Charleston Symphony Program, 2010 vol.2

www.charlestonsymphony.com

Celebrate Charleston

2009-2010SEASON

volume 2


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12Welcome to this performance of the Charleston SymphonyOrchestra. Here are some tips and suggestions to enhancethe concert experience for everyone. Enjoy the concert.

TICKET INFORMATION2010-2011 Season Tickets will be available in lateFebruary or early March by contacting the CSO Officeat (843) 723-7528 ext. 110.

Individual Concert TicketsPurchase at www.charlestonsymphony.com, the GaillardAuditorium Box Office, at the door the night of the perform-ance, any Ticketmaster outlet or by calling Ticketmaster’sArts Line at (800) 982-2787. Convenience Fees Apply.

Group DiscountsA 25% discount is available to groups of 20 or more forselected performances. Contact the CSO office for details,(843) 723-7528, ext. 110.

Student DiscountAll full-time students with a valid IDmay purchase tickets for $5 (someconcerts excluded).

Senior RushSenior citizens age 60 and older maypurchase Merrill Lynch Masterworksconcert tickets at the Gaillard boxoffice one hour prior to concert for $20.Subject to availability.

PLEASE HELP US RECYCLEPlease keep your program guide if you wish. We also encourage you to place yourprogram guide in the recycle boxes as you leave this performance for use at futureperformances.

Charleston Symphony E-NEWSReceive the latest news, information, or special pricingopportunities by signing up for the Symphony’s e-news atwww.charlestonsymphony.com. Also become a Facebookfan at www.facebook.com/charlestonsymphony or followus at Twitter: @ChsSymphonyOrch.

House Notes

DON’T LET YOUR GOOD SEATS GO TO WASTE!If you are unable to attend a concert, call the CSO at least 48 hours prior to the performance toexchange tickets for a future CSO concert or donate your unused tickets to the CSO for a tax-deductiblecontribution or pass along your unused tickets to friends or family. Tickets are non-refundable.Call (843) 723-7528 ext. 110.

MEET THE ARTISTSThe Green Room and Stage Area are open to theaudience after performances only.

FOR YOUR SAFETYIn the event of an emergency, please use the exitnearest your seat. This is your shortest route out of thehall. A staff member is in the lobby at all performances

PROGRAM BOOK ADVERTISINGFor advertising rates and information, callAtlantic Publication Group LLC at (843) 747-0025.

FOR THE ENJOYMENT OF ALL

RestroomsRestrooms are located oneach level.

IMPORTANT NUMBERSTicketmaster

(800) 982-2787Administrative/Season Tickets

(843) 723-7528, ext. 110For information about the Charleston SymphonyOrchestra, call (843) 723-7528; write to the CSO, 145 King St., Suite 311, Charleston, SC 29401; or visit our Web site at

www.charlestonsymphony.com.

FOR YOUR COMFORT AND CONVENIENCE

Doors open one hourprior to performances.

Late SeatingIn consideration of bothartists and audiences,latecomers will not beseated until anappropriate interval.

Quiet, Please!Please be sure to turn off all cell phones, paging devices,and watch alarms.

Electronic DevicesCameras, audio recorders and video recorders are notpermitted, as they may interfere with the musicians’performance.

AccessibilityMain Level seating locations,elevators, and restrooms areprovided for wheelchair patrons.

Food and BeverageGaillard Auditorium: Bars serving soft drinks and wine are located in the main floor lobby.Food and beverages are not permitted in the hall.

Memminger Auditorium: Only certain performances will provide bar service.

ARTISTIC AND ADMINISTRATIVE LEADERSHIP

David Stahl, Music Director

Kathleen Wilson, Interim Executive Director

Kathy Havis, Finance Manager

Cynthia Branch, Director of Patron Services

Anthony Pierce, Director of Artistic Operations

Tara Scott, Director of Marketing

Becca Walton, Personnel Coordinator

Nicole Benton, Librarian

Kellen Thayer, Production Coordinator

Robert Taylor, CSO Chorus Director

Sandra Barnhardt, CSO Gospel Choir Director

Nathan Nelson, CSO Spiritual Ensemble Director

Richard C. Marcus, YOLOW Music Director

Contact the CSO Office at

(843) 723-7528 or on the web at


The Charleston Symphony Orchestra Program

is published by

1 Poston Road, Suite 190Charleston, SC 29417

www.atlanticpublicationgrp.com

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12 House Notes

16 Messages from the Board President and Executive Director

17 Board of Directors

18 Message from the Music Director

20 Charleston Symphony Orchestra Chorus

21 Message from Founder & President, CSO Gospel Choir & CSO Spiritual Ensemble

23 CSO Gospel Choir

23 CSO Spiritual Ensemble

24 Charleston Symphony Orchestra

58 Charleston Symphony Orchestra League

61 CSO Education Outreach

62 7/1/08 – 7/15/09 Fiscal Year Contributors

65 Special Thanks & Memorial Gifts

18David Stahl Music Director

20Robert Taylor CSO Chorus Conductor

22Sandra Barnhardt CSO Gospel Choir Music Director

22Nathan Nelson CSO Spiritual Ensemble Director

PROFILES

CONTENTSMerrill Lynch Masterworks: “Yuriy!” – January 16, 2010

McCrady’s Restaurant Pops: “Quentin Baxter and Friends”– January 22 & 23, 2010

Merrill Lynch Masterworks: “Wall to Wall Mozart” – February 6, 2010

Backstage Pass: “Sympathy for the Devil”– February 11, 2010

McCrady’s Restaurant Pops: “Fiedler’s Favorites” – February 12 & 13, 2010

Merrill Lynch Masterworks: “Kings and Heroes” – February 27, 2010

McCrady’s Restaurant Pops:

“The Gold Rush! Charlie Chaplin’s Classic Film” – March 12 & 13, 2010

Merrill Lynch Masterworks: “Spring Delight”– March 20, 2010

Backstage Pass: “Beyond Belief ”– March 25, 2010

Merrill Lynch Masterworks: “Season Finale” – April 17, 2010

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Friends of the Charleston Symphony Orchestra,

Welcome to the Charleston Symphony Orchestra. We hope you have enjoyed thefirst half of our season featuring our talented musicians and our exciting programming.In addition to our Merrill Lynch Masterworks, McCrady’s Restaurant Pops and BackstagePass series, we added two new series to provide different ways for you to enjoy theSymphony––Yuriy Bekker and Friends and Stained Glass Series sponsored by GAMBLEHOME SERVICES. We also have special performances throughout the year includingHoliday Pops, Gospel Christmas, MLK Tribute as well as performances throughoutthe region.

Our educational programs continue to be a core value for the Charleston Symphony.Throughout the year, we reach more than 16,000 students in the Charleston area throughin-school visits and our Young People’s Concerts. Your support allows us to continue this

very important community outreach. True to its mission, the Charleston Symphony helps to enrich the cultural life of the Lowcountry by providing

music of the highest artistic and technical quality. As all music lovers know, orchestras throughout the countryhave been working hard to sustain their excellence during these troubled economic times––and your CharlestonSymphony Orchestra is no exception. We have tightened our belt to ensure we endure as a key player in theCharleston performing arts community––but without compromising our vision to be a great artistic enterprise.Rather, programs have been selected to highlight and feature the very strengths of the orchestra and its manyhighly talented players. Symphony orchestras in the U.S. can only survive and thrive with substantial financialsupport from private citizens and businesses who place a high value on the role of the symphony in the community.

Indeed, for the CSO to survive and thrive we need to secure one-half of the annual operating budget, whichequates to about $1.2 million, from fundraising and sponsorship activities. And we need to do this every year!Your symphony needs each of you to subscribe to the series of your choice and/or purchase individual tickets toconcerts that inspire you; and we need you to bring your family, friends and neighbors to introduce them to themagic of the symphony. But we also ask you to consider making the CSO a high priority in your charitable givingplans for the year. Doing so will be an investment that will generate returns for the entire community.

I look forward to the second half of this exciting season and hope to see you at one or more concerts.

Ted LegaseyPresident, Board of Directors

Welcome to the second half of Charleston Symphony Orchestra’s 2009-2010 season; aseason dedicated to celebrating Charleston and the outstanding musical talent foundhere within our community.

It has been a privilege to serve as the principal harpist of the CSO for 22 seasons andan even greater privilege to become its Interim Executive Director. From my years onthe stage, I have seen the dedication and loyalty from our patrons, subscribers andbenefactors as well as the tremendous commitment shown on behalf of the orchestra.I treasure and require your support now more than ever as we strive to build theorchestra and solidify our artistic and educational mission, while remaining the largestfull-time performing arts organization in South Carolina.

To hear the Charleston Symphony Orchestra for the first time is exhilarating and tosit within the orchestra and perform is truly magnificent and a continuous source of pride. By helping to sustainand financially support the orchestra, it allows a wonderfully talented core of musicians the opportunity to expresstheir highest level of musicianship. The ability to return your gift of support with sincere gratitude and performanceof the highest caliber is vital to the purpose of the CSO and the calling of a professional musician.

We perform for you, value your presence at our performances and ask that you become a part of the CSO family.Given that we are showcasing Charleston talent this season, please consider bringing friends and family who havenever heard our orchestra perform and allow them to experience the richness, diversity of programming andvibrancy of a live symphony orchestra. I look forward to seeing and talking with many of you and sharing in thebeauty of a Charleston Symphony Orchestra performance.

Kathleen WilsonInterim Executive Director

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of Directors - 2009 / 2010BoardEXECUTIVE COMMITTEE MEMBERS

DIRECTORS

Ted Legasey, President

Loren Carlson, VP Finance

Ellen Dressler Moryl, VP Artistic

Barry Goldsmith, VP Education

Charlie Cumbaa, VP Marketing

Randy Gilmore, VP Development

Leo Fishman, Past President and VP Long Range Planning

Margaret Strauss, CSOL President

Clay Grayson, Secretary

Quentin BaxterDaniel Beckley

R. Bruce CopelandMary Hewlette

Clyde Hiers

Fred HimmeleinSola Kim

Marty KlaperMariano LaVia

Andreas MaasLee Pringle

Bratton RileyRobert Schlau

David SimmonsLibby Smith

John H. Warren, IIIBright Williamson

TRUSTEE COUNCIL

Roger AckermanAndy Anderson

Van CampbellJohn Dinkelspiel

Fred KelseyTed Halkyard

Jim MartinWalt Rosen

LIFETIME MEMBERS

Margot FreudenbergLaura Hewitt

Max Hill, Jr.Marianne Mead

George Miller* Eloise Pingry

Burt SchoolsEd Sparkman

EX-OFFICIO MEMBERS

Marty BesanconTacy Edwards

Joseph Jenrette, III Valerie Morris Norman Smith

Deceased*

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David StahlMusic Director

A unique figure in the cultural history ofCharleston, David Stahl recently celebrated his25th Anniversary Season as Music Director andConductor of the Charleston Symphony Orchestra.During this quarter century, he has been at thecenter of leading the cultural and artistic renais-sance in Charleston and has established himself asone of the most influential and charismaticpersonalities in the South. Equally in demand onboth symphony and opera podiums around theworld, he is among a select few who hold a MusicDirectorship of both a symphony orchestra and anopera house on both sides of the Atlantic. In 2012,Mr. Stahl will transition out of the day-to-dayartistic management and assume the title ofLaureate Conductor. He will conduct at least twoperformances each season.

Mr. Stahl has transformed the CharlestonSymphony into a leading cultural institution andhas received a national award for imaginativeprogramming from the American SymphonyOrchestra League. In addition, new generations ofmusic lovers first came to hear live symphonicmusic through the hundreds of Young Peoples’Concerts, Small Fry concerts, outreach programsand in-school performances that Mr. Stahlinitiated. Along with the CSO, he toured all overthe U.S., Canada and Israel with Porgy and Bess.Two of the most unforgettable moments wereperformances for the Prince of Wales at the DockStreet Theatre and the special Custom Houseconcert performed two weeks after HurricaneHugo. As a mentor and pedagogue, Stahl hasnurtured and encouraged countless young

musicians, and dozens of former CSO musicianscan be found in America’s great orchestras.

For his long-standing commitment to theCharleston community and the State of SouthCarolina he has received numerous awards andhonors including the Elizabeth Verner Award, theOrder of the Palmetto, an Honorary Doctoratefrom the College of Charleston and the Governor’sPalmetto Ambassador Award as an official ambas-sador for the State of South Carolina.

Mr. Stahl is also the Music Director and ChiefConductor of Munich’s beloved Staatstheater amGärtnerplatz where in 12 seasons he has beencredited with leading an “amazing metamorphosisof astounding proportions” (Opera News), raisingthe ranking of the Orchestra to major status andbeing named Munich’s “Man of the Year.” As one ofthe great musical and cultural capitals of theworld, Munich has heard more than 500 perform-ances of 40 operas conducted by Stahl since 1996.

His performance of Wagner’s early opera DasLiebesverbot was hailed as one of the finest newproductions of a Wagner opera, and he also led thefirst ever Munich performances of Beethoven’sLeonore. His Berlin appearances both at the BerlinPhilharmonic with the Deutsche Symphonie and atthe Deutsche Opera Berlin in a revival of Weill’s Rise

“At the heart of the workstood conductor David Stahl,

whose gift for inspiring hisorchestra to exceptionalplaying has never been

better exemplified.”

— Opera News

PROF

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The Charleston SymphonyOrchestra was founded 74seasons ago in 1935, in themidst of the Great Depression.As we endure the worsteconomic times in our recenthistory, the CharlestonSymphony continues to be

committed to presenting the most exciting andintriguing concerts of the highest quality. Weare so proud that the level of musicianship andcommitment to excellence has not wavered.Even in the darkest and most desperate times,art and the beauty of artistic creation nourish thesoul, capture the imagination and feed the spirit.

This season we are featuring Charleston-based musicians and music, and you will havethe great opportunity to hear first-hand many ofour talented professional musicians in soloperformances. I know what a great thrill this willbe for you because every day in rehearsal andperformance, I am continually amazed by thededication and fantastic abilities of our players.As good as they sound together, you will delightin hearing many of them in a solo role.Charleston should be so proud of its orchestraand its musicians who play such a significantrole in the fabric of our community.

I am also thrilled to welcome seven verytalented guest conductors who will leadperformances this season in all of our series,including Mikhail Agrest. Although Mikhail wasborn in Russia, he grew up in Charleston and hisfather, Alex Agrest, is in the Symphony. Mikhailhas a phenomenal conducting career in Europeand around the world. We are thrilled to havehim come “home.”

Whether the stirring music of Haydn or theintoxicating rhythms of Quentin Baxter, you willbe treated to a kaleidoscope of sounds andmusical riches this season. Join me incelebrating Charleston and its music!

from the Music Director

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and Fall of the City of Mahagonny were major tri-umphs. Last season, he led the first ever Munichperformances of Rimsky Korsakov’s The Legend ofTsar Saltan and a sensationally acclaimed produc-tion of Britten’s Death in Venice, which wasrecorded for DVD release. This season featuresJanác̆ek’s Makropolous Affair and Verdi’s operaGiovanna D’Arco among others. He has conductedmore than 100 orchestras and opera companiesover the past quarter century on four continents.His German debut in Mannheim leading perform-ances of Fidelio and Tristan und Isolde led to hisinvitation to first appear in Munich as PrincipalGuest Conductor of the Gärtnerplatz in 1996.

His demanding artistic standards and popular-ity have led to countless performances andrecordings with many of the world’s great orches-tras including the Staatskappelle Dresden,Munich Philharmonic, NDR Orchestra ofHamburg, SDR Orchestra of Stuttgart, FrankfurtRadio Symphony, Bamberg Symphony, HelsinkiPhilharmonic, Toronto Symphony and SeoulPhilharmonic among many others. In NorthAmerica, he conducted The Great Gatsby at LyricOpera of Chicago and has also conducted the NewYork City Opera at Lincoln Center, the WashingtonOpera at the Kennedy Center and at the operacompanies of Minnesota, Detroit, Montreal andHonolulu. He has led many other symphonyorchestras including those of Cincinnati,Pittsburgh, Dallas, Atlanta and Buffalo. In the1980s, he conducted regularly in Italy where heappeared in Rome, Palermo, Genoa and Milan and,at the invitation of Gian Carlo Menotti, opened the1989 Spoleto Festival of the Two Worlds with Talesof Hoffmann. The 25th Anniversary of his firstCharleston appearance during the 1981 SpoletoFestival was commemorated when he led the 2006Finale at Middleton Place.

The son of German Jewish refugees, DavidStahl was born and educated in New York City, andmade his Carnegie Hall debut at the age of 23 withthe Youth Symphony Orchestra of New York. Hethen was invited by Seiji Ozawa to become one ofthe select conducting fellows at Tanglewood wherehe first worked with the man who would becomehis mentor and colleague, Leonard Bernstein. Thenext year, Mr. Bernstein invited the 26-year-old Mr.Stahl to be Assistant Conductor of the New YorkPhilharmonic and a few years later asked him totake over the music directorship of West Side Storyon Broadway and for its European tour. Afterserving as Assistant Conductor of the CincinnatiSymphony for four seasons under ThomasSchippers, Mr. Bernstein again called on DavidStahl to assist him when he made his legendaryrecording of West Side Story.

Robert Taylor is in hiseleventh year as Director ofthe Charleston SymphonyOrchestra Chorus and CSOChamber Singers. He isDirector of Choral Activitiesat the College of Charleston,and Founder and Artistic

Director of the Taylor Music Group and TaylorFestival Choir, inspired by Bob Taylor, the conduc-tor’s late father - a distinguished choral pedagogue.The Taylor Festival Chorus, a semi-professionalchorus, was one of only two American adultchamber choirs featured at the prestigious 2009American Choral Directors Association NationalConvention honoring their 50th anniversary.

Dr. Taylor’s ensembles have performed over 30major choral/orchestral works throughout the U.S.and Europe to critical acclaim. He has preparednumerous choral masterworks for distinguishedconductors like CSO’s David Stahl, Dr. JosephFlummerfelt (Spoleto USA) and Dr. KennethFulton. He has lectured and published studies onthe music of Vaughan Williams, Stravinsky, and useof bel-canto era vocal principles in a choral setting.

Dr. Taylor holds a Doctorate of Musical Arts inChoral Conducting (Louisiana State University), aMasters of Music in Vocal Performance (SamHouston State University), and a Bachelor in MusicEducation (University of Central Arkansas). Taylorand his talented wife, Mary Taylor, an accomplishedviolinist/fiddler, teacher, and director of Na Fidleiri,have one daughter, Kiri.

Called by critic Lindsay Koob a “rising star in thenational choral scene,” Taylor’s choirs have beendescribed as sounding “more musical than wouldseem possible.” (Charleston Post and Courier)

Robert TaylorCSO Chorus Director

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2010 presentations include:

January 18, 2010 Annual Martin Luther King Jr. Tribute with CSO and CSO Gospel Choir

February 20, 2010 Choral Music with the CSO

April 17, 2010 CSO Season Finale Masterworks: Haydn’s “The Creation”

www.cso-chorus.org

CHARLESTON SYMPHONY ORCHESTRA CHORUSDr. Robert Taylor, Director

T he Charleston Symphony OrchestraChorus enters its 31st season underthe master baton of Dr. Robert Taylor,

now in his 11th season as director. Founded in1978 by Emily Remington as the CharlestonSymphony Singers Guild, the chorus hasgarnered critical acclaim over the years inperformances with the CSO and SpoletoFestival USA. The all-volunteer chorus hasmore than 100 members and has performedsuch demanding repertoire as Bernstein’sKaddish Symphony, Beethoven’s Missa

Solemnis, Barber’s Prayers of Kieerkegard,Brahms’ Requiem, Stravinsky’s Symphony of

Psalms, Mozart’s Grand Mass, and Verdi’sRequiem.

In addition, the CSO Chamber Singers, asubset of the chorus, has presented suchdiverse works as Stephen Paulus’ Mass,Vaughan Williams’ Flos Campi and Serenade

to Music, Monteverdi’s 1610 Vespers, andpremiered works by contemporary composerssuch as Julian Wachner, Trevor Weston, DavidMaves, and Edward Hart.

CSOC Board of Directors

Dr. Robert Taylor, Director

Norman Smith, President

Dwight Williams, Vice President

Andrea Robertson, Secretary

Christina Demos, Treasurer

Karen Rider, Librarian

Lowcountry Spiritual Journey IIJanuary 10

Lift Every Voice and Sing! MLK Commemorative ConcertJanuary 16

Moses: Let My People Go • DébutA Tribute to Moses Hogan • February 6

Spiritual Masterworks Town of KiawahFebruary 12

A Spiritual Brunch with the YWCA of Greater CharlestonFeaturing the Hat Ladies of Charleston April 3

2010 Charleston International Festival of ChoirsDr. André Thomas, guest conductor April 22-25

2010 Piccolo Spoleto FestivalJune 5

Sacred Music and Liturgical Dance: A Palm Sunday CelebrationMarch 28

2010 Charleston International Festival of ChoirsApril 22- 25

2010 Piccolo Spoleto Festival From Amadeus Mozart to Kirk Franklin: The Good News GospelMay 28 and May 29

NATHAN L. NELSON, DIRECTOR SANDRA S. BARNHARDT, MUSIC DIRECTOR

UPCOMINGPERFORMANCES

UPCOMINGPERFORMANCES

Time, location and ticket information for each performance can be found at:

CSOSpiritual.com9

CSOGospel.com

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This 2009-2010 season marks the CSO Gospel Choir’s 10-yearanniversary. Charleston can be proud that the Gospel Choir is one ofthe City's most culturally diverse choral groups, a Choir that furthers theSymphony's outreach efforts with a variety of musical offerings locally,regionally, and internationally.

I want to thank the past and current directors Vivian E. Jones;Glenn R. Nixon; and currently Sandra S. Barnhardt for contributing toour success over the years. So many deserve recognition and my sincereappreciation for their support of the CSO Gospel Choir: CSO Board;Maestro David Stahl, for his support and passion to honor the legacy of

Dr. Martin Luther King, Jr.; Wally Seinsheimer for sharing his idea for Charleston’s GospelChristmas; Dolphin Builders for their financial support over the years; and Dr. and Mrs. JamesAllen for their financial assistance for that first Gospel Christmas concert.

I would like to especially thank the CSO Gospel Choir members (and the more than 800alumni) for accepting my leadership and encouragement for the Choir’s first ten years as yourPresident and Executive Producer. Know, too, the great joy I have found in sharing all the songs inthe tenor section of the Gospel Choir these many years. In February 2010, the CSO Gospel Choirwill continue with a new President and leadership team. I wish the Gospel Choir much success intheir second decade. Please continue your journey with the CSO Gospel Choir and the newlyformed CSO Spiritual Ensemble.

Lee PringleFounder and President,

CSO Gospel Choir and CSO Spiritual Ensemble

phot

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iss

Charleston Symphony Orchestra Gospel Choir

Mrs. Barnhardt assumedthe position of Music Directorfor the CSO Gospel Choirin July 2008. She is focusedon preserving the culturallegacy and authenticity ofAfrican-American sacred song,

spirituals, and gospel music. Mrs. Barnhardt, who is passionate about

teaching, began her teaching career in Orange, N.J.,where her influential choral programs becamea stepping-stone for actress and televisionpersonality Tisha Campbell.

During her teaching tenure in South Orange-Maplewood, N.J., she was recognized for herdirectorship of 200-voice choirs which won Mrs.Barnhart the New Jersey Symphony OrchestraMaster Collaboration Award and her nomination forMaster Teacher of the Year by the New Jersey MusicEducators Association.

Mrs. Barnhardt served as Director of VocalMusic for the Cicely Tyson School of Performingand Fine Arts, East Orange, N.J. During this time,

her choirs performed at the Rock and Roll Hall ofFame in Cleveland, Ohio, as well as with KirkFranklin, Sweet Honey in the Rock, theMetropolitan Opera Ensemble, the New JerseySymphony, and at the 2005 Memorial Service forRosa Parks in Washington, D.C. Her choir releasedthe CD “From Handel to Smallwood” and touredPalermo, Venice and Rome in 2004.

As Minister of Music for the St. Matthew AMEChurch of Orange, N.J., her church choirs traveledthroughout the U.S., in Canada, and in Bermuda.Her 40-voice Male Chorus was featured in concertwith The Chieftains at the New Jersey PerformingArts Center and was documented in a PBS broadcastwhich won a regional Emmy.

Mrs. Barnhardt earned a master’s in MusicEducation from Montclair State College, N.J., and abachelor’s in Voice from Stephens College,Columbia, Mo. A member of several professionalmusic organizations, she continues her study ofchoral conducting under Roland Carter, noted com-poser and international guest choral conductor.

Currently, Mrs. Barnhardt is Assistant Ministerof Music for the historic Ebenezer AME Church inCharleston, S.C. She is also the music instructor forthe Charleston Development Academy, with itshighly acclaimed choir, the Singing Eagles.

Mrs. Barnhardt resides in Adams Run, S.C., withher husband Allen Barnhardt, retired New JerseyFire Director.

Sandra BarnhardtCSO Gospel Choir Music Director

Nathan L. NelsonCSO Spiritual Ensemble Director

A native Charlestonian,Mr. Nelson began playingdrums at his church at ageeight. Seen as a child prodigyin local church circles, by theage of thirteen, his choralmusic calling took form when

he began organizing and directing local gospel andschool choirs.

Mr. Nelson served as Minster of Music for theTri-County Chapter of the Gospel Music Workshopof America and is a member of the Gospel MusicWorkshop of America, founded by the late Rev.James Cleveland, where he studied how to organizea music department and direct audio technologyand music productions.

Currently, he teaches in the public school sys-tem and is called upon to conduct choral clinics forchurch musicians and choral group throughout thesoutheast. He served as a vocal trainer and choirdirector for many renowned gospel singers and hasshared the stage and worked with the late Rev.James Cleveland, Shirley Caesar, Dorothy Norwood,Daryl Coley, Hezekiah Walker, Donald Malloy andLarnell Harris. His professional membershipsinclude the Gospel Music Workshop of America andthe National Associations for Music Education. Heis Chairman of Perpetual Praise Ministries and amember of the Singers of Summerville inSummerville, SC.

Nathan holds a Bachelor of Arts Degree inChoral Music and Secondary Education fromCharleston Southern University. He currentlyserves as a vocal coach for studio singers, localchoirs and volunteers with various communitychoirs. Mr. Nelson is the Assistant Director of Musicat Charleston’s Mount Zion AME Church.

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Upcoming Performances followed by Gala Reception at Francis Marion Hotel

Annual Martin Luther King Jr. Tribute with CSO Chorus conducted by David Stahl, January 18, 4 p.m., Gaillard Municipal Auditorium

For more information about the CSO Gospel Choir and upcoming concerts and events go to: www.cso.gospel.com

Charleston Symphony Orchestra Gospel ChoirSandra Barnhardt, DirectorC elebrating its tenth season, the Charleston

Symphony Orchestra (CSO) Gospel Choir,Charleston’s most culturally diverse choir,

performs gospel, spirituals and sacred music forannual concert events including a Palm Sundayperformance, the Charleston International Festivalof Choirs, the CSO Gospel Christmas, Martin LutherKing, Jr., commemoration concert , Piccolo SpoletoFestival, as well as international and regionalconcerts throughout the season.

Now under the musical direction of Sandra S.Barnhardt, the Choir has produced and performed crit-ically acclaimed programs including Crowns: Portraitsof Black Women in Church Hats, Palms: Music inMotion, Retrospection: African-American SacredSongs, The African in American Music, Wade in TheWater, Soul Sanctuary, Homecoming: RediscoveringRoots and Pure Gospel: Authentic Reflections.

A live DVD of the Choir andaccompanying compact disc Liveat Ashley River Baptist Churchwas recorded in April 2009. TheChoir returned from a tour ofLondon and Paris this past sum-mer. The CSO Gospel Choir debuts at Charleston’scelebrated MOJA Arts Festival in October 2009.

Upcoming Performances Lift Every Voice and Sing! MLK Commemoration Concert, North Charleston, January 16, 2010; 6 p.m.

Spiritual Classics II Town of Kiawah Concert,

February 12, 2010; 7 p.m., Holy Spirit Catholic Church, Johns Island

Annual YWCA Spiritual Brunch April 3, 2010

Charleston Symphony Orchestra

Spiritual EnsembleU nder the direction of Nathan L. Nelson, theCSO Spiritual Ensemble is a dream cometrue for its Founder and President, Lee

Pringle. The 35-member Ensemble is the organicoutcome of the broad vocal talent within theacclaimed CSO Gospel Choir. The Ensemble focus-es on the African-American spiritual and sacredmusic in a variety of settings. The Ensembledebuted to sold-out crowds at its February 2009concert, the 2009 Charleston International Festivalof Choirs, and the 2009 Piccolo Spoleto Festival.The Ensemble honors the musical tradition thatAfrican-Americans formed as slaves after arriving inthis country, and, in particular, its relevant historyhere in South Carolina.

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College of Charleston Faculty Member

Charleston Southern University Faculty Member

On Leave 2009-2010 Season

One year, 2009-2010 Season

VIOLIN

– Yuriy Bekker, Concertmaster– Amos Lawrence,

Assistant ConcertmasterChair Sponsor: Phyllis Miller

– Alan Molina, Principal Second Violin– Adda Kridler, Assistant

Principal Second Violin– Megan Molina

Chair Sponsors: Jack & Cathy McWhorter

– Frances Hsieh– Asako Kremer – Nonoko Okada – Brent Price – Lauren Paul

VIOLA

– Jan-Marie Christy Joyce, Principal

– Alexander Agrest – Jill King

CELLO

– Norbert Lewandowski, Acting PrincipalChair permanently endowed by the Charleston Symphony Orchestra League

– Damian Kremer – Timothy O’Malley

Chair Sponsors: Paul and Becky Hilstad

Chair Donors have designated their gifts tosponsor a musician’s chair. For informationon chair sponsorship, call (843) 723-7528.

DAVID STAHL, Music DirectorRobert Taylor, CSO Chorus DirectorSandra Barnhardt, CSO Gospel Choir DirectorRichard C. Marcus, YOLOW Director

BASS

– Edward Allman, PrincipalChair Sponsors: Paul and Mary Jane Roberts

– Tom Bresnick Chair Sponsor: Dr. Jim and Claire Allen

FLUTE

– Jessica Hull-Dambaugh, Principal

– Regina Helcher Yost – Tacy Edwards

PICCOLO– Tacy Edwards

25

OBOE

– Mark Gainer, PrincipalChair Sponsor: Fred and Katie Kelsey

– Nicholas Masterson– Christine Worsham

ENGLISH HORN– Nicholas Masterson

CLARINET

– Charles Messersmith, Principal

– Gretchen Schneider Roper

BASSOON– Christopher Sales, Principal – Katherine St. John

BASS TROMBONE– Thomas Joyce

TUBA– Vacant

HARP

– Kathleen Wilson, Principal

TIMPANI

– Beth Albert, PrincipalChair Sponsor: Dr. S. D. Thomas

PERCUSSION

– Ryan Leveille, Principal

HORN

– Brandon Nichols,PrincipalChair Sponsor: Bob and Marcia Hider

– Audrey Good– Debra Sherrill – Anne Holmi

TRUMPET

– Karin Bliznik, Principal – Michael Smith, Acting Principal

Chair Sponsor: Mr. and Mrs. Robert Rice

– Chris Fensom

TROMBONE

– William Zehfuss, PrincipalChair Sponsor: Cal and Joyce East

26 David Stahl, ConductorYuriy Bekker, Violin

Gioachino ROSSINI Overture to William Tell 12:00(1792 – 1868)

Felix MENDELSSOHN Violin Concerto in e minor, Opus 64 26:00(1809-1847) Yuriy Bekker, violin

Allegro ma non troppo

Andante

Allegretto non troppo – Allegro molto vivace

————————————---------— intermission ——————————————————

Ludwig van BEETHOVEN Symphony No. 6 “Pastorale” 39:00(1712-1773) Allegro ma non troppo – Awakening of

cheerful feelings upon arriving in the country.

Andante molto moto – Scene by the brook.

Allegro – Merry gathering of the peasants.

Allegro – Tempest. Storm.

Allegretto – Shepherd’s Hymn – Happy and

thankful feelings after the storm.

Yuriy!

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Masterworks

Charleston Symphony OrchestraDavid Stahl, Music Director

Tonight’s floral arrangement provided courtesy of Belva’s Flower Shop of Mt. Pleasant.

The Charleston Symphony Orchestrareceives public support from the Cityof Charleston, the Town of KiawahIsland, the County of Charleston, theSouth Carolina Arts Commission,and the Southern Arts Federation.

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Concertmaster of theCharleston Symphony Orchestra,Yuriy Bekker has played world-wide with many orchestras andmusic festivals as a featuredsoloist, concertmaster and facul-ty member earning him criticalacclaim. Prior to his appoint-ment in Charleston, Yuriyperformed with the HoustonSymphony, Houston Grand Operaand Ballet Orchestras and theLouisville Orchestra. He hasbeen a fellowship recipient atAspen Music Festival and partic-ipated in many festivalsincluding the European MusicFestival Stuttgart (Germany),the Pacific Music Festival(Japan), and Spoleto USA. Hehas also performed with theIndiana String Quartet at the

Kennedy Center and with theDegas String Quartet for theChicago Chamber Music Society.

Bekker serves on the facul-ties of the Charleston Academyof Music and AIMS Festival inGraz, Austria. He earned aGraduate Performance Diploma

from the Peabody Conservatoryunder the tutelage of HerbertGreenberg. His Bachelor’s andMaster’s Degrees were acquiredfrom Indiana University’s Schoolof Music where he studied withNelli Shkolnikova and Ilya Kaler.

Along with his position asconcertmaster, engagements forthe 2009-2010 season includetonight’s solo appearance withthe Charleston Symphony play-ing Mendelssohn’s ViolinConcerto and other solo appear-ances in Charleston, MyrtleBeach, New York City,Scottsdale, AZ, and abroad. He isa native of Minsk, Belarus, andnow is a U.S. citizen. For moreinformation, please visitwww.yuriybekker.com.

Yuriy Bekker, Violin

Charleston Symphony Orchestra Chorus Presents:

Dr Robert J Taylor, conducting

Featuring The CSO with

Charleston Symphony Orchestra Chorus & CSO Chamber Singers

Saturday, February 20 5:00PM Tickets $20 $15 seniors, $5 students (Gaillard Box Office and @ Door) Citadel Square Baptist Church, 328 Meeting Street, Charleston www.charlestonsymphony.com

Antonín Dvorák’s

Te Deum

Also… F. Joseph Hadyn’s

Missa in Tempore BelliMass in Time of War

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P R O G R A M N O T E S

Rossini’s overtures are heard more frequentlyin the concert hall than his operas (except forThe Barber of Seville) are performed in the the-ater. His 1829 opera about the Swiss hero was tobe his last, before a perhaps premature self-

imposed retirement from opera. After the cele-brated opening for solo cellos, the music depictsa storm, the calm after the storm with the famousEnglish horn solo and flute obbligato, and thenheroic music (the “Lone Ranger” theme).

Overture to William Tell

If a time machine could transport us to pastconcerts, one occasion that many would choosewould be December 22, 1808, at the Theater ander Wien in Vienna. The program that night(conducted by the composer) consisted of thepremieres of Beethoven’s Fifth and SixthSymphonies, the first public performance of theFourth Piano Concerto, not to mention movementsfrom the Mass in C and the concert aria “Ah! perfi-do.” As early as 1803 Beethoven noted the ideathat would become the accompaniment figure inthe slow movement of the Sixth Symphony, headed“murmur of the brook...the larger the stream, thedeeper the note.” Detailed work on both the Fifthand the Sixth Symphonies began in the 1807.

Although the Fifth Symphony is often associat-ed with some extra-musical description (struggleagainst fate culminating in victory), Beethoven leftnothing in its score as a guide. For the SixthSymphony, however, he chose both to give it a title(“Pastoral”) and to head each of the movementswith descriptions. The evocation of nature recalls

such earlier works as Vivaldi’s “The Four Seasons”and Haydn’s oratorio “The Seasons,” and the SixthSymphony paves the way for the Romantic programsymphony and tone poem (Berlioz’s “Symphoniefantastique” and Liszt’s “Les Preludes”).

The most direct impetus for Beethoven’s use ofdescriptive titles likely came from Justin HeinrichKnecht’s “Le Portrait musical de la nature,” a sym-phony which depicts the tranquil landscape, storm,and concludes (as does the Sixth Symphony) with asong of thanksgiving. Yet Beethoven never wantedthe music to be heard only for its descriptive power;at the premiere he put above the titles of the move-ments the following disclaimer: “more anexpression of feeling than painting.” Although theSixth Symphony is commonly described as havingfive movements, in fact it has the standard four—fast, slow, scherzo, finale—with the stormconnecting the third movement directly to thefinale in a transition similar to, but longer than, thetympani passage that leads into the finale of theFifth Symphony.

Symphony No. 6 in F major, Opus 68 (“Pastoral”)

Joseph Joachim (1831-1907) looked back on hiscareer as a virtuoso violinist and said: “TheGermans have four violin concertos. The greatest,the most uncompromising, is Beethoven’s. The oneby Brahms vies with it in seriousness. The richest,the most seductive, was written by Max Bruch.But the most inward, the heart’s jewel, isMendelssohn’s.” Mendelssohn wrote his concertofor Ferdinand David (1810-1873), Joachim’steacher. David gave the first performance of theconcerto on March 13, 1845, with Niels Gade con-ducting Leipzig’s Gewandhaus Orchestra. “I wouldlike to write a violin concerto for you for next win-

ter,” Mendelssohn wrote David in July, 1838;“There’s one in e minor in my head, and its openingwon’t leave me in peace.” Not only the openingwhich lacks the usual obligatory orchestral tutti,but also the placement of the cadenza in the firstmovement was part of Mendelssohn’s brilliantrethinking of the concerto form. Mendelssohn alsoarranged the three movements to be played withoutpause: a lone bassoon note holds over from thefirst movement into the modulatory chords whichbegin the slow movement. As the slow movementcloses there is a short transition and fanfares whichintroduce the last movement.

Concerto in e minor for Violin and Orchestra, Opus 64

Program notes by William D. Gudger, The College of Charleston (emeritus)

30 Edwin Outwater, Guest ConductorQuentin Baxter, Featured ArtistCharlton Singleton, TrumpetMark Sterbank, Tenor saxophoneThomas Gill, Jr., Piano Kevin Hamilton, Acoustic bass

An innovative and improvisational evening with acclaimedpercussionist Quentin Baxter featuring members of his ownband and the musicians of the Charleston Symphony Orchestra.

Quentin Baxter and Friends

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Set design provided by Production Design Associates (PDA), sound by Hope Sound and beverage service by Icebox Bartending Service.


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F E A T U R E D P E R F O R M E R

Quentin Baxter is a world-class musician, composer,educator and producer andone of the most sought aftermusicians in the southeast.

He lives in his hometown,Charleston, S.C., where he playspercussion, teaches at theCollege of Charleston, designssound and makes records.Baxter grew up surrounded bymusic as his mother, father andthree brothers all played drumsin church. This has had a greatinfluence on Baxter’s approachto life.

He was educated inCharleston County publicschools. While a teenager, Baxterwas a nationally respectedgospel musician and minister of

music in his home church.Baxter attended the College ofCharleston, where he received abachelor of arts in music theoryand composition.

Along with regularly perform-ing, he is musical director for the

Charleston Jazz Initiative, aresearch project; a Jazz Artistsof Charleston board member, anadvocacy and presenting group;and a Charleston SymphonyOrchestra board member.

Baxter plays using numerousstyles. He has toured Europe,Asia, Africa, the Caribbean andSouth America. When home,Baxter performs with manybands, some he leads, mostly atThe Charleston Grill, where he ismusical director. Baxter hasworked with other great artistsincluding Monty Alexander, ReneMarie, Allan Harris, Fred Wesley,Donald Byrd, Nicole Henry,Takana Miyamoto, Teddy Adams,and Kevin Bales.

Quentin Baxter


Edwin Outwater is MusicDirector of the Kitchener-Waterloo Symphony in Ontario,Canada. Now entering his thirdseason, he has revitalized theorchestra and gained interna-tional attention for innovativeprojects and imaginativeprograms. Outwater’s recenthighlights include his profession-al opera debut conducting LaTraviata with the San FranciscoOpera, a benefit concert with theSan Francisco Symphony featur-ing some of Hollywood’s mostprominent actors (The World ofNick Adams), and conductingthe YouTube Symphony inCarnegie Hall with MichaelTilson Thomas and Tan Dun.

In the 2009-2010 season,Outwater returns to the San

Francisco Symphony for sub-scription series performancesand also returns to the ChicagoSymphony, New World Symphony,Columbus Symphony, and theBBC National Orchestra of Wales.He debuts with the NationalSymphony Orchestra in

Washington D.C., and the MexicoCity Philharmonic.

Edwin Outwater wasResident Conductor of the SanFrancisco Symphony from 2001-2006. Outwater’s work in musiceducation and community out-reach has been widely acclaimed.In 2004, his education programswere given the LeonardBernstein award for excellencein educational programming, andhis Chinese New Year Programwas given the MET LIFE awardfor community outreach. A nativeof Santa Monica, California,Outwater attended HarvardUniversity graduating cum laudein 1993 with a degree in Englishliterature. He received hismaster’s degree in conductingfrom UC Santa Barbara.

Edwin Outwater, Guest Conductor

32 David Stahl, ConductorAmy Lynn Call, SoloistMicah McLaurin, Piano

Wolfgang Amadeus Mozart Overture to The Magic Flute, K. 620 7:00(1756-1791)

“O Zittre Nicht” from The Magic Flute 3:00Amy Lynn Call, soprano

“Der Holle Rache” from The Magic Flute 3:00Amy Lynn Call, soprano

Piano Concerto No. 23, K 488 (2nd MVMT) 7:00Adagio

Micah McLaurin, piano

—————————————— intermission ———————————————————

Symphony No. 40 in g minor, KV 550 35:00Molto allegro

Andante

Menuetto

Allegro assai

Wall to Wall Mozart

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Masterworks




www.pdastage.com

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Soprano Amy Lynn Callreturns to Oper Chemnitz(Germany) in 2009-2010 toreprise the role of Königin derNacht, which she also per-formed in Freiberg, Döbeln, andChemnitz in 2007 and 2008. Shefirst appeared in Europe inGraz, Austria singingBeethoven’s concert aria “Ah,perfido!” and Violetta’s Act Iscena from La Traviata with theGraz Festival Orchestra in 2006.Ms. Call has performed the rolesof Königin der Nacht,Konstanze, Fiordiligi, Mimì,Violetta, Dido, and Lizbeth. Ms.Call was a finalist in theMeistersinger Competition inGraz, Austria, the Paul RobesonCompetition in Washington, D.C.

and the Czech and SlovakInternational Voice Competitionin Montreal, Canada. She wonthe Adrian Boyer Competition atBay View in 2005 and thenational Career PerformanceGrant in Voice from Sigma

Alpha Iota in 2006. In 2008, Ms.Call was the winner of theVirginia NATSAA Competition.She has performed the sopranosolos in Handel’s Messiah,Mendelssohn’s Elijah, Orff’sCarmina Burana, Rutter’sRequiem, and Vivaldi’s Gloria.Her beloved teachers includeMartina Arroyo, Mary Ann Hart,Charlotte Nelson Aiosa, CraigFields, and In Dal Choi. She hasperformed in masterclasses byCarol Vaness, John Wustman,Martin Katz, and GabrieleLechner. Ms. Call is thrilledto make her debut with theCharleston Symphony Orchestratonight.

Amy Lynn Call, Soloist


Micah McLaurin is a home-schooled 9th-grader fromCharleston. He began studyingpiano at the age of 8 withMarsha Gerber and is currentlya scholarship student ofEnrique Graf at the CharlestonAcademy of Music. He achievedstatewide recognition as ayearly winner of the SCMTAPre-College Piano Auditions.He performed twice on SCETVas a representative of the SCPiano Festival Association;received the Critic’s Circlerating five times in the NationalGuild Auditions; and was thewinner of the 2007 SCMTAMTNA Junior PianoCompetition. In addition, he has

been a recipient of theCharleston Symphony OrchestraScholarship for the last fouryears and was the 1st prizewinner of the Louise MatthisScholarship Audition.

Micah received 2nd prize inthe 2008 IIYM InternationalPiano Competition in Kansas,and 1st prize in the 2008-2009Hilton Head SymphonyOrchestra Youth ConcertoCompetition. He also placed4th in the 2009 Blount-SlawsonYoung Artists Competition inAlabama.

Next Tuesday, February 9,Micah will become the youngestpianist ever to appear on theInternational Piano Series atthe College of Charleston'sSottile Theatre performingSonatas by Rachmaninoff andProkofieff and other works byBach, Haydn and Chopin.

Micah McLaurin, Piano

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In November 1790 Mozart was approached byhis friend Emanuel Schikaneder to write aSingspiel (comic opera in German with spokendialogue) for Schikaneder’s troupe, resident atone of Vienna’s theaters. He readily agreed, espe-cially since no commission for an Italian opera wason the horizon. Schikaneder wrote the libretto ofDie Zauberflöte (The Magic Flute), K. 620, bas-ing it loosely on Liebeskind’s oriental fairy-taleLulu, and filling the story with thinly disguisedallusions to freemasonry—both he and Mozartwere masons. The comic male lead, Papageno, wasdesigned for Schikaneder himself to perform.

Mozart composed most of the opera in July of1791, but as usual left the purely instrumentalmusic to be written last. Mozart entered the com-pletion of the overture in his personal catalogue ofcompositions on September 28, a mere two daysbefore the first public performance of the opera onSeptember 30, 1791. The overture, too, plays a partin the masonic symbolism: there are three solemnchords at the start (heard again about halfwaythrough the overture), and the key of the overture(the same key for the opera’s finale) is E-flatmajor—three flats

Among the characters of the opera is theQueen of the Night, who turns out to be one of thevillains. For this role Mozart wrote two arias,which are touchstones of the coloratura sopranorepertory, designed for the first singer of the role,his sister-in-law Josepha Hofer.

Mozart composed his Piano Concerto No. 23,K. 488, in 1786 and played the premiere himself.The second movement is cast in the rhythm of thesiciliano, but is surprisingly marked adagio, slow-er than the usual andante, and is in the unique(for Mozart) and tragic key of F-sharp minor. Themusic is passionate, even operatic.

Mozart wrote over 50 symphonies, of which 41were included in the standard numbering adoptedin the 19th century. The Symphony No. 40 in gminor, K. 550, his next-to-last, and the “Little gminor,” K. 183, are the only ones in minor keys.Symphony No. 40 was a favorite of the Romanticswho saw various moods in it: one writer said it wasfilled with “the agitation of passion, the desires and

regrets of an unhappy love,” while RobertSchumann thought it “Grecian lightness and grace.”

Mozart completed this Symphony on July 25,1788, and entered it into his catalogue. The lastthree symphonies, including the g minor and itsbig brother, No. 41 (“Jupiter”) may have beenintended for a series of upcoming concerts inVienna, but these did not materialize. WhetherMozart performed any of them in Leipzig orDresden concerts that followed is unclear. Theautograph manuscript of the g minor shows themost changes with performances in mind: alter-ations to the woodwind scoring at least twice, thesecond time with clarinets added. This latterchange was possibly made for concerts on April 16and 17, 1791, for the benefit of the Vienna Societyof Musicians. The (for the time) enormous orches-tra of two hundred players included Mozart’sfavorite clarinettists: the brothers Johann andAnton Stadler. The conductor was no less than(Mozart’s supposed nemesis) Antonio Salieri.

Since we cannot be sure about any of these con-certs (the “grand symphony” by Mozart conductedby Salieri might have been one of the other oneswith clarinets), it is just possible that Mozart neverheard any of his last three symphonies, though thescoring changes in No. 40 make it the most likelycandidate. In any case, it is hard to hear this workwithout a tinge of melancholy and an anticipation ofthe composer’s impending death. The key of g minordoes seem to have a special mood for Mozart: heused it in heart-wrenching arias of Constanze (inThe Abduction from the Seraglio) and Pamina (inThe Magic Flute), plus the special chamber works:the Piano Quartet, K. 478, of 1785, and the StringQuintet, K. 516, of 1787. But like the Symphony,these works were often written with companionpieces in sunnier major keys.

As Neal Zaslaw sums it up: “In addition to beinga pillar of the repertory and one of the most flaw-less exemplars of the classical style, the g minorSymphony is a key work in understanding the linkbetween musical classicism and musical romanti-cism, and perhaps even a mournful hint atwhat Mozart might have composed had he lived anormal lifespan.”

Music of Wolfgang Amadeus Mozart (1756-1791)


36 Bohuslav Rattay, Guest ConductorBenjamin Kamins, Bassoon

Michael Daugherty Dead Elvis 10:00(b. 1954) Benjamin Kamins, bassoon

Igor Stravinsky The Soldier’s Tale 60:00(1882-1971) Part One:

The Soldier’s March

Music to Scene I

Music to Scene II

Music to Scene III

Part Two:

The Soldier’s March

The Royal March

The Little Concerto

Three Dances – Tango, Waltz, Ragtime

The Devil’s Dance

The Little Choral

The Devil’s Song

Great Choral

Triumphal March of the Devil

Sympathy for the Devil

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Backstage Pass



Bohuslav Rattay, Guest Conductor

Please refer to Page 39 for Mr. Rattay’s biography.”

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Since entering the world ofprofessional music in 1972,Benjamin Kamins has enjoyed adistinguished career as anorchestral musician, chamberand solo performer, and educa-tor. During his tenure asAssociate Principal Bassoon withthe Minnesota Orchestra, Mr.Kamins taught at St. Olaf andMacalester Colleges. In 1981, hewas appointed Principal Bassoonof the Houston Symphony andserved as a guest principal withthe New York Philharmonic andBoston and PittsburghSymphonies. Mr. Kamins was afounding member of both theEpicurean Wind Quintet and theHouston Symphony Chamber

Players. Now as a Professor atRice University’s ShepherdSchool, Mr. Kamins continues hiscommitment to our young musi-cians and to the future of livemusic performance.

He holds faculty positions atthe Music Academy of the Westin Santa Barbara, California andthe International FestivalInstitute at Round Top in RoundTop, Texas. He is also PrincipalBassoon of the Sun ValleySummer Symphony in SunValley, Idaho, a superb orchestracomprised of leading musiciansfrom the nation’s top orchestras.Mr. Kamins is in demand formaster classes, recitals andchamber performances through-out North America. An interestin new music has led to a recentseries of commissions and toursthat serve to enrich the reper-toire for the bassoon.

Benjamin Kamins, Bassoon


Tonight’s concert – essentially a chamber program– offers two works that are often performed together.While very different in musical character, they offersimilar sonorities and programmatic themes. Theysound alike because they’re scored for precisely thesame instruments. And the musical tales they tell bothinvolve selling out to fame and/or material gain.

Contemporary American icon Michael Daughertywrote his Dead Elvis as a sort of brief musical biogra-phy of the King of rock & roll … complete with anauthentic Elvis impersonator who also blows a meanbassoon. But don’t expect a nostalgic rush of vintageElvis tunes, beyond a brief refrain of ‘It’s Now or Never.’

Instead, the bassoon and supporting sextet (vio-lin, clarinet, trumpet, trombone, percussion anddouble bass) work their way through a series of vari-ations on the doleful “dies irae” theme that countlesscomposers have used for centuries. But the playersexplore assorted rock and pop idioms while they’re atit. Expect Elvis-like antics as our bassoonist puts onhis show – but mark how they ring hollow in the end.The musical metaphors – simultaneously fateful andtongue-in-cheek – suggest how the young Elvis grad-

ually “sold out” to the fame and fortune of Hollywoodand Vegas, setting him up for his final descent intodrug-ridden burnout.

A more directly devilish quality pervades TheSoldier’s Tale, a far more substantial work byIgor Stravinsky. It’s based on a Russian folk-taleabout a Soldier (with fiddle) whom the devilgradually subverts, finally claiming his soul. Theinstrumentation served as Daugherty’s model overseventy years later; only here, the soloist plays thefiddle. We also will have an actor-narrator who willkeep us abreast of a plot that’s more specific anddetailed than Daugherty’s.

The music is one of the composer’s “bridge”works, marking the shift from his colorful earlyballets to the musical economy of his “neo-classical”phase. The music – from the violinist’s kinetic,“skipping” theme onward – is not particularlymelodic; instead it weaves its considerable effect bymeans of its complex, shifting rhythmic flow. Add thenarrators and a dancer, and it makes for absorbingentertainment.

Dead Elvis, The Soldier’s Tale

38 Bohuslav Rattay, Guest Conductor

Dmitri Shostakovich (1906-1975) Festive Overture 7:00

Jean Sibelius (1865-1957) Finlandia 8:00

Bela Bartok (1881-1945) Romanian Folk Dances 6:00

Antonin Dvorak (1841-1904) Slavonic Dances Nos. 8 & 3 10:00

Johann Strauss, Jr. (1825-1899) On The Beautiful Blue Danube 9:00

—————————————— intermission ———————————————————

Gioachino Rossini (1792-1868) Overture to La Cenerentola 8:00

Georges Bizet (1838-1875) Les Toreadors and Habanera from Carmen 5:00

Sir Edward Elgar (1857-1934) Nimrod from Enigma Variations 4:00

Samuel Barber (1910-1981) Overture to School for Scandal 8:00

Leroy Anderson (1908-1975) Bugler’s Holiday 9:00Blue Tango

Summer Skies

Fiedler’s Favorites

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Now in his fourth season asthe Artistic Director of theMuncie Symphony Orchestra,Czech conductor BohuslavRattay continues to astound anddelight audiences the world overwith his fresh and inspired inter-pretations of works ranging fromperennial concert-hall favoritesto the contemporary. Acclaimedfor his insightful performancesof the music of his nativeBohemia, Mr. Rattay is a popularguest conductor, with recentengagements including theVirginia Symphony, Prague’sDvorak Symphony Orchestra,and the Charleston (SC)Symphony, where he receivedcritical accolades for a “vibrant”performance delivered with“elegant panache.”

Driven by a passion formaking classical music accessi-ble to all people, Mr. Rattay isrenowned for his unique andinnovative concert programs,which have incorporated every-thing from special audiencediscussions to the inclusion of

multi-media elements. Anequally enthusiastic educator,Mr. Rattay joined the faculty ofBall State University in 2006.A graduate of the distinguishedPrague Conservatory, RiceUniversity, and the PeabodyInstitute of Music, Mr. Rattaycurrently divides his timebetween the United Statesand Europe.

Long recognized as one ofthe bright young stars of thepodium, he has conducted theNational Symphony Orchestraas part of the NationalConducting Institute and wasselected by the League ofAmerican Orchestras toparticipate in its ConductingFellowship Program.

Bohuslav Rattay, Guest Conductor

40 Mikhail Agrest, Guest Conductor

Carl von Weber Overture to Oberon 9:00(1786-1826)

Pyotr Ilyich Tchaikovsky Orchestral Suite No. 4, Opus 61 “Mozartiana” 20:00(1840-1893) Gigue (Allegro)

Menuet (Moderato)

Preghiera (Andante non tanto)

Theme et variations (Allegro giusto)

—————————————-----— intermission ———————————————————

Johannes Brahms Symphony No. 1 in c minor, Opus 68 45:00(1833-1897) Un poco sostenuto – Allegro – Meno allegro

Andante sostenuto

Un poco allegretto e grazioso

Adagio – Piu andante – Allegro non troppo, ma con brio – Piu allegro

Kings & Heroes

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Mikhail Agrest was born inSt. Petersburg Russia. Shortlyafter immigrating with his familyto the USA in 1989, Agrest set-tled in Charleston, where hisparents became core members ofthe Charleston SymphonyOrchestra string section. Whileattending Middleton HighSchool, he made his debut withthe CSO playing the MendelsohnViolin concerto. Mikhail thencontinued violin studies withJosef Gingold at the IndianaUniversity School of Music, andlater returned to St. Petersburgfor post-graduate studies in con-ducting with Ilya Musin andMariss Jansons. He was awardeda fellowship at the Aspen MusicFestival’s American Academy ofConducting where he workedwith David Zinman and JormaPanula. Agrest is a laureate ofthe A. Pedrotti InternationalConducting Competition (Italy,2001) and of the MitropoulosConducting Competition(Greece, 2002).

Mikhail Agrest joined theMariinsky Theatre in 2001 and,together with the Mariinsky, hasperformed in many Europeancapitals, the Far East and Japan,the UK (Royal Opera House) and

the U.S. (The MetropolitanOpera). Agrest has also estab-lished a thriving career as aguest conductor both in the sym-phonic repertoire and the operahouse. He conducted the award-winning production by DavidAlden of Jenufa at the EnglishNational Opera in 2006, Toscawith the Royal Swedish Opera,Don Giovanni with OperaAustralia, and Rake’s Progresswith Opera de Oviedo in 2008.

In addition, Mikhail Agresthas conducted the LeipzigGewandhaus Orchestra,and inJanuary 2007, he took over theclosing concert of the BBC’sGubaidulina festival, ‘A Journeyof the Soul’ with the BBCSymphony Orchestra at the

Barbican in place of an unwellValery Gergiev. He has appearedwith the OrchestrePhilharmonique de RadioFrance, Stockholm PhilharmonicOrchestra, Orchestre de laSuisse Romande, City ofBirmingham SymphonyOrchestra, IndianapolisSymphony Orchestra, HoustonSymphony, BournemouthSymphony Orchestra, MalmöSymphony Orchestra,HelsinkiPhilharmonic Orchestra, theHungarian NationalPhilharmonic Orchestra and theDanish National SymphonyOrchestra.

In the current season, Agresthas also worked with the RoyalLiverpool PhilharmonicOrchestra, DresdenPhilharmonic Orchestra and theNetherlands PhilharmonicOrchestra. He will also return toconduct the BBC SymphonyOrchestra, BBC PO, BBCScottish Symphony Orchestraand a symphonic concert withScottish Opera. Mikhail Agrestwill make his debut withGlimmerglass Opera this sum-mer in a new production of LaTraviata.

Mikhail Agrest, Guest Conductor


Carl Maria von Weber’s successes with theRomantic operas Der Freischütz and Euryanthe ledto a commission in 1826 from London’s CoventGarden for Oberon. Despite the presence of suchfamiliar character-names as Puck and Titania, thelibretto was derived not from Shakespeare’s AMidsummer Night’s Dream but from C. M. Wieland’spoem “Oberon,” adapted by James Robinson

Planché. Weber took over 150 English lessons inorder to be able to set Planché’s text, which is soconfused and silly that the opera has never beenanywhere but on the fringes of the repertoire.Nonetheless Weber poured some of his best musicinto the project, and overwork hastened his deathfrom consumption less than two months after thehighly successful premiere. The overture begins

Overture to Oberon

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Although best remembered as an originator ofRussian romanticism, Tchaikovsky was in factinspired by the light yet ingenious classicism of hisAustrian predecessor Wolfgang Amadeus Mozart.Tchaikovsky had wanted to write a fourth orches-tral suite for some time, and the inspiration forone based on Mozart’s music came in 1884/85;Tchaikovsky wished to honor the prodigy bycompleting the work before the centennial of hisopera Don Giovanni in 1887. He settled on fourpieces, some of the least known in Mozart’s vastrepertoire. The first movement is based on theGigue in G major, K. 574, a curiously chromatic

work modeled on a gigue of Handel. The Minuet inD major, K. 355, lends itself to the second move-ment, and is now thought to have been writtenduring the last three years of Mozart’s life. For thethird movement, a “prighiera” or “prayer,”Tchaikovsky used Franz Liszt’s keyboard arrange-ment of Mozart’s choral work, the “Ave verumcorpus,” K. 618 (1791). The last movement of thesuite is an orchestration of the K. 455 keyboardvariations on the aria “Unser dummer Poebelmeint” from Gluck’s opera “The Pilgrims fromMecca,” which Mozart improvised in Gluck’spresence in an 1783 concert.

Orchestral Suite No. 4, Opus 61 “Mozartiana”

with Oberon’s magic horn call and proceeds with acolorful and delicate depiction of his bower. Thehorn call reappears in the transition from the first to

the second theme, which is presented by the clar-inet, an instrument for which Weber, like his relativeby marriage Mozart, had a special affinity.

Conductor and pianist Hans von Bülowdeclared Brahms’s First Symphony to be“Beethoven’s Tenth” when it was first performed in1876. There is an obvious similarity between thehymn-like theme in the fourth movement and the“Ode to Joy” theme in Beethoven’s Ninth: “Anydonkey can see that,” Brahms snarled. Yet thelineage with Beethoven goes deeper, Robert andClara Schumann having passed the torch oftradition to the young Brahms perhaps before hewas ready to receive it. In any event, his firstsymphony took a long time to be born. Somematerial intended for a symphony ended up in theFirst Piano Concerto, Opus 15, and the GermanRequiem, Opus 45. He also cut his compositionalteeth in other orchestral works such as the twoSerenades and the masterful Haydn Variations,Opus 56.

The main Allegro theme of the first movementwas already in existence in 1862 when ClaraSchumann quoted it in a letter to the violinistJoseph Joachim, and another sketch survives from1868. On Clara’s birthday greeting that yearBrahms noted the horn theme from the climax ofthe introduction to the last movement, completewith words: “High on the hills, deep in the vale,

I greet thee ten-thousandfold!” Brahms stillprocrastinated, and in 1873 his publisher Simrockwrote asking if there was progress on the sympho-ny. At one point Brahms exclaimed, “I shall neverwrite a symphony! You can’t have any idea what it’slike always to hear such a giant marching behindyou,” a reference to Beethoven’s symphonies.Nevertheless in 1874 Brahms seems to have begunwork in earnest, finally completing the work onsummer holiday in 1876. The first performance fellto conductor Otto Dessoff in Karlsruhe onNovember 4, 1876, and further performances thatseason led to some revisions before Brahms let thework be printed in 1877 as his Opus 68.

Brahms’s conservatism is seen even in thescoring of his works: the First Symphony calls forthe same orchestra as Beethoven’s Fifth (minus thepiccolo). His orchestral coloring is in deep earthenhues with the rich inner voices that could besupplied by the violas (often divided) and mid- andlow-range sounds from the clarinets, bassoons, andhorns. Like Beethoven, Brahms reserves the threetrombones for the last movement, but in the FirstSymphony they don’t provide as much of the extravolume that Beethoven wanted as a deep-pitchedchoral effect.

Symphony No. 1 in c minor, Opus 68


44 Scott Terrell, Guest Conductor

Charlie Chaplin (1889-1977) Composer The Gold Rush 96:00Timothy Brock (b. 1963), Arranger

The movie and the music will be performed without an intermission.

The Gold Rush!Charlie Chaplin’s Classic Film –

Accompanied by the Charleston Symphony Orchestra

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Scott Terrell is the newlyappointed Music Director andConductor for the LexingtonPhilharmonic. Between 2005 and2009, Terrell was CharlestonSymphony Orchestra's (CSO)Resident Conductor. He wasartistic leader and conductor ofthe Backstage Pass Series,Charleston Pops Series, and Outof the Box concerts. Terrell alsoled the educational programs forthe CSO doubling the numberand scope of the offerings, addingneighborhood Kinder Konzerts,Adopt-a-School residencies, aFamily Concert series and HighSchool Curriculum Connectionsprograms to the existing In-School Ensemble and YoungPeople's Concerts programming.

In addition, Terrell has led

performances with many presti-gious international organizationsincluding Opera Colorado,Minnesota Opera, Aspen MusicFestival, Minnesota Orchestra,Rotterdam Philharmonic, HongKong Sinfonietta, MilwaukeeSymphony, Spoleto Festival,

Scott Terrell, Guest Conductor

Colorado Symphony, NaplesPhilharmonic, Eugene Symphony,Richmond Symphony, SouthDakota Symphony, Sun RiverMusic Festival, KalamazooSymphony, Piccolo SpoletoFestival, Wheeling Symphony,Greater Boston Youth Symphony,Western New York ChamberOrchestra, Amarillo Symphonyand the Musical Offering of SanAntonio. Recently, he debutedwith Rochester Philharmonic,Bloomington Camerata Orchestra,El Paso Opera and the Portlandand Jacksonville Symphonies.

In the summer of 2000,Terrell was chosen as a fellowshipconductor for the AmericanAcademy of Conducting at theAspen Music Festival underMusic Director, David Zinman.

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46 Daniel Hege, Guest Conductor

Frederick Delius On Hearing the First Cuckoo in Spring 7:00(1862-1934)

Aaron Copland Suite from Appalachian Spring 23:00(1900-1990)

—————————————-— intermission ———————————————————

Robert Schumann Symphony No. 1 in B-flat major, Opus 38 (“Spring”) 30:00(1810-1858) Andante un poco maestoso – Allegro molto vivace

Larghetto

Scherzo: Molto vivace – Trio I: Molto piu vivace – Trio II

Allegro animato e grazioso

Spring Delight

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Currently in his tenth seasonas Music Director of theSyracuse Symphony Orchestra,Daniel Hege is widely recognizedas one of America’s finest youngconductors, earning criticalacclaim for his fresh interpreta-tions of the standard repertoireand for his commitment to cre-ative programming. In June2009, Mr. Hege was appointedMusic Director of the WichitaSymphony and begins his tenurewith that orchestra inSeptember 2010.

In 2001, he completed a five-year tenure with the BaltimoreSymphony where he held thetitles of Assistant, Associate andResident Conductor. He has alsoserved as Music Director of theHaddonfield (NJ) Symphony,

Associate Conductor of theKansas City Symphony, MusicDirector of the Encore ChamberOrchestra in Chicago and MusicDirector of the Chicago YouthSymphony where he was twicehonored by the AmericanSymphony Orchestra League for

innovative programming.Mr. Hege has guest conduct-

ed the Houston, Detroit, Seattle,Indianapolis, Oregon, Colorado,San Diego, Columbus andPhoenix symphonies; theRochester, Buffalo and CalgaryPhilharmonics, the Grand Tetonand Aspen Music Festivals,Singapore Symphony, St.Petersburg (Russia) Symphonyand the Syracuse Opera.

Mr. Hege earned his Bachelorof Arts Degree from BethelCollege, Kansas, in music andhistory and a Master of Musicdegree from the University ofUtah. Born in Colorado, Mr. Hegecurrently resides in Syracusewith his wife, Katarina OladottirHege, a violinist, and their threedaughters.

Daniel Hege, Guest Conductor

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The Elizabeth Sprague Coolidge Foundation com-missioned many works, most of which were firstperformed in the theater in the Library of Congress inWashington. Copland composed Appalachian Springin 1943 and 1944 while living in New York. He subti-tled the work “Ballet for Martha” to honor MarthaGraham, the famous dancer and choreographer. Bornin 1900 and living to 1991, Graham was long-lived likeCopland, her almost exact contemporary. Graham’stroupe gave the first performances of the ballet. TheLibrary of Congress Theater was small, so the originalscoring of the ballet was for thirteen instruments. Itpremiered on October 30, 1944, and about a year laterthe New York Philharmonic played the first perform-

ance of the Suite version, slightly shorter than theballet and scored for a larger orchestra.

Copland’s scenario for the ballet: “The action ofthe ballet concerns a pioneer celebration in springaround a newly-built farmhouse in the Pennsylvaniahills in the early part of the last century. The bride-to-be and the young farmer-husband enact theemotions, joyful and apprehensive, their new domes-tic partnership invites. An older neighbor suggestsnow and then the rocky confidence of experience. Arevivalist and his followers remind the new house-holder of the strange and terrible aspects of humanfate. At the end the couple are left quiet and strong intheir new house.”

Suite from Appalachian Spring

This symphony began with a literary inspiration,a poem by Adolf Böttger, two lines of which fit theopening four bars of the music: “O turn, O turn andchange your course - / Now in the valley blooms thespring!” The four movements originally had titles:“Spring’s Awakening,” “Evening,” “Merry Playmates,”and “Spring at Its Height” (later called “Spring’sFarewell”), but Schumann suppressed these whenthe symphony was published. Nonetheless, he wrotethe conductor who was to lead the Berlin premiere:“Could you breath a little of the longing for theSpring into your orchestra as they play. That waswhat was most in my mind when I wrote [the sym-phony] in January 1841. I should like the very firsttrumpet entrance to sound as if it came from onhigh, like a summons to awakening. Further on inthe introduction, I should like the music to suggest

the world’s turning green, perhaps with a butterflyhovering in the air, and then, in the Allegro to showhow everything to do with spring is coming to life.These, however, are ideas that came into my headonly after I had completed the piece.”

Schumann had written dozens of songs in theyear 1840, full of love for Clara Wieck. It took himonly four days, January 23 to 26 in 1841, to sketchthis Symphony. The orchestration was completed byFebruary 20, and Mendelssohn conducted the firstperformance in Leipzig on March 31. As did others,Gustav Mahler did a large amount of rescoringwhen he performed Schumann’s Symphonies. Butnow except for the interesting illumination ofMahler his version of Schumann gives, we alwayshear the Schumann symphonies as he himselforchestrated them.

Symphony No. 1 in B-flat major, Opus 38 (“Spring”)


Delius is usually listed as a British composer,though his parents were German, and after the age of20 he spent little time in England. His musical educa-tion was at the Leipzig Conservatory, which followeda period when he work on an orange plantation inFlorida and taught briefly in Danville, Va. In Leipzighe met the celebrated Norwegian composer EdvardGrieg, and a Norwegian folksong used by Grieg in a

piano piece is quoted in “On Hearing the First Cuckooin Spring.” These two pieces are scored similarly (oneor two flutes, oboe, two each of clarinets, bassoons,and horns, and strings with many subdivisions), sothey are often paired together as indeed they were ontheir first performance in Leipzig in 1913. Delius latersettled near Paris, and Sir Thomas Beecham was aspecial promoter of his music.

On Hearing the First Cuckoo in Spring

50 Mischa Santora, Guest ConductorAugusta Read Thomas, Composer

Luigi Cherubini Overture to Medea 9:00(1760 – 1842)

Hector Berlioz Dance of the Sylphides from Damnation of Faust 3:00(1803 - 1869)

Augusta Read Thomas Terpsichore's Dream: A Ballet for Chamber Orchestra 17:00(1964 - )

Joseph-Maurice Ravel(1875 – 1937) Pavane for a Dead Princess 6:00

Beyond Belief

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Mischa Santora, MusicDirector of the CincinnatiChamber Orchestra, has guestconducted many of the leadingorchestras around the world,including the Philadelphia,Minnesota and LouisvilleOrchestras, the Los AngelesPhilharmonic, the Houston,National, New Jersey, KansasCity, Indianapolis, Charlestonand Hartford Symphonies, theZurich Tonhalle Orchestra, theBasel and Lucerne SymphonyOrchestras, the HungarianNational and the TaiwanNational Symphony, the SeoulPhilharmonic Orchestra andthe Auckland Philharmonia inNew Zealand.

Equally at home in the fieldof Opera, Mr. Santora has con-ducted fully staged productionswith the West Australian Opera(Perth), with the MinnesotaOrchestra, with MelopoeiaOpera (Boston) and with the

Cincinnati Chamber Orchestra,where he staged his ownproductions of Dido and Aeneasand Don Giovanni.

Past positions include MusicDirector of the HungarianOpera Festival, AssociateConductor of the MinnesotaOrchestra and Music Director ofthe New York Youth Symphony.

Born to Hungarian parentsin the Netherlands, Mr. Santoramoved with his family of musi-cians to Switzerland where hebegan to study violin with hisfather. After his training at theHochschule der Künste in Berlinhe entered the conducting classof Otto-Werner Mueller at theCurtis Institute of Music.

Mischa Santora, Guest Conductor


The music of Augusta ReadThomas is majestic, elegant, lyrical,and is “boldly considered musicthat celebrates the sound of theinstruments and reaffirms thevitality of orchestral music.”(Philadelphia Inquirer) Her deeplypersonal music is guided by herparticular sense of musical form,rhythm, timbre, and harmony. Hervision toward the future, her under-standing of the present, and herrespect for the past is evident inher art. Most striking in her music,though, is its exquisite humanityand poetry of the soul. The notionthat music takes over where wordscease is hardly more true than inMs. Thomas’ musical voice.

In 2009, Ms. Thomas wasinducted into the American

Academy of Arts And Letters, anhonor society of 250 architects,composers, artists, and writers. Thehonor of election is considered thehighest formal recognition of artis-tic merit in the United States.

Born in Glen Cove, New York,Ms. Thomas was the MeadComposer-in-Residence with theChicago Symphony Orchestra fromMay 1997 through June 2006, aresidency that culminated in thepremiere of Astral Canticle – whichwas one of two finalists for the 2007Pulitzer Prize in Music. During herresidency, Ms. Thomas was underthe direction of Daniel Barenboim.Her music has also been champi-oned by leading conductors and hasbeen commissioned by leadingensembles and organizations allaround the world.

Augusta Read Thomas was theDirector of the Festival ofContemporary Music at Tanglewoodin 2009 and she teaches atTanglewood in the summers.

Augusta Read Thomas, Composer

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UMP R O G R A M N O T E S

Luigi Cherubini (1760-1842) was a musician’smusician who earned the profound admiration of hiscontemporaries, including Beethoven. An accom-plished composer of both opera and sacred music,perhaps his greatest masterpiece is the rivetingOpera Medea, composed in 1897. It’s a humanisticupdate of ancient Greek dramatist Euripides’ horrifictale of the mythical sorceress Medea, wife of ArgonautJason (of the Golden Fleece).

After her faithless husband leaves her for anotherwoman, she murders their children in a fit of jealousrage. But Cherubini’s dramatic vision makes muchmore of the dastardly deed, delivering a deep and psy-chologically convincing portrait of the wickedheroine. The turbulent overture encapsulates theopera’s harrowing themes, riveting its listeners’ atten-tion with its gut-wrenching sense of drama,foreboding, and raw, unfettered emotion. The onlyrespite comes with some tender, even playful pas-sages in the central section – perhaps evokinghappier days gone by. But the underlying sense ofrage and violence is never far from the surface.

A marked contrast comes with Hector Berlioz’s(1803-1869) brief, but magical “Dance of the Sylphs”– from his so-called “dramatic legend,” TheDamnation of Faust. Like his teacher Cherubini,Berlioz was drawn to demonic themes – like thosefound in Goethe’s Faust: the greatest and most influ-ential drama of the nineteenth century (it inspireddozens of musical treatments throughout Europe).But in Berlioz’s adaptation, this incredibly delicateballet scene is anything but demonic.

The gentle dance occurs as part of a fantasy-sequence conjured up by Mephistopheles, thedevil-villain, as the hero Faust lies dreaming in a pas-toral riverside setting. Listen for a sustainedfoundation note from the cellos, backed up by pianis-simo timpani and harp. Floating over this softfoundation, the muted upper strings weave a gos-samer tapestry of airy melody that radiates a sweetlysurreal, elfin aura.

Though many may doubt how melodic and acces-sible the music of living composers may be, AugustaRead Thomas’ ballet suite “Terpsichore’s Dream” is anappealing work rooted in legend, a timeless inspira-tion for composers across the centuries.

The work – written just over two years ago – isinspired by Terpsichore, one of the nine ancientmuses of Greek mythology. Being the muse of dance,what other form could the music take than a balletsequence? The musical episodes flow smoothly fromone to another, with an often restless sense of rhyth-mic vitality. The music’s kinetic drive is broken hereand there by softly ethereal passages, and punctuatedby some jazzy touches and flashes of vivid instrumen-tal color.

French impressionist master Maurice Ravel(1875-1937) composed his Pavane for a DeadPrincess as a salon piece for piano in 1899, while hewas still a student. Believing that it was written in“poor form” and “lacked daring,” the work’s immedi-ate success surprised him – but led him toorchestrate it later, despite his reservations. Contraryto the title’s suggestion, the piece is not a funerallament for a child; Ravel himself described it as "anevocation of a pavane (a stately Renaissance-era pro-cessional dance) that a little princess might, informer times, have danced at the Spanish court."

Maybe that’s why the music projects such anaura of blithe, childish whimsy: the sort of mock-solemnity that a little girl could well have brought tosuch a noble occasion. As the dance-fantasy unfolds,the dreamy main melody is heard from the horns,drifting over a bed of luscious woodwind textures andpizzicato strings. The harp’s glissando passages letyou “see” the child’s stylized movements. Ravel buildshis cunning harmonies on modal tonalities drawnfrom Spanish folk and Renaissance influences, butsifted through an impressionist’s senses. Listen fortwo contrasting sections, sandwiched among threevaried treatments of the main theme. But the piece’sgentle pace and mood remain mostly intact frombeginning to end.

Beyond Belief

54 David Stahl, ConductorAmy Lynn Call, SopranoWalter Cuttino, TenorDavid Templeton, Baritone

Franz Joseph Haydn The Creation 109:00(1732 – 1809)

Part One: Introduction: The Representation of ChaosAria: Now Vanish Before the Holy BeamsRecitativo: And God Made the FirmamentChorus The Marv’lous work beholds amaz’dRecitativo And God Said: Let the Waters…Aria: Rolling in Foaming BillowsRecitativo: And God Said: Let the Earth Bring Forth GrassAria: With Verdure Clad the Fields AppearRecitativo: And the Heavenly HostChorus: Awake the HarpRecitativo: And God Said: Let There Be LightsRecitativo: In Splendour Bright is Rising NowChorus: The Heavens Are Telling the Glory of God

Part Two: Recitativo: And God said: Let the Waters Bring Forth…Aria: On Mighty Pens Uplifted Soars…Recitativo: And God Created Great WhalesTerzetto: Most Beautiful AppearChorus: The Lord is Great, and Great is His Might

—————————————-— intermission ———————————————————

Recitativo: And God Said: Let the Earth Bring ForthRecitativo: Strait Opening Her Fertile WombAria: Now Heav’n in Fullest Glory ShoneRecitativo: And God Created ManAria: In Native Worth and Honour CladRecitativo: And God saw ev’ry thingChorus: Achieved is the Glorious Work

Part Three: Recitativo: In Rosy Mantle AppearsChorus: By Thee With Bliss, O Bounteous LordRecitativo: Our Duty We Performed NowDuetto: Graceful Consort! At Thy Side…Recitativo: O Happy PairChorus: Sing the Lord Ye Voices All!

Season Finale

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This evening’sperformance issponsored byDixon-Hughes.

The Charleston Symphony Orchestra receivespublic support from the City of Charleston,the Town of Kiawah Island, the County ofCharleston, the South Carolina ArtsCommission, and the Southern Arts Federation.

Featuring the CharlestonSymphony Orchestra Chorus

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Soprano Amy Lynn Callreturns to Oper Chemnitz(Germany) in 2009-2010 toreprise the role of Königin derNacht, which she also per-formed in Freiberg, Döbeln, andChemnitz in 2007 and 2008. Shefirst appeared in Europe inGraz, Austria singingBeethoven’s concert aria “Ah,perfido!” and Violetta’s Act Iscena from La Traviata with theGraz Festival Orchestra in 2006.Ms. Call has performed the rolesof Königin der Nacht,Konstanze, Fiordiligi, Mimì,Violetta, Dido, and Lizbeth. Ms.Call was a finalist in theMeistersinger Competition inGraz, Austria, the Paul RobesonCompetition in Washington, D.C.

and the Czech and SlovakInternational Voice Competitionin Montreal, Canada. She wonthe Adrian Boyer Competition atBay View in 2005 and thenational Career PerformanceGrant in Voice from Sigma

Alpha Iota in 2006. In 2008,Ms. Call was the winner of theVirginia NATSAA Competition.She has performed the sopranosolos in Handel’s Messiah,Mendelssohn’s Elijah, Orff’sCarmina Burana, Rutter’sRequiem, and Vivaldi’s Gloria.Her beloved teachers includeMartina Arroyo, Mary Ann Hart,Charlotte Nelson Aiosa, CraigFields, and In Dal Choi. She hasperformed in masterclasses byCarol Vaness, John Wustman,Martin Katz, and GabrieleLechner. Ms. Call is thrilled tomake her debut with theCharleston Symphony Orchestrathis season.

Amy Lynn Call, Soprano


Upon completing his educa-tion, Mr. Cuttino performedthroughout Europe, with over1,000 operatic performances tohis credit. Ferrando (Cosi fanTutte), Almaviva (Barber ofSeville), Tamino (The MagicFlute), Lenski (EugeneOnegin), Alfredo (La Traviata)and Rodolfo (La Boheme) are asampling of the more than fortyroles in his repertoire. He hasalso performed over 500 con-certs, including a concert tourwith the late Leonard Bernsteinto London and Moscow. Sincethe fall of 1996, Mr. Cuttino hasbeen a member of the VoiceFaculty (which he now chairs)at the University of SouthCarolina where he performs reg-ularly and, in addition,

continues to perform onAmerican and European stages.He is also Artistic Director ofthe Palmetto Opera, conductorof the Palmetto Mastersingersand Director of Music at LakeMurray Presbyterian Church.

Walter Cuttino, Tenor

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Internationally acclaimedbaritone David Templeton hasgarnered both critical and popu-lar praise for the stunningquality of his vocal portrayals.OPERA Magazine exclaimedthat Mr. Templeton “displays astrong voice and a convincingair of authority.” Opera Newsremarked that his voice is “fullin tone, eloquent in expression.”Das Opernglas admired, notingthat he provided “faultlessenjoyment” and “impressed withhis evenly measured, fullyformed baritone.”

Mr. Templeton has appearedto great effect with Opera dePuerto Rico, Edmonton Opera,Winnipeg Opera, ManitobaOpera and in the United States,he has Opera Columbus, Nevada

Opera, Toledo Opera, HawaiiOpera, Opera San José, FresnoOpera, Sarasota Opera,Connecticut Grand Opera,Piedmont Opera, Mobile Opera,and Illinois Opera. Mr.Templeton is most often associ-ated with the title role in Don

Giovanni, as well as the princi-pal baritone roles in Le Nozze diFigaro, La Traviata, Carmen,La Bohème and MadamaButterfly.

On the concert stage Mr.Templeton has performedextensively throughout NorthAmerica in a diverse repertoirethat encompasses Brahm’s EinDeutches Requiem, Mozart’sRequiem, Beethoven’s NinthSymphony, Mussorgsky’s Songsand Dances of Death, andRavel’s Don Quichotte etDulcinée among others. Mr.Templeton joined the voice fac-ulty at the College of Charlestonin 2008, where he also serves asDirector of Opera.

David Templeton, Baritone

www.sculptureinthesouth.com

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The oratorio is the Baroque era’s sacred coun-terpart to the opera. An oratorio is a musical setting(usually not staged) of a religious story in dramat-ic, narrative, or contemplative fashion. The firstoratorios in Italy took their name from their placeof location—an oratory, or prayer hall, where onewent for sermons, lectures, prayers, and music.Oratorios spread throughout Catholic Europe, andin the large cities they were a popular alternative toopera during the penitential seasons of Advent andLent. As Baroque musical style faded, so did thepopularity of the oratorio, though in Haydn’s Viennathe oratorio tradition was still live enough. In 1775he composed Il ritorno di Tobia (The Return ofTobit), and Mozart contributed to the genre as well.The oratorio tradition got a shot in the arm underthe auspices of Baron Gottfried van Swieten (1733-1803) who had heard the choral works of Bach andHandel in Berlin while serving as Austrian ambas-sador. Back in Vienna the Baron organized a societyof aristocrats to promote performances of Baroquemusic; for this group Mozart arranged and re-orchestrated four Handel works, including Messiah.Handel had introduced oratorio to ProtestantEngland in 1730s and it continued to flourish thereafter his death.

Haydn got to know Handelian oratorio in amore direct way on his two trips to London in the1790s. In 1791 he was present in WestminsterAbbey for concerts, which included Handel’s mon-umental double-choir oratorio Israel in Egypt aswell as Messiah. According an early biographer,Haydn “confessed...that when he heard the musicof Handel in London, he was struck as if he wasput back to the beginning of his studies and hadknown nothing up to that moment. He meditatedon every note and drew from these most learnedscores the essence of a true musical grandeur.”When he returned to Vienna he set about to writeoratorios on a newer, larger scale.

For the words of The Creation Haydn turnedfor help to Baron van Swieten. While in LondonHaydn had been given an anonymous oratorio textoriginally intended for Handel. The text forThe Creation draws upon Milton’s Paradise Lost

supplemented by biblical verses from the creationaccount in Genesis and from the Psalms for thechoruses of praise, which end each section. VanSwieten translated the English text into German,and Haydn set the German text, at times guided bysuggestions for word-painting indicated marginal-ly by Van Swieten. Van Swieten also seems to beresponsible for the English text, which appearedin the first publication of the oratorio; this is a rea-sonably well-managed attempt to fit an Englishtranslation of the German to the rhythms thatHaydn had written. This of course removes thetext one further level from Miltonian language,though the recitatives more easily preserve theBiblical texts.

Haydn worked on the score for some threeyears, 1795-98, after returning from his secondLondon sojourn. “I fell daily on my knees andasked God for strength to finish it,” he said. Themain part of the work was done in the summer andautumn of 1797. After the completion of the scoreand copying of parts there were a number of “pre-mieres” of the work: a private one given twice onApril 29 and 30, 1798, in the SchwarzenbergPalace, Vienna, with Haydn conducting; the firstpublic performance on March 19, 1799, in theVienna Burgtheater (with an orchestra of 120players and a chorus of sixty); and competingBritish premieres conducted by John Ashley atCovent Garden, March 28, 1800, and the “official”one organized by Haydn's London impresario, J.P.Salomon, on April 21. The oratorio became verypopular, with performances in such places as Parisafter the full score was published in 1800. The firstperformance in America of some of the music wasby the Moravians in Bethlehem, Pennsylvania. Anorganization formed in Boston (still active today)called the Handel and Haydn Society gave part ofThe Creation its first year (1815); Charleston’sshort-lived Philharmonic Society performed TheCreation at the Hibernian Hall in 1853. TheCreation is easily one of the most popular of a tri-umvirate of oratorios, challenged only by Handel’sMessiah before it, and later in the 19th century byMendelssohn’s Elijah.

The Creation (Die Schöpfung)

Committee Chairs

Carol Wood • Ray BrockTina Brollier • Kitty Reid

Lucy Preyer • Bonnie MerkelBarbara Brock • Gerry Urbanic

Jane Wainwright • Becky HilstadJanet Knorr • Betsey Carter

Sylvia Stallings • Johanna Bowen Mary Jo Daugherty

The Charleston Symphony Orchestra League is a volunteer organization ofover 400 men and women. Our purpose is to support the Charleston SymphonyOrchestra through educational scholarships and programs, audience develop-ment and fundraising projects.

We are proud to be the largest single supporter of the CSO. In addition tosupporting the CSO’s annual budget, the League also sustains its viability. InMay 2009 the League made its final payment of a $250,000 pledge for theendowment of the Principal Cello Chair. This was a twelve-year commitment.

We provide $30,000 annually for music scholarships and grants to talentedstudents and to our orchestra members. We sponsor an educational program called “TheInstrumental Petting Zoo”. This program introduces preschoolers to instruments of the orchestra. Itprovides them the opportunity to touch, play and to hear the sounds of these instruments...a perfectintroduction to the orchestra!

We also support the CSO in subscription renewals; provide ushers to general concerts and toyouth concerts and work to develop community awareness.

Our fundraising takes place throughout the year. In September we celebrated the opening of theconcert season with our gala, “Black Tie and Pearls”, followed by the Kiawah Island House Tour andConcert held in November. Other projects will include: the Car Sponsorship, Revels (a series ofunique events), Parties of Note (a series of house parties) and finally the year concludes with TheDesigner Showhouse.

You can help to support the CSO by participating in any or all of these events. We are just a clickaway. Find out more about who we are and what we do by visiting our website: www.csolinc.org.

Also, look for special merchandise at our kiosk at selected Merrill Lynch Masterworks Concerts.We have a variety of items for purchase including our own cookbook. You may just find the perfecthostess gift or present for that special person. Membership in the League is open to all. If you want tohave fun, do something that is worthwhile AND make new friends, then consider joining the Leagueand help support our symphony.

Margaret StraussPresident, CSO League

from the CSO League President

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Charleston Symphony Orchestra League

Board of Directors

President, Margaret StraussRecording Secretary, Sue IngramPresident Elect, Cathy McWhorter

Corresponding Secretary, Carol Lou YaegerVP Planning, Kitty ReidTreasurer, Kathy Pease

VP Education, Julie FenimoreParliamentarian, Gwen Gilmore

VP Projects, Caroline ThibaultPast President, Tacy Edwards

VP Membership, Debora Brandt

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THE CHARLESTON SYMPHONY ORCHESTRALEAGUE WISHES TO THANK THE FOLLOWING

HOSTS AND SPONSORS WHO MADE THISYEAR’S REVELS PROGRAM POSSIBLE:

View www.csolinc.org for CSOL information or call: (843) 723-0020Charleston Symphony Orchestra League, Inc., PO Box 22613, Charleston, SC 29413.

Charleston Home Magazine, the Official Program Sponsorof the 2010 Symphony Designer Showhouse

Lexus of Charleston, the Official Car of the CSOLProud sponsor of the 2010 Car Sponsorship Program

Starbuck Coffee Company, East Bay Street, CharlestonThe CSOL’s Coffee of Choice.

Nancy and Dick AustinJuliann Bannon and Peter HumphreysBlue Bicycle BooksTina BrollierGinny and Ted BrushAnn and Cary BurnettBetsey Carter, Cone 10 StudiosGallery ChumaCupcakeThe Charleston Ballet TheatreThe Charleston Symphony OrchestraMary Jo and Jim DaughertyTina Dear, Newton FarmsDave Echols, Charleston RiverDogsPrudence and Bill FinnFish RestaurantGwen and Randy GilmoreSandra GordonHall’s ChophouseGayle HanleyCelia and Chuck HansultKitty Hendrickson, Lexington ToursMary HewletteHigh Cotton RestaurantMarilyn and Ed JohnsonKatherine KelseyKing Street Kitchen CompanyJune and Mariano La ViaJonathan Leader, State ArcheologistAngie and Fred LeClercq, Alkyon Art andAntiques

LesesneKay LongSusan Lucas,

King Street Marketing AssociationGail and Mike MaginnisSusan and Bobby MarloweMary Porter House of CoutureJoey McQueeney,

Charleston Chauffeur CompanyKim and Jeff MeyerPhyllis MillerLinda Palmer and Mark NortonMary Ellen and Jerry OndoPiggly WigglyBonnie and Bill PerryEloise PingryLucy PreyerLee PringleCatherine RickwellBelinda RobertsGail RoddeyDelores and Lou RosebrockTerri and Chris SchafferAndrea Schenck, Plum Elements GalleryMaria Schendzelos, MortonJames/Vita Maria DesignsMarion and Burt SchoolsShine RestaurantNancye B. Starnes and David Hughes

State Officials: Andre Bauer, ConverseChellis, Bobby Harrell, and Glenn McConnell

Michael SmithKaren and David StahlMargaret and Bud StraussThe Swamp FoxMarlies TindallCarolyn TitusNormandie UpdykeCecily and John WardVirginia WeckelSarah WhiteM.P. Wilkerson

Thanks to the current hosts andhostesses of Parties of Note!

Kathleen and Robert KobelRebecca and Paul HilstadCarol and Robert WoodDoris and Fitz Hardin, Jr.Edward and Janet KnorrKathleen and Richard FishburnRalla and James CokerMarcia and Bernard FulkMarie and Philippe Arnaud

PLATINUMDolphin Builders and Architects

GOLDBuffington HomesCharleston Symphony OrchestraFreshfields VillageKiawah Island Golf ResortKiawah Island Real EstateKoenig Construction

SILVERCamens ArchitectsChristopher Rose ArchitectsGamble Home ServicesHaute DesignIndigo BooksNewton FarmsNolan Sires ConstructionR.M. Buck BuildersSnyder RentalsTaylor Insurance AgencyWayne Windham Architect

Dr. & Mrs. James Allen

Mr. & Mrs. Ted Legasey

The City of Charleston

Mr. & Mrs. Burt Schools

Mr. & Mrs. Russell Hitt

Bobbie Greenebaum Designs LLC

Chris Rutigliano

Mr. & Mrs. Chris McIntire

Croghan’s Jewel Box

Et Cetera Gourmet Food Shoppe

Hightower Construction Co.,Inc

Courtyard Art Gallery

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Mr. & Mrs. C. Lucas Drake

The Sanctuary Hotel

Tidewaters Editions

Mr. & Mrs. Ted Halkyard

True Charleston Cuisine

Wild Dunes Boardwalk Inn

Woodlands Inn

Bob Ellis Shoe Store

Charleston Chamber Players

Alan Molina & Megan Molina

CSO String Quartet

Oak Steakhouse

Thank you to the following people who helped makethe 2009 Gala a fundraising success:

BRONZEJohn L. Paul – Anderson InsuranceBeba LuxeBob Ellis ShoesBrennan’s GiftsCharleston Lighting & InteriorsDunes PropertiesGDC HomeLexus of CharlestonMaybank Weight LossMed BistroMercy ConsignorNearly New FurniturePalmetto ExterminatorsPalmetto Tile DistributorsProgressive IntegrationsRosebank FlowersSchoen Ace HardwareSignature Kitchens and BathsSunnyside FarmsTerrace Oaks Antique MallTom Smith CateringVincents’s Drug Store & Soda Fountain

CORPORATE FRIENDSCarolina Clay GalleryHelping Children with Cancer Thrift StoreMorris Sokol FurnitureThe Spot – Freshfields Village

SYMPHONY ISLAND HOUSE TOUR AT KIAWAHCORPORATE SPONSORS

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Our educational programs for young people area hallmark of the Charleston SymphonyOrchestra’s mission creating strong, more wellinformed generations of Lowcountry residents. Webelieve it is part of our mission to expose youngpeople to classical music, instruments and the sto-ries behind the music. The CSO reaches more than16,000 school-age children each year through ourin-school services and Young People’s Concerts.The CSO’s commitment to creating enduring rela-tionships with area schools is an artistic prioritydemonstrated through free or low charge pro-grams and services to children, teachers andfamilies who may not have access to traditionalperformance venues.

Numerous studies reveal that children whoparticipate in music programs show improvedspatial-temporal skills, enhanced academic per-formance, and better social skills. According to a2001 College Entrance Examination Board study,students with coursework or experience in musicperformance scored 57 points higher on the verbalsection of the SAT and 41 points higher on themath; those who participated in music apprecia-tion scored 63 and 44 points higher, respectively,than those students with no arts participation. A1999 study from the UCLA Graduate School ofEducation and Information Studies showed thatgains from music were just as great or greaterfor students of low socioeconomic status as forprivileged students.

The Charleston Symphony Orchestra will per-form in small ensembles almost 100 times in 50schools in five counties at no cost to the school dis-tricts. The time and resources are 100% donated bythe Charleston Symphony and its supporters. Inaddition, the CSO performs for approximately6,000 students at the “Young People’s Concerts” atthe Gaillard Auditorium and Charleston SouthernUniversity. The entire Charleston SymphonyOrchestra performs for the young people trans-ported by their schools to enjoy a low cost concert.

Commitment to EDUCATION

“I just wanted to thank you so much forgetting such talented musicians to come toMorningside MS and making this experiencepossible for the kids here. My students reallyenjoyed the visit from the CSO trio and I think itopened up their eyes. It was a great experiencefor everyone involved and I just wanted toconvey that to you! Thanks for all that you do!”

— Erik RidgwayDirector of Bands, Morningside Middle School (North Charleston, SC)

“The woodwind quintet visited GoodwinElementary School on Thursday, and were FAN-TASTIC!!! The “Instrument Olympics” were cute,and yet allowed the students to actively partici-pate in a series of listening experiences andphysics experiments. Each member introducedtheir instrument, explaining how sound is createdand telling a little of “its story.” The excerpts theymodeled for the children were fun, and several,many of the students could recognize. Thanksagain for you and your staff’s dedication to thearts and public education. I even had a secondgrader after school tell me how ‘Great!!!’ the sym-phony was, and that her favorite instrument wasthe “big red one.” Put one “notch” in your belt forat least one future double-reed player.”

— Rich Moon Goodwin Elementary School (North Charleston, SC)

The CSO provides artistic leadership byadvancing the music with its ensemble of curious,inventive, highly-skilled musicians committed tocreating programs that connect deeply with itsaudiences. Included are chamber music perform-ances in intimate settings as well as collaborativeproductions with area organizations and collegesthat foster the arts in general.

Please visit www.charlestonsymphony.com/educationto learn more about our educational programs.

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The following businesses, individuals and foundationsgave generously to support the Charleston SymphonyOrchestra through December 1, 2009, or have pledgedsupport for the current season. We greatly appreciate

their gifts and could not have had a successfulseason without them.

Gold Circle $10,000+Barter Family Fund of

The Coastal Community FoundationRobert Bosch CorporationLoren and Lynn CarlsonMr. and Mrs. Gerald T. ChapmanCounty of CharlestonMr. and Mrs. Stuart A. ChristieCoastal Community Foundation of SCCypress Healthcare FoundationDaniel Island Community FundEstate of Dr. Charles Jumper Linda and Ralph DavisDixon Hughes PLLCFirst Federal of CharlestonCity of Goose CreekMr. and Mrs. Hans-Werner HectorDr. Edward S. HolcombLucey Mortgage CorporationMcDonald Foundation Charitable TrustMrs. Phyllis MillerPiggly Wiggly Carolina Co. Inc.SC Arts CommissionTown of Seabrook IslandSeabrook Island Real Estate IncSIM GroupMr. Gary ThornhillHenry & Sylvia Yaschik Foundation, Inc.

Silver Circle $5,000+AnonymousDr. Cynthia Cleland AustinMr. and Mrs. Norman BaldersonMr. and Mrs. T. G. BurkeCoastal Community Foundation of SCMr. Nigel W. CooperDr. and Mrs. William T. CreasmanMr. and Mrs. Charles T. CumbaaExchange Club of Kiawah-SeabrookGamble Home ServicesMr. and Mrs. Richard GridleyHerzman-Fishman Foundation

Mr. and Mrs. Frederick T. KelseyMrs. Elizabeth Rivers LewineMr. and Mrs. Richard M. LillyDr. and Mrs. Michael MaginnisMr. Anthony McAlisterNewberry Opera HouseCity of North CharlestonPost and Courier FoundationPublix Super Market CharitiesMr. and Mrs. Burton R. SchoolsGinger and David ScottMs. Libby SmithMr. and Mrs. Linton SnappWalmart Stores, Inc.Estate of Henrietta Means Walton

Musician’s Circle$2,500+BlackbaudBuck and Jean CarltonCharleston Ballet TheatreDr. and Mrs. Malcolm ClarkMr. and Mrs. Larry CodeyCypress Healthcare FoundationDetyens Shipyards, Inc.Mr. and Mrs. Calvin H. EastPeter and Marianne FrittsAnn and Gordon Getty FoundationRandy and Gwen GilmoreThe Gray Charitable TrustJoAnne and Nelson HicksBob and Marcia HiderDr. Sola KimDr. and Mrs. Mariano F. LaViaMr. and Mrs. Donald V. MartiJohn and Cathy McWhorterPUREMr. and Mrs. Robert RiceWilbur S. Smith & Sally J. Smith

Foundation, Inc.Mr. and Mrs. George W. Smyth, Jr.Mr. Jerome SolarSouthern Arts Federation

DiamondCircle

$100,000+Anonymous

City of CharlestonCSOL, Inc.

Gaylord & Dorothy DonnelleyFoundation

Estate of Mary C. EvertsTown of Kiawah IslandMcCrady’s Restaurant

Estate of Donald F. Wahl

Platinum Circle$50,000+

Dr. and Mrs. James C. AllenCharleston Harbor Benefactors Society

King & Queen CompanyMr. and Mrs. William D. SaalJoseph J. Schott Foundation

Music DirectorCircle $25,000+

AnonymousMr. and Mrs. Anthony E. BakkerMr. and Mrs. Edwin S. HalkyardMr. and Mrs. Edward E. Legasey

Mr. Anthony McAlisterMerrill Lynch

Mr. and Mrs. John D. StewartDr. and Mrs. George TaylorDr. and Mrs. Richard E. UlmerWilliam & Prudence Finn Charitable TrustMr. and Mrs. William C. WarnerWWW Foundation

Conductor’s Circle$1,000+AbundaTrade.comMr. Donald B. AllenMr. and Mrs. Ivan V. AndersonStephen T. BajjalyMs. Susan Parsons and Dr. Angus BakerCharles and Sharon BarnettDrs. Lisa and Paul BaronMr. Daniel BeckleyGary and Karen BeelerMr. and Mrs. John T. BentonMr. and Mrs. J. Anderson Berly, IIIDr. and Mrs. Stephen BerqueBlackbaud Fund of

The Coastal Community FoundationW. O. Blackstone & Company, Inc.Mr. Anthony C. BlandDr. and Mrs. Robert P. Bland, Jr.Dr. and Mrs. R. Cary BockletMrs. Charlotte BogertElizabeth Calvin Bonner FoundationBenjamin C. BoylstonBoylston Family Fund of

The Coastal Community FoundationMr. Adam BrechtJohn & Jean BrezaHoward and Marilyn BrilliantDrs. David and Tina BrollierThe Gray Charitable TrustAlma and Greg BrownMary Bullen and Polly KronenbergerMrs. Ilse CalcagnoMr. Jeffry C. CaswellJohn and Jill ChalstyChitwood Family Fund of

Ayco Charitable FoundationMr. and Mrs. Richard B. ClarkeJames and Susanne ClingerEthel A. CorcoranGail and David Corvette

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Mr. and Mrs. Robert R. Cox, Jr.Mr. and Mrs. G. Joseph CrispynDr. and Mrs. C. Richard CrosbyMrs. Marilyn CurryCypress Healthcare FoundationMrs. Carol S. DavieGary W. Dietrich Family FoundationShani DiggsMr. and Mrs. John DolvenDunes PropertiesDurlach Associates, Inc.Ralph and Nancy EdwardsDr. and Mrs. Haskell EllisonThe Elston Family FoundationJohn and Jean FeldmanMr. and Mrs. Arthur G. FieldWilliam A. Finn and Prudence A. FinnMr. and Mrs. George FlynnFrancis Marion HotelFranke at SeasideDr. James W. FrestonThe Joanna FoundationDr. Richard J. FriedmanThe Fund for the Arts of

the Coastal Community FoundationMr. and Mrs. Richard H. GadsdenJoe and Sylvia GamboaGerry and Joyce GherleinDr. Rew A. Godow, Jr.Mr. and Mrs. Ben GoldbergMr. and Mrs. Barry GoldsmithMs. Sandra GordonDr. and Mrs. Frederick J. GouldingDr. Mark and Judith GreenThe Gray Charitable Trust Dr. and Mrs. Fitzhugh N. HamrickCharles and Celia HansultMrs. Charlotte McCrady HastieBob and Marcia HiderMr. and Mrs. Robert G. Hill, Jr.Paul and Becky HilstadMr. and Mrs. Frederick T. HimmeleinBill and Ruth HindmanDr. and Mrs. W. Howard Holl, IIIJack and Beverly HooverHorne Guest Health Insurance AgencyDr. and Mrs. Roy A. Howell, Jr.Mr. Heinz HutterHutter Family FoundationMr. Harold Jacobs and Ms. Bobbi CohnHarold and Jackie JacobsDr. and Mrs. Joseph M. Jenrette, IIIMs. Judith JohnsonSheila and Tony KellyMr. and Mrs. James H. KeyesWilliam and Corinne KhouriLois King and James TalmageKuhn and Kuhn Law FirmLandscapes Limited of Charleston, Inc.Charles and Brenda LarsenAnne and Cisco LindseyMr. James D. LubsValerie and John LutherAndreas and Caroline MaasNat and Linda MalcolmDavid MandellDr. David MavesDr. and Mrs. Layton McCurdyJoseph and Evelyn McGee Fund of

The Coastal Community FoundationMr. and Mrs. Charles MeasterMr. and Mrs. Robert MeselMr. and Mrs. Lawrence D. MiddaughMrs. Ellen MorylMr. Michael MrlikMr. Adolph MuellerMr. and Mrs. Thomas W. MyersMelody and Jerry NussMrs. Elizabeth B. O’ConnorMr. Alexander OpoulosBettye and Jim Orr

Ron and Gene OswaltMr. and Mrs. Lynn PagliaroJohn and Normal PalmsBarbara and Gardner PatrickMr. Charles and Dr. Celeste PatrickLt. Col. Wilson R. PierpontMrs. Eloise PingryMr. Norris and Dr. Lucy PreyerRamich Family Fund of

The Coastal Community FoundationMr. John C. ReganMr. Michael ReinhardtHarriet and Linda Ripinsky Fund of

The Coastal Community FoundationDrs. Paul and MaryJane RobertsMr. and Mrs. Dolph RodenbergRoyall Ace HardwareMr. Patrick and Dr. Rochelle RutledgeMr. and Mrs. Robert SchlauWally and Bev SeinsheimerDr. Norton and Mindy SeltzerShowa Denko Carbon, Inc.Mr. and Mrs. James H. SmallNorman and Merinda SmithSteel Solutions, Inc.Mr. and Mrs. Roger SteelSteel Charitable Remainder UnitrustMrs. Ursula StockoBud and Margaret StraussMr. and Mrs. James A. StuckeyJ. Henry Stuhr, Inc.TenMed Advisors, LLCAlbert and Caroline ThibaultFrancis and Ann Hurd ThomasMarlies G. TindallMr. Paul VannattaMr. and Mrs. Gero von GrotthussAl and Rhoda VotawMs. Patience D. WalkerJo and James WalshMr. Eugene F. Wambold, Jr.Mr. and Mrs. John H. Warren IIIMs. Cynthia WebbMr. and Mrs. Leo WeberMr. and Mrs. George W. WilliamsRobert and Rosalind WilliamsMr. and Mrs. Bonum S. Wilson, Jr.Dr. and Mrs. Stanley M. WilsonMr. and Mrs. Howard P. WitzMarcia and Henry YoungMr. and Mrs. M. William Youngblood, Jr.Mr. John A. Zeigler, Jr.

Patron $500+Mr. and Mrs. James P. AndersonRobert and Kathleen AndersonAwendaw GreenDrs. James and Lisa BarclayCharles and Sharon BarnettFrank and Rosemary BeaneMs. Patricia BenzienMr. and Mrs. John D. BoweMr. and Mrs. Jack BrickmanFrank and Kathy CassidyBarbara ChristieDr. H. Paul CoolerThe Corvette Charitable Giving Fund

of SchwabGail and David CorvetteMs. Margaret CottonMs. Susan F. CussonLaura and Mark DeatonDecker Family Fund of

The Coastal Community FoundationGeorge and Phyllis DickinsonMr. and Mrs. Howard D EdwardsELifespacesDr. and Mrs. David M. EllisonJanet K. Elshazly (cont inued) >>

Mr. and Mrs. F. Beaven EnnisEtan Consulting, LLCLynda and Bill GlavinMrs. Paul GouraryMr. Enrique GrafPeter and Kirk GrantClay Grayson and Manoli DavaniGreater Charleston Labor, AFL-CIOMr. Brad HallDr. and Mrs. Allen L. HarrellC. Stephen Heard and Susan G. RenfrewMr. Richard HendryVirginia and Jean HiestandMr. and Mrs. Russell HittHans and Rosemarie HunschIntl. Brotherhood of Elec. Workers, Local 398Dr. and Mrs. Julius R. Ivester, Jr.David and Linda JenningsMr. and Mrs. Ernest JohnstonLois A. Johnston FoundationMr. and Mrs. Garvin JonesJoan and Edward LaddMr. Stanley C. LangstonMr. John LauritsenMr. John R. LauritsenDr. Walter LevanthalLimehouse Produce Company Inc.Charles and Joan LipumaMr. Charlie LuceClarence & Judy ManningMr. and Mrs. John E. MilkereitTerry and Martha MillerDr. and Mrs. Allen MorehartGene & Jocelyn NotzRichard and Elizabeth Paul Charitable FundMr. and Mrs. William K. PerryDr. and Mrs. Leonard L. PetersDr. and Mrs. A. Bert PruittMr. Roger ReevesMr. and Mrs. Clark L. RemsburgMr. and Mrs. Bratton RileyJudge and Mrs. Klyde RobinsonBillie Jean RobleMr. and Mrs. Robert K. SchaferDr. and Mrs. William M. Simpson, Jr.Dr. Bryan and Mrs. Carol Ann SmalleyMichael and Andrea St. AmandMr. and Mrs. John L. StrauchMs. Lavinia ThaxtonDr. S. Dwane ThomasF. David and Caroline TrickeyMr. Peter J. Van EveryLt. Col. And Mrs. C. Wyly WatsonMr. and Mrs. Roy Williams, IIIMr. Charles W. WilliamsonMs. Eunjoo YunLenny and Barbara Zucker

Friend $125+82 Queen RestaurantMrs. Gloria AdelsonMr. Mikhail AgrestWhit and Frances Anne AndersonMs. Mary Sue AndrewsSyd and Dick ArlingtonAssorted Women’s Book ClubMs. Karen AttanasiMrs. Nancy F. AttawayJoan T. AvioliBernard and Cathy BandishDrs. James and Lisa BarclayDr. Sy BaronSheila BeardsleyCharles and Ann BeauchampMs. Karin Beckert

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ORS

Mr. Yuriy BekkerDr. and Mrs. Norman H. BellJohn and Rose BeneckiMrs. Adelaide BennettJohn Boatwright, M.D.Mr. and Mrs. J. Sidney Boone, Jr.Col. and Mrs. Raymond F. BorelliMr. and Mrs. Martin R. BowenDr. D. Oliver BowmanMs. Debora BrandtMr. and Mrs. Solomon BreibartMs. Patricia BresnickMr. David BrockwayDr. and Mrs. William Y. BuchananMr. and Mrs. Arthur BumgardnerMr. Wayne L. BurdickDaniel and Jane BurkeBurnett Family Gift FundMr. David E. BurressGary and Rooney BurtDr. Joseph R. CanteyElton and Kathy CarrierBob CausbyMr. and Mrs. Ronald H. CharronMs. Pam ChristRon and Sue CiancioMs. Laura ClarkMs. Barbara ColeConcert Product, Inc.Judge and Mrs. Louis E. CondonMr. and Mrs. William L. ConnelleeMs. Audrey CowardBobby Cremins Charitable FundMr. Gary CrossleyMrs. Helen V. CrowMs. Jacqueline P. CunninghamRay and Suzi CurlerMs. Faye DavisMr. and Mrs. James DeckerDr. Gordon Dehler and Dr. Ann WelshDr. Fletcher C. Derrick, Jr.Martha DerrickMr. and Mrs. Stephen DiamondLt. Col. and Mrs. Harvey M. DickMr. and Mrs. Dennis Donahue, Jr.Mr. and Mrs. Henry Donato, Jr.Ms. Carol DrowotaLawrence and Judith DunlopRonald and Karen DurandEdgewood Builders, Inc.Mr. John W. EdwardsMorris and Deborah EllisonMr. and Mrs. O. Robert EmoryAlan and Rella EysenMargaret FabriDr. and Mrs. Harold FallonDr. and Mrs. George FassuliotisMr. and Mrs. John FenimoreDavid and Nancy FleshmanMr. and Mrs. Richard GaulkJennifer and Michael FedorchakSuzanne Fleming-Atwood and Scott AtwoodJim and Sue ForsytheMr. Jeffrey A. FosterMrs. Jean M. FreemanStephen and Elisabeth FreidbergMs. Carol FrinkHoward and Else FrobergDr. David Garr and Ms. Deborah WilliamsonMr. and Mrs. Carroll L. GilliamCapt. and Mrs. Dean GlaceBarbara and Stanton GoldbergJane H. GoodridgeMr. and Mrs. Thomas M. GopsillMrs. Miriam GradDr. and Mrs. E. David GriffinDr. David M. GrossMrs. Elizabeth M. Guerard WrightDr. Barry Heiner and Sarah OwensCamille and Red HallMr. and Mrs. Maurice Halsey

Ms. Sue HarmonMs. Brenda HartBruce and Nedra HeckerPaul and Judy HinesMrs. Margaret HoffmanWoodrow and Martha HolbeinGreg Homza and Leah PapayLaw Offices of Richard Hricik, PAMark and Michelle JacksonJeffrey and Donna JacobsJames Island Charter High SchoolMr. Richard T. JerueDr. Donald R. Johnson, IIMr. and Mrs. Edwin JohnsonMr. and Mrs. H. W. JohnsonDr. and Mrs. Wendell JohnsonMrs. John David JohnstonKristine JohnsonMr. and Mrs. Donald P. JonesEileen Joyce and Edward SchleimerDr. and Mrs. Kenneth S. KammerOrren and Joan KnauerMr. and Mrs. Charles F. KochesMr. and Mrs. Lee KohlenbergMrs. Dorothy T. KorbJohn and Katherine KotzKatherine and Andrew KraftLincoln and Gloria LaddMs. Toula LattoMr. Kent LewandowskiJoAnn and Jon LilesDr. and Mrs. Morey LiptonThe Hon. And Mrs. James M. LombardMs. Marilyn LongDrs. Robert and Sophie LovingerRoss A. MagoulasMr. John Mahala, Jr.Ms. Gladys MaladowitzJoe Malecki Piano ServiceDr. and Mrs. Henry F. Martin, IIIDiane and Louis MatagranoMr. Dennis C. McCabeMr. and Mrs. Thomas F. McDonaldMrs. Patricia McGuinnCarter and Betsy McMillanMr. J. D. MessersmithRenee and Eric MeyerMr. William L. MilliganMorris Sokol Furniture CompanyLee and Ellen MuenzenMs. Emma Sue MurnerMs. Catherine MurphyMr. and Mrs. Morton NeedleNetwork for GoodJohn and Sally NewellAdam NicholsonMr. Robert C. NimmichDr. and Mrs. Robert E. NotariMr. and Mrs. Bill NovitMs. Mildred OBrienMr. and Mrs. David OchiltreeMr. and Mrs. Robert OgdenDennis and Nancy OlenwineDr. and Mrs. James M. OrcuttMr. and Mrs. John PelletierMrs. Rosalie H. PembridgeMr. Patrick PetersonMr. James PiercePomerantz-Wilcox Family Fund of

The Coastal Community FoundationMiles and Phyllis PriceJohan Prins and Maria SindramErnest and Sheila PrupisMr. and Mrs. G. L. PuckhaberDr. and Mrs. Blake F. PutneyDr. and Mrs. Newton G. Quantz, Jr.Ms. Carol RashbrookMrs. Marguerite RathbunMrs. James RavenelI. Mayo and Posey Myers Read Fund of

The Coastal Community Foundation

Marcel Reichart and Loretta Lynch-ReichartMr. and Mrs. Donald ReidThe Remington Foundation at FrankeMr. W. McLeod RhodesPat and Tom RichardsMr. Terrence R. RobinMr. William T. RobinsonCynthia and Dave RosengrenMrs. Arlene RosenthalMrs. Patricia RoskeMs. Dana SampsonCapt. Edward K. SandersMr. Robert J. SandersSC State Dept. of EducationThomas and rosann ScanlonMr. and Mrs. Gordon D. SchreckSchwab Charitable FundMr. and Mrs. Stephen SchwartzMs. Darleene ScottMr. and Mrs. William P. SeabornMrs. Margaret SeresMr. and Mrs. Ronald H. SilvermanMr. and Mrs. William J. SmallMrs. Aline SmithThe Rev. Colton and Angela SmithMr. and Mrs. George SmithMr. and Mrs. Kenneth B. SmithMr. and Mrs. George M. SomersMr. and Mrs. William H. SpencerDewey and Lee SpongMr. Robert J. SpragueF.T. and Cecily StackMr. Frank StahlDr. and Mrs. Douglas B. StalbKate and David StantonRobert Stehling and Nunnally KershRobert and Ellen SteinbergMr. Stephen G. StonehouseMs. Lorraine N. StoryMrs. Leila T. StreetCharles S. SwansonMr. and Mrs. Gary TaskerBob and Lois TaylorJerry and Phyllis TerrellScott TerrellMr. Thomas E. ThornhillDr. and Mrs. Stanley ToporekMrs. Frances TrapalesTrident United WayMrs. Elizabeth M. TylerMs. Normandie updykeMs. Jan M. VisserMr. and Mrs. W. P. WachterGeorge and Mary WalkerJohn and Cecily WardMr. and Mrs. Warren D. WattsMarti and Curt WeedenAl and Judy WeinrichRobert and Jackie WeskernaMr. and Mrs. Lee WestbrockMrs. Doris Gelzer WhitakerMr. and Mrs. Killough H. White, IIIMr. and Mrs. D. Sykes WilfordMr. and Mrs. James B. WilkinsonDwight and Lindsey WilliamsMs. Elizabeth WilliamsMrs. Shelia WilliamsE. Paige WisotzkiMr. and Mrs. West Woodbridge, Jr.Mr. and Mrs. Glenn WorkmanMr. Joseph L. Wright, Jr.Mr. David Zoellner

65

Special ThanksThe Charleston Symphony Orchestra is deeply appreciative to the following

businesses and individuals that have supported the Orchestra with goods andservices. If you, too, want to partner with the Orchestra, please contact the

Charleston Symphony Orchestra office at (843) 723-7528.

Adams Outdoor AdvertisingAPEX Broadcasting

Atlantic TentBelva’s Flower Shop

Charleston Air Force Base Honor GuardCharleston Southern University

Christ Episcopal ChurchCitadel Square Baptist Church

The Citadel and Summerall Chapel City of Charleston

Clear Channel CommunicationsCollege of Charleston

ComputerTechRxCultural Affairs Office, City of Charleston

Fox MusicGaillard AuditoriumLeonard GoldbergDr. William Gudger

Hope SoundIceBox Bartending Service

James Island CleanersKing & Queen Company

Lindsay KoobLaQuinta Inn Riverview

Mt. Moriah Baptist ChurchProduction Design Associates (PDA)

Renaissance Charleston HotelSharon Rittenberg

St. John the Beloved Catholic ChurchSt. Matthew’s Lutheran Church

St. Theresa the Little Flower Catholic ChurchDavid Simmons

SunTrust Bank, Inc.Teleco

66

Patricia Benzien

Penelope M. Hyland

CSO Brass

Dr. William D. Gudger

Dr. David Garr & Ms. Deborah

Williamson

Rebecca GarrJoshua Garr

Camille & Red Hall

Dr. Margot S. Freudenberg

Charles & Marlene Williamson

Mr. Leonard “Curly” Greenebaum

Mike & Judy Herman

Dr. Roy A. Howell

Ms. Deverett Smith

in HONOR of:

Dr. Roy A. Howell, Jr.

The Girls at 30 Bee Street

Mrs. Susan Johnson

Ms. Susan D. Boyter

Mr. Morris Kalinsky

Dr. and Mrs. Gordan B. Stine

John Schroeder

David & Gernande Wachenfeld

Mrs. Aline Smith

Etan Consulting, LLCCharles S. Swanson

Mr. & Mrs. Warren D. Watts

Mr. Stephen G. Stonehouse

Mr. Richard A. AustinRandy & Gwen Gilmore

Fritz and Julie Lorscheider

Mr. James John BarnhillFlorence & Thomas Anderson

Mr. & Mrs. Edward BallNancy & Paul BeckMrs. Betsy ClawsonMs. Carol Cocchiola

Mr. Michael J. Danaher, Jr.Mr. William S. Detwiler

John & Ann GaborRonald & Vickie Gelfo

Lynda & Bill GlavinMs. Deborah Gray

Mr. & Mrs. Bennett L. HelmsMs. Sarah C. HollandMr. Dennis C. McCabe

Susan Merkel & Joseph YavittLarry & Judy Reid

Ms. Elease M. SmithKathy & Martin Sparks

Ms. Mary A. Walsh

in MEMORY of:

Mr. Bennett BrechtMr. Adam Brecht

Maida & Fred DuPlessisMs. Elinor S. Kessel

Mr. Harold JacobsCharles & Marlene Williamon

Mrs. Hazel KingMs. Katherine W. Nicholson

Mrs. Claire McPhailKitty & Randal Robinson

Mrs. Mary Croghan RamsayFlorence & Thomas Anderson

Mr. & Mrs. Leonard GreenebaumDavid & Scottie Hoffman

Ted & Jackie MappusMrs. Eloise Pingry

Ms. Patience D. Walker

The arts nourish our

hearts and imaginations.

For that reason and many more,

we’re proud to support the

arts in Charleston.

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PAUL MEHAFFEY

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EXPERIENCE

KNOWLEDGE

DEDICATION

Thomas Bennett

Alton G. Brown III

Carey Burnett

Olin Chamberlain

Adam & Charlotte Edwards

Richard Halsey

Lynn Hanlin

Sharon Kucharski

Melinda Laurens

Weesie Newton

Tim Reese

Bev Seinsheimer

Jane Smith Smith

Charles Sullivan

Judy Tarleton

Laurie Tarleton

Justin Thomas

Margaret von Werssowetz

19 Exchange Street

Charleston, South Carolina

843.266.8000 877.266.8005

www.carriageprop.com

The CharlestonSymphonyOrchestrareceives supportfrom the

following government

agencies:

www.carriageprop.com

843.402.4775PORTERGAUD.edu

A Future No Door Frame Can Measure.

INVEST IN THEIR LIFETIME

M usic is the wine that fills the cup of silence.

-Robert Fripp

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Each Office Is Independently Owned And Operated.

www.robertsofcharleston.com

www.portergaud.edu

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www.renaissancecharlestonhotel.com

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© 2008 Merrill Lynch, Pierce, Fenner & Smith Incorporated. Member SIPC.

We are proud to salute the

CharlestonSymphonyOrchestra

Everyday, we help our

clients achieve the lives

they want to live. As

part of that philosophy,

we’re proud to salute the

organizations that help

make a difference in

our community.

Thank you, Charleston

Symphony Orchestra,

for the dedication.

(843) 723-6199(800) 937-0825

17 Lockwood Drive, Suite 200Charleston, SC 29401

www.totalmerrill.com

Charleston Symphony Program, 2010 vol.2

Documents

Transcript of Charleston Symphony Program, 2010 vol.2