Neal Gittleman, Artistic Director & Conductor

PROGRAM NO. 3 | JANUARY ~ FEBRUARY | 2015–2016 SEASON

J A N U A R Y 1 5 / 1 6 S U P E R P O P S

Pixar in Concert PATRICK RE YNOLDS

CONDUC TOR

JA N UA RY 3 0 R O C K I N ’ O R C H E S T R A

Music ofthe Who WINDBORNE

GU EST ARTISTS

F E B R UA R Y 1 9/ 2 0 ~ S U P E R P O P S

Music of the Mad Men Era STE VEN RE INEKE

GU EST CONDUC TOR

F E B R UA R Y 7 ~ C L A S S I C A L C O N N E C T I O N S

Dvořák’s Discovery NE AL G IT TLEMAN

PRESENTER , CONDUC TOR

F E B R U A R Y 5 /6 C L A S S I C A L

Worlds of Wonder MARK KOSOWE R ~ CE LLO

NE AL G IT TLE MAN CONDUC TOR

1516 DPO Program Book Covers.indd 3 12/18/15 11:42 AM

The conductor’s bio is one of the traditions of classical music. A list of prestigious schools attended. A list of prestigious orchestras. Excerpts from glowing reviews. Dry. Dull. Stuffy. But it’s how they’re done.

Since I’ve spent most of my professional career trying to chip away at the dry, dull, stuffy aspects of the biz, maybe it’s time, after 20 years as your conductor, to chip away at the standard-issue conductor’s bio. Here goes…

Education: More important than prestigious schools were three teachers who really mattered.

1. Channing Kempf, a Boston-area violin freelancer, who somehow got me, in my first 45-minute lesson with him, to trade in the wimpy sound I’d made during my first four years as a violinist for something that sounded more like real violin playing. Suddenly I was practicing three to four hours a day. Suddenly I started making progress as a player. I never looked back.

2. Nadia Boulanger, the great music teacher of the twentieth century, who helped me mold myself into the musician I am today. I studied harmony, keyboard harmony, analysis, conducting, and solfège with Mademoiselle and her assistant Annette Dieudonné in Paris and Fontainebleau over a three-year period right after college. There isn’t a day that I don’t apply a musical lesson (or a life lesson) that I learned from her, whether it’s emphasizing the upbeat to foster lively rhythm or not settling for good when you can do better.

3. Charles Bruck, maestro at the Pierre Monteux School, who turned me from a well-rounded musician interested in conducting into a real conductor. He was fearsome

enough in rehearsals (“NOOOOOOO! What are you doing? Just beat CLEARly and let them play!”) to give me the strength and confidence to make music with any orchestra, anywhere.

Orchestras: More important than the list of where I’ve been is where I am now, Artistic Director and Conductor of your Dayton Philharmonic. Our amazing and dedicated musicians never cease to inspire me with their artistry and commitment. They challenge me to be my best, as I challenge them to do likewise. It’s a pleasure to come to work every day and make music with them.

Reviews: More important than the critical acclaim of any music reviewer is what you think. I don’t expect you to love every piece you hear us play. Some pieces of music don’t want to be loved—instead, they want to challenge us. But I do hope that you listen closely and care deeply about the experience of hearing great music played by great musicians in a great concert hall. I’ll take your heartfelt applause over a rave review in the newspaper any day!

It’s been a privilege and a joy to be your conductor these past 20 years. I look forward to sharing much more music with you in the Ascend Season of your Dayton Performing Arts Alliance and on into the future.

(And if you’re interested in reading a dry, dull, stuffy standard-issue bio, I’ve got one of those, too! www.parkerartists.com/ Neal-Gittleman.html)

Neal GittlemanArtistic Director & Conductor, Dayton Philharmonic Orchestra

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I hope you’re enjoying the fourth season of the Dayton Performing Arts Alliance. We’re a young organization, despite the fact that our philharmonic, opera, and ballet companies have been performing in our community for a combined 215 years.

Over these years, each art form has added significantly to the quality of life in our community by entertaining audiences and helping educate our children. Each is firmly grounded in its own classical form, and there is plenty to satisfy one’s thirst for tradition. And yet each also performs contemporary works and seeks to experiment and innovate, stretching both the performers and the audience.

Whether performing classical or new works, the beautiful part—and the driving force behind our historic merger—is that these three art forms complement one another so perfectly. And based on the overwhelming positive feedback, you are continuing to see an expansion of the collaboration among our art forms.

We’ve gotten a lot of positive national attention for our groundbreaking merger, and many arts organizations around the country are watching to see how things go here in Dayton. Live performing arts are something of an endangered species these days, and it takes a whole community to make it work—artists, staff, board, foundations, corporations, and you. When it all comes together, the result is beautiful, innovative, inspiring, and satisfying in a way that no other entertainment media can duplicate. It enriches us individually and makes Dayton a better place to live.

On behalf of the board of directors, management, artists, and staff of DPAA, thank you for all you do for us. Ticket sales and contributions are critical to our continued success. Indeed, contributions fund just over 50% of our operating expenses, and we are grateful to our sponsors, foundations, Culture Works and individual donors for their financial support. Nationwide, individuals represent the largest category of charitable giving for nonprofit organizations, and the DPAA is no different—you and others around you provide about 45% of our contributions and almost a quarter of our total operating funds. Your contributions literally make what we do possible.

If you haven’t made a contribution to our Annual Giving campaign this year, please do so now by contacting our Development Office (Laura Letton by email at LLetton@daytonperformingarts.org or by phone at 937-224-3521 ext. 1137). And if you have already made a contribution this year, please consider whether you have the capacity to increase it now or for next year.

Our aim is to earn your support by presenting works you value, providing education that enriches children’s lives, and adding to the cultural vibrancy of Dayton.

We’re glad you’re here. Enjoy the show.

Message from the Board ChairRebecca Appenzeller, Chair of the DPAA Board of Trustees

A few years ago a University of Dayton Law School professor asked me to speak to his Constitutional Law class. I thought he was crazy! But it turned out great.

I drew parallels between my approach to music and Supreme Court justices’ approach to the Constitution. I told the future lawyers that when I study a score, I do what Antonin Scalia does with the Constitution. He divines the framers’ intent by closely reading the Constitution and then applies his interpretation of that intent to the modern-day case before the Court. I divine the composer’s intent by closely reading the score and then apply my interpretation of that intent to the modern-day case of the DPO performing the music for you.

Why pick Justice Scalia as an example? Because when it comes to music, I’m a “strict constructionist”.

Yet as I write this (early December) I’m surrounded by examples of my “judicial activism”.

Case #1, Beethoven’s Eroica: Back in November we played Beethoven’s Third Symphony. His idea was to write something bigger and grander than anything anyone had ever heard before. The biggest orchestra yet. The loudest sounds yet. The longest symphony yet. The 17-minute first movement was, itself, longer than many Haydn and Mozart symphonies.

Four of those 17 minutes are a repeat of the movement’s first 153 bars. Repeats are a standard feature of most symphonic movements, remnants of their roots in the court dances of the Baroque Era. Repeats are part of the music’s proportions, so you’re supposed to take them.

But many conductors of the late 19th century and early 20th century considered the repeats old-fashioned and unnecessary. Today it’s a matter of interpretation and taste. Some conductors always take the repeats. Some never take the repeats. Some go back and forth.

As a strict constructionist, I believe the repeats are important and usually insist on them. But in November I skipped the Eroica’s repeat, mostly as a small kindness to the musicians, making a long, hard piece just a little bit less long, a little less taxing.

Case #2, Tchaikovsky’s Nutcracker: Dayton Ballet’s Nutcracker doesn’t present the music exactly as Tchaikovsky wrote it. There are a few small cuts, to keep the show under two hours. The Party Scene has

some of the sections reordered. And the Dance of the Sugar-Plum Fairy, which Tchaikovsky wrote as part of the grand pas de deux at the end of Act II, comes near the beginning of the act.

There are good reasons for the changes. Nutcracker draws lots of kids, so under two hours is a good idea. Karen Russo Burke likes the flow of the reordered Party Scene, and it works great. Keep the Sugar-Plum solo in the pas de deux, and you risk killing your ballerina. Move it earlier in the act, and her workload is spread out more evenly.

Is this a horrible desecration of Tchaikovsky’s masterpiece? No. Composers’ ballet scores were often adapted by the choreographers. Tchaikovsky was used to that. His Swan Lake score even has an appendix containing movements that were eliminated, or that could be substituted as desired, for other sections.

Case #3, Handel’s Messiah: Messiah is an annual December tradition at the DPO. It’s one of the great masterpieces of Western music. But it’s LONG. Just a hair under three hours. So I make cuts. Sounds a little barbaric. Feels it, too. But three hours is a “long sit” for the audience!

We always perform Part One of Messiah—the “Christmas Section”—complete. It’s Christmas, after all, and I’m no Grinch! But each year I plot a slightly different course through the rest of the oratorio. The challenge—beyond deciding which wonderful pieces to omit—is to retain Handel’s carefully constructed dramatic flow. This season I decided to do the first half of Part Two (covering the Passion, the Crucifixion, and the Resurrection) and then jump directly to the Hallelujah Chorus. That big cut allowed us to perform Part Three (covering the End Times and the Last Judgment) uncut.

My friend Jim has a very cool job. He’s the head of the Paintings Conservation Department at the Museum of Modern Art. He does restoration and repairs on Monets and Matisses and Picassos. Every single thing Jim does to a painting has to be reversible. I think about Jim every time I omit a repeat in a Beethoven symphony, move things around in Nutcracker, or make cuts in Messiah. The changes I make in the music are reversible—at the next performance!

Our next Eroica, we’ll take the repeat. Some time soon, in a future season, we’ll perform Messiah uncut, as we did in December 2010. And Nutcracker? That’s Karen’s call, not mine. Whatever serves the dance best is fine with me!

Neal’s Notes Strict Constructionism

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Dayton Philharmonic Orchestra

Meet Your Orchestra Up Close and “Personnel”This issue will feature three musicians, all of whom are members of the Orchestra’s French Horn Section.

Elisa Belck joined the DPO in 1998 as Fourth Horn but subsequently moved to Second Horn. Elisa graduated from Capital University in 1996 with a degree in Horn Performance. She earned a Master of Music in Horn Performance from

the University of Cincinnati College-Conservatory of Music (CCM) in 2000. More recently she earned a Master of Communication Sciences and Disorders from UC in 2013. Elisa has been a member of or a substitute player with the Columbus Symphony, Cincinnati Symphony and Pops Orchestras, Cincinnati Chamber Orchestra, Central Ohio Symphony, and the Duluth-Superior Symphony and Ballet Orchestras. Her day job is as a Speech-Language Pathologist at Mercy Anderson Hospital. Elisa began piano lessons at the age of 8 and began to play horn in her sixth-grade band program. Her husband, Scott, is the Director of Jazz Studies at CCM and a wonderful jazz/lead trumpeter. They have two children, Jack and Nick, who study piano, and Jack is also studying trumpet. Away from the DPO and the hospital, Elisa enjoys relaxing with her family, cooking, reading and projects around their home.

Todd Fitter is Third Horn in the section. He auditioned for and joined the DPO in 1984 while Charles Wendelken-Wilson was Music Director. He is a native New Yorker (as is Neal Gittleman) and received a Bachelor of Music in

French Horn Performance from the Manhattan School of Music in 1979 and a Master of Music in French Horn Performance from CCM in 1981. Todd plays Principal Horn in the Hamilton-Fairfield Symphony, Clermont Philharmonic, DPO’s Concert Band, the Hamilton Concert Band and School House Symphony. He has performed Horn Concertos with the Hamilton-Fairfield and Clermont organizations, as well as with the Montgomery-Blue Ash Symphony. Four days a week, Todd plays with a musical Education

group called School House Symphony that performs in Cincinnati-area schools. Todd met his wife, Sharon, at CCM. She plays cello and is a Special Education Teacher in the Madeira school system. They have three children, all of whom play musical instruments. The oldest, Naomi, plays percussion and is working on her doctorate in mechanical engineering at the University of Pennsylvania. Ari plays French horn and is working at MedPace in Cincinnati. The youngest, Ethan, plays trumpet and is majoring in jazz trumpet studies at Northern Kentucky University. Todd loves sports and follows the Cavs, Browns, Rangers and Mets; he also enjoys cycling, tennis and keeping up with his children’s activities.

Amy Lassiter is Fourth Horn in the Section. Amy’s undergraduate degree is from Georgia Southern, where she earned a Bachelor of Music Degree in 1995. She also is a graduate of CCM in 1999 with a Master of Music in Horn

Performance. She won an audition with the Louisville Orchestra for the 2000–2001 season as their Fourth Horn and began playing with the DPO in 2002. Amy, like Elisa, began playing horn in her sixth-grade band program. In addition to her DPO work, she also plays Principal Horn with the Blue Ash-Montgomery Symphony Orchestra and has played as an extra horn with the Cincinnati Symphony Orchestra, Cincinnati Chamber Orchestra, Cincinnati Ballet Orchestra, Columbus Symphony, Buffalo Philharmonic and West Virginia Symphony Orchestra. She is a member of Cincinnati Brassworks Brass Quintet and a guest performer often with the Queen City Brass Quintet and Monarch Brass. Amy is also kept busy performing in the Aronoff “Band” for its Broadway Series. Amy lives in Cincinnati’s Over-the-Rhine area, and one of her hobbies is eating at all its fantastic restaurants. She hopes to resume her running, having previously competed in the Flying Pig Marathon and a half-marathon a few years ago. She also is a new knitter and “loving it.”

Contributed by Dick DeLon, DPAA Honorary Trustee

Dayton Philharmonic Orchestra Personnel

1ST VIOLINSJessica Hung,

Concertmaster J. Ralph Corbett Chair

Aurelian Oprea, Associate Concertmaster Huffy Foundation Chair

William Manley, Assistant Concertmaster Sherman Standard Register Foundation Chair

Elizabeth Hofeldt Karlton Taylor Mikhail Baranovsky Louis Proske Katherine Ballester Philip Enzweiler Dona Nouné-

Wiedmann Janet George John Lardinois

2ND VIOLINS Kirstin Greenlaw,

Principal Jesse Philips Chair

Kara Manteufel, Assistant Principal

Ann Lin Gloria Fiore Scott MooreTom Fetherston Allyson Michal* Lynn Rohr Yoshiko Kunimitsu William Slusser Audrey Gray Nick Naegele

VIOLAS Sheridan Currie,

Principal F. Dean Schnacke Chair

Colleen Braid, Assistant Principal

Karen Johnson Grace Counts Finch Chair

Stephen Goist Scott Schilling Lori LaMattina Mark Reis Leslie DraganKimberly Trout

CELLOS Andra Lunde

Padrichelli, Principal Edward L. Kohnle Chair

Christina Coletta, Assistant Principal

Jonathan Lee Ellen Nettleton Mark Hofeldt Nadine

Monchecourt Isaac Pastor-

Chermak Nan Watson*

BASSES Deborah Taylor,

Principal Dayton Philharmonic Volunteer Assn/ C. David Horine Memorial Chair

Jon Pascolini, Assistant Principal

Donald Compton Stephen Ullery Christopher Roberts James Faulkner Bleda Elibal* P.J. Cinque*

FLUTES Rebecca Tryon

Andres, Principal Dayton Philharmonic Volunteer Assn. Chair

Jennifer Northcut Janet van Graas

PICCOLO Janet van Graas

OBOES Eileen Whalen,

Principal Catharine French Bieser Chair

Connie Ignatiou Robyn Dixon Costa

ENGLISH HORN Robyn Dixon Costa

J. Colby and Nancy Hastings King Chair

CLARINETS John Kurokawa,

Principal Rhea Beerman Peal Chair

Robert Gray Peter Cain*

BASS CLARINET Peter Cain*

BASSOONS Rachael Young,

Principal Robert and Elaine Stein Chair

Kristen Smith Bonnie Sherman

CONTRABASSOON Bonnie Sherman

FRENCH HORNS Aaron Brant

Principal Frank M. Tait Memorial Chair

Elisa Belck Todd Fitter Amy Lassiter Sean Vore

TRUMPETS Charles Pagnard,

Principal John W. Berry Family Chair

Alan Siebert Daniel Lewis

TROMBONES Timothy Anderson*,

Principal John Reger Memorial Chair

Richard Begel

BASS TROMBONE Chad Arnow

TUBA Timothy Northcut,

Principal Zachary, Rachel and Natalie Denka Chair

TIMPANI Donald Donnett,

Principal Rosenthal Family Chair in Memory of Miriam Rosenthal

PERCUSSION Michael LaMattina,

Principal Miriam Rosenthal Chair

Jeffrey Luft Richard A. and Mary T. Whitney Chair

Gerald Noble

KEYBOARD Joshua Nemith,

Principal Demirjian Family Chair

HARP Leslie Stratton,

Principal Daisy Talbott Greene Chair

*Leave of Absence

Neal Gittleman Artistic Director and Conductor

Patrick Reynolds Associate Conductor and Conductor, DPYO

Hank Dahlman Chorus Director

Jane Varella Personnel Manager

William Slusser Orchestra Librarian

Elizabeth Hofeldt Youth Strings Orchestra Director

Kara Manteufel Junior Strings Orchestra Director

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Friday

Feb. 5,20168:00 PMSchuster Center

Saturday

Feb. 6,20168:00 PMSchuster Center

DAYTON PERFORMING ARTS ALLIANCEPremier Health

CLASSICAL SERIESDayton Philharmonic OrchestraNeal Gittleman, Artistic Director and Conductor

Worlds of WonderMark Kosower, cello soloist

William Walton Suite from Henry V(1902–1983) I. Overture: The Globe Playhouse II. Passacaglia: The Death of Falstaff III. Charge and Battle IV. Touch her soft lips and part V. Agincourt Song

Stella Sung Farmer Glorp (World Premiere)(born 1959)

Victor Herbert Cello Concerto No. 2 (1859–1924) I. Allegro impetuoso II. Lento – Andante tranquillo III. Allegro

Mr. Kosower

– I N T E R M I S S I O N –

Antonín Dvorák Symphony No. 9 (“From the New World”) (1841–1904) I. Adagio – Allegro molto II. Largo III. Scherzo: Molto vivace – Poco sostenuto IV. Allegro con fuoco

Classical Series Sponsor

Leadership Sponsor

The Bob Ross Auto Group: Official Automobile Dealership of the Dayton Philharmonic OrchestraDayton Marriott: Official Hotel of the Dayton Philharmonic OrchestraData Yard: Official Data Provider of the Dayton Opera & the Dayton Philharmonic

Season Media Partners: Discover Classical WDPR & WDPG and ThinkTV

Military Appreciation Program Presenting Sponsor:Booz Allen Hamilton

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Mark Kosower, a consummate artist equally at home internationally as a recital and concerto soloist and as Principal Cello of the Cleveland Orchestra, launched his 2015–2016 concert season with performances of the Haydn C Major Concerto with Nicholas McGegan conducting the Cleveland Orchestra at the Blossom Music Festival. Other season solo engagements include Strauss’s Don Quixote with the Indianapolis Symphony, the Brahms Double Concerto with violinist William Preucil and the Cleveland Orchestra at the Adrienne Arsht Center for the Performing Arts in Miami, the Dvorak Concerto with San Jose’s Symphony Silicon Valley, and Haydn’s C Major Concerto with the Columbus Symphony.

Earlier in 2015, Mark Kosower, at the invitation of Toledo Symphony music director Stefan Sanderling, performed the enigmatic and jazz-influenced cello concerto of Friedrich Gulda in Toledo to great acclaim and joined the Hawaii Symphony and Carlos Miguel Prieto to perform the Lalo Concerto prior to recording both Victor Herbert Concertos with JoAnn Falletta and Belfast’s Ulster Orchestra for Naxos. He is a frequent guest at international chamber music festivals including the Santa Fe, the Eastern Music, the North Shore Chamber Music, the Pacific Music (of Japan), and Colorado’s Strings Music festivals, among others.

In past seasons he has appeared internationally as soloist with the Rotterdam Philharmonic, the Orchestre de Paris, the Hong Kong Philharmonic, the China National Symphony Orchestra in Beijing, the National Symphony Orchestra of Taiwan, the Brazilian Symphony Orchestra, the Orquestra Filarmonica de Minas Gerais in Brazil,

and the Orquestra Sinfonica de Venezuela, as well as solo performances at the Chatelet in Paris, the Alte Oper in Frankfurt, the Hong Kong Cultural Centre, and the Teatro Municipal in Rio de Janeiro. Orchestral appearances in the United States have included the symphony orchestras of Detroit, Florida, Grand Rapids, Houston, Indianapolis, Milwaukee, Minnesota, North Carolina, Oregon, Phoenix, Seattle, Syracuse, Virginia, the Ravinia Festival and the St. Paul Chamber Orchestra and recitals at the Kennedy Center, Aspen Music Festival, Philadelphia Chamber Music Society, the National Gallery of Art and on the Great Performers Series at Lincoln Center.

He is a former member of Chamber Music Two, a two-year residency at the Chamber Music Society of Lincoln Center. He received an Avery Fisher Career Grant and a SONY Grant, and he has been a top prize winner in both the Rostropovich and Pablo Casals International Cello competitions, including a special prize in both competitions for the best interpretation of the newly commissioned works by Marco Stroppa and Cristobal Halffter. He was the Grand Prize winner of both the Irving Klein International String Competition and the WAMSO Competition of the Minnesota Orchestra.

Mark Kosower is Teacher of Cello at the Cleveland Institute of Music and is on the faculty at the Kent/Blossom Music Festival. His previous posts include Solo Cellist of the Bamberg Symphony Orchestra in Germany from 2006 to 2010 and Professor of Cello and Chamber Music at the San Francisco Conservatory of Music from 2005 to 2007. He began his cello studies with his father at the age of 1 1/2 and later studied with Janos Starker at Indiana University and Joel Krosnick at The Juilliard School.

Mark Kosower, cello Biography

National and international award-winning composer Stella Sung’s compositions are performed throughout the United States and abroad. Sung was the first Composer-in-Residence for the Orlando (FL) Philharmonic Orchestra (2008–2011) and continues to serve as Composer-in-Residence for Dance Alive National Ballet (Gainesville, FL). As a recent recipient of a Music Alive award, Dr. Sung will become the Composer-in-Residence for the Dayton Performing Arts Alliance. During the course of her three-year residency, she will be creating new works for orchestra, ballet, and opera.

Dr. Sung holds the Bachelor of Music degree (piano performance) from the University of Michigan (Ann Arbor), the Master of Fine Arts degree (Composition) from the University of Florida, and the Doctor of Musical Arts degree (piano performance) from the University of Texas at Austin. Her piano teachers included Theodore Lettvin, Louis Nagel, Gary Wolf, and David Renner. She studied composition with John D. White, Edward Troupin, Donald Grantham, and Eugene Kurtz. Dr. Sung has been recognized by the University of Florida as a Distinguished Alumna

and an Alumna of Outstanding Achievement, and she has also received a Distinguished Achievement Award from UF.

She is director of the Center for Research and Education in Arts, Technology, and Entertainment (CREATE) at the University of Central Florida and is Professor of Music in UCF’s School of Visual Arts and Design (Digital Media), College of Arts and Humanities. Dr. Sung holds a “Pegasus” Professorship, the highest honor awarded to distinguished faculty members at the University of Central Florida.

The Residency of Stella Sung is made possible through Music Alive, a residency program of the League of American Orchestras and New Music USA. This national program is designed to provide orchestras with resources and tools to support their presentation of new music to the public and build support for new music within their institutions. Funding for Music Alive is provided by The Andrew W. Mellon Foundation, The Aaron Copland Fund for Music, and The ASCAP Foundation Bart Howard Fund.

Stella Sung, composer Biography

Advancing Together Preserving all three art forms for future generations

As a critical next step for institutional growth, the Dayton Performing Arts Alliance has launched a special fundraising initiative, Advancing Together, as part of a larger strategic revenue growth strategy for the DPAA. For information, please contact Laura Fike, Director of Major Gifts, at 937-224-3521, ext. 1116.

We recognize the following donors to Advancing Together with our deepest appreciation:

AnonymousDr. Ron Anderson and Mr. Robb Sloan-AndersonJohn and Kathy BeranTom and Babs BettcherIngrid Brown and Troy TynerWendy B. CampbellMr. and Mrs. Mark ConwayKaren and Gary CrimRobert and Leta FairbankJanet and Vernon FernandesAl and Laura FikePete GilstrapNeal Gittleman and Lisa FryPaul and Geanie HelfrichRichard and Sylvia HolleyMr. and Mrs. Craig Jennings

Mary Kittredge Fund of The Dayton FoundationMr. Mark LevyJudy D. McCormickDale and Karen MedfordMs. Laura Nyquist and Mr. Max HeintzBarbara N. O’HaraOpera Guild of DaytonThe Jesse and Caryl Philips FoundationMr. and Mrs. Matthew R. PriceAnnette and Monte SalsmanMr. and Mrs. Roger E. SutherlandGil and Pat TempletonLee and Betsy WhitneyMr. and Mrs. William R. WingerFrank Winslow and Carol Warner

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Throughout the bloody slog of World War II, the British government consistently sought to buck up the morale of the English citizenry. One particularly memorable example of such nation-rallying was the 1944 film Henry V, based on Shakespeare’s play of the same name.

Henry V was a particularly appropriate source for this patriotic purpose. Shakespeare’s original work chronicles an important segment of the Hundred Years’ War: the invasion of France by British troops and the climactic battle of Agincourt, where the sickly and completely outmanned English troops hand the French a stunning defeat. The rousing speech preceding the battle—“We few, we happy few, we band of brothers”—delivered by Laurence Olivier, the film’s star and director, can easily be read as urging on the troops after the Allied invasion of Normandy.

By 1943, when production on Henry V was begun, William Walton was one of the most widely recognized composers in England. Once thought forbiddingly avant-garde, Walton had come to acquire a reputation as a composer of modernist yet accessible music, and he had turned that friendly expertise to the composition of scores and incidental music for the theater and the movies, including music for a film adaptation of Shakespeare’s As You Like It in 1936.

Although that earlier film did poorly, Henry V was an almost immediate success and is still regarded as one of the best film adaptations of Shakespeare ever produced. Critics will inevitably mention the staging and the actors’ performances, but almost all of them will give some praise to Walton’s score. James Agee, an important critic and novelist of mid-century America, described the film’s music as “one of the few outstanding scores in movie history.”

The concert suite drawn from the score of Henry V was arranged by Muir Mathieson under Walton’s supervision. Mathieson was an important conductor and director of English film music, but he also was heard on this side of the Atlantic. Fans of Alfred Hitchcock’s movies might recognize him as the conductor of Bernard Herrmann’s score for Vertigo.

Olivier’s staging of the action of Henry V is ingenious. The film opens with an aerial shot of seventeenth-century London and then swoops down into the Globe Theatre, where many of Shakespeare’s plays premiered, to a performance of the first act of Henry V. But, whereas we might expect to see a filmed recording of a staged play, the subsequent action is presented as though it were actually taking place out in the “real world.” This shifting between stage, film, and reality is reflected in Walton’s score, which blends together musical styles of diverse eras. The first piece in the suite is a fanfare and march followed by grand music evoking the British Renaissance. The next movement is a lament for Falstaff, a high-living companion of King Henry who dies early on in the play. Walton sets the lament as a passacaglia, a common Baroque form in which a repeated bass line orders the rest of the music. In a bit of good-humored irony, Walton adapts an old drinking song, “Watkin’s Ale,” for the overindulging Falstaff’s threnody.The battle scene uses trumpet calls and marching drums to evoke the chaos of battle, and the music becomes considerably more dissonant than in the earlier sections. A short, beautiful interlude depicts King Henry’s wooing of the French princess Katherine. The last movement, “The Agincourt Song,” has a celebratory air.

–Dennis Loranger, Lecturer in Music andLiterature at Wright State University

Farmer Glorp lives on a planet on which he farms “sunflowers” that produce heat and energy. Glorp goes each day to oil his flowers and crops, but the planet has cold spots and occasional storms. The planet is also inhabited by a creature (Flip) who comes to visit and play in Glorp’s sunflower fields—and also to consume seeds and oil from the flowers, which she discovers give her heat and energy. Glorp considers Flip a nuisance and tries to rid his field of her, but in doing so, he also destroys his own crop. As a sudden approaching storm appears, Glorp is swept into the storm. Flip, using her energy, goes to save Glorp, but in doing so expends her own energy. After the storm subsides, Glorp awakens and finds an exhausted Flip. In an effort to revive her, he gives her juice from a remaining sunflower, but she is still weak. Suddenly, Flip responds to the juice’s energy and becomes fully revived. Through their struggle in the storm, Glorp and Flip realize that they can become friends and that they can mutually help each other exist on the planet.

Farmer Glorp is loosely based on the story of Sunlandia, created by first graders (2014) at the Miami Valley in Dayton. The University of Central Florida’s (Orlando, FL) Character Animation program is an undergraduate program wherein students learn to create character animation. Students accepted into the program work in a rigorous, pre-professional environment and are generally divided into two teams to work on two animation short films within the span of their junior and senior years.

The 2014–2016 class includes the following student animators:

William Walton Suite from Henry V Stella Sung Farmer Glorp (World Premiere)

Leah AugustineJacquline BaldoquinAnthony BallinasDana BarnesYanjun Chen*Kevin Chang*Bryan Colvin*Anthony Del Re*Daniel Garcia

Lindsay GreenAna GuerraAngela Hernandez*Timothy Keebler*Megan Koch*Kathleen McGovern*Ryan Newman*William Perez-ValinesNicolas Ruiz

Melissa Shutts*Bailey Steggerda*Zakiya StubbsKaitlyn Thomas*Haley Vallandingham

*Glorp teamanimators

Character Animation Faculty:JoAnne AdamsCheryl CarbreraDarlene Hadrika* (Faculty director of Farmer Glorp)Philip PetersStella Sung

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Victor Herbert is perhaps best known for his operettas. During the early decades of the twentieth century, works such as Naughty Marietta and Babes in Toyland were an important, almost ubiquitous, part of the American musical theater repertory, charming audiences with their combination of musical sophistication and fairy-tale frivolity.

Although his greatest successes were in the New World, Herbert was not a native-born American. His roots were in Ireland, where he was born and where his family had significant connections to that country’s culture; his grandfather was the famous songwriter and poet Samuel Lover. But Herbert’s own education was cosmopolitan: while still an infant his family moved to London and he lived in England for a few years until finally settling in Germany. After a brief and unsuccessful effort at medical studies went awry, Herbert took up music full time and much more successfully. He first worked as a cellist but soon broadened his studies into conducting and composition. After he married in 1886, he and his bride left for America, where he became enormously successful as both a performer and a composer.

Herbert’s Cello Concerto No. 2 was written in 1894, a few years after he was hired to teach at the National Conservatory of Music in New York City. Herbert’s instrumental works—unlike his operettas—have generally fallen out of favor with musicians and are rarely performed these days. But the Cello Concerto immediately captured the imaginations of both audiences and performers and continues to form a part of the cello repertory to this day.

The cello concerto, in general, was not a significant genre until the last half of the nineteenth century. Some scholars attribute the cello concerto’s rapid development during that period to the influence of Robert Schumann’s concerto, a work that became a model for later composers. Herbert’s concerto bears some traces of Schumann’s influence—most obviously in the uninterrupted transition between first and second movements—but Herbert’s concerto was an influence in its own right; Antonín Dvorák, a colleague of Herbert’s at the National Conservatory, modeled his cello concerto, often considered one of the most important works in the genre, on Herbert’s work.

Like most concertos, the Cello Concerto No. 2 is in three movements. The first movement opens with a foreboding, dramatic gesture in the orchestra that then becomes an important element of the cello’s music through the rest of the movement. Only occasionally is that dramatic quality broken up by lyrical passages.

The second movement develops that lyricism with sections of an almost pastoral quality and others featuring the lush harmonies typical of his later work in operetta.

The third movement returns to the music of the first movement, first heard in the solo bassoon, then in the strings, and finally in the whole orchestra. But after this recapitulation of the first movement’s themes, Herbert then ingeniously combines the melodic material of the second movement—played by the cello—with the dramatic music of the first. The movement concludes with some spectacular passage work on the cello, leading into a grand tutti.

–Dennis Loranger, Lecturer in Music and Literature at Wright State University

Antonín Dvorák served a long apprenticeship as a musician. He initially worked as a freelance performer, taking whatever positions were available to him. Although he had studied music academically and became a skilled organist, his first full-time professional job was as a violist in a band that specialized in popular music. Fortuitously, the band he worked with became integrated into the orchestra of an important theater in Prague. In this position Dvorák found himself still performing popular music but also more sophisticated orchestral and operatic repertory, and as part of this increasingly important organization, he worked under the baton of such composers as Smetana and Wagner.

He finally arrived as composer with the premier of his Slavonic Dances. These pieces sold like the Bohemian equivalent of hotcakes, and he was now in demand throughout Bohemia and shortly afterward throughout Europe. He was particularly well liked in England, and the British public called him back for several tours, during which he conducted his own works and composed music specifically for the English audience.

In the 1890s he began teaching in a conservatory in Prague. Although perhaps temperamentally ill suited to the life of a pedagogue, Dvorák was well liked by his students, who often attributed their success at least partly to his instruction. And his reputation as an instructor was good enough that he also was engaged to teach in the United States. Dvorák’s Symphony No. 9, subtitled “From the New World,” was written while he was living and teaching in the United States.

Jeanette Thurber, an American patron of the arts, had established a music school in New York City, the National Conservatory of Music. She was particularly interested in establishing an American school of music, one that would

develop a characteristically American style of performing and playing. It might have made sense to hire an American composer to do this, but Dvorák’s work in adapting Bohemian folk styles to classical methods of composition made him the most congenial fit for Thurber’s purposes.

When he arrived in the United States, Dvorák immediately sought out what he thought would be examples of typically American music. He asked an African American student at the conservatory, Henry Thacker Burleigh, to sing spirituals for him, and he also looked at transcriptions of Native American melodies. Despite this searching for native material, Dvorák did not actually use any of the material he heard or read. Instead he abstracted out the qualities—scale patterns, harmonic and rhythmic practices—that he thought exemplified an American style of music.

How well he succeeded in this project, whether listeners (particularly American listeners) will hear anything especially “American” in the symphony is perhaps a secondary consideration. Dvorák sought to adapt musical material, the folk music of the United States, to symphonic treatment at a time when the distance between these two styles of music making would have been considered astronomical. By using “inferior” folk tunes in a symphony and treating those tunes as valid material for such a highbrow form as the symphony, Dvorák was not simply elevating the base material. He was implying that the material was worth considering in its own right. In a long roundabout way, our own contemporary open-mindedness about what kinds of music are worth listening to can be traced back to the efforts of musicians like Dvorák, who heard worth in all music, however humble its origins.

–Dennis Loranger, Lecturer in Music and Literature, Wright State University

Victor Herbert Cello Concerto No. 2 Antonín Dvorák Symphony No. 9 (“From the New World”)

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William Henry Caldwell, baritone Biography

One of America’s finest singing actresses, soprano Amy Johnson exhibits a unique combination of versatility, stage magnetism and striking physical beauty, able to portray youth yet having ample vocal brilliance and power to soar over the largest orchestra. The aforementioned versatility can be affirmed by a glance at her extraordinarily wide-ranging repertoire: the title role in Salome, Giorgetta in Il Tabarro, Tatyana in Eugene Onegin, Donna Anna in Don Giovanni, Alice Ford in Falstaff, Freia in Das Rheingold, Fiordiligi in Cosí Fan Tutte, Rosalinde in Die Fledermaus, Mimi in La bohème, the title roles in Aïda and Madama Butterfly, Marguerite in Faust, Donna Elvira in Don Giovanni, Desdemona in Otello and Santuzza in Cavalleria Rusticana. She has performed these roles throughout the world in such companies as Vlaamse Opera in Antwerp, New York City Opera, Indianapolis Opera, Portland Opera, Austin Lyric Opera, Toledo Opera, Orlando Opera, Virginia Opera, Opera Tampa, Knoxville Opera and Piedmont Opera.

Ms. Johnson’s recent activities include appearances with both Orquesta Sinfonica de Xalapa (Mexico) and the Cheyenne Symphony, Beethoven’s Symphony No. 9 with the Glacier Symphony in Montana, opera galas with the Springfield and Kentucky Symphonies and the CCM Philharmonia (featuring excerpts from Die Walküre and Tristan und Isolde conducted by Mark Gibson), Tosca for the festival Musica e Musica in Italy, Freia in Das Rheingold co-produced by Indianapolis Symphony and Opera, Handel’s Messiah with both the Galion (OH) Community Chorus (60th Anniversary Gala with members of the Mansfield Symphony) and ProMusica

Arizona, and a number of other concert and recital dates centered on the operatic and song literature of Wagner, Verdi, Strauss, Charpentier and Korngold.

International recognition first came to Ms. Johnson when composer Thea Musgrave personally chose her to create the role of Manuela in the world premiere of Simón Bolívar for Virginia Opera, subsequently reprised in London (BBC Proms at Royal Albert Hall) and in Glasgow and Edinburgh (Scottish BBC). She made her Carnegie Hall debut (Beethoven’s Symphony No. 9) in a benefit for the South Asia earthquake victims. Other orchestral appearances include the West Virginia Symphony, Evansville Philharmonic, Springfield Symphony, Long Island Philharmonic, Winston-Salem Symphony, Rockford Symphony, Cayuga Chamber Orchestra and Kentucky Symphony.

Ms. Johnson was a founding co-principal of Impresario Productions, LLC, a production company specializing in innovative, cost-effective ways of producing operas, concerts, and galas. She also served as co-founder and Artistic Director of The Professional Advantage, a summer opera and language training program in Italy. She was a voice faculty member and Opera Workshop Program Director at The University of Massachusetts-Amherst from 2008 to 2013 and currently serves as Assistant Professor of Voice and Co-Director of Undergraduate Opera Workshop at the College-Conservatory of Music of the University of Cincinnati. Ms. Johnson is a graduate of Grinnell College and holds a Masters degree from Manhattan School of Music.

to come

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Dvořák’sDiscovery

P R O G R A M

Sunday, February 7, 2016, 3 pm

Antonín Dvořák (1841 –1904)

Slavonic Dance, op. 48, no. 3

Henry t. BurleigH (1866–1949)

“Swing low, Sweet Chariot”William Henry Caldwell, Baritone

Antonín Dvořák

Symphony no. 9 (“From the new World”) Adagio—Allegro molto Largo Molto vivace Allegro con fuoco

C L A S S I C A L C O N N E C T I O N S L I S T E N E R ’ S G U I D E

My first exposure to Dvořák’s new World Symphony was in 10th grade, when my high school orchestra played a simplified arrangement of the finale. later that same year i heard the real thing at a Boston Symphony concert.

the high school version was ok. the real thing rocked my world. the piece has been part of my musical life ever since.

i bet nearly every member of the Dayton Philharmonic has the same story. they probably played the same high school arrangement! the new World Symphony is a piece we’ve all grown up with. We all know it. We all love it. it’s in our bones.

But we know this piece so well that we take it for granted. We don’t really know that much about it. We just know the basics. Dvořák came to the u.S. and wrote a series of “American” pieces, including this symphony. it’s got a beautiful slow movement with the english horn playing the tune of “goin’ Home”. it’s one of the most beloved symphonies. But the true story is much deeper and much more interesting. So the new World Symphony is the perfect subject for a Classical Connections concert. it links Dvořák to Henry Wadsworth longfellow and Buffalo Bill, to the skyscrapers of Manhattan and the plains of iowa, to the folk songs of his Bohemian countrymen and the spirituals of African Americans.

Sometimes Classical Connections introduces you to important pieces of music that you didn’t know before. Sometimes it fills you in on the fascinating context of a piece that everybody thinks they know. time for a new look at the new World!

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Hiawatha, Harry, Buffalo Bill, and a Whole New Worldby neal gittleman

the great european empires crumbled in the 20th century. But the cracks were beginning to show in the 19th. not just in politics. in music, too.

the common-practice musical language that europeans had shared since the 1600s began splintering into a rainbow of national styles. For countries such as Hungary, Poland, and Bohemia—whose musical traditions had been subservient to the arbiters of musical taste in Paris and vienna—musical independence came long before their political independence.

the fall of the kings and emperors started here in 1776, so europeans closely followed events on this side of the Atlantic. As residents of the various empires began to assert their own national aspirations, people also became obsessed with the exotic cultures of foreign lands.

these two trends came together in Henry Wadsworth longfellow’s epic poem The Song of Hiawatha, published in 1855. it was quickly translated into many languages, and readers across europe thrilled to the wild exploits of Hiawatha and Minnehaha by the mysterious shores of gitche gumee.

one of those readers was Czech composer Antonín Dvořák.

When Dvořák came to new york in 1892, his main concern was running the national Conservatory of Music. But he also was excited to be in the land of Hiawatha and eager to experience native American culture firsthand.

new york City had about as much American indian culture as Dvořák’s native Prague. But shortly after Dvořák’s arrival, Buffalo Bill Cody’s Wild West show played Madison Square garden. the composer was one of the rapt thousands in attendance. A more up-close native American experience came in the summer of 1893, which Dvořák spent with his family in the all-Czech town of Spillville, iowa.

Dvořák was homesick in new york. the Spillville sojourn, an immersion in Czech culture, was the cure. Dvořák got further exposure to native American culture when the kickapoo Medicine Show came to Spillville. this wasn’t Buffalo Bill’s glitzy show, with indians on display as foils for Cody and Annie oakley. this was an all-native American troupe, 800 strong, demonstrating traditional remedies, ceremonies, and music. Dvořák was particularly thrilled by the kickapoos’ drumming and chanting.

BuffALo BiLL

Henry WAdsWortH LonGfeLLoW

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WiLLiAm HenryCALdWeLL

William Henry Caldwell, baritone, choral clinician, and guest conductor, is currently the resident conductor of Classical roots for the Cincinnati Symphony and the Martin luther king Celebration Choir for the Cleveland orchestras. He recently appeared as soloist with the Bach Society of Dayton and was featured with the Cleveland orchestra for the annual Mlk Celebration. A retired full professor, he was director of vocal and Choral Activities, chairman for the Department of Fine and Performing Arts, and director of the Paul robeson Cultural Center at Central State university. under his chairmanship the Department was declared a “Center of excellence” by the ohio Board of regents. in 1994 Mr. Caldwell and his internationally acclaimed CSu Chorus were nominated for a grammy Award with erich kunzel and Cincinnati Pops and later recorded Porgy and Bess. He performed the roles of Cokey lou in gershwin’s Blue Monday and Jim in the Dayton opera’s anniversary production of Porgy and Bess.

experience the mysteries of far-off lands just by going to a musical per-formance. exoticism was a subtle manifestation of the evolution of the mainstream musical style into the Babel of styles that exploded in the 20th century.

the exotic elements in music didn’t just come from distant cultures. love of nature was one of the core values of the romantic movement. romanticism was an esthetic movement of, by, and for city folk, who romanticized not just nature but also people who live close to nature: farmers, hunters, hermits, wanderers, country folk in general. they weren’t foreign, but they were exotic! So Beethoven’s Pastoral Symphony, Weber’s opera Der Freischütz, and Brahms’ Hungarian Dances were all part of the exoticism craze.

the new World Symphony, too.

there’s some controversy about the meaning of Dvořák’s title. Some take “From the new World” literally, meaning a symphony by a Czech composer channeling the exotic sounds of America, with special emphasis on native American and African American melodies. Writing of the new World to the old World. others hear the piece as 100 percent Czech, written by a homesick composer thinking of his homeland. Writing of the old World from the new World.

either way, the piece is exotic. negro spirituals and American indian rhythms thrilled european audiences fascinated with all things American. But for listeners in london, Paris, vienna, or rome, even the Bohemian folk elements in Dvořák’s music were exotic, too!

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1841

September 8, born in Kralupy, Bohemia to innkeeper František Dvořák and Anna Dvořák.

1847 Begins violin and singing lessons.

1857 Enters the Prague Organ School, studying

organ, harmony, and composition. 1862

Named Principal Violist in the orchestra of the newly opened Czech National Theatre.

1871 Leaves the Theatre Orchestra and begins

composing professionally. Writes first songs. 1877

Sends a portfolio of music toJohannes Brahms, who recommends

Dvořák to his publisher. 1878

Composes a set of Slavonic Dances, inspired by Brahms’s Hungarian Dances.

1883 First of several concert tours to England

establishes Dvořák’s international reputation. 1891

Invited to direct the National Conservatory of Music in New York.

1892 Arrives in New York to begin work at the

Conservatory. Meets baritone Harry Burleigh.1893

Composes New World Symphony.Financial trouble at the Conservatory.

1895 Returns home to Bohemia.

1904 May 1, dies in Prague of a pulmonary embolism

after a five-week illness.

1841 Poe’s “Murders in the Rue Morgue”. Adolphe Saxe invents the instrument that bears his name.

1847 Brontë sisters’ Jane Eyre and Wuthering Heights.

1857 James Buchanan becomes 15th U.S. president.

Baudelaire’s Fleurs du Mal.1862

Second Battle of Bull Run. Ludwig Köchel’s catalogue gives Mozart his “K-Numbers”.

1871 Paris Commune. Great Chicago Fire.

Verdi’s Aida premieres.1877

First Wimbledon tennis tournament.Edison invents the phonograph.

Saint-Saëns’ Samson and Delilah. 1878

First U.S. college newspaper: Yale Daily News. Pro baseball’s first-ever unassisted triple play.

1883 Nietzsche channels Zarathustra. Buffalo Bill’s first Wild West Show. Brooklyn Bridge opens.

1891 Tchaikovsky opens Carnegie Hall.

Edison patents movie camera. 1892

Toulouse-Lautrec paints At the Moulin Rouge. First public basketball game.

1893 U.S. stock market crash. Lizzie Borden acquitted.

Katherine Lee Bates writes “America the Beautiful”.1895

The Time Machine. Gillette invents safety razor.1904

Peter Pan. Construction begins on Panama Canal. Puccini’s Madame Butterfly.

TIMELINE ~ Antonín Dvořák