Benedict at the New York
Philharmonic and John Adams’ El Niño
with the Atlanta Symphony and at Ravinia. Mr. Berkeley has also directed at the
Library of Congress, Williamstown Theater Festival and the Old Globe Theater.
As director of the Aspen Opera Theater
Center, he has directed both classics and
new operas by John Corigliano, Bright
Sheng, Augusta Read Thomas and Bernard Rands. In New York, Mr. Berkeley
directed premieres of Ned Rorem’s Our
Town, Thomas Adès’ Powder Her Face
and Ullman’s The Kaiser from Atlantis
(which he also directed in Los Angeles,
Miami, Houston, Spoleto and Ravinia).
Mr. Berkeley was an acting consultant
for the Metropolitan Opera’s Lindemann Young Artists Program, a guest
faculty member of Princeton University and Williams College, a returning
distinguished guest professor at Carleton
College and returning guest director at
Rice University. Favorite productions
include his own adaptation of Mendelssohn’s A Midsummer Night’s Dream and
L’ histoire du Soldat for the New York
Philharmonic, Two Faces of Romeo and
Juliet (Bernstein plus Gounod) and
Madama Butterfly for Houston Grand
Opera, and John Adams’ The Death of
Klinghoffer and Conrad Susa’s Transformations at Juilliard. Edward Berkeley last appeared with
the BSO in April 2015, as stage director
for selected opera scenes with Washington
National Opera Young Artists.
Sebastian
Stimman
Romeo, Gregory
Sebastian Stimman
was born and raised
in Lima, Peru into a German/Scandinavian family. His passion for the theater
began at an early age and led to starring
roles in both television and on stage.
Choosing to expand his horizons Mr.
Stimman relocated to Germany to continue his acting training, followed by a
move to Mexico. In 2010 Mr. Stimman
moved to New York City to study at the
Circle in the Square Professional Musical Theatre Workshop. Following his
graduation in June 2012, Mr. Stimman
has been on a classical track, performing in productions of Macbeth, A
Midsummer Night’s Dream, Romeo and
Juliet and Pericles. Other recent credits
include: The Music Man, Beauty and the
Beast, the Off-Broadway production of
Euripides’ Children of Hercules and Stan
Barber’s Tales of Terror of Edgar Allan
Poe. He participated in the production
of Blue Moon at Columbia University
School of the Arts and originated the
role of Julian in Julian & Romero. Mr.
Stimman was featured in the recent independent film Worlds on Fire as well as
on the new TV pilot The Reel Life and
is also starring in the upcoming feature
film 1.7 Alpha.
Sebastian Stimman is making his
debut with the BSO.
Christina Sajous
Juliet, Abram
Christina Sajous
recently performed
in Unknown Soldier
at Williamstown Theatre Festival. Her
Broadway credits include Holler If Ya Hear
Me, Spider Man: Turn Off the Dark, Baby
It’s You! and Green Day’s American Idiot.
Off-Broadway she has appeared in Forever
Dusty at New World Stages and King
Lear at the Classical Theatre of Harlem.
Also in New York, Ms. Sajous has appeared in Anna Nicole at the Brooklyn
Academy of Music and I’m Getting My
Act Together and Taking it on the Road at
New York City Center. Regional credits
include The 12 at Denver Center for
the Performing Arts, Carmen at Ring
Theatre, The Who’s Tommy at The Rep
and Aida at Artpark. She has toured with
Rent and appeared in the film Brazzaville
Teenager. Ms. Sajous’ television appearances include “Alpha House,” “One Life
to Live,” and “The 52nd Annual Grammy
Awards.” She received her BFA at New
York University and dedicates her performance to her “angel and and brother,”
Joshua Sajous.
Christina Sajous is making her debut
with the BSO.
Louis Butelli
Friar Lawrence,
Juliet’s Nurse,
Lord Montague
Born and raised on
Long Island, New York, Mr. Butelli
has spent the past 18 years working as
an actor, teacher, director and writer.
From 1998-2008, he was artist-inresidence and company clown for the
Aquila Theatre Company. During that
time, he appeared Off-Broadway, at
major regional houses and on tour to
49 states in the U.S. and across Europe.
Recent credits include Folger Theatre,
La Jolla Playhouse, American Repertory
Theater, South Coast Rep, Shakespeare
Theatre Co. D.C., Alabama Shakespeare Festival, Yale Rep, Long Wharf,
Pasadena Playhouse, the world tour
of La Scala Opera’s West Side Story
and many others. On television, Mr.
Butelli has appeared in Benders (IFC),
The Knick (Cinemax), The Unusuals, Law & Order and L&O: Criminal
Intent (NBC). Mr. Butelli has won a
Helen Hayes Award for Outstanding
Supporting Actor, a NYMF Award for
Outstanding Individual Performance,
O v ertur e
35
{ program notes
and has been nominated for three L.A.
Weekly Theatre Awards and the Pulitzer
Prize in Drama. @louisbutelli
Louis Butelli is making his debut
with the BSO.
Kelley Curran
Lady Capulet
Kelley Curran most
recently appeared
opposite John Douglas
Thompson in the American company
premiere of Lolita Chakrabarti’s Red Velvet,
in repertory with Comedy of Errors at
Shakespeare & Company in Lenox, MA.
Off-Broadway appearances include ‘Tis
Pity She’s a Whore at the Red Bull Theatre
Company, The Atmosphere of Memory
at LAByrinth Theatre Co. and Angels in
America with Signature Theatre Company,
which received the Lucille Lortel award
for outstanding revival. She’s appeared
in Henry V at the New Victory, Knives &
Spoons Go on the Right at 59E59. Regionally, Ms. Curran has appeared in Henry IV,
Parts 1 & 2 at the Shakespeare Theatre in
D.C., Venus In Fur at Gulfshore Playhouse,
Anna Karenina, Cymbeline and Clybourne
Park at Portland Center Stage, As You Like
It and Romeo & Juliet with Shakespeare &
Company, Hamlet and All’s Well That Ends
Well at the Alabama Shakespeare Festival,
and three national tours with The Acting
Company. Film appearances include Dear
Santa and Still On the Road. Ms. Curran
received her B.A. from Fordham at Lincoln
Center and studied at Oxford’s British
American Drama Academy and The Public
Theater Shakespeare Lab. She was a 2005
Princess Grace Award Nominee.
Kelley Curran is making her debut
with the BSO.
Nehal Joshi
Benvolio, Paris, Prince
Escalus
Nehal Joshi comes to
the BSO straight from
the Off-Broadway satire musical Whose
your Baghdaddy or How I Started the Iraq
36
O v ertur e
War. His Broadway credits include the
original revival of Les Misérables and
The Threepenny Opera with Alan Cumming and Cyndi Lauper; Off-Broadway
he appeared in Falling for Eve and
Working (2013 Drama Desk Award). Regional credits include Valjean in a
modern take on Les Misérables at the
Dallas Theater Center, Mother Courage
and Her Children (Arena Stage), Oklahoma! (Arena Stage), Man of La Mancha
(Shakespeare Theater Company),
Disney’s The Jungle Book (Huntington/
Goodman), Mister Roberts (Kennedy
Center), Arsenic & Old Lace (Dallas
Theater Center) and Recent Tragic Events
(Woolly Mammoth Theatre Company).
Off the stage, Mr. Joshi can be seen in
season three episodes of HBO’s The Wire,
in the film Blackout (BET) and is heard
as voiceover in the video game World of
Warcraft: Cataclysm. Nehal Joshi is making his debut with
the BSO.
Brad Koed
Mercutio,
Lord Capulet
Brad made his Broadway debut in Death of
a Salesman, starring Philip Seymour Hoffman and Andrew Garfield, directed by
Mike Nichols. He received a Helen Hayes
Award nomination for his work in Aaron
Posner’s Stupid Fucking Bird (Woolly
Mammoth, directed by Howard Shalwitz). Other theater projects include Romeo and Juliet (Folger, directed by Aaron
Posner), Unnatural Acts (Classic Stage Co.,
Tony Speciale, director) and Shipwrecked!
(Edinburgh Fringe Festival). Films include
the upcoming indies Julia and Kimberly Levin’s Runoff. Mr. Koed recently
completed filming Mercy Street, a six-part
Civil War epic produced by Ridley Scott’s
Scott Free Productions scheduled to air on
PBS in January. Mr. Koed received a BFA
in Acting from Syracuse University and
currently lives in Brooklyn, NY.
Brad Koed is making his debut with
the BSO.
Lise Bruneau
Chorus, Tybalt, Lady
Montague, Citizen,
Servant, Masker,
Servant, Balthasar,
Father John,
Watch, Page
Lise Bruneau is thrilled to realize her
dream of performing in front of a live
orchestra. Ms. Bruneau’s D.C. credits
include Mother Courage (with Kathleen
Turner) and Legacy of Light for Arena
Stage; Coriolanus, An Ideal Husband,
Ion, Othello, and The Winter’s Tale at the
Shakespeare Theatre Company; The Tale
of the Allergist’s Wife, for Theatre J, and at
Centerstage, Blithe Spirit and Mary Stuart
among many others. In 2013 she won
a Henry Award for playing Hesione in
Heartbreak House at the Denver Center.
Lise has directed for many theaters
nationwide, including the upstart
theater company Taffety Punk, where
she is directing Inheritance Canyon in
September. Ms. Bruneau trained at
RADA in London and is proud to be
a Taffety Punk. lisebruneau.com
Lise Bruneau is making her debut
with the BSO.
Folger Theatre
Folger Theatre is the centerpiece of a rich
array of public programs at Washington’s
Folger Shakespeare Library, home to
the world’s largest Shakespeare collection. In its Elizabethan-styled playhouse,
Folger Theatre is known for innovative
stagings of Shakespeare’s work, as well
as other classics and new plays inspired
by these traditions. Since 1991, Folger
Theatre has been honored by the Helen
Hayes Awards with 23 awards and 135
nominations for excellence in acting,
direction, design and production. In
2012, Folger Theatre brought Hamlet
from Shakespeare’s Globe in London for
the company’s first Washington appearance. In the 2015 –2016 season, Folger
Theatre is partnering with The Oregon
Shakespeare Festival to bring its critically
acclaimed Pericles to Washington. Folger
Theatre will round out its season with A
program notes {
Midsummer Night’s Dream and the world
premiere of District Merchants, a specially
commissioned retelling of The Merchant
of Venice to commemorate Shakespeare’s
400th anniversary.
ABOUT THE CONCERT:
Romeo and Juliet
Sergei Prokofiev
Born in Sontsovka, Ukraine, April 23, 1891;
died in Moscow, March 5, 1953
Though now more than 400 years old,
Shakespeare’s Romeo and Juliet still reigns
as the most compelling of all love stories.
And it has held as much allure for composers as for theater and film directors. As
one composer who succumbed to its spell,
Hector Berlioz, wrote: “God! What a fine
subject! How it lends itself to music!”
As he returned to the Soviet Union
in the mid-1930s after years of exile
in the West, Sergei Prokofiev chose
Romeo and Juliet as a gift to his homeland, honoring the Russian tradition of
full-length story ballets such as Swan
Lake and Sleeping Beauty. In Paris, he
had already proven his skills in creating
dance music with the ballets Pas d’acier
and The Prodigal Son for Diaghilev and
his celebrated Ballets Russes. His keen
dramatic sense had also been revealed
in a series of highly effective operas,
including The Gambler, The Love for
Three Oranges and The Fiery Angel.
With a commission from Moscow’s
Bolshoi Ballet in hand and the love story
driving his imagination, Prokofiev wrote
most of the two-hour-plus score rapidly
over the summer and early fall of 1935
while working at a country retreat for
Soviet artists in the Russian countryside.
But when he played the music for the
Bolshoi staff on October 4, they were
dismayed: Prokofiev had given his ballet
a happy ending in which Juliet awakens
in time to prevent Romeo’s suicide! In
his autobiography Prokofiev explained:
“The reasons for this bit of barbarism
were purely choreographic: living people
can dance, the dead cannot.” Convinced
that the lovers’ deaths could indeed be
staged effectively, he rewrote his ending
to match Shakespeare’s.
But more trouble arose as the ballet
went into rehearsal. Bewildered by
Prokofiev’s frequently complicated
rhythms, the dancers complained that
the music was “undanceable,” and the
Bolshoi eventually dropped the production. But Prokofiev believed deeply in
his score — a magnificent blending of
his melodic gifts, sophisticated wit, and
cinematic skill of painting pictures with
music — and in 1936, he created two
concert suites to advertise his masterpiece. Audiences fell in love with the
music, and ultimately, the Leningrad’s
Kirov Ballet mounted a triumphant
production in January 1940 that established the work as one of the jewels of
the classical ballet repertoire.
Robinson calls the score for
Romeo and Juliet “a giant
step forward in Prokofiev’s
evolution as a dramatic and
symphonic composer.”
Prokofiev biographer Harlow Robinson calls the score for Romeo and Juliet
“a giant step forward in Prokofiev’s
evolution as a dramatic and symphonic
composer. It is a remarkable synthesis
of the different aspects of his musical
personality.” The composer’s earlier
aggressive style intensifies the scenes
of conflict between the rival families,
the Montagues and the Capulets, and
reaches its peak in the unbridled violence of “The Death of Tybalt.” His love
for the classicism of the 18th century is
put to use in the many formal dances,
particularly for Act I’s ballroom scene
where the two lovers first meet. His
satirical style animates the characterization of the play’s two comic characters, Juliet’s nurse and Romeo’s friend
Mercutio. But most impressive of all
are the soaring melodies of lyrical ardor
and yearning that represent the central
romance. As he aged, Prokofiev’s lyrical
side had grown to supersede his earlier
detachment. Robinson: “Ten years
earlier, his musical personality would
have been too ironic, dry, and one-sided
to portray the great variety of emotions
Romeo and Juliet required.”
A UNIQUE PERFORMING SYNTHESIS
Director Edward Berkeley returns to
the BSO to stage Romeo and Juliet in a
performance he conceives as a unique
synthesis of Prokofiev’s musical score
and Shakespeare’s original dramatic
text. “I’m not aware of anyone doing
this before,” says Berkeley. “It will be a
new hybrid form combining a great play
with a great score.”
Marin Alsop and Berkeley will not
perform the entire ballet score, which
uncut runs to nearly two and a half hours;
however, the audience will experience
far more of Prokofiev’s music than they
would hear in a program of the Romeo
concert suites. Berkeley: “A lot of the
score is written so actors can speak on
top of the music. I’m quite convinced
that Prokofiev was very savvy about
Shakespeare’s text and that he based
his music closely on it. There are lots of
places where the emotional weight of the
scene is being propelled by the music; the
‘Balcony Scene’ is a fantastic example.”
Often playing multiple roles, seven
actors chosen by the highly regarded
Folger Theatre in Washington, D.C. will
perform Shakespeare’s drama, replacing
the dancers of Prokofiev’s ballet. Berkeley
will be using theatrical lighting as well as
minimal sets and costumes. The orchestra
itself will become part of the cast —for example, standing in for the party guests at
the Capulet ball. “The words themselves
allied with the music should communicate
so fully that that’s all you need. It will be a
new way of telling a timeless story.”
English horn, two clarinets, piccolo clarinet, bass
clarinet, two bassoons, contrabassoon, tenor
saxophone, six horns, three trumpets, cornet,
three trombones, tuba, timpani, percussion,
two harps, piano, celesta, organ, mandolins and
strings (including viola d'amore).
O v ertur e
37
SYMPHONY FUND HONOR ROLL
March 1, 2014 – July 1, 2015
The Baltimore Symphony Orchestra is deeply grateful to the individual, corporate, foundation, and
government donors whose generosity supports our artistic, education, and community engagement initiatives.
Gifts were received from the following donors between March 1, 2014 and July 1, 2015.
To donate, please contact the BSO Membership Office at 410.783.8124 or visit BSOmusic.org/donate.
The Century Club
$100,000 or more
Marin Alsop
Donna and Paul Amico
The Baltimore Symphony
Associates
Sandy Feldman, President
The Charles T. Bauer
Foundation
Henry and Ruth Blaustein
Rosenberg Foundation and
the Estate of Ruth Marder*
Mr. and Mrs. Kingdon
Gould, Jr.
Hecht-Levi Foundation
Ryda H. Levi* and Sandra Levi
Gerstung
Joseph & Harvey Meyerhoff
Family Charitable Funds
Robert E. Meyerhoff and Rheda
Becker
Linda and Stanley* Panitz
Bruce and Lori Laitman
Rosenblum
Alena and David M. Schwaber
Founder’s Circle
$50,000 – $99,999
The Bozzuto Charitable Fund
Jessica and Michael Bronfein
Mark and Pat Joseph
Dr. and Mrs. Solomon H.
Snyder
Ellen W.P. Wasserman
$25,000 – $49,999
Anonymous
Caswell J. Caplan Charitable
Income Trusts
Constance R. Caplan
Mr. and Mrs. Robert Coutts
Adalman-Goodwin Foundation
Hilda Perl Goodwin and
Douglas* Goodwin, trustees
Mr. and Mrs. Benjamin H.
Griswold, IV
Mr.* and Mrs. E. Phillips
Hathaway
Mr. and Mrs. Stephen M. Lans
Sarellen and Marshall Levine
The Huether-McClelland
Foundation
George and Catherine
McClelland
Judy and Scott Phares
Dr. and Mrs.* Thomas Pozefsky
Lainy LeBow-Sachs and
Leonard R. Sachs
The Honorable Steven R. Schuh
38
O v ertur e
Mr. and Mrs. Stephen D. Shawe
David and Chris Wallace
Dr. Ellen Yankellow and
Mr. Bill Chapman
Maestra's Circle
Diamond
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David and Pat Bernstein
Robert H. Boublitz
In memory of Harry H.
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Mr. and Mrs. George L.
Bunting, Jr.
The Dopkin-Singer-Dannenberg
Foundation, Inc.
Mrs. Margery Dannenberg
Rosalee C. and Richard Davison
Foundation
Donna and Kenneth
DeFontes, Jr.
Alan and Carol Edelman
Sara and Nelson Fishman
Sandra Levi Gerstung
Mr. and Mrs. Douglas Hamilton
Michael G. Hansen and
Nancy E. Randa
Joel and Liz Helke
Dr. and Mrs.* Murray
Kappelman
Barbara Katz
Howard Majev and
Janet Brandt Majev
Hilary B. Miller and
Dr. Katherine N. Bent
Mr. and Mrs. H. Hudson
Myers, Jr.
Mr.* and Mrs. Michael P. Pinto
Arnold and Diane Polinger
Alison and Arnold Richman
Mr. George A. Roche
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Foundation
Michelle G. and Howard
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Morris Shapiro Family
Foundation
Dr. and Mrs. Charles I. Shubin
Richard C. and Julie I. Vogt
Maestra’s Circle
Platinum
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Anonymous
Erin Becker
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Mr. and Mrs. A.G.W. Biddle, III
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Dan Cameron
Ms. Kathleen A. Chagnon
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Davis, Jr.
Chapin Davis Investments
Judith* and Mark D. Coplin
Mr. and Mrs. Albert
Counselman
Linwood and Ellen Dame
Mr. and Mrs. James L.
Dunbar
Doris T. and Bill Fader
Mr. Mark Fetting
Joanne Gold and
Andrew A. Stern
The Sandra and Fred Hittman
Philanthropic Fund
Wendy Jachman
The Alvin and Louise Meyerberg
Family Foundation
Drs. Riva and Marc Kahn
Mrs. Barbara Kines
Dr. and Mrs. Yuan C. Lee
Harriet and Jeffrey Legum
In memory of James Gavin
Manson
Sayra and Neil Meyerhoff
Sally S. and Decatur* H. Miller
Drs. Mark and Virginia
Myerson
Mr. and Mrs. Bill Nerenberg
Dr. Selvin Passen
The RCM&D Foundation
and RCM&D, Inc.
Mr. and Mrs. Albert R.
Counselman
Gar and Migsie Richlin
Barry and Susan Rosen
John and Dawn Sadler
M. Sigmund and Barbara K.
Shapiro Philanthropic Fund
Francesca Siciliano and
Mark Green
The Honorable and Mrs. James
T. Smith, Jr.
Mr. and Mrs. Gideon N.
Stieff, Jr.
Ms. Harriet Stulman
The Louis B. Thalheimer and
Juliet A. Eurich Philanthropic
Fund
Mr. and Mrs. Loren Western
Mr. Edward Wiese
Aaron and Joanie Young
The Zamoiski-Barber-Segal
Family Foundation
BSO AT THE MEYERHOFF
HONOR ROLL
The following donors contribute
to support music and music
education throughout the
Baltimore community.
Meyerhoff Governing
Members Gold
$5,000 – $9,999
Anonymous (3)
Dr. and Mrs. Thomas E. Allen
Deborah and Howard M.
Berman
Linda and Barry Berman
Alan and Bunny Bernstein
Ms. Carol Bogash
John and Bonnie Boland
Steven Brooks and
Ann Loar Brooks
Mrs. Elizabeth A. Bryan
Mr. and Mrs. Robert Butler
Mr. John Cahill
Nathan and Suzanne Cohen
Foundation
Mr. and Mrs. Elbert Cole
Faith and Marvin Dean
Dr. and Mrs. Thomas
DeKornfeld
Ronald E. Dencker
Drs. Sonia and Myrna
Estruch
Ms. Margaret Ann Fallon
Andrea and Samuel Fine
John Gidwitz
Sandra and Barry Glass
Betty E. and Leonard H.
Golombek
Dr. Todd Phillips and
Ms. Denise Hargrove
Sandra and Thomas Hess
Mr. and Mrs. J. Woodford
Howard, Jr.
Mr.* and Mrs. H. Thomas
Howell
Susan and David Hutton
Susan and Stephen Immelt
Mr. and Mrs. Harry Kaplan
Mr. William La Cholter
Joseph H. and Eileen A. Mason
Norfolk Southern Foundation
Dan and Agnes Mazur
Mrs. Kenneth A. McCord
Margot and Cleaveland Miller
Jolie and John Mitchell
Dr. and Mrs. C.L. Moravec
Elizabeth Moser
Mrs. Joy Munster
Dr. and Mrs. David Paige
Dr. and Mrs. Lawrence C.
Pakula
William and Kathleen Pence
Marge Penhallegon
Helene and Bill Pittler
The Rabin Family
Dr. and Mrs. E. Albert Reece
Rona and Arthur Rosenbaum
Neil J. and JoAnn N. Ruther
Dr.* and Mrs. Marvin M. Sager
Mr. and Mrs. J. Mark Schapiro
Jacob S. Shapiro Foundation
Jane and Stan Rodbell, and
James Shapiro
The Sidney Silber Family
Foundation
Mr. and Mrs. Harris J.
Silverstone
Melissa and Philip Spevak
James Storey and
Janice Collins
Dr. and Mrs. Carvel Tiekert
Mr. Peter Van Dyke and
Ms. Judy Van Dyke
Susan Wolman
Laurie S. Zabin
Meyerhoff Governing
Members Silver
$3,000 – $4,999
Anonymous (3)
Dr. and Mrs. Robert J. Adams
Mr. and Mrs. Edward J. Adkins
Julianne and George Alderman
Frederick Apfel and
Meredith Pattin
Mr. Paul Araujo
Jackie and Eugene Azzam
Mr. and Mrs. Thomas H.G.
Bailliere, Jr.
Susan and David Balderson
Ms. Penny Bank
Donald L. Bartling
Dr. and Mrs. Theodore M.
Bayless
Dr. and Mrs. Mandell Bellmore
Donna and Stanley Ber
Dr. and Mrs. Mordecai P.
Blaustein
Mr. and Mrs. John Blodgett
Dr. and Mrs. Paul Z. Bodnar
Jeffrey and Peggy Boltz
Mr. and Mrs. John M. Bond, Jr.
Dr. Helene Breazeale
Dr. Rudiger and Robin
Breitenecker
Mr. and Mrs. Thomas H.
Broadus, III
Barbara and Ed Brody
Strathmore Board and Governing
Members celebrate at the BSO
at Strathmore Gala last February.
Dr. and Mrs. Donald D. Brown
Mr. and Mrs. S. Winfield Cain
Brad and Kate Callahan
James N. Campbell, M.D. and
Regina Anderson, M.D.
Michael and Kathy Carducci
Ms. Susan Chouinard
Joan Piven-Cohen and
Samuel T. Cohen
Wandaleen and Emried Cole
Dr. Elizabeth H. Jones and
Steven P. Collier
Mr. and Mrs. John W.
Conrad, Jr.
David and Ellen Cooper
Robert A. and Jeanne Cordes
Charles A. Corson
Mrs. Rebecca M. Cowen-Hirsch
Mr. and Mrs. William H.
Cowie, Jr.
Alan and Pamela Cressman
Mr. and Mrs. Edward A.
Dahlka, Jr.
Dr. and Mrs. Cornelius Darcy
Mr. and Mrs. William F.
Dausch
Dr. Karlotta M. Davis
Walter B. Doggett, III and
Joanne Doggett
Dr. and Mrs. Daniel Drachman
Mr. and Mrs. Larry D. Droppa
Bill and Louise Duncan
Mr. and Mrs. Laurence Dusold
Dr. Sylwester J. Dziuba
Donna Z. Eden and
Henry Goldberg
Deborah and Philip English
Michaeline Fedder and
Susan Arisman
Mr. and Mrs. Maurice R.
Feldman
David and Merle Fishman
Winnie and Bill* Flattery
Dr. and Mrs. Jerome L. Fleg
Ms. Lois Flowers
Mr. and Mrs. John C. Frederick
Jo Ann and Jack Fruchtman
John Galleazzi and
Elizabeth Hennessey
Mr. Robert Gillison and
Ms. Laura L. Gamble
Mrs. Ellen Bruce Gibbs
Gale Gillespie
Helaine and Louis Gitomer
Bruce Yale Goldman
Brian and Gina Gracie
Dr. Diana Griffiths
In memory of Dr. Felix Gyi
Carole Hamlin and
Donors enjoy the Pops open rehearsal
of the music of John Williams.
C. Fraser Smith
Mr. Gary C. Harn
Melanie and Donald Heacock
John P. Healy
Mr. and Mrs. Robert W. Hearn
Mr. and Mrs. Edward Heine
Mr. Thomas Hicks
Bruce and Caren Beth Hoffberger
Ms. Marilyn J. Hoffman
Betsy and Len Homer
Bill and Ann Hughes
Elayne and Benno Hurwitz
In memory of John T.
Ricketts, III
Richard and Brenda Johnson
Susan B. Katzenberg
Louise and Richard Kemper
Townsend and Bob Kent
Suzan Russell Kiepper
Deborah C. Kissinger
Richard Kitson and
Andrew Pappas
Dr. and Mrs. Richard A. Kline
Paul Konka and
Susan Dugan-Konka
Dr. Morton D. Kramer
Ms. Patricia Krenzke and
Mr. Michael Hall
Miss Dorothy B. Krug
Sandy and Mark Laken
Dr. and Mrs. Donald
Langenberg
The Lavagnino Family
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Lieberman
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McWilliams
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John Meyerhoff, M.D. and
Lenel Srochi-Meyerhoff
Sheila J. Meyers
Mr. Charles Miller
Carolyn B. Mills and
Dr. John A. Snyder
Ms. Patricia J. Mitchell
Members of the BSO’s Legato Circle
gather for lunch before a concert.
Drs. Dalia and Alan Mitnick
Dr. Mellasenah Y. Morris
Rex Myers
Roy and Gillian Myers
Phyllis Neuman,
Ricka Neuman and
Ted Niederman
Roger F. Nordquist,
In memory of Joyce C. Ward
In memory of the Rev. Howard
G. Norton and Charles O.
Norton
Dr. Antonella Nota
Number Ten Foundation
Kevin and Diane O’Connor
Anne M. O’Hare
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Mr. and Mrs. Frank Palulis
Helen and Mac Passano
Beverly and Sam Penn
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David and Lesley
Punshon-Smith
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Alma Smith
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Karen Jackson
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Robert and Lelia Russell
Ilene and Michael Salcman
Ms. Doris Sanders
Lois Schenck and Tod Myers
Marilyn and Herb* Scher
Dr. and Mrs. James L. Scott
Ida and Joseph Shapiro
Foundation and Diane and
Albert Shapiro
Mr. Stephen Shepard
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Thom Shipley and Chris Taylor
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Dr. and Mrs. Frederick Sieber
Ronnie and Rachelle Silverstein
Drs. Ruth and John Singer
Ellwood and Thelma Sinsky
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Skillman
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Ms. Nancy E. Smith
Cape Foundation
Turner and Judy Smith
Mr. and Mrs. Lee M. Snyder
Dr. and Mrs. John Sorkin
Dr. and Mrs. Charles S. Specht
Joan and Thomas Spence
Guests line up to enter the BSA Decorators’
Show House on opening day.
Anita and Mickey Steinberg
Mr. Edward Steinhouse
Harriet Stulman
Susan and Brian Sullam
Jim and Brigitte Sutherlin
Mr. and Mrs. Robert Taubman
Dr. Ronald J. Taylor
Mr. and Mrs. Terence Taylor
Sonia and Carl Tendler
Mr. and Mrs. Paul G. Tolzman
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Mr. Larry Townsend
Raymond G. Truitt and
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In Memory of Jeffrey F. Liss,
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Dr. and Mrs. Matthew R. Weir
Mr. and Mrs. David
Weisenfreund
John Hunter Wells
Mr. and Mrs. Christopher West
Sean and Jody Wharry
Ms. Camille B. Wheeler and
Mr. William B. Marshall
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In Memory of Carole L. Maier,
Artist
Mr. and Mrs. Barry F. Williams
Mr. and Mrs. T. Winstead, Jr.
Laura and Thomas Witt
Mr. and Mrs. Richard Wolven
Drs. Yaster and Zeitlin
Chris and Carol Yoder
Mr. and Mrs. Michael Young
Dr. and Mrs. Robert E. Zadek
Meyerhoff Symphony
Society Gold
$2,000 – $2,999
Anonymous (2)
George and Frances Alderson
Robert and Dorothy Bair
Chris H. Bartlett
Msgnr. Arthur W. Bastress
Carolyn and John Boitnott
Mr. and Mrs. Charles R. Booth
Loretta Cain
Campbell and Company
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Arthur F. and Isadora Dellheim
Foundation, Inc.
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Ms. Rhea I. Arnot
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Foundation
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Foundation
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Powell
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Karen and Richard Soisson
Michael White and Rena Gorlin
Leslie and James J. Wharton
Dr. and Mrs. E.F. Shaw Wilgis
Ms. Anne Worthington
Meyerhoff Symphony
Society Silver
$1,200 – $1,999
Anonymous (3)
Mr. and Mrs. Ronald Abrams
Matthew P. Alfano
Mr. and Mrs. W. Michael
Andrew
Robert and Martha Armenti
Mr. and Mrs. Maurice Arsenault
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Julia Barker and
John C. Merrill
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Mr. Edward Bersbach
Mr. and Mrs. Albert Biondo
Roy Birk
Ms. Amy Boscov and
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Elizabeth W. Botzler
O v ertur e
39
David E. and Alice R. Brainerd
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Stephen C. Buckingham
Chuck and Beth Bullamore
Dr. Robert P. Burchard
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Chadwick
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Cohen
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Dr. Jean Lee Cole
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Mr. and Mrs. William C. Dee
Rev. and Ms. DeGarmo
Dr. Alfred J. DeRenzis
Nicholas F. Diliello
Dr. Jeanne A. Dussault and
Mr. Mark A. Woodworth
Mr. and Mrs. Stuart Elsberg
and The Elsberg Family
Foundation
Mr. and Mrs. Ray Fischer
Dr. and Mrs. William Fox
Virginia K. Adams and
Neal M. Friedlander, M.D.
Dr. and Mrs. Donald S. Gann
Mr. and Mrs. Stanford
Gann, Sr.
Mr. George Garmer
Fred and Elaine Gehris
Mr. and Mrs. Austin George
Dr. and Mrs. Frank A.
Giargiana, Jr.
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Judith A. Gottlieb
Robert Greenfield
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Thelma Horpel
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Alexandra Huff and
James BonTempo
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Nancy Hulse
Ms. Elizabeth Huttar
Mr. and Mrs. Scott Jacobs
40
O v ertur e
Honor and John Johnson
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Mrs. Shirley Kaufman
Ann and David Keith
George and Catherine Klein
Dr. John Boronow and
Ms. Adrienne Kols, In
Memory of John R. H. and
Charlotte Boronow
Robert W. Krajek
Francine and Allan Krumholtz
Dr. James and Mrs. Lynne
LaCalle
Andrew Lapayowker and
Sarah McCafferty
Dr. Edward and Ms. Rebecca
Lawson
Mr. Ronald P. Lesser
Dr. Harry Letaw, Jr. and
Mrs. Joyce W. Letaw
Len and Cindy Levering
Dr. and Mrs. Bernard Levy
Ms. Joanne Linder
Mr. and Mrs. Arthur Lynch
Joseph S. Massey
Mr. and Mrs. Stanley Mathews
Susan J. Mathias
Mr. and Mrs. Jordon Max
Mr. Timothy Meredith
Benjamin Michaelson, Jr.
Richard M. Kastendieck and
Sally J. Miles
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Noah* and Carol C. O’Connell
Minkin
Herbert and Miriam Mittenthal
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Mary Patil
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Dr. Sally Pinkstaff
Mr. and Mrs. Morton B. Plant
Mr. and Mrs. Elias Poe
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Mr. Charles B. Reeves, Jr.
Mr. and Mrs. B. Preston Rich
Carl and Bonnie Richards
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Stephen Root and
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Dr. Jeffrey D. Rothstein and
Ms. Lynn A. Bristol
Mr. Seymour S. Rubak
John B. Sacci and
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Beryl and Philip Sachs
Mr. and Mrs. Benjamin
Schapiro
Mrs. Barbara K. Scherlis
Jeff M. Schumer
Dr. Deborah Schwengel
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Bruce and Lynne Stuart
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Robert and Sharonlee Vogel
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Charles Emerson Walker, PhD
Mr. and Mrs. Kent Walker
Dr. Robert F. Ward
Elizabeth V. Weber
Drs. Susan and James Weiss
Mrs. Margaret Wheeler
Jennifer and Leonard Wilcox
Dr. and Mrs. Donald E. Wilson
Mr. George H. Winslow
Mr. Sander L. Wise
Dr. Richard Worsham and
Ms. Deborah Geisenkotter
Drs. Paul and Deborah
Young-Hyman
BSO AT STRATHMORE
HONOR ROLL
The following donors contribute
to the BSO at Strathmore
Artistic Fund to support music
and music education throughout
Montgomery County and the
DC Metro community.
Strathmore Governing
Members Gold
$5,000 – $9,999
Ms. Marietta Ethier
Susan Fisher
David Leckrone and
Marlene Berlin
Dr. James and Jill Lipton
Mr. James Lynch
Ms. Janet L. Mahaney
Howard and Linda Martin
Mr. and Mrs. Humayun Mirza
David Nickels and Gerri Hall
Jan S. Peterson and
Alison E. Cole
Mike and Janet Rowan
Daniel and Sybil Silver
John and Susan D. Warshawsky
Strathmore Governing
Members Silver
$3,000 – $4,999
Anonymous (2)
Ms. Franca B. Barton and
Mr. George G. Clarke
Leonard and Gabriela Bebchick
Dr. Nancy D. Bridges
Lt Gen (Ret) Frank B. and
Karen Campbell
Geri and David Cohen
Kari Peterson and Benito R. and
Ben De Leon
June Linowitz and
Howard Eisner
J. Fainberg
Dr. and Mrs. Bruce Feldman
Anthony and Wyn Fitzpatrick
Paula K. and Martin S.
Himeles, Jr.
Dr. Phyllis R. Kaplan
Mr. and Mrs. Christopher Keller
Marcia Diehl and
Julie Kurland
Marc E. Lackritz and
Mary DeOreo
Burt and Karen Leete
Mr. and Mrs. Howard Lehrer
Mr. James Lynch
The Meisel Group
Dr. William W. Mullins
Ms. Diane M. Perin
Martin Poretsky and
Henriette van Eck
Bill and Shirley Rooker
Roger and Barbara Schwarz
Patricia Smith and
Dr. Frances Lussier
Don Spero and
Nancy Chasen
Mr. Alan Strasser and
Ms. Patricia Hartge
Alan V Asay and
Mary K Sturtevant
Dr. Diana Locke and
Mr. Robert E. Toense
Dr. Edward Whitman
Sylvia and Peter Winik
Strathmore Symphony
Society Gold
$2,000 – $2,999
Anonymous
Ms. Shirley Brandman and
Mr. Howard Shapiro
Dr. Mark Cinnamon and
Ms. Doreen Kelly
Kenneth R. Feinberg
Dr. Edward Finn
Dr. and Mrs. Sanford Glazer
George and Joni Gold
In memory of Albert Golden,
viola
Ms. Lana Halpern
Mr. and Mrs. Gerald Hoefler
Fran and Bill Holmes
Madeleine and Joseph Jacobs
Marie Lerch and Jeff Kolb
Herb and Rita Posner
William B. and Sandra B.
Rogers
Donald M. Simonds
Strathmore Symphony
Society Silver
$1,200 – $1,999
Anonymous (3)
Mr. and Mrs. Anthony Abell
Charles Alston and
Susan Dentzer
Mr. and Mrs. Larry Avrunin
Mr. William J. Baer and
Ms. Nancy H. Hendry
Caroline W. and Rick Barnett
Mrs. Elaine Belman
Mr. and Mrs. Jeffrey Bergman
Alan and Lynn Berkeley
Sherry and David Berz
Drs. Lawrence and Deborah
Blank
Dorothy R. Bloomfield
Ms. Jane B. Boynton
Mr. Richard H. Broun and
Ms. Karen E. Daly
Gordon F. Brown
Frances and Leonard Burka
Mr. and Mrs. John Carr
Mr. Vincent Castellano
Cecil Chen and Betsy Haanes
Mr. Harvey A. Cohen and
Mr. Michael R. Tardif
Mr. and Mrs. James C. Cooper
Joan de Pontet
Mr. John C. Driscoll
Chuck Fax and Michele Weil
Mr. and Mrs. Karl Flicker
Mr. and Mrs. Roberto B.
Friedman
Mary Martin Gant
Mary and Bill Gibb
Joseph M. Gillmer and
Leah B. Mazar
Dr. and Mrs. Harvey R. Gold
Drs. Joseph Gootenberg and
Susan Leibenhaut
David and Anne Grizzle
Mark and Lynne Groban
Joan and Norman Gurevich
Drs. Marlene and Bill Haffner
John and Linda Hanson
Sara and James A. Harris, Jr.
Keith and Linda Hartman
Esther and Gene Herman
Ellen and Herb Herscowitz
David A. and Barbara L.
Heywood
Betty W. Jensen
Virginia and Dale Kiesewetter
Ms. Kathleen Knepper
Darrell Lemke and
Maryellen Trautman
Drs. David and Sharon
Lockwood
Dr. and Mrs. Peter C.
Luchsinger
Frank Maddox and
Glenda Finley
Michael and Judy Mael
Mr. Mark Mattucci and
Ms. Judith A. Furash
David and Kay McGoff
Ms. Florentina Mehta
David and Anne Menotti
Dr. and Mrs. Stanley R. Milstein
Bernard and Rae Newman
Douglas and Barbara Norland
Evelyn and Peter Philipps
Thomas Plotz and
Catherine Klion
Andrew and Melissa Polott
Mr. and Ms. Donald Regnell
Richard and Melba Reichard
Dr. and Mrs. Gerald Rogell
Mr. and Mrs. Barry Rogstad
Dr. and Mrs. S. Gerald Sandler
Estelle Luber Schwalb
Mrs. Phyllis Seidelson
Ms. Terry Shuch and
Mr. Neal Meiselman
Mr. and Mrs. Daniel Shykind
Dr. and Mrs. Jeffrey R. Singer
Marshall and Deborah Sluyter
Mr. and Mrs. Richard D. Spero
Jennifer Kosh Stern and
William H. Turner
Margot and Phil Sunshine
Mr. and Mrs. Richard Swerdlow
Donna and Leonard Wartofsky
Mr. and Mrs. Harvey Weiner
David Wellman and
Marjorie Coombs Wellman
Ms. Susan Wellman
Leonard Wiener
Dr. Ann M. Willis
Marc and Amy Wish
H. Alan Young and
Sharon Bob Young, Ph.D.
* Deceased
INSTITUTIONAL FUNDING PARTNERS
The Century Club: $100,000 or more
Founder’s Circle: $50,000–$99,999
William G. Baker, Jr. Memorial Fund, Creator of the Baker Artist Award, www.bakerartistawards.org
$25,000–$49,999
Jacob and Hilda Blaustein Foundation
The Morris and Gwendolyn Cafritz
Foundation
Ruth Carol Fund
Anne and Gordon Getty
Foundation
The Goldsmith Family Foundation
Ensign C. Markland Kelly, Jr. Memorial
Foundation
Peggy & Yale Gordon Trust
Young Artist Sponsor
$10,000–$24,999
Anonymous
American Trading & Production
Corporation
Bunting Family Foundation
Chesapeake Employers’ Insurance
Company
DLA Piper US LLP
Gordon Feinblatt LLC
LaVerna Hahn Charitable Trust
The Hartford
Legg Mason Global Asset Management
John J. Leidy Foundation, Inc.
Anonymous
Cameron and Jane Baird Foundation
Sarah and Cameron Baird
BWI Thurgood Marshall Airport
City Cafe
D. F. Dent & Company
The Charles Delmar Foundation
Helen P. Denit Charitable Trust
ALH Foundation, Inc.
The Campbell Foundation, Inc.
Community Foundation for
the National Capital Region
Constantine Commercial
Construction
Federal Parking, Inc.
Harford Mutual Insurance Companies
Anonymous
Charlesmead Foundation
Dimick Foundation
Eagle Coffee Company
Ellin & Tucker, Chartered
Gailes’ Violin Shop
The Harry L. Gladding Foundation
Independent Can Company
The Letaw Family Foundation
Macht Philanthropic Fund of the AJC
Macy’s
Maryland Transit Administration (MTA)
New Music USA
Saul Ewing LLP
TelephoNET
Total Wine & More
Venable LLP
Cecilia Young Willard Helping Fund
Wright Family Foundation
$5,000-$9,999
Georgetown Paper Stock of Rockville
Edith and Herbert Lehman Foundation, Inc.
Levin & Gann, P.A.
Rogers-Wilbur Foundation, Inc.
SC&H Group, LLC
Wells Fargo
Clark Winchcole Foundation
Zuckerman Spaeder LLP
$2,500–$4,999
S. Kann Sons Company Foundation
Amelie and Bernei Burgunder
Herschel and Judith Langenthal
Philanthropic Fund
Mangione Family Enterprises
Israel and Mollie Meyers Foundation, Inc.
Superior Tours
$1,000–$2,499
J.G. Martin Company, Inc.
Ethel M. Looram Foundation, Inc.
Paternayan/Ramsden Fund
Ralph and Shirley Klein Foundation, Inc.
Rovner Products
The Edwin and Jeanne Trexler Foundation
David Goldner and Jeffrey Abarbanel
THANK YOU TO OUR GOVERNMENT FUNDERS
The Baltimore Symphony Orchestra is funded by operating grants from the Maryland State Arts Council, the Baltimore County Commission on the Arts and Sciences,
the Mayor and City Council of Baltimore, the Arts and Humanities Council of Montgomery County, Howard County Arts Council, Carroll County Government,
and the Maryland State Department of Education.
The Citizens of
Baltimore County
For more information on joining our team of generous institutional funding partners, please contact Director of Institutional Giving, Alice H. Simons, at 410.783.8073 or [email protected].
O v ertur e
41
INVEST IN INNOVATION
AND BECOME A
BSO MEMBER TODAY!
Beth Horton
BSO Members enjoy exciting benefits that bring them even
closer to the music, beginning at $75 with a behind-thescenes look at a BSO rehearsal. At higher levels, you can
celebrate with your BSO musicians at Cast Parties, and our
Governing Members (donors $3,000 and above) enjoy
priority ticketing and other exclusive benefits.
“To help the BSO continue to
delight, challenge and be part
of the lives of future generations,
I have included the BSO in
my estate plans.”
PLAY YOUR PART
Visit: BSOmusic.org/membership
Email: [email protected]
Call: 410.783.8124
Upcoming BSO Member Events
All events are open to both Meyerhoff and Strathmore
members, regardless of the host venue.
On-Stage Rehearsal
Friday, September 25 @ the Meyerhoff
9:15 am Light refreshments, 10 am Rehearsal
Governing Members Silver and higher ($3,000+)
Sit beside your favorite musicians as the orchestra rehearses
Beethoven’s Symphony No. 6, “Pastoral” with guest conductor
Juanjo Mena, featuring BSO Concertmaster Jonathan Carney.
7:15
Friday, October 2 @ Strathmore
7:15 pm in the Comcast Lounge
Symphony Society Silver and higher ($1,200+), no RSVP required
Prior to the evening’s concert of Don Giovanni, a BSO player
will speak about their experiences as a professional musician.
This casual presentation will last approximately 20 minutes
and questions are encouraged.
Backstage with Jack Everly
Thursday, October 8 @ Strathmore
Immediately following the performance
Symphony Society Gold and higher ($2,000+)
After the BSO’s performance of your favorite FM radio hits, join
BSO Principal Pops Conductor Jack Everly backstage to toast
the beginning of the 2015 – 2016 Pops season.
Open Rehearsal
Friday, October 16 @ the Meyerhoff
9:15 am Light refreshments, 10 am Rehearsal
Beethoven Members and higher ($150+)
Don’t miss this incredible opportunity to join the BSO at a morning
rehearsal of Prokofiev’s romantic Romeo and Juliet, presented
in association with actors from the Folger Theatre under the
stage direction of Edward Berkeley.
EVENTS SUBJECT TO CHANGE
For Meyerhoff events, please RSVP to
[email protected] or 410.783.8074.
For Strathmore events, please RSVP to
[email protected] or 301.581.5215.
42
O v ertur e
B
eth Horton’s earliest memory of going to a concert was when she was
four and a half years old. She can still remember the auditorium in Pacific
Grove, California, where her mother would take her and her younger
sister to hear music and to see plays. Beth also has fond memories of the weekly
music broadcast programs over the intercom when she was in 3rd through
5th grade at Ursa Major Elementary School, Fort Richardson, Alaska. However,
the moment that truly sealed music as part of her life was in 1962, when she
watched The Magnificent Rebel, a biography of Ludwig van Beethoven, on the
Walt Disney’s Wonderful World of Color. Beth notes, “I was, and all these many
decades later, still am, blown away by Beethoven’s Fifth Symphony.”
The BSO became part of Beth’s life in the 1980s. Friends invited her to go to a
BSO concert with them because they had an extra ticket. She then started going
occasionally on her own, which led her to becoming a season subscriber and
eventually an annual fund donor. Beth states, “Since first attending the BSO, one
of the things I love most about the symphony is that it pushes me out of my
musical comfort zone by helping me rethink the works of composers I had
previously passed off and by introducing me to music from new composers.”
And, in 2014, the BSO inspired her response to a midterm exam for a class she
was taking on the history of movies. One of the questions on the exam was to
describe two propaganda films from World War II. One of the films Beth chose
was Sergei Eisenstein’s Alexander Nevsky, a film she had seen the previous year
when the BSO performed Sergei Prokofiev’s score as the movie was shown.
To help the BSO continue to delight, challenge and be part of the lives of future
generations, Beth has included the BSO in her estate plans. We extend our
deep gratitude to Beth and to all the Legato Circle donors who have taken this
important step for the future of the BSO.
Join the Centennial
CHALLENGE!
Join the Centennial Challenge! In honor of the BSO’s Centennial Season, make a musical
difference in the lives that follow by being one of the 100 new donors to include the BSO in
your will, trust, IRA, life income gift, life insurance or donor advised fund. If you have named
the BSO in your estate plans, or would like more information, we would like to thank you. To
learn more about ways to help sustain the BSO into the next century through tax-wise giving,
please contact Kate Caldwell, Director of Philanthropic Planning at 410.783.8087 or
[email protected].
For more information, please visit BSOmusic.giftplans.org
TH E BALTI MORE SYM PHONY ORCH ESTR A
BOARD OF DIRECTORS & STAFF
Board of Directors
OFFICERS
Chair
Barbara M. Bozzuto*
Secretary
Kathleen A. Chagnon, Esq.*
Vice Chair
Lainy LeBow-Sachs*
President and CEO
Paul Meecham*
Treasurer
The Honorable Steven R. Schuh*
BOARD MEMBERS
Rick Bernstein
A.G.W. Biddle, III
Constance R. Caplan
August J. Chiasera
Robert B. Coutts
Alan S. Edelman*
Sandy Feldman†
President, Baltimore Symphony
Associates
Sandra Levi Gerstung
Michael G. Hansen*
Denise Hargrove †
Governing Members Co-Chair
Robert C. Knott
Ava Lias-Booker, Esq.
Howard Majev, Esq.
Liddy Manson
Hilary B. Miller*
E. Albert Reece, M.D.
Barry F. Rosen
Ann L. Rosenberg
Stephen D. Shawe, Esq.
The Honorable James T.
Smith, Jr.*
Solomon H. Snyder, M.D.*
Andrew A. Stern*
Gregory W. Tucker
Amy Webb
Jeffrey Zoller †
Chair, Baltimore Symphony
Youth Orchestras
LIFE DIRECTORS
Peter G. Angelos, Esq.
Rheda Becker
Yo-Yo Ma
Harvey M. Meyerhoff
Robert E. Meyerhoff
Linda Hambleton Panitz
CHAIRMAN
LAUREATE
Michael G. Bronfein
Kenneth W. DeFontes, Jr.
Calman J. Zamoiski, Jr.
BOARD OF TRUSTEES—
BALTIMORE SYMPHONY
ENDOWMENT TRUST
Benjamin H. Griswold, IV
Chairman
Terry Meyerhoff Rubenstein
Secretary
Chris Bartlett
Barbara M. Bozzuto
Kenneth W. DeFontes, Jr.
Paul Meecham
The Honorable Steven R. Schuh
Calman J. Zamoiski, Jr.
* Board Executive Committee
† Ex-Officio
Staff
Paul Meecham
President and CEO
Leilani Uttenreither
Executive Assistant
Carol Bogash
Vice President of Education
and Community Engagement
Jack Fishman
Vice President of External
Affairs, BSO at Strathmore
Jamie Kelley
Vice President of Development
Matthew Spivey
Vice President
and General Manager
John Verdon
Vice President and CFO
ARTISTIC OPERATIONS
Nishi Badhwar
Director of Orchestra
Personnel
Tiffany Bryan
Manager of Front of House
Patrick Chamberlain
Artistic Coordinator
Jinny Kim
Assistant Personnel Manager
Evan Rogers
Operations Manager
Meg Sippey
Artistic Planning Manager and
Assistant to the Music Director
DEVELOPMENT
DIRECTORS EMERITI
Barry D. Berman, Esq.
Murray M. Kappelman, M.D.
M. Sigmund Shapiro
Jessica Abel
Associate Director
of Institutional Giving
Jordan Allen
Institutional Giving Coordinator
Katie Applefeld
Director of External Affairs,
OrchKids
Megan Beck
Manager of Donor Engagement
and Special Events
Katharine H. Caldwell
Director of Philanthropic
Planning
Sara Kissinger
Development Operations
& Membership Coordinator
Mary Maxwell
Manager of Annual Giving,
BSO at Strathmore
Emily Montano
Annual Fund Assistant
Stephanie Moore
Director of the Annual Fund
Joanne M. Rosenthal
Director of Principal Gifts
& Government Relations
Alice H. Simons
Director of Institutional Giving
Richard Spero
Community Liaison for
BSO at Strathmore
Janie Szybist
Research & Campaign
Associate
Angel Terol
Director, BSO Second Century
Campaign
Sarah Weintraub
Executive Assistant
and Office Manager
EDUCATION
Nicholas Cohen
General Manager of OrchKids
and BSYO
Annemarie Guzy
Director of Education
Johnnia Stigall
Education Program
Coordinator
Larry Townsend
Education Assistant
Mollie Westbrook
Education Assistant
OrchKids
Jaclyn Dorr
OrchKids Site Coordinator
Mary Winterling
Elementary School
Camille Delaney-McNeil
OrchKids Site Manager,
Lockerman-Bundy
Elementary School
Kay Sheppard
OrchKids Site Manager,
Booker T. Washington
Middle School for the Arts
Nick Skinner
Director of Operations
Mairin Srygley
OrchKids Site Coordinator
Dan Trahey
Artistic Director
Katelyn Simon
Marketing Manager
Adeline Sutter
Group Sales Manager
Martha Thomas
Publications Editor
Rika Dixon White
Director of Marketing and Sales
Kaila Willard
Digital Content Coordinator
Baltimore Symphony
Youth Orchestras
Alicia Kosack
Operations Manager
Ken Lam
Artistic Director and
Conductor of YO
MaryAnn Poling
Conductor of CO
Nana Vaughn
Conductor of SO
TICKET SERVICES
FACILITIES OPERATIONS
James Brown
Housekeeper
Shirley Caudle
Housekeeper
Alvin Crawley
Facilities Technician
Rose Ferguson
Housekeeper
Curtis Jones
Building Services Manager
Bertha Jones-Dickerson
Senior Housekeeper
Renee Thornton
Housekeeper
Frank Wise
Housekeeper
Amy Bruce
Director of Ticket Services
Timothy Lidard
Manager of VIP Ticketing
Juliana Marin
Senior Ticket Agent for
Strathmore
Peter Murphy
Ticket Services Manager
Michael Suit
Ticket Services Agent
Thomas Treasure
Ticket Services Agent
BALTIMORE SYMPHONY
ASSOCIATES
FINANCE
AND INFORMATION
TECHNOLOGY
Sarah Beckwith
Director of Accounting
Sophia Jacobs
Senior Accountant
Janice Johnson
Senior Accountant
Evinz Leigh
Administration Associate
Donna Waring
Payroll Accountant
Jeff Wright
Director of Information
Technology
MARKETING &
PUBLIC RELATIONS
Rafaela Dreisin
Audience Development
Manager
Justin Gillies
Graphic Designer
Carlos Howard
Marketing Coordinator
Theresa Kopasek
Marketing and PR Associate
Ricky O'Bannon
Writer in Residence
Erin Ouslander
Senior Graphic Designer
Sandy Feldman
President
Barbara Dent
Secretary
Barbara Kelly
Treasurer
Kitty Allen
Parliamentarian
Vice President,
Communications
Marge Penhallegon
Immediate Past President
Regina Hartlove
Vice President, Education
Carolyn Stadfeld
Vice President,
Meetings/Programs
Florence McLean
Vice President,
Recruitment/Membership
JoAnn Ruther
Vice President,
Special Services/Events
Larry Albrecht
Vice President, Symphony Store
Louise Reiner
Office Manager
O v ertur e
43
{ impromptu
l aura Farmer
Hampton Childress
ASSOCIATE PRINCIPAL BASS
Reflecting on 33 Years with the BSO
It’s easy for BSO Associate Principal Bass
Hampton Childress to recall his first performance
with the BSO.
“It was in August 1982, the year that the Meyerhoff
was finished. We performed what was called a
‘hard hat’ concert. It was memorable because it
was dedicated to and performed for the people
who actually built the hall,” he recalls. “We were
all pretty high about it.” That first concert was
just the beginning of many highs for Childress
during his 33 years and counting as a BSO musician.
“The travel has been pretty great,” he says.
“We’ve been to Japan three times, Russia,
and East Germany. It was remarkable entering
countries that were previously closed off. I can
remember so many concerts in East Germany
where the audience just went nuts for us. They
treated us like rock stars.”
But it’s more than just the accolades that Childress
says makes performing music so rewarding. In
fact, it has been music and Childress’ role during
the founding of the BSO Governing Members
committee that helped forge some of the best
friendships of his life. “In the process of assisting
with fundraising and friendraising events, I found
deeper and more plentiful friendships than I’ve
had the rest of my life.”
For Childress, those other life interests often
involve the intersection of art and technology.
Whether it’s building sound systems that project
sound more cleanly or figuring out how computer
operating systems work, he finds the outlet of
technology a nice break. Even his love of cooking
is influenced by his penchant for technology.
“I’m quite fond of cooking. I have for the last few
years been interested in sous-vide,” says Childress
of the French cooking technique that means
“under vacuum.”
M ITRO H O O D
“Sous-vide cooking uses some fun kitchen tools.
And I also love making any food that requires
the use of a blow torch!” Plus, cooking up a great
spread of food provides the excuse to invite over
all of the friends he’s made during his rewarding
33 years with the BSO.
44
O v ertur e
For nearly 30 years,
Concert Artists
of Baltimore has
presented programs
that are a
little bit different,
a little bit daring, and
a whole lot dazzling.
Join us for CAB’s
29th Season and
think outside the box.
410.625.3525
cabmusic.org

program notes - Baltimore Symphony Orchestra

Transcription

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