Strathmore Applause Sept/Oct 2013

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The National Philharmonic’s close relationship with cellist Zuill Bailey

yields a fall focus on Schumann

Compatriots

Strathmore AIR alumni show off skills

Baltimore Symphony OrchestraWar Requiem’s healing powers

Washington Performing Arts SocietyPianist Yuja Wang electrifies

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2 APPlAuSe at Strathmore • SEPTEMBER/OCTOBER 2013

Sept. 21 26 / BSO: Scheherazade & 1812 Overture

Sept. 26 30 / BSO: Thibaudet Plays Bernstein

Sept. 27 34 / Strathmore: Sandy Hackett’s Rat Pack Show

Sept. 28 & Sept. 29 37 / The National Philharmonic: Beethoven’s Eternal Masterworks

Oct. 6 41 / Strathmore: Bill Engvall

Oct. 10 42 / BSO SuperPops: The Streisand Songbook

Oct. 12 44 / Strathmore: Sutton Foster

Oct. 15 45 / Strathmore: Les Violons du Roy

Oct. 18 47 / Strathmore: Dianne Reeves

Oct. 19 48 / BSO: Romantic Tchaikovsky

Oct. 24 51 / BSO: Brahms’ Third Symphony

Oct. 25 54 / WPAS: Yuja Wang

Oct. 26 57 / The National Philharmonic: Mostly Schumann

Oct. 26 & Oct. 27 61 / The National Philharmonic: Romantic Sentiments

Oct. 30 66 / Strathmore: Chris Thile

preludeAPPlAuSE aT STRaThMORE SEPTEMBER/OCTOBER 2013

54 2016

features 8 AIR Borne Strathmore Artists in Residence alumni return for concert series

10 War & Peace The BSO opens its 2013-2014 theme on music as a source of solace

12 Concert Compatriots Cellist Zuill Bailey and the National Philharmonic think big

14 Really ThileMandolin virtuoso Chris Thile swings from bluegrass to Bach

16 Travelin’ Man Jazz trumpeter Chris Botti’s bag is always packed

18 New Kids on the Block Meet the Baltimore Symphony Orchestra’s four new musicians

20 A Little of Everything The National Philharmonic celebrates Verdi and Strauss in 2013-2014

22 Electric Youth Dynamic pianist Yuja Wang’s recital features Chopin and Stravinsky

departments 4 Musings of Strathmore CEO Eliot Pfanstiehl 4 A Note from BSO Music Director Marin Alsop 6 Calendar: November and December performances

musician rosters28 Baltimore Symphony Orchestra39 National Philharmonic Orchestra and Chorale

program notes

On the COverNational Philharmonic Music Director and

Conductor Piotr Gajewski and cellist Zuill Bailey.Photo by Michael Ventura.

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Independence by Convergent Applause September Issue Final.pdf 1 8/2/2013 3:07:14 PM


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Dear Friends,Thank you for joining the Baltimore Symphony Orchestra for the

start of our 2013-2014 season! Over the course of the coming months, the music selections we will perform here at the Music Center examine the power of music as a source of solace and healing. From Britten’s War Requiem (Nov. 16) to Bernstein’s “Age of Anxiety” (Sept. 26) to John Adams’ September 11 meditation, On the Transmigration of Souls (June 7), music’s role as a comfort for the afflicted is timeless. For an even deeper understanding of what this means to me, you can read the article on Britten’s War Requiem (and the centennial of his birth) on page 10 of this issue.

I hope you’ll join us for these transformative experiences, and look forward to seeing you all in the Concert Hall throughout this season!

Marin AlsopMusic Director | Baltimore Symphony Orchestra

If the lasting story of an arts center is told through innovation and introduction of new programs, last season was a legacy-mak-ing year. We launched the Strathmore Children’s Chorus. We an-nounced a partnership with the Pike & Rose development to open AMP, a 250-seat live performance club. Then, in May, our board approved enclosing the Bou Terrace, doubling our dining space, and adding an escalator between the Promenade and Lobby levels. We heard what you wanted and are taking action.

As we begin Strathmore’s 2013-2014 season, you’ll notice two new concert series in the Mansion—Say it in a Song, featuring brilliant contemporary song interpreters, and our AIR Alumni concerts, a look back at some of the artists our hallmark Artist in Residence program has touched in the past nine years. Meanwhile, in the Concert Hall, we’re presenting more vocal performances than ever—including Sutton Fos-ter, Maureen McGovern, Donna McKechnie, Andrea McArdle, Faith Prince, Sweet Honey in the Rock and Estrella Morente, among others.

The 2013-2014 season, peppered with debut performances and world and Wash-ington premieres, is replete with more than 50 concerts. Welcome to a new season at Strathmore!

Eliot PfanstiehlCEO | Strathmore

STRATHMORE partners● Strathmore: 301-581-5100, www.strathmore.org● Baltimore Symphony Orchestra: 301-581-5215, www.bsomusic.org ● The National Philharmonic: 301-493-9283, www.nationalphilharmonic.org● Washington Performing Arts Society: 202-785-9727, www.wpas.org● CityDance Ensemble: 301-581-5204, www.citydance.net● Maryland Classic Youth Orchestras: 301-581-5208, www.mcyo.org● Levine School of Music: 301-897-5100, www.levineschool.org● interPLAY: 301-229-0829, www.interplayband.org.

MuSinGS from Strathmore

a note from the BSO

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Hamer: Lost Childhood The music recollects the terrors of the holocaust and inspires a hopeful vision of the future. This performance marks the 75th anniversary of Kristallnacht (“The Night of Broken Glass”), on Nov. 9-10, 1938, when a series of violent anti-jewish pogroms occurred throughout Germany and elsewhere.

THURS., NOV. 14, 8 P.M. Baltimore Symphony Orchestra BSO SuperPopsChris Botti Chris Botti, trumpet Grammy award-winning trumpeter Chris Botti draws from pop, jazz and classical influences to create a signature sound that “luxuriates in melody and mood,” says The New York Times. Note: The BSO does not perform on this program.

FRI., NOV. 15, 8 P.M. Strathmore presents An evening With Amy tanThe best-selling author of The Joy Luck Club, The Kitchen God’s Wife and The Bonesetter’s Daughter talks about her life and her writing.

SAT., NOV. 16, 8 P.M. Baltimore Symphony OrchestraWar Requiem

nOveMBerFRI., NOV. 1, 8 P.M. Strathmore presents travis tritt Grammy award-winning country star Travis Tritt balances the grit and pathos of “help Me hold On” with the infec-tious “it’s a Great Day to Be alive” in an evening of his hits and personal favorites.

THURS., NOV. 7, 8 P.M. Strathmore presents luis Bravo’s Forever tango

This sizzling show tells the brilliantly hued history of tango through music, dance and dramatic vignettes.

FRI., NOV. 8, 8:15 P.M. Baltimore Symphony Orchestra Off the Cuff: The PlanetsMarin alsop, conductor Baltimore Choral arts Society, women’s chorus

Holst: The Planetsyou can hear some of holst’s influences in the music of Star Wars, The Lord of the Rings and The Gladiator. This program explores the ageless, timeless mystery of the planets through music and high-definition imagery.

SAT., NOV. 9, 8 P.M.The National PhilharmonicLost Childhood: A Concert Opera Piotr Gajewski, conductor janice hamer, composer Mary azrael, librettist Nick Olcott, stage director

Marin alsop, conductor Tamara Wilson, sopranoNicholas Phan, tenorRyan McKinny, baritone University of Maryland Concert ChoirPeabody Children’s Chorus

Britten: War RequiemMarin alsop leads Britten’s deeply affect-ing War Requiem.

SAT., NOV. 23, 8 P.M. The National Philharmonicverdi’s Powerful and timeless Requiem Stan Engebretson, conductor Danielle Talamantes, soprano Margaret Mezzacappa, mezzo-soprano William Davenport, tenor Kevin Deas, bassNational Philharmonic Chorale

calendar [november/december]

[beyond the stage]Strathmore

Lift Every Voice

This isn’t the pop-infused a cappella you heard in the film Pitch Perfect. Voice, the London-based, female a cappella trio of Clemmie Franks, Victoria Couper and Emily Burn, brings its airy vocals to the Mansion at Strathmore during the trio’s first U.S. tour, with two performances on Wednesday, Oct. 30 at 7 and 9:30 p.m. The trio performs a repertoire that spans ages and continents, including sacred and secular music from the medieval music of hildegard of Bingen to 21st century commissions and folk songs from around the world. The performers met in Oxford, where they first started singing together as part of the Oxford Girls’ Choir. Their distinctive sound is driven by individual voices that blend to create beautiful harmonies.

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Danielle Talamantes

APPlAuSe at Strathmore • SEPTEMBER/OCTOBER 2013 7

[november/december]

Verdi: Requiem Requiem combines the drama of the stage, the passion and emotional power of an oratorio and the intensity of a symphony in a grand, romantic expression of grief.

FRI., NOV. 29, 8 P.M. Strathmore presents Classic Albums live: Sgt Pepper’s Lonely Hearts Club Band The musicians of Classic albums Live re-create psychedelic sounds of The Beatles’ famous record, Sgt. Pepper’s Lonely Hearts Club Band.

SAT., NOV. 30, 8 P.M. Strathmore presents Michael Mcdonald this Christmas: An evening of holiday & hits

Launched into stardom with the Doobie Brothers classic “What a Fool Believes” and solo hits like “i Keep Forget-tin’,” the master of blue-eyed soul

lends his touch to Christmas classics. This concert is sponsored by joel and Elizabeth helke.

deCeMBer SUN., DEC. 1, 4 P.M. Strathmore presents Boston Brass and the Brass All-Stars Big Band With the Strathmore Children’s Chorus: A Stan Kenton ChristmasBoston Brass and all-star brass players from around the globe team up for big band arrangements of classics like the Stan Kenton Christmas Carols, “Greensleeves” and “Motown jingle Bells,” backed by the Strathmore Chil-dren’s Chorus.

WED., DEC. 4, 8 P.M. Strathmore presents teatro alla Scala Academy Orchestra

The best of the legendary Milan opera house will perform a program that in-cludes works by Verdi and 20th century italian composer Nino Rota.

THURS., DEC. 5, 8 P.M. Strathmore presents Crystal Gayle and lee GreenwoodCrystal Gayle, known as much for her trademark long hair as her crystalline country vocals, partners with fellow country icon Lee Greenwood for an evening of holiday music.

SAT., DEC. 7, 8 P.M.Baltimore Symphony OrchestraThe Four Seasonsjonathan Carney, leader and violin

Vivaldi: The Four Seasons Piazzolla: The Four Seasons of Buenos Airesa perennial favorite, Vivaldi’s univer-sally popular The Four Seasons is led by BSO Concertmaster jonathan Carney, cleverly paired with Piazzolla’s sensational, tango-infused The Four Seasons of Buenos Aires.

THURS., DEC. 12, 8 P.M. Baltimore Symphony Orchestra holiday CirqueBob Bernhardt, conductor Cirque MusicaStunning aerial feats, strongmen and mind-boggling contortionists will take your breath away in this holiday extravaganza.

FRI., DEC. 13, 8 P.M. Strathmore presents Spanish harlem Orchestra: Salsa navidad

The Grammy-winning ensemble puts its irresistible New york salsa spin on holiday tunes. join a celebration that “double-dares you not to move!” (associated Press)

SAT., DEC. 14, 8 P.M.SUN., DEC. 15, 3 P.M. The National Philharmonic handel’s Messiah Stan Engebretson, conductor Rosa Lamoreaux, soprano Magdalena Wór, mezzo-soprano Robert Petillo, tenor Kevin Deas, bass National Philharmonic Chorale

Handel: MessiahBegin your holidays with handel’s 1741 masterpiece, Messiah, one of the most beloved and most frequently performed works in Western choral literature. Spon-sored by ameriprise Financial.

SAT., DEC. 21, 4 P.M. and 8 P.M. Strathmore presents the irish tenors: the Premiere irish holiday Celebration tourThe irish Tenors will mine the melodic loveliness and emotional intensity of irish music in a concert that combines the trio’s greatest hits with holiday classics.

SUN., DEC. 22, 4 P.M.The National Philharmonic Washington Symphonic Brass Piotr Gajewski, conductor join the Washington Symphonic Brass for its annual performance at Strathmore! Some of the East Coast’s finest brass and percussion players will surround you with the sounds of the holiday from all parts of this great Concert hall.

Washington Symphonic Brass


o matter how far Strathmore Art-ists in Residence alumni may trav-

el, the lessons learned stay with them. Just ask Brooklyn-based jazz saxophonist Jeff Suzda, who just relocated back to the States after several years in Paris.

“It’s kind of like a brotherhood, a fraternity,” says Suzda, part of the AIR Class of 2007-2008. “I didn’t bring a lot with me to Paris, but I brought my notes from the AIR program.”

High on his list is performing in Strathmore’s new AIR Alumni concert series. What he’ll bring to his concert on Oct. 23—along with his horn and his musical partner, percussionist Sim-

one Mancuso—is a sense of connect-edness to Strathmore and the sense of community that comes with taking part in the AIR program.

“No one gave me a saxophone les-son while I was at Strathmore; that was not the point,” Suzda says. “The point was having exclusive access to a group of professional musicians: Chuck Redd, who was my mentor; Marcy Marxer, the most professional woman I have ever met in my life. Amy Beth Horman showed me how to practice.

“It didn’t necessarily make me a bet-ter musician,” he adds, “but it made me a better professional.”

And that’s really the whole point of the Artist in Residence program, as far as Georgina Javor, Strathmore’s director of programming, is concerned. Javor, along with AIR program coordinator Betty Scott, curated this fall’s AIR Alumni se-ries, which will run from the end of Sep-tember until mid-November.

“The AIR Alumni concert series is a fantastic illustration of the real impact that the Artist in Residence program has on musicians and that their rela-tionship with Strathmore endures,” says Scott. “This concert series is indicative of the knowledge and skills gained dur-ing the training.”

Strathmore’s Artist In Residence program has nurtured emerging local artists for eight years, and this fall’s AIR Alumni concert series

shows just how far they’ve come.

By Chris Slattery

RSTRaThMORE

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AIR Borne

Laura Burhenn


er at Wheaton it completes the circle.”Staying in the community and teach-

ing, he adds, has underpinned his career with a sense of balance that allows him to go all out with his cello-meets-metal sound.

“It’s taken a long time for things to coalesce, but they have,” says the musi-cian. “I think Artists In Residence is a great program…and it’s even better to see ‘where they are’ now.”

teacher at Wheaton High School.“It was great to be teamed with a men-

tor, someone to guide you,” says West-brook-Fritts, who will release his band’s second album, Evolution, at his concert on Oct. 16. “There was a whole month of concerts for us to perform, and an ed-ucational event: I did mine with middle school kids from A. Mario Loidermann [Middle School for the Creative and Performing Arts]. Now that I’m a teach-

“The point is to see how much these artists have grown,” says Javor. “For these first four concerts we picked a re-ally eclectic, successful group.”

Like D.C. native Laura Burhenn, who completed the AIR program in 2006 and later moved to Omaha, Neb., to form the popular indie group The Mynabirds. “This is an artist who has created a national touring career,” Javor points out. “She’s really made a nation-al name for herself, and we haven’t had the chance to see her back here since her AIR days—until now.”

Burhenn, who returns to Strathmore Oct. 2, fresh off the road from an in-ternational tour with supergroup The Postal Service, says learning to collabo-rate with artists she might not otherwise work with gave her a sense of freedom in which she was able to hone her skills.

Not everyone goes from AIR to the bigtime, and in the case of Loren West-brook-Fritts that’s a good thing. Sure, the 2010 AIR is the music director of the rock cello group Primitivity. But he’s also an instrumental and digital music

Fresh AIR Six musicians/singers/songwriters are engaged for 10 months at

Strathmore as part of the artists in Residence program. Strathmore intro-

duced the aiR program in 2005 to cultivate local musical talent through

professional mentoring, career development workshops, networking and

educational opportunities.

“The 2013-14 group of aiRs is unique in its diversity,” says aiR creator

and administrator Betty Scott. “While each year has a wide range of

genres, the upcoming class is outstanding in its international flavor as well,

which will lead to exciting collaborations.”

Each aiR will perfect performances, collaborate with their peers, create

an education program and premiere a new work commissioned by Strath-

more. The 2013-2014 artists in Residence, and their concert dates, are:

Christie Dashiell, jazz vocalist, Jan. 15 and 29Nistha Raj, Hindustani violinist, Feb. 12 and 26Brad Kolodner, old-time banjo, March 12 and 26Piotr Pakhomkin, classical guitarist, April 9 and 23Elijah Balbed, jazz saxophonist, May 14 and 28Amadou Kouyate, West African instrumentals, June 4 and 18

Laura Burhenn

Loren Westbrook-Fritts

Simone Mancuso and jeff Suzda


RBaLTiMORE SyMPhONy ORChESTRa

hen the final notes of Benjamin Britten’s War

Requiem settle into a profound stillness, audiences typically sit stunned for a long moment, too overwhelmed by the power of what they have just heard to start applauding immediately. And that, says soprano Tamara Wil-son, is exactly how it should be.

“People are so moved by the poetry of the Requiem,” she says. “It makes them look into their own souls and go away thinking about the futility of war and the loss of life.”

Wilson—along with tenor Nicholas Phan, baritone Ryan McKinny, the University of Maryland Concert Choir and the Peabody Children’s Chorus—

Britten’s War Requiem anchors the BSO’s season-long theme of music as a source of healing

By M.j. Mcateer

W

Peace

will join the Baltimore Sympho-ny Orchestra and Music Director Marin Alsop in a performance of Britten’s masterwork at 8 p.m. on Nov. 16 at the Music Center at Strathmore. Although final de-cisions about the concert were to be made closer to the perfor-mance date, BSO Vice President of Artistic Operations Matthew Spivey said that he expects the stage to be filled to overflowing with an 88-person orchestra, a mixed choir of 100 to 120 voices, a children’s choir of 30 voices and a 12-person chamber orchestra.

But the War Requiem is much more than a work of daunting lo-gistics. Spivey calls it “an artistic initiative that explores the depth of what an orchestra can do.”

The War Requiem, he explains, is providing a major inspiration for the BSO’s 2013-2014 calendar. “One of the themes of the sea-son is music as a balm for the af-flicted, which helps people under-stand tragic events and find hope. The Requiem is a perfect fit.”

Britten, an ardent pacifist, wrote the War Requiem for the 1962 consecration of a new Cov-entry Cathedral, which was re-built after the original 14th-cen-tury structure was destroyed by German bombs during a Luft-waffe raid in 1940. The British composer meant the music as a denunciation of all armed con-flict and a plea for reconciliation. The BSO’s performance of the piece will take place 73 years to

&wAR


Baltimore Symphony Orchestra presentsWar Requiem Saturday, Nov. 16, 8 P.M.

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the day of its debut; November also marks the 100th anniversary of the composer’s birth.

The Requiem takes the form of a non-liturgical mass for the dead, and Britten said that he mod-eled it on the Messa da Requiem by Giuseppe Verdi. Britten’s re-quiem, however, intersperses tra-ditional Latin texts with nine poems by Wilfred Owen. Owen, whose work depicted the horrors of the trench warfare of World War I, was killed in action at age 25, just one week before the 1918 Armistice. On the title page to his score, Britten quotes the po-et’s preface to a collection of his poems, which were published posthumously:

“My subject is War, and the pity of War.The Poetry is in the pity …All a poet can do today is warn.”

Tenor Nicholas Phan will be among the three guest soloists delivering that warning, provid-ing several of the Requiem’s most moving moments, including his singing of Owens’ poem, “An-them for Doomed Youth.”

Phan says Britten composed “buckets and buckets” of music for his voice, largely because the composer had a long personal and professional relationship with English tenor Sir Peter Pears. That bountiful repertoire does not make the Requiem easy for a tenor to sing, though. Phan says his solos require him not only to reach powerfully into the highest parts of his register, but to float across a sprawling range of color and dynamics. It is a challenge that he finds wonderfully worth meeting. “The Requiem is a beau-tiful combination of head and heart,” he says. “Erudite and so-phisticated, but also moving, dra-matic and visceral. Its themes are things you can chew on all your life.”

That laudatory description might seem a tad daunting, as though the War Requiem is so high-minded that it might be eas-ier to admire than enjoy, but that, says Spivey, is not at all the case. Even young children “really get it,” he says, which is why he ex-pects the Requiem to be an inte-gral part of the BSO’s arts inte-gration program in area schools.

Doreen Falby, director of the Peabody Children’s Chorus, pre-dicts that her young singers won’t be the least bit intimidated by the Requiem. “They know that music accompanies us when we are joy-ful, but also when we are dealing with difficult times in our lives,” she says.

That combination of the ac-cessible and the deeply emotive will provide a one-two punch for members of the Strathmore audience.

“They won’t realize what hit them until it is over,” Spivey says. Which is why, if just for a few moments at Requiem’s end, the hall renowned for its superb acoustics could be filled with the sound of silence.

Ryan McKinny

Nicholas Phan


the next Beethoven.” The Alexandria, Va., native is looking forward to return-ing to the area and performing with the National Philharmonic and his friend Maestro Gajewski.

“I have quite a nice relationship with them,” Bailey says. “We’re really ex-ploring lots of different kinds of music, which is a lot of fun.”

Oct. 26 with pianist Navah Perlman will feature the other cello works by Schumann and Brahms, another 19th century composer. “So in one day, we will have played the complete works of Schumann for cello,” Bailey says.

“Zuill is very unique in that he has the stamina to do this kind of all-day performance,” Gajewski says. “There are very few artists who really can put themselves out and give one program in the afternoon, another program in the evening and be totally on top of their game from beginning to end.”

Bailey says he admires the subtlety of Schumann’s work for cello. “This one makes you ponder and think and I think that’s what makes Schumann so wonder-ful: His voicing and the complex beauty of his harmonies.”

Adding Brahms to the program is fit-ting, since Schumann helped discov-er the upcoming composer, Bailey says. “Schumann talked about Brahms being

henever the noted cellist Zuill Bailey returns to the Music Cen-

ter at Strathmore to perform with the National Philharmonic, it seems as if it’s to tackle a major body of work.

“Last year, I played the Haydn Con-certo, and the complete Bach cello suites,” Bailey says. “For this one, Maestro Piotr Gajewski and I have come up with the theme of ‘Schumann and his World.’ ”

Bailey’s upcoming performances are a continuation of the cellist’s strong rela-tionship with the National Philharmon-ic. In addition to the Haydn and Bach programs, both in January 2012, Bailey has been featured in Dvořák’s epic cello concerto and, with the violinist Elena Urioste, Brahms’ concerto for violin and cello. Bailey also has conducted master classes for aspiring cello students.

His performances on Oct. 26 and 27, led by Music Director and Conduc-tor Piotr Gajewski, will feature Robert Schumann’s Cello Concerto sandwiched between two works by Brahms.

A solo recital earlier in the day on

Cellist Zuill Bailey and Maestro Piotr Gajewski always plan something big

By Roger Catlin

The National Philharmonic presents Mostly Schumann Saturday, Oct. 26, 3:30 P.M. and

Romantic SentimentsSaturday, Oct. 26, 8 P.M. and Sunday, Oct. 27, 3 P.M.

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Fri, Nov 22 • 7 PMTHE WHISKIES OF SCOTLANDTasting with whisky expert Richard Crawford

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Mon, Dec 9 • 7:30 PMCLIMBING OMANClimbers Jimmy Chin &

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ing that earned Thile a Grammy for 2011’s The Goat Rodeo Sessions which he recorded with his mentor, bassist Edgar Meyer, fiddle player Stuart Dun-can and cellist Yo-Yo Ma.

“I wanted to work with Yo-Yo since I was a little kid,” says Thile. “Maybe it would seem odd, this kid who grew up playing bluegrass is playing with Yo-Yo Ma, but it’s not. Because music is more like a cocktail than a vegetable bin. And—music aside—the hang was won-derful. So fun.”

ly good music. In my mind a wonder-ful fiddle tune from Appalachia has a lot more in common with the cantatas and partitas than it does with overwrought violin writing from the Baroque period.”

There’s a symmetry to both Bach and bluegrass. And so Thile, who started playing the mandolin when he was 5, is planning a program for Strathmore that brings together his favorites from Bach’s oeuvre and some of his own contempo-rary compositions.

It’s that classical-contemporary pair-

RSTRaThMORE

hris Thile has Bach on the brain.The Grammy-winning MacArthur

Fellowship recipient may be best known as a mandolin-playing composer, sing-er and progressive bluegrass musician. When he performs at the Music Cen-ter at Strathmore Oct. 30, Thile will be sharing his love of Bach as well as play-ing his own bluegrass compositions.

“Bach is one of the greatest musi-cians who ever lived,” enthuses the 32-year-old.

In his latest CD, Bach: Sonatas and Partitas, Vol. 1, Thile’s deft touch and his great reverence for Bach come through.

Thile, on the other hand, plays fast and loose with genre. The founding member of progressive acoustic trio Nickel Creek has won Grammys for best folk album, best bluegrass album and best classical crossover album. These days, when he’s not working on solo projects, Thile is part of the folk/bluegrass quintet The Punch Brothers.

He’s more concerned with the music itself—its “structural implications”—than with the labels people want to put on it, which is why he wanted to make a Bach album in the first place.

“Because I’m such a huge Bach fan I wanted to take a crack at it,” he says. “It’s not for novelty’s sake. Every musi-cian I love loves Bach; everyone I know and respect holds Bach up there.

“I’m also really interested in point-ing out the similarities between real-

Grammy winner Chris Thile talks Bach, bluegrass and bonding with yo-yo Ma

Really Thile

Strathmore presentsChris thile Wednesday, Oct. 30, 8 P.M.

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other for the first time. A gracious, generous performer

known for ceding the spotlight to oth-ers, Botti credits his stagecraft to ex-tended tours with both Paul Simon and Sting. Watching such artists, he has said, “taught me how to get in and out of songs, how they introduce people, what they would say about one of their players. I wouldn’t be the performer I am today without that background.”

Having sold more than 3 million al-bums worldwide, the 52-year-old Botti spends 300 days a year on the road and shows no inclination to slow his pace. Instead, he has streamlined his peripatet-ic life: he owns no house, has no perma-nent address and lives out of a 76-pound suitcase.

“I have my Bose speakers, my eye mask and my trumpet,” he says. “It’s re-ally all that I need to be happy.”

Angeles Times in 2012. At Indiana University, he studied

under jazz teacher David Baker and trum-peter Bill Adam, as well as with trum-peter Woody Shaw, through a grant from the National Endowment for the Arts.

Botti left college before graduation to tour with Frank Sinatra and Buddy Rich, and quickly made a name for himself with his rich and varied reper-toire of cool jazz, smooth jazz and pop.

He’s a musician known for playing well with others, including such dis-parate stars as Aretha Franklin, Joni Mitchell, Roger Daltrey and Barbra Streisand. Reaching back to his father’s Italian roots, Botti has also collaborated extensively with Italian tenor Andrea Bocelli. At a Boston concert he once shared a stage with Aerosmith front-man Steven Tyler and cellist Yo-Yo Ma, introducing the two Bostonians to each


By Kathleen Wheaton

azz trumpeter and composer Chis Botti has compared his instrument

to a jealous, possessive spouse who re-fuses to be ignored. Skipping practice for a single day, says the five-time Grammy nominee, causes the trumpet to squawk in concert as if outraged.

At the same time, to see Botti with his trumpet, a 1939 Martin Committee large bore Handcraft, is to witness an abiding and thrilling love story. Botti ra-diates joy onstage, and he has made the majority of his 14 albums with this de-manding instrument. He and his be-loved trumpet will present an evening of masterful music at 8 p.m. Nov 14 at the Music Center at Strathmore. Though presented by the Baltimore Symphony Orchestra, the BSO does not perform on the program.

Botti was born in Portland, Ore., to a concert pianist mother and language teacher father. He had dreams of sports stardom until he heard a recording of Miles Davis’ “My Funny Valentine.” “By the time I was 12 and heard Miles Davis, it solidified my quest to want to play the trumpet,” Botti told the Los

Travelin’ MAN

jazz trumpeter Chris Botti happily lives life on the road with his

brassy “spouse”

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Baltimore Symphony Orchestra presentsChris Botti Thursday, Nov. 14, 8 P.M.

ar from ordinary. fClose to everything.

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Four musicians join the BSO in its mission of “using music to change lives”

By Sean Lindemann

he Baltimore Symphony Orches-tra is pleased to present four world-

class musicians, who have joined the or-chestra and are set to debut at the start of this 2013-2014 season.

“Building a great orchestra requires so much more than just assembling musi-cians with excellent technical ability,” says Music Director Marin Alsop. “Not only are these musicians exceptionally skilled, but they also demonstrate that exciting and charismatic panache that moves, excites and inspires. Their spirit is in keeping with the BSO’s goal to not only perform great concerts, but to ac-complish the far greater mission of using music to change lives.”

Previously serving as the principal tim-pani of the Fort Wayne Philharmonic, James Wyman succeeds the late Dennis Kain, who served as the BSO’s principal timpani for 46 years. Wyman has been studying music all of his life, earning his bachelor of music degree at Baldwin-Wallace College in 2006 and his master of music degree from Carnegie Mellon University in 2009. No stranger to the BSO, Wyman performed during last sum-mer’s presentation of West Side Story.

Rebekah Newman also joins the Bal-timore Symphony as fourth chair viola. She previously served as principal viola with the Akron Symphony, the Char-lotte Symphony and the Erie Philhar-monic. Newman received her bachelor’s

degree in viola performance from The Cleveland Institute of Music in 2008, where she studied under Mark Jackobs. Originally from Marquette, Mich., New-man didn’t begin playing violin until age 7, when her family moved to Rapid City, S.D. She switched fully to viola during her junior year of college at the Cleve-land Institute.

Nathaniel Hepler, previously with the Sarasota Opera Orchestra, joins the BSO in the role of second trumpet. A na-tive of Malvern, Penn., Hepler received his bachelor of music in trumpet perfor-mance from the Curtis Institute of Music. He also holds a master’s of music in or-chestral performance from the Manhat-tan School of Music, where he studied

under Mark Gould. As an elementa-ry school student, Hepler experimented with the violin and drums before dedicat-ing himself to the trumpet at 9 years old.

Performing throughout the U.S. and Europe, Lisa Bergman joins the BSO as second horn. Bergman holds a bachelor’s of music in performance from Michigan State University and a master’s of music in performance from Indiana Univer-sity. She has been a member of the San Antonio Symphony, New World Sym-phony, Knoxville Symphony, Columbus Philharmonic and Evansville Symphony. She also has performed with other major symphony orchestras nationwide. Her teachers include Randy Gardner, Mi-chael Hatfield and Julie Landsman.

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Far left: Rebekah NewmanTop center:james WymanTop right:Nathaniel heplerLeft: Lisa Bergman

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new concert opera based on the Holocaust and programs com-

memorating anniversaries of two well-loved composers are among the high-lights of the National Philharmonic’s 2013-2014 season.

The opera, Lost Childhood by Amer-ican composer Janice Hamer, explores one boy’s struggle to survive the hor-rors of the Holocaust. The Philharmon-ic will perform the first fully orchestrat-ed version of the work in November on the 75th anniversary of Kristallnacht (“Night of Broken Glass”), a series of violent attacks against Jews throughout Nazi Germany.

Also in November, the orchestra and National Philharmonic Chorale will cel-ebrate the 200th birthday of Giuseppe Verdi with a performance of his powerful Requiem. “With lots of dramatic operat-ic moments and antiphonal brass playing in the balcony, it’s an exciting piece to perform in this hall,” says Chorale Artis-tic Director Stan Engebretson. Soloists for the Requiem include mezzo-soprano Margaret Mezzacappa and tenor William Davenport.

To commemorate the 150th birthday of Richard Strauss in May, the orchestra will present a program of Strauss master-pieces, including the rarely performed Wandrers Sturmlied (Wanderers’ Storm Song) for orchestra and male chorus. Another concert will feature Strauss’ Metamorphosen, which Philharmon-ic Music Director and Conductor Piotr

Gajewski describes as “a very unusual work for 23 solo strings.” Written near the end of World War II as an elegy for the destruction of Munich, it was pre-miered in the Washington area by the National Philharmonic in the 1980s.

Other choral highlights include the perennial holiday favorite Handel’s Mes-siah and an April performance of Bach’s soaring Mass in B minor, which many consider the composer’s sacred master-piece. “It includes music he actually wrote for a job audition, but it’s Bach at his best and baroque music at its best,” says Engebretson.

Popular soloists returning to perform with the orchestra this season include cellist Zuill Bailey and violinists Sarah Chang, Soovin Kim and National Sym-phony concertmaster Nurit Bar-Josef. Featured for the first time are pianists Gabriela Martinez and Washington-area native Thomas Pandolfi.

In February, pianist Brian Ganz will present the fourth recital in his quest to perform all of Chopin’s works. In March, Ganz and the Philharmonic will start fo-cusing on Chopin’s works for piano and orchestra, beginning with the composer’s first piano concerto.

With its “All Kids, All Free, All the Time” policy, which allows young peo-ple ages 7-17 to attend National Phil-harmonic concerts for free, the orchestra makes it easy for entire families to enjoy its performances. “I’m passionate about introducing this music to young people,”

Gajewski says. “There’s a lot of variety to choose from—some very familiar music, some fun music, some well-known so-loists—so I definitely want to issue my personal invitation to young people and families to pick out a few concerts and come join us.”

From Verdi’s mighty Requiem to Vivaldi’s Four Seasons, The National Philharmonic’s 2013-2014 season promises to engage and delight audiences By Phyllis McIntosh

A little of everything

RThE NaTiONaL PhiLhaRMONiC

Soovin Kim

Gabriela Martinez

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RWaShiNGTON PERFORMiNG aRTS SOCiETy

Dynamic pianist Yuja Wang is just as

comfortable immersed in Chopin as she is

listening to Rihanna

By Pamela Toutant

nce upon a time, 26-year-old pianist Yuja Wang was a star-in-the-making. Now she is

simply “… the most dazzlingly, uncannily gifted pia-nist in the concert world today,” according to Zach-ary Woolfe of The New York Times.

“As a classical pianist, Wang has a high level of authority in her playing with a keen awareness of the music’s structure, balanced with the music’s lyricism,”

says Washington Performing Arts Society President and CEO Jenny Bilfield. “Her interpretive palette is truly impressive and rare. She is also a young artist who takes a curatorial role, who sees herself in musi-cal and historical context.”

Wang will take the stage Oct. 25 at the Music Center at Strathmore to offer an exciting recital pro-gram of late Romantic and early 20th century com-

Electric Youth

O


posers, including works by Prokofiev, Chopin and Stravinsky. “I always love playing Chopin and let-ting his genius enwrap my daily life,” says Wang. “The most substantial part of the program reflects my admiration of and infatuation with Chopin’s inspired writing. Prokofiev and Stravinsky are the Russians with whom I feel I have an affinity, so they bracket the program.”

Originally from Beijing, China, Wang began studying the piano when she was 6. “I come from a musical family,” says Wang. “My mother is a Chinese traditional dancer and my father is a percussionist. During my early musical training I had very devoted parents and a strict and sensible teacher.”

At 15, Wang won the Aspen Music Festival’s concerto competition and soon moved to the Unit-ed States to study at the Curtis Institute of Music in Philadelphia. “Gary Graffman was my teacher at Curtis, where I spent several enlightening years sur-rounded by creative, thought-provoking talents,” recalls Wang. When not performing on the world stage, Wang makes her home in New York.

Wang’s relationship with WPAS and the Wash-ington area is longstanding; she has performed with both the Baltimore and National symphony orchestras.

“Yuja first performed with WPAS in the spring of 2004 when she was 17, but it was a surprise perfor-mance,” explains Samantha Pollack, WPAS’ direc-tor of programming. “A pianist on our Hayes Piano Series, which features emerging pianists at the Ken-nedy Center, had to cancel suddenly. We reached out to pre-eminent pianist and pedagogue Leon Fleisher, who taught at Curtis, to bring a few of his brightest students and hold a master class in place of a full recital. Yuja was one of those students. WPAS is thrilled to be hosting her first ‘big hall’ recital in D.C. at Strathmore.”

The affection runs both ways. “I come back every year because WPAS is a great series and Washington is a wonderful city!” enthuses Wang.

Pollack, who has seen Wang perform many times, describes her performances as “electric.” “Whether she is performing a super-soft, delicate section of a piece or a fortissimo section, your eyes and ears are

glued to her. You can see her incredible focus, com-pletely attached and invested in the piece. Her sense of phrasing and propulsion allows the listener to both revel in the beauty of her musicality as well as be on the edge of the seat about where she’s going next.”

Wang’s virtuosity, combined with her vivid sar-torial choices, turns recitals into memorable perfor-mances. “My aesthetic sense was developed when I was quite young, and inspired by my mom as a danc-er and her beautiful silk dresses,” says Wang. “As an artist I have the freedom to express myself and com-municate as I wish on stage, so my appearance is just

a part of that whole process.” As Bilfield observes, “Yuja really owns her career, which is critically im-portant for young women.”

While highly accomplished in the world of classi-cal music, Wang also is a YouTube sensation, tweets and has eclectic tastes in music. “Radiohead, Rihan-na, Black Eyed Peas and Zaz are all on my iPod and I love them,” she says. Asked what she might do if of-fered more than 24 hours in the day, she enthused, “I would love to be a food critic!”

Like all young, dynamic artists, Wang’s repertoire is continually evolving. “Every composer sounds bet-ter with maturity and originality. Each work is a per-sonal statement, and like any personal statement, each one is fascinating once you start to explore it,” she says. “It is that process that I enjoy. I love Cho-pin, and am enchanted by Scriabin, Beethoven, Bach, Schumann and Brahms. There is so much great music to discover in the years to come. I’ll simply see where life takes me.”

Expressed another way on her Twitter feed last year, Wang quoted Mahler: “Tradition is tending the flame, it’s not worshipping the ashes.”

“i always love playing Chopin and letting his genius enwrap my daily life.”

Yuja Wang

Washington Performing arts Society presentsYuja Wang Friday, Oct. 25, 8 P.M. Electric Youth

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Literary Luncheon SeriesPresented by Friends of the Library Montgomery County11:30am-1:30pm, Strathmore MansionOctober 17 – Peggy Engel will discuss her career in journalism and her playwriting experience. November 21 – Author Sara Taber will discuss her new biography, Born under an Assumed Name: the Memoir of a Cold War Spy’s Daughter.240-777-0020. Register at www.folmc.org

PARTY ARTY FOR A GREAT CAUSE! MONTGOMERY COUNTY EXECUTIVE’S BALL BENEFITTING THE ARTS & HUMANITIESSunday, November 24, 6pmBethesda North Marriott Conference Center 5701 Marinelli Road, North BethesdaYour hosts County Executive Ike Leggett and First Lady Catherine Leggett invite you to join Montgomery County’s leaders and supporters of our County’s arts and humanities for a night of creativity and fun as we kick up our heels to celebrate our cultural treasures. Visit our website for details. Tickets go on sale in September. Individual tickets: $125. For sponsorship and event information, call 301-244-9836. www.mocoexecball.org

THE BEAUTY QUEEN OF LEENANE AND THISRound House Theatre 4545 East-West Highway, BethesdaOnstage during September & OctoberRound House Theatre launches its 2013/14 Bethesda season with The Beauty Queen of Leenane, an award-winning tragicomedy about a battling mother and daughter by acclaimed playwright and filmmaker Martin McDonagh. (Aug. 21-Sept. 15). It’s followed by the area premiere of Melissa James Gibson’s Off-Broadway hit This, an un-romantic comedy with music about entering the choppy waters of middle age (Oct. 9-Nov. 3).Box Office: 240-644-1100. www.roundhousetheatre.org

RHT 2013/14 SEASON

Culture WATCH

2013|2014 School Year CityDance ConservatorySeptember 9CityDance Conservatory offers pre-professional training for serious dancers ages 11 to 19 with a diverse curriculum ranging from ballet to Bollywood. 301.581.5204 www.citydance.net

Registration for 2013-2014 Season AuditionsGlorystar Children’s ChorusAugust-SeptemberEstablished education program in the joy of choral art! Ages 5-18. Eastern & Western repertoire. Public performances and touring opportunities.www.glorystar.org

Fall Classes at the ATMTC AcademyAdventure Theatre MTCSeptember 9-November 17Calling all performers! Join the Adventure Theatre MTC Academy for Fall Classes for Ages 2-18 and learn technique in singing, dancing and acting. www.adventuretheatre-mtc.org

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Romantic SentimentsNational Philharmonic Zuill Baily, cello Piotr Gajewski, conductorOct. 26, 8pm & Oct. 27, 3pmBrahms Tragic Overture Schumann Cello Concerto Brahms Symphony No. 1 301-581-5100 www.nationalphilharmonic.org

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THE KLEZMATICSSaturday, November 23, 8pmCultural Arts Center Montgomery College Silver Spring, MD7995 Georgia Avenue, Silver Spring, MD 20910Join us for a spectacular advance celebration of Hanukkah. Reserved Seating Tickets on sale September 1. Purchase tickets at www.montgomerycollege.edu/cac or call 240-567-5775 JEWISH

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Saturday, September 21, 2013, 8 p.m.


Marin Alsop, conductor

Marin Alsop is an in-spiring and powerful voice in the interna-tional music scene, a music director of vi-sion and distinction who passionately be-lieves that “music has

the power to change lives.” She is rec-ognized across the world for her inno-vative approach to programming and for her deep commitment to education and to the development of audiences of all ages.

Alsop made history with her ap-pointment as the 12th music director of the Baltimore Symphony Orchestra.

SATURDAY SEPTEMBER 21, 2013, 8 P.M.

●Baltimore Symphony Orchestra

Marin Alsop, Music Director

presents

Scheherazade & 1812 OvertureMarin Alsop, conductor

Timothy McAllister, saxophoneUnited States Navy Band Sea Chanters

The Star Spangled Banner John Stafford Smith (arr: James Lee III) Arrangement commissioned by the (1750-1836) Baltimore Symphony Orchestra

Scheherazade, Op. 35 Nikolai Rimsky-Korsakov largo e maestoso - Allegro non troppo (1844-1908) lento - Allegro molto Andantino quasi allegretto Allegro molto

INTERMISSION

Saxophone Concerto John Adams Animato (1947-) Molvo vivace

Timothy McAllister

1812, Overture solonelle, Op. 49 Piotr Ilyich Tchaikovsky U.S. Navy Band Sea Chanters (1840-1893)

John Adams’ Saxophone Concerto is co-commissioned by the Baltimore Symphony Orchestra, Sydney Symphony Orchestra, Saint louis Symphony and the

Orchestra Sinfonica do Estado de São Paulo.

Support for the BSO’s commissioning of new works is provided by a generous legacy gift from Mr. and Mrs. Randolph S. Rothschild.

Presenting Sponsor: M&T Bank The concert will end at approximately 10 p.m.

The Music Center at Strathmore • Marriott Concert Stage

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With her inaugural concerts in Sep-tember 2007, she became the first woman to head a major American or-chestra. She also holds the title of con-ductor emeritus at the Bournemouth Symphony in the United Kingdom, where she served as the principal con-ductor from 2002 to 2008.

Her success as the BSO’s music direc-tor has garnered national and interna-tional attention for her innovative pro-gramming and artistry. Additionally, her success was recognized when, in 2013, her tenure was extended to the 2020-2021 season. Alsop took up the post of chief conductor of the São Paulo Sym-phony Orchestra in 2012, where she steers the orchestra in its artistic and cre-ative programming, recording ventures and its education and outreach activities.

In the summer of 2011, Alsop served her 20th season as music director of the acclaimed Cabrillo Festival of Contem-porary Music in California. Musical America, which named Alsop the 2009 Conductor of the Year, recently said, “[Marin Alsop] connects to the public as few conductors today can.”

Timothy McAllister, saxophoneAcclaimed soloist and member of the renowned PRISM Quartet, Timothy McAllister is one of America’s premier concert saxophone performers and a

champion of contemporary music. Credited with more than 150 pre-

mieres of new compositions by eminent and emerging composers worldwide, his celebrated work is highlighted in the Deutsche Grammophon DVD release of the world premiere of John Adams’ City Noir, filmed as part of Gustavo Dudamel’s inaugural concert as music director of the Los Angeles Philhar-monic. Prior to the U.S. premiere with the Baltimore Symphony Orchestra, he gave the world premiere of John Adams’ Saxophone Concerto with the Sydney Symphony Orchestra.

McAllister has recently appeared as soloist with the Albany Symphony



Orchestra, Cabrillo Festival Orchestra, Reno Philharmonic Orchestra, Boston Modern Orchestra Project, The United States Navy Band, Dallas Wind Sym-phony, Hong Kong Wind Philharmo-nia, Pacific Symphony and the Nash-ville Symphony, among others.

Timothy McAllister is making his BSO debut.

United States Navy Band Sea ChantersThe Sea Chanters is the United States Navy’s official chorus. The ensemble performs a variety of music ranging from traditional choral music to opera, Broadway and contemporary music.

The Sea Chanters have appeared at The Kennedy Center Honors and with the National Symphony Orchestra for the National Memorial Day concerts at the U.S. Capitol. The group also has appeared on Larry King Live and CBS This Morning, as well as at the premiere of the movie Pearl Harbor.

Other notable orchestral appearances include the Kansas City Symphony, the Boston Pops Esplanade Orchestra, the Baltimore Symphony Orchestra and the Cincinnati Pops Orchestra.

The United States Navy Band Sea Chanters Chorus is making its BSO subscription debut.

Program NotesScheherazade, Op. 35

Nikolai Rimsky-Korsakov Born March 18, 1844, in Tikhvin, Russia; died June 21, 1908, in Lyubensk, near St. Petersburg, Russia

Rimsky-Korsakov’s Scheherazade is as intoxicating and seductive as the allur-ing storyteller for whom it is named. A joy for both audiences and musicians, it is music to make one fall in love with the symphony orchestra itself: its power, its delicacy and its limitless palette of instrumental colors. In fact, Scheherazade could well be called a “concerto for or-chestra,” with the solo violin, represent-ing the Persian enchantress, the leader of a company of individual soloists and

sections playing as ensemble soloists.Created during the summer of 1888,

Scheherazade was inspired by the Persian legend of the cruel Sultan who ordered all his wives to be put to death after their wedding night, and of Schehe-razade who so beguiled him with her 1,001 tales that he kept postponing her execution until finally she won his love. But Rimsky does not tell any of her stories in detail, and he urged audiences not to take his movement titles too literally: “I meant these hints to direct slightly the hearer’s imagination on the path which my own fancy had traveled, and to leave more … particular concep-tions to the … mood of each [listener].”

Rimsky used only a few exotic melo-dies to build this lengthy work, and— depending on their context, tempo and orchestral guise—they play different roles in different movements. He did, however, set a framework around the work. At the beginning, we hear the Sultan gruffly ordering Scheherazade to begin her first story in a loud, harsh orchestral unison. After “once-upon-a-time” chords in the woodwinds, the solo violin enters as the voice of Scheherazade. Rimsky again returns to the violinist/heroine to open the second movement, and, as he begins the final one, we hear the Sultan’s voice begging for another story. At work’s end, the Sultan’s theme has been transformed: he is putty in Scheherazade’s hands as she floats a harmonic high E at the top of the violin’s range.

The four movements are essentially self-explanatory. In the first, after Sche-herazade’s introduction come surging arpeggios in the cellos and violas: we are on the high seas with Sinbad the Sailor. The second movement, “The Story

of the Kalander Prince,” is built around an exotic Middle Eastern-style melody introduced by the solo bassoon. The fourth movement is the most complex: it begins with the riotous color and swirling activity of “The Festival of Baghdad,” and then, at the festival’s height, sends us suddenly back to Sinbad’s seas, as the low strings billow and a fierce storm screams overhead in the woodwinds. With a huge timpani crash, the ship is wrecked, and we return to the Sultan ready to live hap-pily ever after with Scheherazade and her marvelous stories.

Saxophone Concerto

John Adams Born Feb. 15, 1947 in Worcester, Mass.; now living in Berkeley, Calif.

“My Saxophone Concerto was composed in early 2013, the first work to follow the huge, three-hour oratorio, The Gospel According to the Other Mary. Despite their very different atmospheres and subject matter, both Other Mary and the Saxo-phone Concerto share peculiar affinities, particularly in the use of modal scales and the way they color the emotional ambi-ence of the music. This new concerto has as its source my lifelong exposure to the great jazz saxophonists, from the swing era through the likes of John Coltrane, Eric Dolphy and Wayne Shorter.

American audiences know the saxo-phone almost exclusively via its use in jazz, soul and pop music. The instances of the saxophone in the classical repertory are rare, and the most famous appear-ances amount to only a handful of solos in works by Ravel, Milhaud, Prokofiev, Rachmaninoff and Bernstein.

Having grown up hearing the sound of the saxophone virtually every day—my



father had played alto in swing bands dur-ing the 1930s and our family record col-lection was well stocked with albums by the great jazz masters—I never considered the saxophone an alien instrument. My 1987 opera Nixon in China is almost im-mediately recognizable by its sax quartet, which gives the orchestration its special timbre. I followed Nixon with another work, Fearful Symmetries, that also fea-tures a sax quartet in an even more salient role. In 2010, I composed City Noir, a jazz-inflected symphony that featured a fiendishly difficult solo part for alto sax: a trope indebted to the wild and skittish styles of the great bebop and post-bop artists. Finding a sax soloist who could play in this style but who was sufficiently trained to be able to sit in the middle of a modern symphony orchestra was a difficult assignment. But fortunately I met Tim McAllister, who while rigorously trained is also aware of the jazz tradition.

When one evening during a dinner conversation Tim mentioned that during high school he had been a champion stunt bicycle rider, I knew that I must compose a concerto for this fearless musi-cian and risk-taker.

A composer writing a violin or piano concerto can access a gigantic repository of past models for reference, inspiration or even cautionary models. But there are precious few worthy concertos for saxo-phone. But I knew many great recordings from the jazz past that could form a basis for my compositional thinking, among them Focus, a 1961 album by Stan Getz for tenor sax and an orchestra of harp and strings arranged by Eddie Sauter.

Classical saxophonists are normally taught a “French” style very much at odds with the looser, grittier style of a jazz play-er, and in the discussions we had during the creation of the piece, I returned over and over to the idea of an “American” sound for Tim to use as his model. Such a change is no small thing; it would be like asking a singer used to singing Bach cantatas to cover a Billy Holiday song.

While the concerto is not meant to sound jazzy per se, its jazz influences lie only slightly below the surface. I make constant use of the instrument’s vaunted agility as well as its capacity for a lyrical

Baltimore Symphony Orchestra

Marin Alsop, Music Director, Harvey M. and Lyn P. Meyerhoff Chair Jack Everly, Principal Pops Conductor

Yuri Temirkanov, Music Director Emeritus Alexandra Arrieche, BSO-Peabody Conducting Fellow

First ViolinsJonathan Carney

Concertmaster, Ruth Blaustein Rosenberg Chair

Madeline Adkins Associate Concertmaster, Wilhelmina Hahn Waidner Chair

Igor Yuzefovich* Assistant Concertmaster

Rui Du Acting Assistant

ConcertmasterJames BoehmKenneth GoldsteinWonju KimGregory KupersteinMari MatsumotoGregory MulliganRebecca NicholsE. Craig RichmondEllen Pendleton

TroyerAndrew Wasyluszko

Second ViolinsQing li

Principal, E. Kirkbride and Ann H. Miller Chair

Ivan Stefanovic Associate Principal

Angela lee Assistant Principal

leonid Berkovichleonid BriskinJulie ParcellsChristina ScrogginsWayne C. TaylorJames umberCharles underwoodMelissa ZarayaMinsun Choi**

ViolasRichard Field

Principal, Peggy Meyerhoff Pearlstone Chair

Noah Chaves Associate Principal

Karin Brown Assistant Principal

Rebekah Newman Peter MinklerSharon Pineo MyerDelmar StewartJeffrey StewartMary Woehr

CellosDariusz Skoraczewski

Acting Principal Chang Woo lee

Associate PrincipalBo li Acting Assistant

PrincipalSeth lowSusan EvansEsther MellonKristin OstlingPaula

Skolnick-ChildressPei lu**

BassesRobert Barney

Principal, Willard and Lillian Hackerman Chair

Hampton Childress Associate Principal

Owen CummingsArnold GregorianMark HuangJonathan JensenDavid SheetsEric Stahl

FlutesEmily Skala

Principal, Dr. Clyde Alvin Clapp Chair

Marcia Kämper

Piccololaurie Sokoloff

OboesKatherine

Needleman Principal, Robert H. and Ryda H. Levi Chair

Michael lisicky

English HornJane Marvine

Kenneth S. Battye and Legg Mason Chair

ClarinetsSteven Barta

Principal, Anne Adalman Goodwin Chair

Christopher Wolfe Assistant Principal

William Jenken

E-flat ClarinetChristopher Wolfe

BassoonsFei Xie

Principal Julie Green Gregorian

Assistant PrincipalBenjamin Greanya**

ContrabassoonDavid P. Coombs

HornsPhilip Munds

Principal, USF&G Foundation Chair

Gabrielle Finck Associate Principal

lisa BergmanMary C. Bisson Bruce Moore

TrumpetsAndrew Balio

Principal, Harvey M. and Lyn P. Meyerhoff Chair

Rene Hernandez Assistant Principal

Nathaniel Hepler

TrombonesJoseph Rodriguez** Acting PrincipalJames Olin

Co-PrincipalJohn Vance

Bass TromboneRandall S. Campora

TubaDavid T. Fedderly

Principal

TimpaniJames Wyman

PrincipalChristopher Williams

Assistant Principal

PercussionChristopher Williams

Principal, Lucille Schwilck Chair

John lockeBrian Prechtl

Harp Sarah Fuller**

Piano lura Johnson**

Sidney M. and Miriam Friedberg Chair

Director of Orchestra PersonnelMarilyn Rife

Assistant Personnel ManagerChristopher Monte

LibrariansMary Carroll Plaine

Principal, Constance A. and Ramon F. Getzov Chair

Raymond Kreuger Associate

Stage PersonnelEnnis Seibert

Stage ManagerTodd Price

Assistant Stage Manager

Charles lamar Sound

Mario Serruto Lighting Director

*on leave** Guest musician



the country that thwarted him was Russia. On Sept. 7, 1812, Napoleon’s army met the massive Russian forces under Gen. Kutuzov in the Battle of Borodino, which ended indecisively with more than 80,000 casualties. Ku-tuzov cleverly withdrew his forces be-hind Moscow, and when Napoleon ar-rived there, he found the city in flames, nothing to win, and no food or supplies for his troops. The brutal Russian win-ter did the rest of the work, and Na-poleon limped out of Russia with his troops decimated.

Nearly 70 years later in 1880, Tchai-kovsky was asked by his friend Niko-lai Rubinstein, director of the Moscow Conservatory, to write a patriotic piece for the opening of the Russian Exhi-bition of Industry and the Arts, and more specifically for the consecration of the Cathedral of Christ the Sav-ior. Begrudging the labor necessary for such an unrewarding task, Tchaikovsky ripped the composition out in just a week and finished the scoring one

month later. Tchaikovsky’s speed in turning out

what is probably today his most famous composition was aided by his stitch-ing the work together from a number of pre-existing melodies. In a slow, brood-ing introduction, it opens with a beau-tiful, traditional Russian Orthodox chant “Save, Lord, Thy People,” deep in the strings. This opening section also introduces a dashing military-sig-nal-style tune representing the Russian army, which will play an important role in the work’s conclusion. The main Al-legro section introduces the French na-tional hymn “La Marseillaise,” which battles with the Russian themes. A quieter lyrical section quotes from a swaying melody in Tchaikovsky’s early opera, The Voyevoda, as well as a tra-ditional Russian folk-dance song “At the Gates.” Finally, a grandiose coda salutes the Russian victory with an im-posing statement of the Russian impe-rial hymn “God Save the Tsar.”

Notes by Janet E. Bedell copyright 2013

utterance that is only a short step away from the human voice. The form of the concerto is a familiar one for those who know my orchestral pieces, as I’ve used it in my Violin Concerto, in City Noir and in my piano concerto Century Rolls. It begins with one long first part combining a fast movement with a slow, lyrical one. This is followed by a shorter second part: a species of funk-rondo with a fast, driving pulse.

The concerto lasts roughly 32 min-utes, making it an unusually expansive statement for an instrument that is still looking for its rightful place in the symphonic repertory.”

John Adams, July 2013

1812, Overture solonelle, Op. 49

Piotr Ilyich Tchaikovsky Born May 7, 1840, in Votkinsk, Russia; died Nov. 6, 1893, in St. Petersburg, Russia

The year 1812 was the beginning of the end for Napoleon Bonaparte and his dreams of conquering Europe, and

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MusicArts.com

thursday, September 26, 2013, 8 p.m.


Sun), has the rare ability to combine poetic musical sensibilities with dazzling technical prowess.

Thibaudet has performed for more than 30 years and recorded more than 40 albums, and has a depth and natural charisma that have made him one of the most sought-after soloists.

A recording artist for Decca, he has won the Schallplattenpreis, the Diapa-

THURSDAY, SEPTEMBER 26, 2013, 8 P.M.



presents

thibaudet Plays BernsteinMarin Alsop, conductor

Jean-Yves Thibaudet, piano

Cuban Overture George Gershwin (1898-1937)

Symphony No. 2, “The Age of Anxiety” Leonard Bernstein Part I (1918-1990) The Prologue: lento moderato The Seven Ages: Variations 1-7 The Seven Stages: Variations 8-14 Part II The Dirge: largo The Masque: Extremely fast The Epilogue: l’istesso tempo - Adagio - Andante - con moto

Jean-Yves Thibaudet

INTERMISSION

Piano Concerto in G Major Maurice Ravel Allegramente (1875-1937) Adagio assai Presto Jean-Yves Thibaudet

Suite No. 2 from Daphnis et Chloé Maurice Ravel lever du jour Pantomime Danse générale

Presenting Sponsor: Vocus The concert will end at approximately 10 p.m.

The Music Center at Strathmore Marriott Concert Stage

Marin Alsop, conductor

For Marin Alsop’s biography see page 26.

Jean-Yves Thibaudet, pianoJean-Yves Thibaudet, “one of the best pianists of our time” (New York

son d’Or, Choc du Monde de la Musique, a Gramophone Award, two Echo Awards and the Edison Prize. In 2010, Thibau-det released his latest CD, Gershwin, featuring “big jazz band” orchestrations of Rhapsody in Blue, variations on “I Got Rhythm,” and Concerto in F live with the Baltimore Symphony Orchestra and its music director, Marin Alsop. In 2012, Thibaudet recorded the soundtrack of the film, Extremely Loud & Incredibly Close. Known for his style and elegance, Thibaudet wears a concert wardrobe designed by Vivienne Westwood.

Jean-Yves Thibaudet last appeared with the BSO in November 2009, per-forming George Gershwin’s Rhapsody in Blue and Concerto in F and Franz Liszt’s Totentanz, with Marin Alsop conducting.

Program NotesCuban Overture

George Gershwin Born Sept. 26, 1898 in Brooklyn, N.Y.; died July 11, 1937, in Beverly Hills, Calif.

George Gershwin was very conscious of his lack of early formal musical training and, in adulthood, studied with various teachers to remedy it whenever his frenetic schedule al-lowed. Although he’d allowed Ferde Grofé to score Rhapsody in Blue, he orchestrated all his subsequent concert pieces himself and bristled at journal-ists who periodically accused him of letting others polish his work. Just how sophisticated his mastery of the orches-tra became can be heard in his Cuban Overture, written in 1932.

At that time, Gershwin was studying theory and composition with Joseph Schillinger, a graduate of the St. Pe-tersburg Conservatory, and this piece grew from his lessons in counterpoint (the art of weaving together multiple musical lines). It was also inspired by a vacation he’d taken in Cuba that winter; he became fascinated with Cuban dance music and returned with several Cuban percussion instruments in his luggage—bongo drums, Cuban sticks or claves, gourd and maracas—



that received prominent parts in his new work. By the summer of 1932, he was rapidly completing the Overture for a mammoth all-Gershwin concert held outdoors at New York’s Lewisohn Stadium on Aug. 16. That concert was a spectacular success, with 18, 000 in attendance and thousands more turned away at the gates.

Cuban Overture is in three sec-tions, opening and closing with the fast, intricate rumba music featuring the indigenous Cuban instruments. In the middle, a lengthy slow section shows Gershwin’s ability to create a subtle, haunting atmosphere conjur-ing a tropical night. The brilliant orchestration throughout suggests the composer had learned a thing or two from his friend Maurice Ravel, but the verve and melodic inspiration are pure Gershwin.

Symphony no. 2, “the Age of Anxiety”

Leonard Bernstein Born Aug. 25, 1918, in Lawrence, Mass.; died Oct. 14, 1990, in New York City

None of the three works Leonard Bernstein labeled as symphonies in any way resembles a conventional orchestral symphony. Symphony No. 1, “Jeremi-ah,” includes a singer and chorus and is built around Old Testament texts in Hebrew. Symphony No. 3, “Kaddish,” which the BSO performed last season, combines choruses, vocal soloist and a spoken text to express what is essentially Bernstein’s very personal argument with God. And inspired by W. H. Auden’s long poem of the same name, Sym-phony No. 2, “The Age of Anxiety,” which we will hear at these concerts, is a highly dramatic work that resembles both a tone poem and a piano concerto. As the composer himself candidly admitted: “If the charge of ‘theatrical-ity’ in a symphonic work is a valid one, I am willing to plead guilty. I have a deep suspicion that every work I write, for whatever medium, is really theatre music in some way.”

Though not a word is spoken or sung in Symphony No. 2, it is as much tied to a literary text as are “Jeremiah” and

“Kaddish.” Bernstein was an insatiable reader, and he was utterly captivated by Auden’s Pulitzer Prize-winning poem, which he discovered soon after its publication in 1947. “From that mo-ment, the composition of a symphony... acquired an almost compulsive quality,” Bernstein remembered, “and I worked on it steadily... in Taos, in Philadelphia, in Richmond, Mass., in Tel Aviv, in planes, in hotel lobbies.” The orches-tration was done in the midst of a tour with the Pittsburgh Symphony, during which Bernstein conducted 25 concerts in 28 days. As was to happen through-out his life, the need to compose was already in conflict with the demands of his exploding conducting career.

Bernstein based his hybrid work closely on the six-part format of the poem and its focus on the conversations of three men and a woman during a long, alcohol-fueled night in a wartime New York City bar. “The essential line of the poem (and of the music) is a record of our difficult search for faith. In the end, two of the characters enunci-ate the recognition of this faith... at the same time revealing an inability to relate to it in their daily lives, except through blind acceptance.” Bernstein explained that “the conception of a symphony with piano solo emerges from the personal indentification of myself with the poem. In this sense, the pianist provides an autobiographical protago-nist, set against an orchestral mirror.” Appropriately, Bernstein himself played the solo part at “Age of Anxiety’s” premiere performance on April 8, 1949, with the Boston Symphony conducted by Serge Koussevitzky. The composer dedicated the work to Koussevitzky, who had been his conducting mentor and given him his first big opportunities on the podium.

“Age of Anxiety” is an extremely eclectic score in which Bernstein mingled influences from many compos-ers he loved and frequently conducted: Stravinsky, Shostakovich, Britten, Brahms and Rachmaninoff (for the vir-tuosic keyboard flights). More personal were many borrowings from his own earlier scores, as well as the exhilarating

piano jazz of the fifth movement, “The Masque,” based on his flair for improvising jazz at the keyboard.

Here are Bernstein’s own descriptions of the Symphony’s six sections:Part I:

“The Prologue finds four lonely charac-teers, a girl and three men, in a Third Av-enue bar, all of them insecure and trying, through drink, to detach themselves from their conflicts or, at best, to resolve them. They... begin a kind of symposium on the state of man. Musically, the Prologue is a very short section consisting of a lonely improvisation by two clarinets... followed by a long descending scale which acts as a bridge into the realm of the unconscious, where most of the poem takes place.

“The Seven Ages. The life of man is reviewed from the four personal points of view. This is a series of variations, which differ from conventional variations in that they do not vary any one common theme. Each variation seizes upon some feature of the preceding one and develops it, introducing... some counter-features upon which the next variation seizes. ...

“The Seven Stages. The variation form continues for another set of seven, in which the characters go on an in-ner symbolic journey... leading back to a point of comfort and security. The four try every means, going singly and in pairs, exchanging partners and always missing the objective. When they awaken from this dream-odyssey, they are closely united through a common experience (and through alcohol) and begin to function as one organism. This set of variations begins to show activity and drive and leads to a hectic, though inconclusive, close.”Part II:

“The Dirge is sung by the four as they sit in a cab en route to the girl’s apartment for a nightcap. They mourn the loss of the ‘colossal Dad,’ the great leader who can alway give the right orders, find the right solution, shoulder the mass responsibil-ity and satisfy the universal need for a father-symbol. This section employs, in a harmonic way, a 12-tone row out of which the main theme evolves. There is a con-trasting middle section of almost Brahm-sian romanticism, in which can be felt the self-indulgent aspect of this strangely



pompous lamentation. “The Masque finds the group in the

girl’s apartment, weary, guilty, deter-mined to have a party, each one afraid of spoiling the others’ fun by admitting that he should be home in bed. This is a scherzo for piano and percussion alone. ... The party ends in anticlimax and the dispersal of the actors. ... Thus, a kind of separation of the self from the guilt of escapist living has been effected, and the protagonist is free again to examine what is left beneath the emptiness.

“The Epilogue. What is left, it turns out, is faith. The trumpet intrudes its statement of ‘something pure’ upon the dying pianino [upright piano in the orchestra]; the strings answer in a mel-ancholy reminiscent of the Prologue. ... All at once, the strings accept the situa-tion in a sudden statement of the newly recognized faith. ... The way is open, but at the conclusion, is still stretching long before the [protagonist].”

Piano Concerto in G Major

Daphnis et Chloé Suite no. 2

Maurice Ravel Born March 7, 1875, in Ciboure, Basses-Pyrenées, France; died Dec. 28, 1937, in ParisMaurice Ravel was a masterful compos-er for both the orchestra and the piano. Strangely, he did not combine these so-norities until late in his career, when he wrote two remarkable concertos: the Concerto for the Left Hand and the Concerto in G Major for both hands.

The impetus for the Concerto in G was Ravel’s need for a work to show off his performing skills during a North American tour in 1928, but this pains-takingly slow creator did not manage to launch the concerto before his boat left. It was finally written between 1929 and 1931. Opposed to the heavy Teuton-ic approach of Beethoven and Brahms, Ravel declared: “The music of a concer-to should, in my opinion, be light-heart-ed and brilliant, and not aim at profun-dity or at dramatic effects.”

An elegant demonstration of this be-lief, the Concerto in G was enormous-ly successful at its premiere in Paris on Jan. 14, 1932. Its first movement mixes

a timeless exoticism, arrayed in Rav-el’s most sparkling orchestral hues, with a percussive, jazz-driven 20th-centu-ry pace. The opening is arresting: The crack of a whip sets off dazzling, bell-like music with the pianist playing white keys in the right hand against clash-ing black keys in the left. The piccolo whirls through a piquant melody, in-spired by the folk melodies of Ravel’s native Basque country. Then the tempo slows to a bluesy mood, with wailing clarinet and muted trumpet melodies that George Gershwin himself might have penned.

Jazz takes a rest during the delicately beautiful slow movement, which is in the antique style of the composer’s fa-mous “Pavane for a Dead Princess.” Play-ing alone, the piano sings a long, pensive melody with sensitive woodwind com-mentary. Later, the English horn reprises this melody while the piano shimmers around it. The finale brings back the world of jazz with a light-hearted, high-speed chase in which the piano is nearly always the leader, urged on by mocking orchestral laughter.

Ravel’s score for the ballet Daphnis et Chloé is generally acknowledged to be his greatest work. Even Igor Stravinsky, who tended to be stingy with his praise, called it “one of the most beautiful prod-ucts in all of French music.” Yet, as the offspring of clashing artistic tempera-ments, it had a painful birth.

In 1909, Sergei Diaghilev presented the first season of his Ballets Russes in Paris, and his spectacular dancers—in-cluding the incomparable male star Ni-jinsky—daring choreography and eye-filling sets by Leon Bakst captivated the Parisian public. Thus when Diaghilev approached Ravel for a ballet score for the company’s next season, the com-poser readily agreed. Ravel; Diaghilev; and his brilliant choreographer, Mi-chel Fokine, chose to set the story of the shepherd-lovers Daphnis and Chloé from the third-century A.D. pastoral romance by the Greek writer Longus. But it is that there agreement ended. Fokine and Bakst envisioned a primi-tive Greece with imagery based on the stylized figures of ancient Greek pottery.

Ravel, instead, saw the ancient setting in more idealized terms: “a vast musical fres-co, concerning itself less with archaic fi-delity, than with fidelity to the Greece of my dreams, which in many ways resem-bled that… depicted by the French artists of the 18th century.”

This artistic conflict, combined with Ravel’s slow, meticulous method of com-position, and linguistic difficulties be-tween Fokine, who spoke little French, and Ravel, who claimed “I only know how to swear in Russian,” delayed the pro-duction for several seasons. The premiere finally came on June 8, 1912, with Nijin-sky and the great Tamara Karsavina danc-ing the title roles and Pierre Monteux conducting.

Ravel extracted two concert suites from the score, and the Second Suite—which comprises the ballet’s third and final tab-leau—is by far the more often performed. It has three interlocking movements: “Dawn,” “Pantomine” and “Final Dance.” Earlier in the story, Daphnis and Chloé’s love has been tested by rivals, and Chloé has been abducted by pirates, but she is rescued by the miraculous intervention of the god Pan.

The third act opens with “probably the most famous dawn in all music” (Robin Holloway). Master orchestrator that he was, Ravel paints the sunrise with all the Technicolor sounds he can conceive: the ripple of brooks; the chatter of birds; and, from deep in the orchestral strings, a magnificent song portraying the rising sun, finally gleaming aloft in the violins. Daphnis awakes, searches frantically for Chloé and, at the crest of the second cre-scendo, sees her returning with a party of shepherdesses. Seeing the crown on her head, he realizes that Pan has saved her in memory of his love for the nymph Syrinx. Daphnis and Chloé then mime the court-ship of Pan and Syrinx and Pan’s inven-tion of the flute, celebrated in a glorious extended flute solo. The two lovers swear their eternal fidelity to solemn, brass-dom-inated music. Nymphs and shepherds sur-round them for a joyously pagan dance. Here Ravel’s 18th-century ideal seems at last to yield to the full-blooded style of his Russian colleagues.


Learn more at WPAS.org

Friday, September 27, 2013, 8 P.M.

34 APPlAuSe at Strathmore •SEPTEMBER/OCTOBER 2013

“Hello Again (Hello Detroit)” Berry Gordy (1929-) and Willie Hutch (1944-2005)

“My Kind of Town” Sammy Cahn (1913-1993) and Jimmy Van Heusen (1913-1990)

“Drink to Me Only” Larry Shay, Mark Fisher and Joe Goodwin

“That’s Amore” Harry Warren (1893-1981) and Jack Brooks (1912-1971)

“Volare (Nel Blu Dipinto Di Blu)” Domenico Modugno (1928-1994), Franco Migliacci (1930-)

and Mitchell Parish (1900-1993)

“That Old Black Magic” Harold Arlen (1905-1986) and Johnny Mercer (1909-1976)

“What Kind of Fool Am I” Anthony Newley (1931-1999) and Leslie Bricusse (1931-)

“Sam’s Song” Jack Elliot (1914-1972) and Lew Quadling (1906-1987)

“Will I Still Be Me?” (“Mr. Bojangles” Intro) Ron Miller (1933-2007) and Kenneth Hirsch

(“Mr. Bojangles Intro” by Jerry Jeff Walker)

INTERMISSION

FRANK SINATRA MEDLEY:

“Come Fly With Me” Jimmy Van Heusen and Sammy Cahn

“That’s All” Alan Brandt and Bob Haymes (1923-1989)

“The Best is Yet to Come” Cy Coleman (1929-2004) and Carolyn Leigh (1926-1983)

“Fly Me to the Moon” Bart Howard (1915-2004)

“You Make Me Feel So Young” Josef Myrow (1910-1987) and Mack Gordon (1904-1959)

“I Got You Under My Skin” Cole Porter (1891-1964)

“For Once in My Life” Ron Miller and Orlando Murden

“The Things I Should Have Said” / “Wasn’t I A Good Time” Ron Miller and Kenneth Hirsch

“Me and My Shadow” Billy Rose (1899-1966), Al Jolson (1886-1950) and

Dave Dreyer (1894-1967)

“Luck Be A Lady” Frank Loesser (1910-1969)

“A Foggy Day” George Gershwin and Ira Gershwin

“Mack the Knife” Kurt Weill (1900-1950) and Bertolt Brecht (1898-1956)

“My Way” Paul Anka (1941-), Claude François (1939-1978) and

Jacques Revaux (1940-)

“New York, New York” Fred Ebb (1928-2004) and John Kander (1927-)

“Birth of the Blues” Ray Henderson (1896-1970), Buddy DeSylva (1895-1950) and

Lew Brown (1893-1958)

FRIDAY, SEPTEMBER 27, 2013, 8 P.M.

●Strathmore Presents

Sandy hackett’s rat Pack ShowSandy Hackett, writer, producer, creator

Lisa Dawn Miller, producerBilly Karl, director

Ryan Rose, music directorMark Matson, technical director

Jeanne Quinn, art director

Sandy Hackett, Joey BishopTom Wallek, Dean Martin

Louie Velez, Sammy Davis, Jr.Danny Grewen, Frank Sinatra

Lisa Dawn Miller, Frank’s One Love

Buddy Hackett, Voice of God, inspirationRon Miller, composer, inspiration

The Music Center at Strathmore • Marriott Concert Stage



Sandy Hackett’s Rat PackSandy Hackett is the son of legendary comedian Buddy Hackett. When HBO an-nounced it was going to do a movie about the legendary Rat Pack, longtime family friend Joey Bishop suggested Hackett would be perfect for the role of Joey. Although the part eventually went to someone else, the Rat Pack idea stayed with Hackett, who decided to open his own show re-creating Bishop and his famous buddies.

Sandy Hackett’s Rat Pack Show fea-tures performances by Sandy Hackett (Joey Bishop); his wife, Lisa Dawn Miller (Frank’s One Love); Danny Grewen (Frank Sinatra); Louie Velez (Sammy Davis, Jr.) and Tom Wallek (Dean Martin). The musi-cal team is led by Christopher Hardin and conductor/drummer Ryan Rose.

Sandy HackettSandy Hackett is the creator of Sandy Hackett’s Rat Pack Show. Son of the late comedian Buddy Hackett, Sandy Hackett portrays Joey Bishop in the show.

Sandy Hackett honed his comedic skills on stage at the Casbah of the Sahara Hotel & Casino in Las Vegas. Before long, he was working the Playboy and Comedy Club cir-cuit nationally. As fate would have it, Sandy got to work with Sammy Davis Jr., Dean Martin and Frank Sinatra in the film, The Cannonball Run II. It wasn’t long before he landed a feature role in Hot Dog. The Movie. This was followed up with a starring role in Hamburger. The Motion Picture.

Although known primarily as a come-

dian, Hackett has worked as a dramatic actor in the films Jack of Hearts, Lovers & Liars and Ex-Cop. He also portrayed District Attorney Martin Siegel in the acclaimed PBS series, On Common Ground.

Danny GrewenDanny Grewen has been performing as Frank Sinatra since 2005. When not portraying Sinatra, Grewen can be found fronting one of his own bands, The Car-litos, High Society and Horace-Scope.

Louie VelezLouie Velez’s portrayal of Sammy Da-vis Jr. has been captivating audiences since he began his tribute back in New York circa 1987. He remembers watching Sammy Davis Jr. on TV and trying to imitate him while viewing The Ed Sullivan Show.

Velez has appeared on The Tonight Show and The Miss Universe Pag-eant. He opened at the MGM for the original Four Tops and appeared at the Victor Awards at the Las Vegas Hilton. Velez also appeared in Legends in Concert for several years at the Imperial Palace in Las Vegas, which brought him to Bally’s Park Place in Atlantic City and other major cities nationwide.

Prior to his days as Sammy Davis Jr., Velez opened in an upstate New York summer theater for Tom Jones and Tony Orlando.

Tom Wallek Tom Wallek is a Brooklyn, N.Y.- born comedian, actor and impressionist. He moved to the Detroit area when he was young and graduated from Farmington High School. Voted the funniest in his class, he learned early on that making people laugh was a lot of fun.

After four years in the U.S. Navy, which took Wallek to San Diego, the comedy bug hit hard. He started performing every Sunday at the world famous Comedy Store, and in 1984 Wallek moved to Las Vegas where he met and became friends with Sandy Hackett. Small clubs and venues fol-lowed. Then in 1991 Wallek landed a part in Comedy Cabaret at the Maxim and later that year performed as the lead in Tropical Heat, a show at the Rio.

Lisa Dawn MillerLisa Dawn Miller, daughter of the late songwriter Ron Miller, spent the first part of her life as a stockbroker and financial planner. She has decided to take her knowledge from the business world and turn it toward her first love—singing, writing and producing.

Miller has performed many of her father’s hits, as well as original songs she had co-written with him. She received critical acclaim for her show I Want To Come Back As A Song: Ron Miller, A Knight of Lyrics. In addition, she has been going through the personal Miller music vault to discover many never-before-heard songs written by her father, that she has now remade, produced and is releasing through various recording projects and live stage productions.

Buddy HackettBuddy Hackett was dearly loved for his gift of making people laugh. His first job as a comedian was at the Pink Elephant, a tiny club in Brooklyn. He went on to appear on Broadway and multiple appear-ances on The Tonight Show and The Jackie Gleason Show.

Hackett became a lifelong friend of Frank Sinatra and the rest of the Rat Pack, appearing with them in several Vegas performances and at Carnegie Hall. He also appeared on the incarna-tions of Joey Bishop’s shows and on The



also has performed Latin jazz and Brazilian music with percussionist Michito Sanchez.

Mark MatsonA veteran on the Las Vegas music scene, Mark Matson has been a recording engineer/producer for more than 15 years. He has worked with performers including Celine Dion, Sheryl Crow, Huey Lewis, Sheena Easton, Boyz II Men, Megadeth and Wayne Newton.

An accomplished keyboardist, guitarist and drummer, Matson also writes, records and performs original music with house/techno group Sipping Soma.

Jeanne QuinnJeanne Quinn has been a professional graphic artist and award-winning web developer in the entertainment industry since 1996. Her extensive portfolio in-cludes designs for such artists as Brendan Bowyer of the Royal Irish Showband, Jack E. Leonard, Gordie Brown, Buddy Hack-ett, Jon “Bowzer” Bauman of Sha Na Na, Louie Anderson and Roy Rogers.

ate an unspoken narrative.In 2007, Miller was posthumously

awarded the Heroes & Legends Award for lifetime achievement in songwriting.

Billy Karl A native New Yorker, Karl graduated at the top of his film and television program at New York University’s Tisch School of the Arts. After graduation he went on to film and direct commercials for NBC, ABC, CBS, Warner Brothers, Citibank, Paramount Pictures, Purina, General Motors, DeLorian Motors and Nissan.

He also has written and directed performances in Los Angeles, and worked radio, television and commer-cial production.

Ryan RoseRyan Rose started playing music at an early age. While studying at Wayne State University, he performed with the big band, show choir and vocal jazz ensemble. He later worked in Las Vegas with the lounge band Fahrenheit and

Dean Martin Show.Hackett made several guest appear-

ances and cameos on TV shows, includ-ing Space Rangers, Sabrina the Teenage Witch and Boy Meets World. He also provided the voice of Scuttle the seagull in The Little Mermaid.

Ron MillerThe late songwriter was one of Motown Records’ original staff writers. His hits include “For Once in My Life,” “Touch Me in the Morning,” “Heaven Help Us All,” “Yester-me, Yester-you, Yesterday,” “A Place in the Sun,” “Someday At Christmas,” “I’ve Never Been to Me” and “If I Could.” His classic standard, “For Once in My Life,” has been re-corded by more than 400 artists.

Miller also wrote the book and lyrics to many musicals, including Daddy Goodness and Cherry, based on William Inge’s play, Bus Stop. Some of Miller’s previously unheard songs from his catalogue have been incorporated into Sandy Hackett’s Rat Pack Show to cre-

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SATURDAY, SEPTEMBER 28, 2013, 8 P.M. SUNDAY, SEPTEMBER 29, 2013, 3 P.M.

●The National Philharmonic

Piotr Gajewski, Music Director and Conductor

presents

Beethoven’s eternal MasterworksPiotr Gajewski, conductor

Soovin Kim, violin

“The Star Spangled Banner”

Concerto for Violin and Orchestra Ludwig van Beethoven in D Major, Op. 61 (1770-1827) Allegro ma non troppo larghetto Rondo, Allegro

INTERMISSION

Symphony No. 5 in C minor, Op. 67 Ludwig van Beethoven

Allegro con brio Andante con moto Scherzo. Allegro Allegro

Sunday Concert Presenting Sponsor: Ingleside at King Farm

All Kids, All Free, All the Time is sponsored by The Gazette

This concert is performed in honor of Todd R. Eskelsen, chair emeritus, National Philharmonic.


Piotr Gajewski, conductorPiotr Gajewski is widely cred-ited with build-ing The National Philharmonic to its present sta-tus as one of the most respected ensembles of its kind in the re-

gion. The Washington Post recognizes him as an “immensely talented and in-sightful conductor,” whose “standards, taste and sensitivity are impeccable.”

In addition to his appearances with

the National Philharmonic, Gajewski is much in demand as a guest conduc-tor. In recent years, he has appeared with most of the major orchestras in his native Poland, as well as the Royal Liv-erpool Philharmonic in England, the Karlovy Vary Symphony in the Czech Republic, the Okanagan Symphony in Canada and numerous orchestras in the United States.

Gajewski attended Carleton Col-lege and the University of Cincinnati, College-Conservatory of Music, where he earned a bachelor’s of music and a master’s of music in orchestral con-ducting. Upon completing his formal education, he continued refining his

conducting skills at the 1983 Tangle-wood Music Festival in Massachusetts, where he was awarded a Leonard Ber-nstein Conducting Fellowship. His teachers there included Leonard Bern-stein, Seiji Ozawa, André Previn, Gun-ther Schuller, Gustav Meier and Mau-rice Abravanel.

Gajewski is also a winner of many prizes and awards, among them a prize at New York’s prestigious Leopold Sto-kowski Conducting Competition and, in 2006, Montgomery County’s Com-cast Excellence in the Arts and Hu-manities Achievement Award.

Soovin Kim, violinOnly 20 when he won first prize at the Pagani-ni International Violin Compe-tition in 1996, Soovin Kim was the first Ameri-can in 24 years to receive the

honor. He was later named the re-cipient of the Henryk Szeryng Career Award, an Avery Fisher Career Grant and a Borletti-Buitoni Trust Award.

Subsequently, he has gone on to perform with major orchestras such as the Cincinnati Chamber, Salzburg Mozarteum, Accademia di Santa Ce-cilia and Philadelphia orchestras; the Baltimore, San Francisco, Indianapo-lis, Annapolis, Stuttgart Radio, Nash-ville, Vermont and Moscow sympho-nies; the Seoul Philharmonic; and Chamber Orchestra of Philadelphia. Kim is the first violinist of the Jo-hannes String Quartet, an ensemble that has performed newly commis-sioned works by Esa-Pekka Salonen, Derek Bermel and William Bolcom.

Kim is a graduate of the Curtis Institute of Music, where he stud-ied with Jaime Laredo and Vic-tor Danchenko; he has also studied with David Cerone and Donald Wei-lerstein at the Cleveland Institute of Music. He currently teaches at the Peabody Conservatory, SUNY-Stony Brook and Bard College in New York.

Saturday, September 28, 2013, 8 p.m. and Sunday, September 29, 2013, 3 p.m.Saturday, September 28, 2013, 8 p.m. and Sunday, September 29, 2013, 3 p.m.

.


Kim plays the 1709 “ex-Kempner” Stradivarius, which is currently on loan to him.

Program NotesConcerto for violin and Orchestra in d

Major, Op. 61

Ludwig van Beethoven Born Dec. 16, 1770, in Bonn, Germany; died March 26, 1827, in Vienna, Austria

Late in 1806, Beethoven paused while working on his Symphony No. 5 to write a violin concerto for the Vien-nese violinist Franz Clement (1780 - 1842). He had known Clement since 1794, when he was himself just one of many brilliant young pianists in Vienna and had sent the 14-year-old violinist a letter of endorsement and encouragement. By the time of the concerto’s composition, Clement had played in London under Haydn, acquired an official position at court and had been appointed leader (that is concertmaster and conductor) of the important new Theater an der Wien.

We no longer know what Clement’s playing was like then, but Beethoven presumably did, for Clement had led the orchestra in the first production of Fidelio in 1805, and the Violin Concer-to was almost certainly written to suit his style and skills. However, there are clear signs that Clement did not live up to his former performance level or his reputation and that Beethoven was disappointed in him. In 1813, when Weber became head of the Prague Opera, he hired Clement but quick-ly found his playing unsatisfactory. In 1824, Beethoven took great pains to avoid having him as concertmaster for the first performance of the Symphony No. 9. Clement died in poverty.

Beethoven usually assembled his se-rious works slowly and painstaking-ly, but he wrote the Violin Concerto quickly, even hurriedly, for a perfor-mance at a concert Clement gave on Dec. 23, 1806. The work was not fin-ished until the last moment, too late for the soloist to rehearse it with the

orchestra, but Clement had no doubt familiarized himself with his part dur-ing the writing. As unlikely as that may seem now, it was not an uncommon sit-uation then, although it was admitted to be an undesirable one. Other com-mon practices of the time would also surprise the modern concertgoer: The first movement was played before inter-mission; and the others, after; for a real showpiece, Clement played a work of his own composition, holding the vio-lin upside down!

One reviewer wrote, after the first performance, “Concerning Beethoven’s concerto, the judgment of connois-seurs is unanimous. Its many beauties must be conceded, but it must also be acknowledged that the endless repeti-tion of certain commonplace passages may become tedious. It must be said that Beethoven could better employ his talents by giving us works such as the First [and Second] Symphonies, the charming Septet and others of his ear-lier compositions.” [Abridged]

One wonders if the critic then took into account that he heard this difficult new composition in a hasty reading, rather than in a studied performance. The concerto was slow in making its way into the world; it was not until years later, when Joseph Joachim began to play it all over Europe, that it be-came an accepted, respected staple of the repertoire, recognized as the mas-terpiece it is.

Beethoven headed his manuscript with a punning inscription that can be rendered in English as “Concerto clem-ently written for Clement,” but he pub-lished the work in 1808 with a dedi-cation to a childhood friend, Stephan von Breuning. In 1807, the Italian composer-pianist Muzio Clementi, who had become a wealthy publisher and instrument-maker in London, per-suaded Beethoven to rewrite the Violin Concerto’s solo part for piano, which he said would be much easier to sell, but that version of the work has never become popular.

The Violin Concerto is a huge work, longer than anything Beethoven had written until then except the Eroica

Symphony. The number of musical ideas Beethoven employs is not large, but they are considered at such great length that the whole work becomes monumental. The five strokes of the timpani that open the first movement, Allegro ma non troppo, are at once a quiet demand for attention, the start of the opening theme and a motto-like rhythmic element that will pervade the movement. The slow movement, Lar-ghetto, is a set of variations on a theme that can sound like a halting recita-tive or a flowing melody. The move-ment runs without pause into the final rondo, Allegro, a brilliant, exuberant virtuoso piece.

The score calls for flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.

Symphony no. 5 in C minor, Op. 67

Ludwig van Beethoven

Fellow composer Robert Schumann, gave Beethoven’s Symphony No. 5 the greatest praise possible when he wrote that although it is often heard, yet it “still exercises its power over all ages, just as those great phenomena of nature that, no matter how often they recur, fill us with awe and wonder. This symphony will go on centu-ries hence, as long as the world and world’s music endure.”

Beethoven’s Symphony No. 5 has always been popular and recogniz-able because of the famous four-note phrase with which it opens. Since Beethoven composed the symphony, critics and commentators have at-tempted to give that phrase some programmatic significance.

Beethoven’s not altogether trust-worthy friend, Anton Schindler, presumably quoted the composer as saying it represented Fate knocking at the door. Schindler, however, had a reputation for not letting facts get in the way of a good story, and the conversation in which he quoted Beethoven took place years after Beethoven finished the symphony, which makes it a bit suspect anyhow.

Accounts also say that Beethoven

Saturday, September 28, 2013, 8 p.m. and Sunday, September 29, 2013, 3 p.m..


would say nearly anything to rid him-self of annoying questioning about his compositions. Nevertheless, this state-ment began a never-ending stream of interpretations of the symphony.

Whether it has a programmatic significance or not, unquestionably the phrase has definite importance musically, and it recurs throughout the entire symphony. The repetition of this phrase differs from a later named technique called “cyclical form,” in which a well-defined melody is stated in one movement, and retaining its original identity, is quoted and reused in another. Beethoven’s method is to use his musical phrase as a germi-nal idea that generates new phrases, which resemble the original, but are not identical with it. He begins with G and E-flat for the notes of the open-ing motive: these are two of the three notes that make up a C minor chord. This way he establishes the key of his symphony, and he announces a rhyth-mic motif, which repeats throughout the work, uniting the symphony’s four movements.

Beethoven began to compose the Symphony No. 5 in 1804, just after finishing Symphony No. 3, but put it aside to finish Symphony No. 4, and, after that, worked simultaneously on the next two symphonies. He com-pleted Symphony No. 5 early in 1808 and Symphony No. 6 in autumn of the same year.

On Dec. 22, 1808, he gave a con-cert in which his latest works were premiered. The program included Symphonies Nos. 5 and 6; the concert aria Ah, Perfido!; a Latin hymn; the Sanctus from the Mass in C major; a fantasia for piano solo; the “Choral Fantasy” Op. 80 for piano, chorus and orchestra; and Piano Concerto No. 4. Beethoven conducted and also played the solo piano parts for this monumentally long concert. Since he completed Symphony No. 5 almost when he finished the F major Sym-phony No. 6, the “Pastorale,” at the premiere, bore the number 5. A con-temporary observer said the concert lasted for more than four hours. The

First Violinsjody Gatwood,

Concertmaster emeritus

Brenda annaMichael BarbourEva Cappelletti-ChaoMaureen Conlon-

DoroshLaura Tait ChangClaudia ChudacoffLisa CridgeDoug DubéLysiane Gravel-Lacombejennifer KimRegino MadridKim Millerjennifer RickardBenjamin ScottLeslie SilverfineChaerim SmithOlga yanovich

Second ViolinsMayumi Pawel, PrincipalKatherine Budnerarminé Grahamjustin Gopaljune huangKarin Kelleheralexandra MikhlinLaura Millerjoanna Owenjean ProvineRachel Schenkerjennifer ShannonNing Ma Shihilde SingerCathy StewartRachael Stockton

Violasjulius Wirth, Principaljudy Silverman,

Associate PrincipalPhyllis FreemanNicholas hodgesLeonora KarasinaStephanie KnutsenMark PfannschmidtMargaret Prechtljennifer RendeSarah ScanlonChris ShiehTam Tran

Cellos Lori Barnet, Principalapril ChisholmDanielle ChoKen Dingandrew hessePhilip von MaltzahnTodd ThielKerry Van Laanen

BassesRobert Kurz, PrincipalKelly aliShawn algerBarbara FitzgeraldWilliam honesMichael RittlingMark Stephenson

FlutesDavid Whiteside, PrincipalNicolette OppeltDavid LaVorgna

PiccoloDavid LaVorgna

OboesMark hill, PrincipalKathy Ceasar-Spall

Fatma Daglar

English HornRon Erler

ClarinetsCheryl hill, PrincipalCarolyn alvarez-agriaSuzanne Gekker

Bass ClarinetCarolyn alvarez-agria

BassoonsErich hecksher, PrincipalBenjamin GreanyaSandra Sisk

ContrabassoonNicholas Cohen

French HornsMichael hall, PrincipalMark Wakefieldjustin DrewMark hughesKen Bell

TrumpetsChris Gekker, PrincipalRobert BirchCarl Rowejohn abbraciamento

TrombonesDavid Sciannella,

Principaljim armstrongjeffrey Cortazzo

TubaWillie Clark

Timpani & Percussion Tom Maloy, Principalaubrey adamsCurt DuerRobert jenkinsBill Richards

Harp Rebecca SmithElizabeth Blakeslee

KeyboardWilliam Neiljeffery WatsonTheodore Guerrant

Sopranos Marietta R. BalaanKelli BankardMary Bentley*jocelyn BondCheryl BranhamRosalind BreslowKristin BrownRebecca Carlson**Cheryl Castneranne P. ClaysmithNancy a. Coleman**Eileen S. DeMarcoLauren Drinkwateralejandra Durán-BöhmeLisa Edgleyamy EllsworthSarah B. FormanCaitlin a. GarryDenise R. hardingEtahjayne j. harrisDeborah hendersonjulie hudsonRobyn Kleinerjessica holden KlodaStephanie LinkMaria LostoskiKaelyn LowmasterSharon Majchrzak-honganaelise Martinez

Kathryn McKinleySara W. MosesKatherine Nelson-Tracey*Mary Beth NolanGloria Nutzhornjuliana S. O’NeillBritany PoindexterLynette PosorskeMaggie RheinsteinCarlotta RichardLisa RomanoTheresa Roysaida L. SánchezKatherine SchnorrenbergShelly a. SchubertMichelle StruckeCarolyn j. SullivanEllen van ValkenburghSusanne Villemarettejulia E. Vollmersamy WennerEmily WildrickLynne WoodsSara Zoeller

Altos helen R. altmanToni BarrettCarol BrunoErlinda C. DancerSandra L. DaughtonCorinne ErasmusRobin FillmoreShannon FinneganElissa FrankleFrancesca Frey-KimMaria a. Friedmanjulia C. FriendElizabeth Bishop

Gemoetsjeanette GhatanSarah GilchristLois j. Goodsteinjacque GrenningStacey a. henningValerie a. higgsjean hochronDebbi iwigSara Michael josey*Natalie KaftanMarilyn KatzCasey Keelerirene M. KirkpatrickMartha j. Krieger**Sandy LedermanMelissa j. Lieberman*julie S. MacCarteeNansy MathewsCaitlin McLaughlinSusan E. MurrayDaryl NewhouseMartha NewmanPatricia PillsburyElizabeth RiggsBeryl M. RothmanLisa Rovinjan SchiavoneDeborah F. SilbermanLori j. SommerfieldCarol a. SternPattie Sullivan-StenBonnie S. TempleVirginia Van BruntChristine VockeSarah jane Wagoner**Wendy j. Weinberg

TenorsKenneth BailesPhilip Bregstonej.i. CanizaresColin ChurchPaul j. DeMarcoRuth W. Faison**

Carlos a. herránDon janskyCurt jordanTyler a. Loertscherjane LyleDavid MalloyMichael McClellanChantal MchaleEleanor McintireWayne Meyer*Tom MilkeTom NessingerSteve Nguyenjoe RichterDrew Riggsjason SaffellRobert T. SaffellDennis Vander Tuig

BassesThierry van BastelaerRussell Bowersalbert BradfordRonald CappellettiPete ChangDale S. CollinsonStephen CookClark V. CooperBopper DeytonCharles G. Edmondsj. William GadzukRobert GerardMike hiltonChun-hsien huangjohn iobstWilliam W. josey**allan Kirkpatrickian Kylejack LeglerLarry Maloneyian Matthewsalan E. MayersDugald McConnellDavid j. McGoffDavid G. MedlandKent Mikkelsen*john Milberg**Oliver MolesMark NelsonLeif NeveTom Pappasanthony Radichharry Ransom, jr.Edward Rejuney*Frank Roysjosé Luis Sánchezharold SeifriedCharles SerpanCarey W. Smithjason james SmokerCharles Sturrockalun ThomasDonald a. TrayerWayne R. Williams

Theodore Guerrant, Accompanist, Theodore M. Guerrant Chair

* section leader** asst. section leader

National Philharmonic Orchestra and Chorale

Saturday, September 28, 2013, 8 p.m. and Sunday, September 29, 2013, 3 p.m.Saturday, September 28, 2013, 8 p.m. and Sunday, September 29, 2013, 3 p.m.

.


bered the two symphonies. The C minor became Symphony No. 5, and the F major became Symphony No. 6, and they remain thus today.

Beethoven perhaps intended the opening movement, Allegro con brio, to be mysterious yet powerfully dramatic. The thematic statement of the famous four-note motif appears first in the clarinet and violins; in the recapitulation, the whole orchestra joins in with the same figure. An

occasion was memorable and stressful: The theater was unheated; the or-chestra was under-rehearsed; and the soprano soloist had a bad case of stage fright. The orchestra stopped mid-composition several times, and the soprano who sang the aria was given a sedative for her nerves; neverthe-less, Symphony No. 5 soon gained its designation as a masterwork.

Somewhere between performance and publication, Beethoven renum-

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unexpected oboe cadenza at the end of the movement, according to the late musicologist Michael Steinberg, has a special function, serving both to disrupt and to integrate.

The contrasting slow movement, Andante con moto, plainly and dis-tinctly sets forth a long melody as its principal subject; a series of variations then follow.

Mystery dominates again in the third movement, a scherzo, Allegro, which runs without pause directly into the noble finale, Allegro which intro-duces the sound of the trombone to the orchestra for the first time in the history of music. Piccolo and contra-bassoon also participate in the finale.

Steinberg has described the last movement as a motion “into the sure-ness and daylight” with the transi-tion into the major key. He sums up Beethoven’s achievement succinctly, “The victory symphony was a new kind of symphony, and Beethoven’s invention here of a path from strife to triumph became a model for sym-phonic writing to the present day.”

Over the years, two critics in particular have in some way grasped the essence of this symphony with few words. Johann Amadeus Wendt wrote: “Beethoven’s music inspires in its listeners awe, fear, horror, pain and that exquisite nostalgia that is the soul of romanticism.” E.T.A. Hoffmann called the symphony “one of the most important works of the master whose position in the first rank of compos-ers of instrumental music can now be denied by no one. ... It is a concept of genius, executed with profound deliberation, which in a very high degree brings the romantic content of the music to expression.”

The Symphony No. 5 is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabas-soon, two horns, two trumpets, three trombones, timpani and strings. The piccolo, contrabassoon and trombone only play in the last movement, where they greatly enrich the sound of the orchestra.

Copyright Susan Halpern, 2013.

Sunday, October 6, 2013, 4 p.m. and 8 p.m.


success with his albums. Here’s Your Sign, Dorkfish, 15 ° Off Cool and Aged and Confused landed the comedian spots on Billboard’s Country Album Chart, Top 200 Album Chart and multiple No. 1 debuts on the Bill-board Comedy Chart.

Engvall has written several books, including his autobiography Bill Engvall — Just a Guy.

Engvall lives in southern Califor-nia with his family.

Gary BrightwellBorn and raised in southern Califor-nia, Gary Brightwell began his leap into comedy while studying engineer-ing at Cal State Long Beach. After receiving two degrees in aerospace engineering and working full time during the day as an engineer at McDonnell Douglas and nights as an emcee at a comedy club in Hermosa Beach, Calif., Brightwell decided to quit the engineering job and go into stand-up comedy full time.

Brightwell and his observational humor have been featured on many comedy shows including NBC’s Friday Night, A&E’s Comedy on the Road, An Evening at the Improv and a PBS comedy special entitled, Can We Be Serious. In addition, he has opened for Garry Shandling, Jerry Seinfeld, Jay Leno, Dennis Miller, Paul Reiser, Harry Anderson and many others. He also has traveled extensively for the USO and Armed Forces Entertain-ment to entertain deployed troops.

SUNDAY, OCTOBER 6, 2013, 4 P.M. AND 8 P.M.


Bill engvall

featuring Gary BrightwellThe Music Center at Strathmore

Marriott Concert Stage

Bill EngvallBill Engvall’s ability to share humor in ev-eryday situations has made him one of the top comedians today. A native of Galves-ton, Texas, Engvall moved to Dallas and

was working as a disc jockey with plans of becoming a teacher. While in a nightclub one evening, he decided to try his hand at stand-up comedy and quickly found that making people laugh was truly his forté. Soon after, he decided to move to Los Angeles to pursue television opportunities.

Engvall has hosted numerous television shows, including the game show Lingo for Game Show Network, Country Fried Videos and Mobile Home Disasters for CMT. Engvall also was cast on The Jeff Foxworthy Show and was one of the stars of the sketch comedy show, Blue Collar TV, on the WB network.

Engvall starred in and produced his own self-titled sitcom for TBS, which ran for three seasons. He also has appeared on the big screen in Strawberry Wine with Christina Ricci, Bed and Breakfast with Dean Cain and Delta Farce.

Engvall was part of the enormously successful Blue Collar Comedy concert films, which have sold more than 9 million units. The tour united Engvall with comedians Foxworthy and Larry the Cable Guy.

Engvall’s career also brought him

Proceeds from Strathmore Cabaret enable us to inspire and train the next generation of artists. Last

year alone, Strathmore allocated $493,370 in total investment for

education and outreach programs that energize our entire community.

Friday, October 47–10PM

Music Center at Strathmore

$150 per person ($90 tax-deductible)

Patron Sponsorship $500 per pair includes website and program

recognition ($380 tax-deductible)

RSVP by September 27Cocktail Attire

www.strathmore.org/cabaret(301) 581-5145

featuring

Frédéric Yonnet

with Strathmore Artists in Residence

“Prince’s killer harmonica player”

–Rolling Stone

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THURSDAY, OCTOBER 10, 2013, 8 P.M.



Jack Everly, Principal Pops Conductor

presents

The Streisand SongbookJack Everly, conductor

Ann Hampton Callaway, vocalist

Jon Kalbfleisch, pianoHampton Childress, rhythm bass

Steve Hanna, drums

A Tribute to Irving Berlin Irving Berlin (arr. Ades) (1888-1989)

“Just One of Those Things” Cole Porter (arr. Dragon) (1891-1964)

Overture to Funny Girl Jule Styne (orch. Spencer) (1905-1994)

Ms. Callaway will announce her program from the stage.

This program will include a 20-minute intermission.

The concert will end at approximately 10:10 p.m.


Jack Everly, conductor Jack Everly is the principal pops con-ductor of the Baltimore and India-napolis symphony orchestras, Naples Philharmonic Orchestra and Nation-al Arts Centre Orchestra (Ottawa), and the music director of the National Memorial Day Concert and A Capitol Fourth on PBS.

He has been on stage with the Los Angeles Philharmonic at the Hol-lywood Bowl, the New York Pops at

Carnegie Hall and appears regular-ly with The Cleveland Orchestra at Blossom Music Center.

His frequent guest conducting en-gagements include the orchestras of Pittsburgh, Edmonton, Oklahoma City and this season with The Philadelphia Orchestra at The Mann Center.

Everly is the music director of Yule-tide Celebration, now a 26-year tra-dition. These theatrical symphonic holiday concerts are presented annu-ally in December in Indianapolis and are seen by more than 40,000 concert-goers. He led the ISO in its first Pops recording, Yuletide Celebration, Volume One, that included three of his own arrangements.

Originally appointed by Mikhail Baryshnikov, Everly was conductor of the American Ballet Theatre for 14 years, where he served as music director.

In addition to his ABT tenure, he teamed with the late Marvin Ham-lisch in Broadway shows that Ham-lisch scored, including The Good-bye Girl, They’re Playing Our Song and A Chorus Line. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions.

Everly has conducted the songs for Disney’s animated classic The Hunch-back of Notre Dame and led the Czech Philharmonic on the recordings In the Presence, featuring tenor Daniel Ro-driguez, and Sandi Patty’s 2011 release Broadway Stories. He also conduct-ed the critically praised Everything’s Coming Up Roses: The Complete Over-tures of Broadway’s Jule Styne, and was music director for numerous Broadway cast recordings.

In 1998, Everly created the Sym-phonic Pops Consortium, serving as music director. The consortium, based in Indianapolis, produces new the-atrical pops programs. In the past 13 years, more than 250 performances of SPC programs have taken place across the U.S. and Canada.

Everly holds an honorary doctorate of arts from Franklin College in his home state of Indiana.



She has sung with top orchestras and big bands, and has performed for Pres-ident Clinton in Washington, D.C. and at President Gorbachev’s Youth Peace Summit in Moscow.

Hampton Callaway has written more than 250 songs, including two Platinum hits for Barbra Streisand and the theme for the TV series The Nanny. She performs the critically ac-claimed acts Sibling Revelry and Boom! with Broadway star and sister Liz Cal-laway; their CD Boom! Live at Birdland debuted at No. 25 on the Billboard Jazz Chart.

This season, Hampton Callaway pays tribute to her mentor in The Stre-isand Songbook, which she premiered with the Boston Pops. She has record-ed 12 solo CDs and is a guest artist on more than 45 CDs.

Ann Hampton Callaway last per-formed with the BSO for the 2009 Holiday Spectacular, with Jack Everly conducting.

When not on the podium or ar-ranging, Everly indulges in his love for films, Häagen-Dazs and a pooch named Max.

Ann Hampton Callaway

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One of the leading champions of the great American Songbook, Ann Hampton Callaway has made her mark as a singer, pianist, composer, lyricist, arranger, actress, educator, TV host and producer.

She won the Theater World Award and received a Tony nomination for her performance in the Broad-way musical Swing! Hampton Calla-way also has appeared in the film The Good Shepherd and was featured in the soundtrack of the film Last Holiday. She has produced and hosted two TV specials called Singer’s Spotlight with guests Liza Minnelli and Christine Eb-ersole, and is in the planning stages for a radio series.

Hampton Callaway has been a spe-cial guest performer with Wynton Marsalis and the Lincoln Center Jazz Orchestra, with Keith Lockhart and the Boston Pops at Symphony Hall and Tanglewood and is featured at many of the Carnegie Hall tributes.

Saturday, October 12, 2013, 8 p.m.


doctorate from Ball State Univer-sity, where she also is on faculty as a teacher and advisor to the Depart-ment of Theatre and Dance.

Michael RafterSutton Foster and Michael Rafter col-laborated on her first solo CD, Wish, which was released in February 2009 and performed it live at the Lincoln Center American Songbook series. Raf-ter also co-produced Norm Lewis’s solo CD, This is the Life, and the recording of Tony Kushner and Jeanine Tesori’s Broadway show, Caroline, Or Change.

Rafter conducted Gypsy both on Broadway starring Tyne Daly, as well as the TV movie starring Bette Midler, and won an Emmy Award for his music direction of the movie. He has super-vised the Broadway and national tour-ing companies of Thoroughly Modern Millie, Sunset Boulevard, The Sound of Music and The Buddy Holly Story. On Broadway, Rafter has served as music director and conductor of Thoroughly Modern Millie, The Sound of Music, The King & I and Gypsy. Rafter also did the arrangements for the Broadway produc-tions of Swing and Sweet Charity. He was one of the two pianists that played the Broadway revival of The Most Hap-py Fella. Off-Broadway credits include Merrily We Roll Along and Violet.

SATURDAY, OCTOBER 12, 2013, 8 P.M.


Sutton Foster

Michael rafter, music director and piano

leo huppert, bass

Kevin Kuhn, guitar

This performance is generously sponsored by Shugoll Research.


Sutton FosterSutton Foster is an award-win-ning actor, singer and dancer who has performed in 10 Broadway shows and origi-nated roles in the Broadway pro-ductions of The

Drowsy Chaperone, Little Women, Young Frankenstein, Shrek the Musical and her Tony Award-winning performances in Anything Goes and Thoroughly Modern Millie.

She was first seen on television on Star Search at age 15 and has more recently appeared in Bunheads, Johnny and the Sprites, Flight of the Conchords, Sesame Street, Law and Order: SVU and Royal Pains.

As a solo artist, Foster has per-formed all over the country as well as internationally with her musical director Michael Rafter. She’s fea-tured songs from her debut solo CD, Wish, as well as her follow up CD, An Evening with Sutton Foster: Live at the Cafe Carlyle. She has graced the stages of Carnegie Hall, Feinstein’s, Lincoln Center’s American Songbook series, Joe’s Pub and many others.

In 2011, she received an honorary

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tuesday, October 15, 2013, 8 p.m.

APPlAuSe at Strathmore •SEPTEMBER/OCTOBER 2013 45

TUESDAY, OCTOBER 15, 2013, 8 P.M.


les violons du royBernard Labadie, music director

Stephanie Blythe, mezzo-soprano

Orchestral Suite in C Major, George Telemann TWV 55: C6 (Ouverture à 7) (1681-1767) Ouverture (grave) Harlequinade Espagniol [sic] Bourrée en trompette Sommeille [sic] Rondeau Menuet I – II Gigue

Arianna a Naxos, Hob. XXXVIb: 2 Joseph Haydn (anonymous string (1732-1809) orchestra arrangement) Dove sei tu? Dove sei, mio bel tesoro? Andante : Ah! che morir vorrei in si fatal momento Stephanie Blythe

INTERMISSION

Suite No. 4 in D Major, BWV 1069 Johann Sebastian Bach (original version) (1685-1750) Ouverture Bourrée I - II Gavotte Menuet I - II Réjouissance

Excerpts from Giulio Cesare, HWV 17 George Handel «Empio, diro, tu sei» (Aria di Cesare) (1685-1759) «l’empio, sleale, indegno» (Aria di Tolomeo) «Dall’ondoso perilglio – Aure, deh, per pieta» (Aria di Tolomeo) Stephanie Blythe

les Violons du Roy would like to thank the following partners: Conseil des arts et des lettres Québec

Conseil des Arts du CanadaFoundation des Violons du Roy.


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Bernard Labadie, music director

Bernard Labadie is an internation-ally recog-nized expert on 17th and 18th century repertoire and founded Les Violons du Roy and La Chapelle de Québec in 1984

and 1985 respectively. He continues to direct their regular seasons in Quebec City and Montreal and throughout the Americas and Europe on tour. He has made 20 recordings with the ensembles on the Virgin Classics, Dorian, Atma and Hyperion labels.

He regularly guest conducts major North American orchestras including the New York and Los Angeles philhar-monic orchestras, the Chicago, Boston, San Francisco, Saint Louis, Houston and Toronto symphonies, the Cleveland Orchestra and the Metropolitan Opera Orchestra. In Europe, he has taken the podium with Amsterdam’s Concertge-bouw, the Bavarian Radio Symphony, Orchestre philharmonique de Radio-France and the orchestra of Barcelona’s Gran Teatre del Liceu. He is regularly invited to conduct the Melbourne Sym-phony Orchestra in Australia.

Increasingly in demand among peri-od-instrument orchestras, he regularly directs the Academy of Ancient Music and has worked with the Orchestra of the Age of Enlightenment, the English Concert and Collegium Vocale Gent Orchestras.

As a leading ambassador for music in his native city of Québec, Labadie was made an officer of the Order of Canada in 2005 and a knight of the Ordre National du Québec in 2006. In 2008, he received the Banff Centre’s Nation-al Arts Award for his contribution to the development of the arts in Canada, as well as an honorary doctorate from Laval University.

tuesday, October 15, 2013, 8 p.m.


Les Violons du RoyThe chamber orchestra Les Violons du Roy borrows its name from the renowned string orchestra of the court of the French kings. The group was brought together in 1984 by music di-rector Bernard Labadie and specializes in the repertoire of music for chamber orchestra, performed in the stylistic manner most appropriate to each era.

Although the ensemble plays on modern instruments, its approach to the works of the Baroque and Classical periods has been strongly influenced by current research into performance practice in the 17th and 18th centu-ries; in this repertoire Les Violons du Roy uses copies of period bows. The

Stephanie Blythe, mezzo-soprano

Stephanie Blythe is con-sidered to be one of the most highly respect-ed and criti-cally acclaimed artists of her generation

Blythe has sung in many of the re-

nowned opera houses in the U.S. and Europe, including the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Royal Opera House Covent Garden, and the Opera National de Paris. Her many roles include the title roles in Carmen, Samson et Dalila , Orfeo ed Euridice, La Grande Duchesse, Tan-credi, Mignon and Giulio Cesare.

Blythe has appeared with the New York Philharmonic, Boston Sym-phony Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Philadel-phia Orchestra, Opera Orchestra of New York, Minnesota Orchestra, Halle Orchestra, Orchestra of the Age of Enlightenment, the Ensemble Orchestre de Paris and the Concert-gerbouworkest.

A champion of American song, Blythe has premiered several song cycles written for her including Twelve Poems of Emily Dickinson by the late James Legg; Covered Wagon Woman by Alan Smith, which was commissioned by the Chamber Music Society of Lincoln Center and recorded with the ensemble (CMS Studio Recordings); and Vignettes: Ellis Island, also by Alan Smith.

This season, Blythe returns to the Metropolitan Opera for the new pro-duction of Falstaff and makes her debut at the San Diego Opera in Un Ballo in Maschera. She also appears in concert with the New York Philharmonic, tours the U.S. with Les Violons du Roy and will be presented in recital in San Francisco and Princeton.

orchestra also regularly delves into the repertoire of the 19th and 20th cen-turies, as witnessed by its recordings of works by Piazzolla, Bartók and Britten.

Les Violons du Roy made its Euro-pean debut in 1988 and has since gone on to give dozens of performances in France, Germany, England, Spain, Switzerland and the Netherlands.

The 24 recordings made by Les Violons du Roy have been acclaimed by critics and earned various distinc-tions and awards at the national and international levels.

Les Violons du Roy is a proud mem-ber of Orchestras Canada, the national association representing Canada’s orchestras. B

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Les Violons du RoyTour Roster — Fall 2013

First ViolinsNicole TrotierAngélique DuguayPascale GagnonVéronique Vychytil

Second ViolinsPascale GiguèreMaud LangloisMichelle SetoNoëlla Bouchard

ViolasJean-Louis BlouinAnnie MorrierMarina Thibeault

CellosBenoît LoiselleRaphaël Dubé

DoublebassRaphaël McNabney

OboesMarjorie TremblayLindsay RobertsVincent Boilard

BassoonMathieu Lussier

HarpsichordThomas Annand

TheorboMichel Angers

Friday, October 18, 2013, 8 p.m.


Angeles Philharmonic and the first singer to ever perform at Walt Disney Concert Hall.

Reeves worked with legendary producer Arif Mardin (Norah Jones, Aretha Franklin) on the Grammy winning A Little Moonlight, an intimate collection of standards featuring her touring trio. When Reeves’ holiday collection Christmas Time is Here was released, Ben Ratliff of The New York Times raved, “Ms. Reeves, a jazz singer of frequently astonishing skill, takes the assignment seriously; this is one of the best jazz Christmas CDs I’ve heard.”

Reeves was featured in an award-winning documentary on the life of composer Billy Strayhorn—Duke Ellington’s collaborator. In recent years Reeves has toured the world in a variety of contexts including a program entitled Sing the Truth, a musical celebration of Nina Simone that also featured Lizz Wright and Angélique Kidjo. She per-formed at the White House at both the State Dinner for the president of China as well as the Governors’ Ball and has been hard at work on Beautiful Life, her first album in more than five years. Produced by Terri Lyne Carrington, the album features artists such as Gregory Porter, Robert Glasper, Lalah Hathaway, and Esperanza Spalding.

FRIDAY, OCTOBER 18, 2013, 8 P.M.


dianne reeves

Peter Martin, piano romero lubambo, guitar

reginald veal, stand up bass terreon Gully, drums


Dianne ReevesDianne Reeves is the pre-emi-nent jazz vocal-ist in the world. As a result of her breathtak-ing virtuosity, improvisational prowess and unique jazz

and R&B stylings, Reeves received the Grammy for Best Jazz Vocal Perfor-mance for three consecutive record-ings—a Grammy first in any vocal category.

Reeves was featured in George Clooney’s six-time Academy Award nominated Good Night, and Good Luck, which chronicles Edward R. Murrow’s ongoing confrontations with Sen. Jo-seph McCarthy. The soundtrack record-ing of the film provided Reeves with her fourth Best Jazz Vocal Grammy.

Reeves has recorded and performed extensively with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She also has recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. Reeves was the first Creative Chair for Jazz for the Los



himself as a major talent on the interna-tional scene.

Remmereit also has been engaged by England’s Halle Orchestra, the Detroit Symphony, Dallas Symphony, Seattle Symphony, Rochester Philharmonic, New Jersey Symphony and the Seoul Philharmonic, among many others.

The 2012-2013 season included de-buts with the Naples Philharmonic, Or-chestre Symphonique de Québec and

SATURDAY OCTOBER 19, 2013, 8 P.M.



presents

romantic tchaikovskyArild Remmereit, conductor

Nobuyuki Tsujii, piano

Suite No. 1 from Peer Gynt Edvard Grieg Prelude (1843-1907) Ingrid’s lament Arabian Dance Morning Mood Åse’s Death Peer Gynt’s Homecoming Solveig’s Song Anitra’s Dance In the Hall of the Mountain King

Water of Life Karen Tanaka (1961-)

INTERMISSION

Piano Concerto No. 1 in Piotr Ilyich Tchaikovsky B-flat minor, Op. 23 (1840-1893) Allegro non troppo e molto maestoso Andantino semplice Allegro con fuoco Nobuyuki Tsujii

Presenting Sponsor: M&T Bank The concert will end at approximately 9:30 p.m.


Arild Remmereit, conductor

In 2005, Norwe-gian conductor Arild Remmereit made five dramatic debuts with the Pittsburgh Sym-phony, Baltimore Symphony, Milan’s Filarmonica della

Scala, Munich Philharmonic and the Vienna Symphony, quickly establishing

Mexico National Symphony. Remmereit began piano lessons at age 6,

studied trumpet and performed as a boy so-prano. He earned master degrees in voice, piano and composition from the Norwe-gian Conservatory of Music in 1986.

A conducting seminar in 1985 at the Aspen Music Festival inspired him to change his focus. He has studied con-ducting under the direction of Karl Ös-terreicher at the Hochschule für Musik und Darstellende Kunst. Remmereit also studied with Leonard Bernstein at the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome.

Arild Remmereit last appeared with the BSO in November 2007, conducting Berwald’s Tragic Overture from Estrella de Soria, Mendelssohn’s Violin Concerto and Schumann’s Symphony No.1.

Nobuyuki Tsujii, pianoBlind since birth, Nobuyuki Tsu-jii was joint Gold Medal winner at the 2009 Van Cli-burn International Piano Competition.

As a concerto soloist, he has ap-

peared with the Philharmonia Orches-tra and Vladimir Ashkenazy, the BBC Philharmonic and Yutaka Sado, and the Orchestra della Svizzera Italiana and Thierry Fischer, among others. Fu-ture engagements include his Carnegie Hall orchestral debut with the Orpheus Chamber Orchestra, his debut with the Seattle Symphony Orchestra under Ludovic Morlot and a major Japanese tour with the BBC Philharmonic, Sado conducting.

As a recitalist, he gave a sold-out solo performance at Carnegie Hall’s Stern Au-ditorium in 2011 and also has given recit-als at the Aspen and Ravinia festivals and in Washington, D.C; Boston; Berlin; and Munich.

In his home country, he has appeared as a soloist with all the major Japanese orchestras, including NHK Symphony, Yomiuri Nippon Symphony, Tokyo Sym-phony, Japan Philharmonic and Orches-tra Ensemble Kanazawa.



Tsujii’s international tours are sup-ported by All Nippon Airways, and he gratefully acknowledges their assistance.

Nobuyuki Tsujii is making his BSO debut.

Program NotesMusic from Peer Gynt

edvard Grieg Born June 15, 1843, in Bergen, Norway; died Sept. 4, 1907, in Bergen

Edvard Grieg’s great-grandfather, Al-exander Greig (as the family name was originally spelled), was an independent-minded Scotsman who immigrated to Norway from his native Aberdeen in the 1760s after the Scottish clans were destroyed. There he prospered as a fish merchant, and, 100 years later, his great-grandson became Norway’s greatest composer.

In January 1874, Norway’s pre-eminent playwright, Henrik Ibsen (1828–1906), asked the now 30-year-old composer if he would be willing to compose incidental music for Ibsen’s latest drama Peer Gynt. Grieg at first hesitated—he initially declared the play “the most unmusical of all subjects”—but, ultimately, threw himself into the task of creating more than 20 musi-cal numbers for the work’s theatrical premiere. Despite the fact that the two men’s creative styles were extremely dif-ferent—Grieg was a Romantic master of lyrical melody, while Ibsen wrote starkly uncompromising dramas with an almost contemporary viewpoint—their joint ef-forts triumphed at the play’s premiere on Feb. 24, 1876. Eventually, the composer fashioned two suites of Peer Gynt music that rivaled his Piano Concerto in popularity.

With its fantastic globetrotting plot, Peer Gynt, despite Grieg’s early reserva-tions, lends itself very well to musical treatment. Based on an actual person living in southwestern Norway in the early 19th century, Peer is no solid, hardworking Norwegian, but an unreli-able, yet lovable, scamp who gets into plenty of trouble in his home village and

then abandons his sweetheart, Solveig, to seek adventure in the wider world.

Arild Remmereit has chosen nine ex-cerpts, several of which may be discov-eries for audience members. Though in this concert we will hear the individual numbers in a slightly different order, here they are listed as they occur in the story.

We begin with “In the Wedding Garden,” the play’s prelude. Invited to a neighborhood wedding, Peer commits his first crime by abducting the bride, Ingrid. This prelude contains three types of music: an energetic theme associated with Peer, a slow woodwind melody that gives us the first taste of “Solveig’s Song,” and Norwegian folk-dance music led by the viola, imitating the sound of the indigenous Hardanger folk fiddle.

One of the most powerful yet poignant numbers, “Ingrid’s Lamenta-tion,” is the prelude to Act II. The furious music that frames this sequence represents Peer berating the hapless Ingrid before abandoning her on a mountain pass.

Next Peer is attracted to a mysterious woman, who turns out to be the daugh-ter of the King of the Trolls. He follows her to her subterranean home, where her father and a rowdy group of trolls are waiting. “In the Hall of the Mountain King” is rightfully one of Grieg’s most famous pieces. Starting pianissimo in the orchestra’s lowest instruments, this relentless dance uses one menacing little melody to build a steady acceleration and crescendo as the trolls threaten the intruder.

After his narrow escape from the trolls, Peer decides it’s time to get out of Norway, but first he visits home for the last time. “Åse’s Death” is the pro-foundly sorrowful music for the death of his adored mother. Built from a simple, poignant melody, it is scored for strings with mutes attached to veil their sound.

Though “Morning Mood” may sound like morning dawning over a Norwegian fiord, this exquisite lyrical melody actually depicts sunrise shim-mering on the sands of Northern Africa at the beginning of Act IV. Anitra is a desert beauty with whom Peer falls

in love; she eventually abandons him after robbing him of all the riches he has acquired. She and her companions perform the “Arabian Dance” to lure him. Its prominent use of shrill pic-colos and flutes, drums and tambourine makes use of an exotic style known as “Turkish music,” which Mozart and Beethoven also used in several of their scores. Anitra also performs a solo dance (“Anitra’s Dance”); pizzicato strings add to the delicacy of this alluringly feminine music.

At the beginning of Act V, Peer, now a penniless old man, is returning at last to his homeland. But the North Sea throws one of its not uncommon tempests at him, and he barely escapes with his life. The brief tone poem “Peer Gynt’s Homecoming: Stormy Night at Sea” vividly describes the raging winds and waters.

In Peer’s home village, the devoted Solveig loves Peer, despite his many faults, and has waited patiently over the decades for his return; at the play’s con-clusion, they are reunited as old people near death. “Solveig’s Song,” originally scored for soprano and so characteristic of Grieg in its gentle melancholy, is a superb example of the composer’s gifts as a songwriter.

Water of Life

Karen Tanaka Born April 7, 1961, in Tokyo, Japan; now living in Los Angeles, Calif.

The beautiful, delicately colored music of Japanese composer Karen Tanaka makes its Baltimore Symphony debut at these concerts. Now living in Los An-geles and teaching composition at the California Institute of the Arts, Tanaka is a pianist as well as a composer, and many of her works have been created for the piano, among them her recent Our Planet Earth, a series of exquisite short pieces meditating on aspects of nature and designed expressly for young pianists. Indeed, Tanaka’s love of nature and concern for the environment have influenced many of her works, including Water of Life, which was commissioned by the Rochester Philharmonic and pre-



miered in Rochester just this past May.Born in Tokyo, where she began

formal piano and composition lessons as a child, Tanaka studied composition at Tokyo’s Gakuen School of Music. In 1986, she moved to Paris to study with Tristan Murail and work in electronic music at IRCAM. The next year, she won the Gaudeamus Prize at the Inter-national Music Week in Amsterdam. Her works have been commissioned and performed by distinguished orchestras and ensembles worldwide, including the Los Angeles Philharmonic, the BBC Symphony Orchestra, the Finnish Radio Symphony Orchestra, and the Kronos and Brodsky quartets.

Karen Tanaka explains Water of Life as follows:

“When I was composing Water of Life, I had two things in mind. The first is biblical references about ‘water’ and ‘water of life.’ I have served as a church organist for many years, and verses about life-giving water have always inspired me.

“‘Then the angel showed me the river of the water of life, as clear as crystal, flowing from the throne of God and of the Lamb...’ Revelations 22:1

“The second is ‘water’ in nature. I wanted to project images of various phases of water and shimmering light with orchestral sounds. The music gradually changes just as the water flows continuously and never in the same phase.

“The beginning of the piece played by harp and strings suggests the birth of pure water. The music then flows freely with a pleasant feeling of pulse. It gradu-ally grows into turbulence and muddi-ness that, in the end, becomes filtered into purity.

“Water of Life is a prayer for the tsu-nami victims in Japan.”

Piano Concerto no. 1 in B-flat minor, Op. 23

Piotr ilyich tchaikovsky Born May 7, 1840, in Votkinsk, Russia; died Nov. 6, 1893, in St. Petersburg, Russia

If one had to pick one work that epito-mizes the Romantic piano concerto, it would have to be Tchaikovsky’s No.

1. Written in 1874–75, it was the first Russian piano concerto to enter the standard concert repertoire, and it has remained perhaps the most popular con-certo ever written. Even Rachmaninoff’s celebrated piano concertos were closely modeled on it.

But the first person to hear it pro-nounced it a failure. This was Nikolai Rubinstein, renowned pianist and con-ductor, founder of the Moscow Con-servatory, and usually Tchaikovsky’s staunch friend and supporter. Not being a concert pianist himself, Tchai-kovsky had brought the concerto to Rubinstein on Christmas Eve, 1874, for advice as to how to make the solo part most effective. This is how the com-poser remembered the occasion:

“I played the first movement. Not a single word, not a single comment! … I summoned all my patience and played through to the end. Still silence. I stood up and asked, ‘Well?’ “

“Then a torrent poured forth from Nikolai Gregorievich’s mouth. … My concerto, it turned out, was worth-less and unplayable—passages so frag-mented, so clumsy, so badly written as to be beyond rescue—the music itself was bad, vulgar—here and there I had stolen from other composers—only two or three pages were worth preserv-ing—the rest must be thrown out or completely rewritten. … This was cen-sure, indiscriminate and deliberately designed to hurt me to the quick. … ‘I shall not alter a single note,’ I replied. ‘I shall publish the work exactly as it stands!’ And this I did.”

Although this episode threw Tchai-kovsky into a depression, he still had energy and faith enough in his work to submit the concerto to Hans von Bülow, a German pianist-conductor as famous as Rubinstein who was look-ing for a new showpiece for his upcom-ing American tour. Von Bülow took on the work with enthusiasm and played its world premiere on Oct. 25, 1875, in Boston. The Bostonians gave it a tumultuous reception, and the Piano Concerto No. 1 never looked back.

This is a concerto in which gorgeous, inventive orchestral writing meets one

of the great virtuoso piano parts of the repertoire. And it is enriched by a cor-nucopia of marvelous Tchaikovski-an melodies, the first of which forms the introduction to movement one. Launched by Tchaikovsky’s beloved horns, it sweeps grandly through the orchestra. The pianist makes his pres-ence strongly felt with massive chords ringing from bottom to top of the key-board. This big Romantic opening eventually fades, and a melody that most composers would kill for is gone, never to return.

In the first of several dramatic mood shifts, the pianist now attacks a quick, skittish tune, based on a Ukrainian folksong, which is the movement’s ac-tual principal theme. In another emo-tional shift, clarinets introduce a new melody, lovely and rather melancholy, which gives the pianist opportunity to show his poetic side. After the middle development section, this melancholy theme appears again, now soaring rhapsodically.

Movement two rocks gently on a poignant, lullaby-like theme, intro-duced by the flute. Sparkling, high-speed music fills the movement’s middle section. Its rollicking tune, introduced by the violins, is from a French song popular in Russia at the time, “Il faut s’amuser, danser et rire” (“One should enjoy oneself, dance and laugh”). This was a favorite of the Bel-gian singer Désirée Artôt, the only woman Tchaikovsky ever fell in love with.

The spirited rondo finale features a dashing refrain theme whose emphatic rhythms stress the second beat of each measure. It alternates with a rapturous waltz melody, introduced by the vio-lins. A broad concluding coda ener-getically combines these themes, with the waltz ultimately dominating. And now comes one of the most famous of all virtuoso piano passages: a flight of fast double-fisted octaves, sweeping up and down the keyboard. This leads to a grand apotheosis of the waltz, before the pianist and orchestra urge each other on to a blazing finish.




in recent years been complemented by his music directorships of the Orches-tre National de Lyon (2005-11) and MDR Symphony Orchestra Leipzig (to 2012). He guests conducts with the world’s leading orchestras, including: Cleveland Orchestra, Philadelphia Orchestra, NHK Symphony Orches-tra, Czech Philharmonic, Munich Philharmonic, Oslo Philharmonic and Tonhalle Orchester Zürich.

Märkl is an accomplished recording artist, having recorded Mahler and the complete Schumann symphonies live with the NHK Symphony, Dvořák on

THURSDAY, OCTOBER 24, 2013, 8 P.M.



presents

Brahms’ third SymphonyJun Märkl, conductor Johannes Moser, cello

Serenade for Strings in E Major, Op. 22 Antonín Dvořák Moderato (1841-1904) Tempo di valse Scherzo: Vivace larghetto Finale: Allegro vivace

Variations on a Rococo Theme, Op. 33 Piotr Ilyich Tchaikovsky Johannes Moser (1840-1893)

INTERMISSION

Symphony No. 3 in F Major, Op. 90 Johannes Brahms Allegro con brio (1833-1897) Andante Poco allegretto Allegro

The concert will end at approximately 9:50 p.m.


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Jun Märkl, conductorJun Märkl has long been known as a highly respected interpreter of the core Germanic repertoire from both the symphon-ic and operatic

traditions, and more recently for his refined and idiomatic Debussy, Ravel and Messiaen.

His long-standing relationships at the state operas of Vienna, Berlin, Munich and Semperoper Dresden have

Telarc, Mendelssohn with MDR and a highly acclaimed nine-disc Debussy set with ONL on Naxos. In recognition of his tenure in Lyon and his hugely suc-cessful recordings of French music, in 2012 he was honored by the French Ministry of Culture with the Chevalier de l’Ordre des Arts et des Lettres.

Jun Märkl last appeared with the BSO in April 2012, conduct-ing von Weber’s Euryanthe Overture, Beethoven’s Violin Concerto and Schumann’s Symphony No. 3.

Johannes Moser, celloCellist Johannes Moser has performed with many of the world’s leading or-chestras, including the Berlin Philhar-monic, New York Philharmonic, Con-

certgebouw Orchestra, Tokyo Sympho-ny and Israel Philharmonic. He works regularly with conductors of the high-est level including Riccardo Muti, Lorin Maazel, Zubin Mehta and Paavo Jarvi.

Besides performing on his Andrea Guaneri cello from the year 1694, Moser is an enthusiastic advocate for the electric cello. In 2011, he pre-miered the electric cello concerto Mag-netar by Enrico Chapela with the Los Angeles Philharmonic. Also a dedi-cated chamber musician, Moser has performed with Emanuel Ax, James Ehnes, Midori and Jonathan Biss and at the Verbier, Colo., and Brevard music festivals, as well as the Mehta Chamber Music Festival. He combines almost every engagement with either outreach or master classes, reaching out to young audiences from kindergarten to college and beyond.

Born into a musical family in 1979 as a dual citizen of Germany and Can-ada, Moser won the top prize at the 2002 Tchaikovsky Competition. He now holds a professorship in Cologne, Germany. An avid outdoorsman, the New York-based Moser has crossed the Alps on his mountain bike.

Johannes Moser is making his BSO debut.



Program NotesSerenade for Strings in e Major, Op. 22

Antonín Dvořák Born Sept. 8, 1841, in Nelahozeves, Bohemia, now Czech Republic; died May 1, 1904, in Prague

Antonín Dvořák might have lan-guished far longer in Bohemian obscu-rity if he hadn’t come to the attention of Johannes Brahms in the mid-1870s. The well-established Brahms was then serving on a committee to award stipends to talented but undiscovered composers living in outlying provinces of the Austrian Empire. Deeply im-pressed by Dvořák’s submitted compo-sitions, he not only voted for him to receive the prize money but also went to his own publisher Fritz Simrock to urge him to take on the young composer. Thus began a profitable relationship with the Berlin publish-ing house, and Dvořák was on his way to becoming a household name among European music lovers.

Written in May 1875, Dvořák’s gor-geous Serenade for Strings reflects the joy of the new opportunities awaiting him. There are strong relationships between this work and Tchaikovsky’s better-known Serenade for Strings: both feature an enchanting waltz as a second movement and both bring back their beautiful first-movement themes in closing. But, in fact, Dvořák did it first, composing his Serenade five years before Tchaikovsky’s.

Dvořák’s Serenade handsomely dis-plays two of his finest compositional gifts. First, as an accomplished string player himself—for years he sup-ported his family as principal violist of Prague’s opera house—he wrote superbly for string instruments. And, secondly, he was one of the greatest melodists classical music has ever produced.

As a demonstration of this, the first movement, in a relaxed Moderato tempo, features a principal theme of warm, serene loveliness. Moving to C-sharp minor, the second movement is

a gracefully spinning waltz. Somewhat surprisingly, its middle or trio section is more passionate, more emotionally complex, and—despite moving to a major key—darker in mood.

In a Vivace tempo, the third move-ment is a high-spirited scherzo, whose principal theme is chased in canon between the instruments. A lyrical ascending melody calms its vigorous dance, and a soaring trio section also provides luscious contrast.

Loveliest of all is the wonderful fourth movement Larghetto in A ma-jor: a dreaming nocturne that exploits the richness of string colors to the fullest. Its quick-silver middle section resembles Mendelssohn’s fairy music in his A Midsummer Night’s Dream.

The Allegro vivace finale is the most rhythmically and thematically playful of the five movements. It is calmed briefly during the development section by a return of the Larghetto’s beauti-ful theme in the cellos. But the most important reprise is that of the first movement’s serene theme, which brings the Serenade to a satisfying full-circle close.

variations on a rococo theme

Piotr Ilyich Tchaikovsky Born May 7, 1840, in Votkinsk, Russia; died Nov. 6, 1893, in St. Petersburg, Russia

The year 1876 was one of low spirits for Tchaikovsky. Restless and irritable, he traveled about Europe in search of the creative muse.

The first work he finally wrote late in the year, the tempestuous tone poem Francesca da Rimini, reflected his mood, but the one that followed in December, Variations on a Rococo Theme for cello and orchestra, cer-tainly did not.

For in this lovely work the compos-er retreated to the 18th-century world of his favorite composer Mozart and the quality of balance it always gave his spirit. “I don’t just like Mozart, I idolize him,” he wrote a little later to his patroness Nadezhda von Meck. “Perhaps it is just because —being a child of my time—I feel broken and

spiritually out of joint, that I find consolation and rest in the music of Mozart, music in which he gives expression to that joy in life that was part of his sane and wholesome tem-perament.”

Rococo, from the Italian word for “shell,” was originally the name for a shell-like ornament used for interior decoration in mid-18th-century palac-es; its popularity eventually gave name to an entire cultural style of delicate ornamentation and lightheartedness.

Tchaikovsky adopted the rococo spirit here in his simple, graceful theme, in the charm and fancifulness of his variations, and in the use of a small 18th-century orchestra, with only pairs of woodwinds plus strings to support the cello soloist.

In the seven variations that follow the cello’s presentation of the theme, Tchaikovsky sticks closely to the melody so that we never forget its original shape.

The heart of the work is the lengthy third variation: a soulful, slow-tempo song for the cello that is a masterpiece of heartfelt lyricism. Variation five shows off the soloist’s virtuosity with chains of trills, an extremely wide range (Tchaikovsky emphasizes the cello’s highest notes throughout this work), and rapid figurations.

The sixth variation moves into the minor mode with a darkly melancholy Russian melody, exquisitely accompa-nied by pizzicato strings and wood-wind solos.

Symphony no. 3 in F Major

Johannes Brahms Born May 7, 1833, in Hamburg, Germany; died April 3, 1897, in Vienna, Austria

Most of the major works of Johannes Brahms’ maturity were composed in summertime in beautiful rural settings overlooking tranquil lakes and alpine peaks. But during the summer of 1883, his Third Symphony was written in a more urban location: a lofty studio overlooking the German Rhineland city of Wiesbaden.

The urge to create this work had



come on the composer while visiting Wiesbaden and, rather than lose inspi-ration traveling to a vacation retreat, he stayed on.

And there was another compelling reason to stay: a rich-voiced contralto named Hermine Spies. Brahms had just met her and was captivated by her marvelous voice and vivacious person-ality. Another of this confirmed bach-elor’s romantic friendships ensued, even though Spies was young enough to be the 50-year-old Brahms’ daugh-ter. He wrote many songs for her, and she became his favorite interpreter of the Alto Rhapsody.

And so even without mountain views, the summer of 1883 was a particularly happy one, and the Third Symphony, his shortest, was born with ease.

The least often performed of Brahms’ four, it is his most refined and densely constructed symphony: one in which he distills the maximum possibilities from every motive and theme, even bringing them back in new guises in later movements.

This sturdy intellectual foundation is overlaid with some of his loveliest melodies, clothed in exquisite orches-tral colors. But it is easier for conduc-tors and orchestras to dazzle audiences with the other symphonies than with this subtle creation, all four of whose movements end quietly.

The first movement opens with three rising chords that spell out F-A (flat)-F, a personal motto for Brahms that pervades much of the symphony.

Years earlier, Brahms and his close friend, violinist Joseph Joachim, had experimented with musical mottos symbolizing their bachelor status. Joachim’s was F-A-E for “Frei aber einsam” (“Free but lonely”), and he soon married. Brahms countered with F-A-F, “Frei aber froh” (“Free but glad”).

But now in his Third Symphony, the A has become A-flat, shifting the F-major home tonality to minor. Is there perhaps a hint of ambiguity about his motto as Brahms pays court to Hermine Spies?

The F-A-F motto spawns a ruggedly masculine principal theme, striding across a big range. But soon the music becomes more subdued and proposes a romantic waltz, led by clarinet and bassoon, as the second theme. This melody is later taken up in the devel-opment section, which also features a brooding treatment of the first theme led by the first horn. The movement’s concluding coda begins big, but sur-prisingly, the masculine theme turns tender and lyrical for a hushed close.

Brahms scholar Malcolm MacDon-ald calls the second movement “one of Brahms’ most inspired sublimations of folksong style.” Clarinets and bas-soons introduce the principal melody “of simple gravity and hymn-like seriousness.”

Pay special attention to the second theme: a melancholy duet for clari-net and bassoon emphasizing triplet rhythms and accompanied by a per-sistent short-long rhythm; this music will appear again in the finale. The movement’s closing coda is exceeding-ly beautiful, exploiting the orchestra’s most diaphanous colors.

Another intermezzo-style move-ment, the third-place Poco allegretto, features one of Brahms’ loveliest tunes, sung first by the cellos; it is a bittersweet mix of Romantic yearn-ing and regret so characteristic of this composer. Brahms gives it many vari-ants, with radiant new orchestrations.

The struggle between minor and major becomes fierce in the sonata-form finale, which resolves all that has gone before. It opens in F minor with a mysterious, scurrying theme. This is followed by a solemn new version of the clarinet-bassoon duet theme from movement two.

The development section tackles the first theme in moods both medita-tive and heroic, but most of the drama is saved for the duet theme, its short-long rhythm grown monumental.

In the closing coda, this theme is transformed yet again: played very slowly in the woodwinds over shim-mering strings. From this miraculously floats the F-A-F motto and the work’s

bold opening theme; serenely, it ripples down through the orchestra like a benediction.

hungarian rhapsody no. 5

Johannes Brahms

When he was barely 20, Brahms had joined the flamboyant Hungarian violinist Eduard Reményi on a concert tour around central Europe and fell in love with the propulsive Hungarian gypsy-style numbers that were Remé-nyi’s stock in trade.

For the rest of his life, especially after he settled in Vienna, Brahms haunted the cafés that featured this dashing, uninhibited music.

For his own pleasure, Brahms also enjoyed improvising Hungarian gypsy melodies on the piano at private parties, and this is how the Hungar-ian Dances were born. By the end of the 1860s, he finally responded to his friends’ urging that he write down these improvisations and publish them.

In 1869, his publisher Fritz Simrock brought out the first set of 10 Hungar-ian Dances arranged for piano four-hands, and they were an immediate hit with amateur pianists throughout Europe.

These dances turned out to be a goldmine for both Brahms and Simrock. In order to meet demand, Brahms created editions for solo pia-nist and orchestrated three of them.

When these orchestral versions also proved popular, Simrock commis-sioned other musicians to make more orchestral arrangements. Ultimately, this highly lucrative music provided Brahms with a very comfortable in-come—essentially financing his more serious music.

We’ll hear the Fifth Hungarian Dance, which is one of the most popu-lar. Orchestrated by Martin Schmel-ing, it emphasizes the art of rubato or the continual slowing down and speeding up of the tempo; this rhyth-mic freedom was one of the hallmarks of gypsy style.




FRIDAY, OCTOBER 25, 2013, 8 P.M.

●Washington Performing Arts Society

Celebrity Series

presents

Yuja Wang, piano

Piano Sonata No. 3 in A minor, Op. 28 Sergei Prokofiev (1891-1953)

Piano Sonata No. 3 in B minor, Op. 58 Frédéric Chopin Allegro maestoso (1810-1849) Scherzo: Molto vivace largo Finale: Presto non tanto; Agitato

INTERMISSION

Nocturne in C minor, Op. 48, No. 1 Frédéric Chopin

Ballade No. 3 in A-flat major, Op. 47 Frédéric Chopin

Variations for Piano, Op. 41 Nikolai Kapustin (1937-)

Three Movements from Petrushka Igor Stravinsky Russian Dance (1882-1971) In Petrushka’s Cell The Shrove-Tide Fair

This performance is made possible through the generous support of Betsy and Robert Feinberg.


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Yuja Wang, piano

Twenty-six-year-old pianist Yuja Wang is widely recog-nized as one of the most im-portant artists of her genera-tion. Wang has

been praised for her authority over the most complex technical demands of the repertoire and the depth of her musical insight, as well as her fresh interpreta-tions and charismatic stage presence.

In the years since her 2005 debut with the National Arts Center Orches-tra led by Pinchas Zukerman, Wang has performed with many of the world’s most prestigious orchestras including those of Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia and San Francisco. Abroad, she has per-formed with Berlin Staatskapelle, China Philharmonic, Filarmonica della Scala, Israel Philharmonic, London Philhar-monic, Orchestre de Paris, Orquesta Nacional España, Simón Bolívar Sym-phony Orchestra, the NHK Sympho-ny in Tokyo, Royal Concertgebouw

Orchestra, Orchestra Mozart and Santa Cecilia, among others.

In 2006 Wang made her New York Philharmonic debut at the Bravo! Vail Music Festival and performed with the or-chestra the following season under Lorin Maazel during the Philharmonic’s Japan/Korea visit.

Wang studied under Ling Yuan and Zhou Guangren at Central Conservato-ry of Music in Beijing. Wang later moved to the U.S. to study with Gary Graffman at The Curtis Institute of Music in Phil-adelphia, where she graduated in 2008. In 2006 she received the Gilmore Young Artist Award, and in 2010 was award-ed the prestigious Avery Fisher Career Grant. Wang is a Steinway Artist.

Program NotesPiano Sonata no. 3 in A minor, Op. 28

Sergei Prokofiev Born April 23, 1891, in Sontsovka, Ukraine; died March 5, 1953, in Moscow, Russia

The year 1917 brought profound changes to Russia, and it was also the most productive of Prokofiev’s life. That year, he wrote his “Classical” Symphony, First Violin Concerto and Visions fugi-tives, and—in the midst of all this new music—he also looked back. As a young music student in St. Petersburg, Prokofiev had sketched a number of piano sonatas, but then—realizing how quickly he was developing as a composer—left these early works in manuscript. Now, at age 26, he returned to these youthful sketches and discovered that he still found much of the music attractive. Very quickly he composed two new piano sonatas—his Third and Fourth—and based them on themes he had written as a teenager. To make clear their origin, he published each of the sonatas with the subtitle “From Old Notebooks.”

The Sonata No. 3 in A minor has become one of Prokofiev’s most popu-lar keyboard works, despite its unusual brevity: it is in one movement that gets past in only seven minutes. They are a pretty dazzling seven minutes. Prokofiev notates the meter as 4/4(12/8), and that



strained and subdued atmosphere, might seem inappropriate for the Nocturne in C minor, which moves from a quiet begin-ning to an almost frenzied climax.

The understated beginning (Chopin marks it mezza voce: “middle voice”) soon introduces widely spaced chords in the left-hand accompaniment, and these in turn give way to rolled chords and then to thunderous octave runs.

These runs—four octaves deep—re-quire the utmost power from a performer, and the chordal theme emerges almost in passing. Chopin drives the music to a huge climax full of rhythmic complex-ity—the closing section consistently sets three against four—until suddenly the fury subsides and the music concludes on three quiet C-minor chords.

Ballade no. 3 in A-flat Major, Op. 47

Frédéric Chopin

Chopin himself was the first to use the term “ballade” to refer to a piano compo-sition, appropriating the name from the literary ballad: he appears to have been most taken with the lyric and dramatic possibilities of the term, for his four bal-lades fuse melodic writing with intensely dramatic—almost explosive—gestures. After Chopin’s death, Liszt, Grieg, Fauré and Brahms would compose works for solo piano that they too called ballades.

Formally, Chopin’s ballades most closely resemble the sonata-form move-ment (an opening idea contrasted with a second theme-group, and the two ideas developed and recapitulated), but the bal-lades are not strictly in sonata-form, nor was Chopin trying to write sonata-form movements. His ballades are quite free in form, and their thematic development and harmonic progression are sometimes wildly original. All four ballades employ a six-beat meter (either 6/4 or 6/8), and the flowing quality of such a meter is particu-larly well-suited to the sweeping drama of this music. All four demand a pianist of the greatest skill.

Because of the literary association and the dramatic character of the music, many have been quick to search for extra-musi-cal inspiration for the ballades, believing that such music must represent the at-

never performed it in public.Chopin’s sonatas have come in for

a hard time from some critics, and this criticism intensifies to the degree that they depart from the formal pattern of the classical piano sonata. But it is far better to take these sonatas on their own terms and recognize that Cho-pin—like Beethoven before him—was willing to adapt classical forms for his own expressive purposes. The Sonata in B minor is a big work—its four move-ments stretch out to nearly half an hour. The opening Allegro maestoso does in-deed have a majestic beginning with the first theme plunging downward out of the silence, followed moments later by the gorgeous second subject in D major, marked sostenuto. The movement treats both these ideas but dispenses with a complete recapitulation and closes with a restatement of the second theme. The brief Molto vivace is a scherzo, yet here that form is without the violence it sometimes takes on in Beethoven. This scherzo has a distinctly light touch, with the music flickering and flashing across the keyboard (the right-hand part is particularly demanding). A quiet legato middle section offers a moment of repose before the returning of the opening rush.

Chopin launches the lengthy Largo with sharply dotted rhythms, over which the main theme—itself dotted and marked cantabile—rises quietly and gracefully. This movement is also in ternary form, with a flowing middle section in E major. The finale—Presto, non tanto—leaps to life with a powerful eight-bar introduction built of octaves before the main theme, correctly marked Agitato, launches this rondo in B minor. Of unsurpassed difficulty, this final movement—one of the greatest in the Chopin sonatas—brings the work to a brilliant close.

nocturne in C minor, Op. 48, no. 1

Frédéric Chopin

Chopin wrote the dramatic Nocturne in C minor in 1841, when he was 31 years old and living in Paris. The title “nocturne,” with its suggestion of a re-

rush of triplets will energize the open-ing statement, which Prokofiev marks Allegro tempestoso. A two-measure vamp rockets us straight into the main idea of this sonata-form movement, which is stamped out fortissimo, and this has already begun to evolve by the time Pro-kofiev arrives at his second subject. The contrast could not be more complete. After that white-hot opening, Proko-fiev goes out of his way to emphasize how different this second theme should sound: it is marked Moderato, tranquillo, pianissimo, legato and semplice e dolce. This second idea does sing beautifully, but the opening furies return at the development, and the sonata drives to a huge climax (marked both fortissimo and con elevazione). The long coda begins with murmuring energy and gradually builds to a thunderous cadence.

Much of Prokofiev’s early music met with scorn and misunderstanding. Not this sonata, however. Prokofiev gave the premiere in St. Petersburg on April 15, 1918, during a week-long festival of his music sponsored by the Conserva-tory. But the acclaim that greeted these works did little to reconcile the young composer to the changing political climate in Russia: three weeks later he left for the United States, and he would not return for 15 years.

Piano Sonata no. 3 in A minor, Op. 58

Frédéric Chopin Born Feb. 22, 1810, in Zelazowa Wola, Poland; died Oct. 17, 1849, in Paris

Chopin wrote the Piano Sonata in B minor, his last large-scale composition for piano, during the summer of 1844, when he was 34. He composed the sonata at Nohant, the summer estate in central France he shared with the novelist George Sand. That summer represented a last moment of stasis in the composer’s life—over the next several years his relationship with Sand would deteriorate, and his health, long ravaged by tuberculosis, would begin to fail irretrievably. Dedicated to Madame la Comtesse Emilie de Perthuis, a friend and pupil, the Sonata in B minor was published in 1845. Chopin himself



the summer of 1921. Rubinstein paid Stravinsky what the composer called “the generous sum of 5,000 francs” for this music, but Stravinsky made clear that his aim was not to cash in on the popularity of the ballet: “My intention was to give virtuoso pianists a piece of a certain breadth that would permit them to enhance their modern repertory and demonstrate a brilliant technique.”

The ballet Petrushka, with its haunt-ing story of a pathetic puppet brought to life during a Russian fair, has become so popular that it is easy to forget that this music had its beginning as a sort of pia-no concerto. Stravinsky said: “I had in my mind a distinct picture of a puppet, suddenly endowed with life, exasperat-ing the patience of the orchestra with diabolical cascades of arpeggi.” That puppet became Petrushka, “the immor-tal and unhappy hero of every fair in all countries,” as the story of the ballet took shape, but the piano itself receded into the background of the ballet.

Stravinsky drew the piano score from three of the ballet’s four tableaux. The opening movement, Russian Dance, comes from the end of the first tableau: the aged magician has just touched his three puppets—Petrushka, the Ballerina and the Moor—with his wand, and now the three leap to life and dance joyfully. Much of this music was given to the piano in the original ballet score, and here this dance makes a brilliant open-ing movement. The second movement, In Petrushka’s Cell, is the ballet’s second tableau, which introduces the hapless Petrushka trapped in his room and rail-ing against fate and shows the entrance of the ballerina. The third movement, The Shrove-Tide Fair, incorporates most of the music from the ballet’s final tableau, with its genre pictures of a St. Petersburg square at carnival time: vari-ous dances, the entrance of a peasant and his bear, gypsies, and so on. Here, however, Stravinsky excises the end of the ballet (where Petrushka is murdered and the tale ends enigmatically) and replaces it with the more abrupt ending that he wrote for concert performances of the ballet suite.

Program notes by Eric Bromberger

performed, and Kapustin feels that that violates the improvisational essence of jazz.

Kapustin’s Variations date from 1984. That title might seem misleading—all jazz is a matter of variations on a theme, after all—but Kapustin’s compact work takes a basic musical idea through a series of evolutions at different tempos and in varying moods. The opening section, marked Medium swing, intro-duces and briefly extends his main idea. The music leaps ahead at the Doppio movimento, where Kapustin goes into 3/4, then returns to common time for the wistful Larghetto, an expressive and beautiful interlude that Kapustin marks “Swinging just a bit.” A brief, blazing Presto in cut-time rockets the Variations to a fiery (and fun) close.

three Movements from Petrushka

Igor Stravinsky Born June 17, 1882, Oranienbaum, Ger-many; died April 6, 1971, New York City

In the early 1920s, Igor Stravinsky—one of the greatest orchestrators in history and creator of some of the finest music ever written for orchestra—began to write for solo piano. There were sev-eral reasons for this. In the aftermath of World War I, Stravinsky discovered that orchestras that could play huge and complex scores were rare (and expen-sive). And in any case Stravinsky did not wish to go on repeating himself by writing opulent ballets. But the real fac-tor that attracted Stravinsky to the piano was that he was a pianist and so could supplement his uncertain income as a composer by appearing before the public as both creator and performer; this was especially important during the uncertain economic situation following the war.

While not a virtuoso pianist, Stravin-sky was a capable one, and over the next few years came a series of works for piano that Stravinsky introduced and then played on tour. The impe-tus for all this piano music may well have come from Arthur Rubinstein, who asked the composer to prepare a version of the ballet Petrushka for solo piano, which Stravinsky did during

tempt to capture actual events in sound. Some have heard the Polish struggle for independence in this music, others the depiction of medieval heroism. Chopin himself discouraged this kind of specula-tion and asked the listener to take the music on its own terms rather than as a representation of something else.

Chopin wrote the Ballade in A-flat Major in 1840-41 and performed the work in public in 1842. The least overt-ly dramatic of the four ballades, this one nevertheless contains music of extraor-dinary beauty. The opening theme—a quiet, rising figure—also contains the falling half-step that gives shape to the lilting second subject.

variations for Piano, Op. 41

Nikolai Kapustin Born Nov. 22, 1937, in Gorlovka, Ukraine

Born in the Ukraine, Nikolai Kapustin learned to play the piano there as a boy and then went on to the Moscow Conservatory, where he studied with Alexander Goldenweiser, the legend-ary teacher of many Russian pianists, including Dmitri Kabalevsky, Tatiana Nikolayeva and Lazar Berman. But along his path to a career as a virtuoso pianist, an unexpected thing happened: Kapustin fell in love with American jazz. This was during the 1950s, that icy era when jazz was considered ideologi-cally deficient in the Soviet Union, but Kapustin made a successful career as a jazz performer, both as a solo pianist and as a member of a jazz quintet.

Kapustin has composed prolifically (his list of works now runs to well over 150 opus numbers), and these include 20 sonatas, six concertos and other works for piano and orchestra, and many more. All of his music is touched in some ways by his love for jazz, but Ka-pustin has said repeatedly that he does not consider himself a jazz composer. At the center of jazz is improvisation, and Kapustin has been quite specific that he does not improvise—he writes out his pieces and then goes back and revises them repeatedly until he gets them in the form he wants. And so his pieces should be the same whenever they are

Saturday, October 26, 2013, 3:30 p.m.


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SATURDAY, OCTOBER 26, 2013, 3:30 P.M.



presents

Mostly SchumannZuill Bailey, cello

Navah Perlman, piano

Funf Stücke im Volkston Robert Schumann (“Five Pieces in Folk Style”), Op. 102 (1810-1856) 1. Mit Humor 2. langsam 3. Nicht schnell,mit viel Ton zu spielen 4. Nicht zu rasch 5. Stark und markiert

Adagio and Allegro Robert Schumann in A-flat Major, Op. 70

Fantasiestücke Robert Schumann (“Fantasy Pieces”), Op. 73

INTERMISSION

Arabesque in C Major, Op. 18 Robert Schumann

Intermezzo in A Major, Op. 118, No. 2 Johannes Brahms Andante teneramente (1833-1897)

Ballade in G minor, Op. 118, No. 3 Johannes Brahms

Faschingsschwank aus Wien Robert Schumann (“Carnival Scenes from Vienna”), Op. 26 Allegro Romanze, Ziemlich langsam Scherzino Intermezzo, Mit grösster Energie



Zuill Bailey, celloWidely ac-knowledged as one of the pre-eminent cellists of his generation, Zuill Bailey engages au-diences with compelling

artistry and technical finesse. Bailey has appeared with the sympho-

ny orchestras of Chicago, San Francis-co, Minnesota, Indianapolis, Nashville, Dallas, Milwaukee and Toronto, and prominent orchestras around the world. He made his Carnegie Hall debut with the U.S. premiere of Miklos Theodora-kis’ Rhapsody for Cello and Orchestra.

This season Bailey performs the Dvořák Concerto with the Phoenix

Symphony Orchestra, and the Elgar Concerto in Indianapolis under the baton of Krzysztof Urbanski. He also plays Elgar with the Napa Valley, Youngstown and El Paso symphonies. Other orchestral engagements include dates with the El Paso, Fairbanks, Knox-ville, Shreveport, Pensacola, York and Fort Collins symphonies, and a return to the National Philharmonic at Strath-more for performances of the solo Bach Suites and the Haydn C Major.

The 2010-2011 season saw the release of the album Brahms Works for Cello and Piano. The disc, recorded with pianist Awadagin Pratt, follows up the previous season’s critically acclaimed Complete Bach Cello Suites.

Other recordings include Russian Masterpieces on Telarc International; a debut recital disc for Delos; Cello Quin-tets of Boccherini and Schubert with Janos Starker; Saint-Saëns’ Cello Con-certos No. 1 and 2 Live; and the Korn-gold Cello Concerto with the Bruckner Orchestra Linz for ASV.

He is the artistic director of El Paso Pro Musica, artistic director designate of the Sitka Summer Music Festival and Series (Alaska) and professor of cello at the University of Texas at El Paso.

Bailey performs on a 1693 Matteo Gofriller cello, formerly owned by Mis-cha Schneider of the Budapest String Quartet.

Navah Perlman, pianoKnown for her lyrical elo-quence on the stage, Navah Perlman has established herself as one of the most poetic and ad-mired pianists

of her generation. Perlman has appeared with numer-

ous orchestras throughout North Amer-ica including the Philadelphia Orches-tra and the Pittsburgh, Nashville and Montreal symphonies. Internationally, Perlman has appeared with the Barce-lona Symphony Orchestra, the National



Orchestra of Mexico, the Israel Philhar-monic, the Prague Symphony and the New Japan Philharmonic in Suntory Hall.

In addition to her successful solo ca-reer, Perlman collaborates frequently in chamber music with violinist Philippe Quint and cellist Zuill Bailey as the Perlman/Quint/Bailey Trio.

Program NotesFunf Stücke im Volkston (“Five Pieces in

Folk Style”), Op. 102

Robert Schumann Born June 8, 1810 in Zwickau, Ger-many, ; died July 29, 1856 in Endenich, Germany.

Robert Schumann, a renowned German Romantic composer, took his first piano lessons when he was a very young child and began composing when he was only 11. Schumann’s father was a small-town bookseller who encouraged his son’s in-clination toward the arts; nevertheless, his family was eager to see him study law, and although he complied with their desires, he soon abandoned that study to take up his pursuit of music.

Schumann dedicated the Five Piec-es in Folk Style to his wife, Clara, and to the cellist Andreas Grabau when they were published in 1851. These Five Pieces, written specifically for cello and piano, fit into the category of charac-ter pieces. They have no fixed form but have the kind of descriptive title that Schumann gave to many works during this period of his life. They were com-posed in three days during April 1849. Grabau probably performed them at their first performance on June 8, 1850, at a private musical party in Leipzig.

The music has very much the feel of German folk and popular songs that were then so widely sung. The first piece (which Schumann inscribed, in Latin, Vanitas vanitatum, “vanity of vanities”) is to be played “with humor” yet quite quickly. The theme recurs four times with contrasting episodes between its re-appearances. The second piece is slow, with contrasts of major and minor

tonality and a simply written piano ac-companiment. The third piece is not fast and has a rich effect with alterna-tions of cello solo, duo with piano, and then cello solo again. The fourth is not too quick, while the fifth is speedy. Both have a strong, emphatic sense of char-acter, and also have strong lines of con-trast as their governing feature.

Adagio and Allegro in A-Flat, Op. 70

Robert Schumann

Schumann had initially hoped for a career as a pianist, but he injured his hand, and instead turned to compos-ing, conducting and editing an impor-tant musical journal that he founded in 1844. In the late 1840s and early 1850s, Schumann composed a number of works that he felt could be played in-terchangeably by any of several instru-ments with piano accompaniment. The lyrical Adagio and Allegro, intended orig-inally for horn, cello or violin has be-come a favorite for many different in-struments. Schumann composed it in Dresden during four days of February 1849; two weeks later, his wife, Clara, tried it out with a horn player from the local orchestra. At the first public con-cert performance during the next win-ter, she also played it with a violinist.

Schumann wrote the Adagio and Al-legro and its companion, the more in-trospective Phantasiestücke, as an ex-periment; in both, he was widening the concept of the “character piece.” Prior to these works, the character piece had usually been the exclusive province of the piano, but Schumann enriched it by adding a second instrument. The open-ing of the extroverted Adagio and Allegro echoes the work’s original title, Romanze und Allegro, in its intimate evocation of a love song. After the gentle and lyrical introduction, the work becomes bolder, with a brightness that Schumann de-scribed as “fast and fiery.”

Fantasiestücke (“Fantasy Pieces”), Op. 73

Robert Schumann

In the late 1840s and early 1850s, Rob-ert Schumann wrote several sets of

pieces for one or two instruments and piano that are generally shorter than for-mal sonata movements and have such fanciful titles as Romances, Fairy Tales and Folk Pieces. Most of them can be played by a variety of instruments. Schumann used the title Fantasiestücke or Phantasiestücke repeatedly for various piano compositions as well as several chamber works. The Fantasiestücke, Op. 73, were pieces con-ceived for clarinet and piano, and in the manuscript Schumann called them Soi-rée-stücke, or “Party Pieces.” Though they were originally intended for clarinet and piano, Schumann directed that the clari-net part could be also performed on violin or cello. He sketched them in two or three days of February 1849, and on the 18th, they had taken final enough form that his wife Clara, a great pianist, played them in the Schumann home with the clarinet-ist of the court orchestra. Later that year, Schumann published them with cello as an equal alternative choice to the clarinet.

In this work, the clarinet substitutes for the human voice in a kind of song-like free lyric flow. Schumann indicat-ed that the three poetic short pieces be played without pause. The first, Zart und mit Ausdruck, a pensive, symmetri-cal work, has a tender and expressive de-meanor in a minor tonality; the second, Lebhaft, leicht, lively and light, is spirited and written in the more optimistic key of A major; and the third, Rasch und mit Feuer, quick and fiery, displays high en-thusiasm almost to the point of agitation. Schumann wrote the last two in major keys. The three works all have a similar structure; they all make use of the da-ca-po form, which means from the “head,” or back to the beginning, and they have a shape that could be diagrammed as ABA, as a return to an exact repeat of the piece for the final section. Each of the last two pieces also has a coda. The common key of A links all three pieces.

Arabesque, in C Major, Op. 18

Robert Schumann

Schumann studied piano with Friedrich Wieck, who was one of that epoch’s great teachers. In 1834, Schumann fell in love with a fellow Wieck pupil, and the two



considered themselves to be secretly en-gaged to marry, until family disapprov-al successfully separated them. In 1835, Schumann fell in love again, this time with Wieck’s star pupil, Wieck’s own 16 year old daughter Clara, who had made her public debut when she was 9. Clara became a published composer at 12, and grew up to be one of the greatest pianists of her time. Her father did everything he could to break up the developing re-lationship between her and Schumann, but the two found ways of communicat-ing despite him, and five years later, on the eve of Clara’s 21st birthday, they married.

Most of Robert Schumann’s piano music was written before 1840, the year of his marriage to Clara. The bulk of this work consists of collections of in-timate miniatures that express the Ro-mantic imagination.

Schumann wrote this Arabesque in 1838 in a single movement. It is a short, colorful, poetic work, fancifully titled. The music is neither complex nor or-nate in design and certainly owes noth-ing to Arabic art. In structure it resem-bles a rondo, with a major key principal theme that recurs in alternation with contrasting ideas in a minor tonality.

intermezzo in A Major, from Sechs Klavier-

stücke (“Six Piano Pieces”), Op. 118, no. 2

Johannes Brahms Born May 7, 1833 in Hamburg, Germa-ny; died April 3, 1897 in Vienna, Austria.

In his youth, Brahms earned his liv-ing as a pianist, and played well enough that later he performed his own con-certos, although critics say he played more like a composer than a virtuoso. In 1892 and 1893, he composed a se-ries of 20 relatively short and intimate pieces published in four sets, probably as a convenience. Nothing binds the sep-arate numbers together, and the titles have no specific meaning. They are per-sonal statements, eloquent soliloquies like songs without words; in many ways, they resemble his beautiful songs of the 1880s. The Intermezzi are generally short and slow, and the Ballades longer. A sin-gle structure satisfied Brahms’ needs for

almost all of them: a basic three-part form with the same or similar opening and closing music surrounding a con-trasting central section.

Brahms makes strong efforts to avoid extra-musical associations in his desig-nation of Intermezzi. Rather, his focus in this and his other character pieces is of small scope with emphasis on strict compositional procedures, a high degree of harmonic and rhythmic elaboration, an unusual use of counterpoint and ex-tensive thematic variation.

Brahms’ Intermezzo, Op. 118, No. 2 Andante teneramente is introverted and subdued; Brahms succeeds in mak-ing the major key nostalgic and gentle. The music is composed in ternary form and seems to have qualities of reticence and longing, as if Brahms were striving for a level of expressive immediacy that he could not readily call up but worked hard to elicit. This lovely work is one of his lengthier and more profound in-termezzos. The melody is flowing and lyrical; it is richly harmonized in inno-vative, imaginative ways. As the crit-ic Robert Morgan points out, “Brahms’ message seems clear: music can continue to exist only by reflecting upon the very difficulty of its continuing existence.”

In the central section, Brahms cre-ated what might be termed an internal intermezzo (or an intermezzo within an intermezzo) in which he articulates an-other beautiful theme, but one that in-cludes some tension, if not agitation, as it progresses. When Brahms returns to the initial section, the mood light-ens. The relationship between the main voice and the accompaniment is re-markable here: Brahms inverts his main theme and harmonizes it richly.

Ballade in G minor from Sechs Klavier-

stücke, (“Six Piano Pieces”), Op. 118, no. 3

Johannes Brahms

As a young man, Brahms wrote grand works for the piano on a heroic scale, but as time went by, the intervals be-tween them grew longer. After his Piano Concerto No. 2, there is a gap of about 10 years in which he produced no piano music. Then in 1892 and 1893, he

composed a series of 20 relatively short and intimate pieces that he published in four sets.

No. 3, in G minor, Allegro energico, is a dramatic Ballade. It is somewhat dif-ferent from the other pieces for piano Brahms composed at this time, most of which are reflective and even dark in spirit, which perhaps can be best under-stood because in the year of their com-position, 1892, both the composer’s sis-ter and his close friend Elizabeth von Herzogenberg passed away. This bal-lade, however, in ternary (ABA form) is more vigorous and energetic, especially in its outer sections. The work can even be thought of as a heroic composition, based on two contrasting subjects. The first section can be distinguished by its bold, galloping rhythms. In the ballade’s center, Brahms introduces lovely, serene music with subdued variations on the first two subjects and a csárdás, a Hun-garian folk dance. Although the music of the main subject returns in the final section, in the conclusion it has become more peaceful. The coda, including a little fragment of the csárdás, brings the work to a quiet end.

Faschingsschwank aus Wien (“Carnival

Scenes from Vienna”), Op. 26

Robert Schumann

Schumann went to Vienna for an ex-tended stay in September 1838. Clara Wieck, whom he already loved, had recently given very successful con-certs there, and the two thought that if Schumann could move the maga-zine he edited from Leipzig to Vienna, they might move there when they mar-ried. After six months, that plan did not work out, and Schumann left Vienna, but while he was there he composed several short works as well as this long one.

Schumann subjected most of his compositions to much revision. He often gave them their picturesque ti-tles well after they were conceived and written, and frequently, he wrote many coded messages into his music, some ob-vious and some cryptic. On March 15, 1839, a month after Carnival that year,



the composer wrote to a wealthy Bel-gian admirer of his music (to whom he later dedicated this work) that it was a “big, romantic sonata.” The Intermez-zo, the fourth of the piece’s five move-ments, was a later addition, and when Schumann first published it separately in his own magazine as a supplement, he said that it was one of his forthcoming Nachtstücke, or Nocturnes, Op. 23.

By 1840, Schumann gave the work its sonata-like form but with the first and last movements reversed. The first movement is headed with the word Al-legro as a title rather than a tempo, which is given in German as Sehr leb-haft, or “Very lively.” The movement is rondo-like (which the classicists gen-erally reserved for finales), its open-ing theme repeating and alternating with contrasting ideas. At one point Schumann quotes the “La Marseillaise,” the French national anthem, its martial duple meter transformed into the triple meter of a Viennese waltz. Some crit-ics feel that this is the clue to the work’s title, and scholars have often said that the composer put the musical reference in simply because it was forbidden in the Austrian Empire, as “La Marseillaise,” was thought of as a French revolution-ary song. What Schumann might have had in mind, however, was the trans-mission of a musical message from Vi-enna to Paris, where Clara had gone in January, trying to build her career on her own, independent of her influential father who disapproved strongly of her match with Schumann. In this move-ment, there are altogether five contrast-ing episodes. The last is related to the slow movement of Beethoven’s Sonata in E Flat Major, Op. 31, No. 3.

Next come two movements built of short motives, a brief gentle Roman-ze, Ziemlich langsam (“Rather slow”) with a flowery melodic theme and a lit-tle Scherzino that is a witty but abbre-viated scherzo without a trio. The In-termezzo, Mit grösster Energie (“With very great energy”) follows, and in the Finale, Höchst lebhaft, (“With the highest level of liveliness”) Schumann turns to the sonata-allegro form with an added coda.

Saturday, October 26, 2013, 8 p.m. and Sunday, October 27, 2013, 3 p.m.


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presents

romantic SentimentsPiotr Gajewski, conductor

Zuill Bailey, cello

Tragic Overture, Op. 81 Johannes Brahms (1833-1897)

Concerto for Cello and Robert Schumann Orchestra in A minor, Op. 129 (1810-1856)

Nicht zu schnell langsam Sehr lebhaft

INTERMISSION

Symphony No. 1 in C minor, Op. 68 Johannes Brahms

un poco sostenuto; Allegro Andante sostenuto un poco allegretto e grazioso Adagio--Piu Andante— Allegro non troppo, ma con brio

Weekend Concerts Program Sponsor: Ameriprise Financial

Saturday Concert Presenting Sponsor: Ingleside at King Farm



Piotr Gajewski, conductorPiotr Gajewski is widely cred-ited with build-ing The National Philharmonic to its present sta-tus as one of the most respect-ed ensembles of its kind in the

region. The Washington Post recognizes him as an “immensely talented and in-sightful conductor,” whose “standards, taste and sensitivity are impeccable.”

In addition to his appearances with the National Philharmonic, Gajewski is much in demand as a guest conductor. In recent years, he has appeared with most of the major orchestras in his na-tive Poland, as well as the Royal Liv-erpool Philharmonic in England, the

Karlovy Vary Symphony in the Czech Republic, the Okanagan Symphony in Canada and numerous orchestras in the United States.

Gajewski attended Carleton Col-lege and the University of Cincinnati, College-Conservatory of Music, where he earned a bachelor’s of music and a master’s of music in orchestral conduct-ing. Upon completing his formal educa-tion, he continued refining his conduct-ing skills at the 1983 Tanglewood Music Festival in Massachusetts, where he was awarded a Leonard Bernstein Conduct-ing Fellowship. His teachers there in-cluded Leonard Bernstein, Seiji Ozawa, André Previn, Gunther Schuller, Gus-tav Meier and Maurice Abravanel.

Gajewski is also a winner of many prizes and awards, among them a prize at New York’s prestigious Leopold Sto-kowski Conducting Competition and, in 2006, Montgomery County’s Com-cast Excellence in the Arts and Human-ities Achievement Award.

Zuill Bailey, celloWidely ac-knowledged as one of the pre-eminent cellists of his generation, Zuill Bailey engages au-diences with compelling artistry and

technical finesse. Bailey has appeared with the sympho-

ny orchestras of Chicago, San Francis-co, Minnesota, Indianapolis, Nashville, Dallas, Milwaukee and Toronto, and prominent orchestras around the world. He made his Carnegie Hall debut with the U.S. premiere of Miklos Theodora-kis’ Rhapsody for Cello and Orchestra.

This season Bailey performs the Dvořák Concerto with the Phoe-nix Symphony Orchestra, and the Elgar Concerto in Indianapolis under the baton of Krzysztof Urbanski. He also plays Elgar with the Napa Val-ley, Youngstown and El Paso sympho-nies, where he adds the Haydn C Major



Concerto to the program. Other orches-tral engagements include dates with the El Paso, Fairbanks, Knoxville, Shreve-port, Pensacola, York and Fort Collins symphonies, and a return to the Nation-al Philharmonic at Strathmore for per-formances of the solo Bach Suites and the Haydn C Major.

The 2010-2011 season saw the release of the album Brahms Works for Cello and Piano. The disc, recorded with pianist Awadagin Pratt, follows up the previous season’s critically acclaimed Complete Bach Cello Suites,

Other recordings include Russian Masterpieces on Telarc International; a debut recital disc for Delos; Cello Quin-tets of Boccherini and Schubert with Janos Starker; Saint-Saëns’ Cello Con-certos No. 1 and 2 Live; and the Korn-gold Cello Concerto with the Bruckner Orchestra Linz for ASV.

Bailey performs on a 1693 Matteo Gofriller cello, formerly owned by Mis-cha Schneider of the Budapest String Quartet. He is the artistic director of El Paso Pro Musica, artistic director des-ignate of the Sitka Summer Music Fes-tival and Series (Alaska) and professor of cello at the University of Texas at El Paso.

Program Notestragic Overture, Op. 81

Johannes Brahms Born May 7, 1833, in Hamburg, Germa-ny; died April 3, 1897, in Vienna, Austria

Brahms wrote his intense Tragic Over-ture (and its companion piece, the Ac-ademic Festival Overture) in the Aus-trian resort town of Ischl during the summer of 1880, and it was first per-formed at a Vienna Philharmonic con-cert conducted by Hans Richter on Dec. 26. Brahms’ sketches suggest that he was grappling with some of the mu-sical ideas for about 10 years before he organized and developed them into this composition. When he had finished the two overtures, he sent them to his pub-lisher with a letter asking, “What do you think about the overtures? Are these

two (which, I assure you, are excellent) worth 1,500 or 2,000 thalers each (in-cluding four-hand piano arrangements)? You will surely say, and rightly, that no one needs any more overtures for as long as Weber’s, Cherubini’s and Men-delssohn’s are around.” The publisher evidently thought otherwise, for he paid the larger amount.

Brahms said of the two overtures, “One laughs; the other weeps.” He had difficulty deciding on a name for this one and wrote, “In earlier days, my music never pleased me. Now the titles don’t either. In the end, it is all vanity.” He first thought of calling it Dramatic Overture, and there is some evidence to suggest that it might have been intend-ed, at some point, as incidental music for a Viennese production of Goethe’s Faust, but by the time it was published in the summer of 1881, it bore its pres-ent title. Brahms did not much like the title Tragic Overture, but settled on it because neither he nor his friends, from whom he solicited suggestions, could think of a better one. The listener need not look for the emotion of any of the world’s greatest tragedies in this music; the title simply defines it as a serious piece. Brahms insisted that he did not contemplate a “particular drama as a subject;” therefore, it is not an overture to anything, but simply a one-move-ment composition in classical form for which the word “overture” was a title of convenience. To the conductor Bern-hard Scholz, he wrote, “You can put on the program Dramatic or Tragic Over-ture, or Overture to a Tragedy. You see, this time, too, I cannot find a title.”

The work, Allegro ma non troppo, begins with two chords and a timpani roll after which the strings introduce the principal theme, a rising and falling subject that builds in force and concen-tration. Following the principal theme’s exposition, the violins spin out a re-laxed, expressive second theme. The whole orchestra soon joins in and the music gathers up a great intensity be-fore the march-like development sec-tion with its sorrowful mood. The reca-pitulation brings back both fragments of the opening theme as well as the second

theme, which now is given fuller treat-ment. At the end, in the coda, a tremen-dous tension is again built up, as the work closes with great tumult.

The Tragic Overture is scored for pic-colo and two flutes, two oboes, two clari-nets, two bassoons, four horns, two trum-pets, three trombones, and tuba, timpani and strings.

Concerto for Cello and Orchestra in A

minor, Op. 129

Robert Schumann Born June 8, 1810, in Zwickau, Saxony, Germany; died July 29, 1856, in Endenich, near Bonn, Germany

On Sept. 2, 1850, Robert Schumann, his illustrious wife, Clara, and their five small children arrived in the Rhineland city of Düsseldorf, where he was to take up his new duties as musical director of the or-chestra and choral society. Schumann’s position left him enough time for com-position, and he took full advantage of it. Before his orchestra rehearsals began in late October, he had completed the Cello Concerto. He sketched it in the week be-tween Oct. 10 and 16, and by Oct. 24, he had completed the orchestration. Nine days after finishing the concerto, he was at work on his Rhenish Symphony.

Despite the speed with which he turned out the Cello Concerto, it ranks today among the half dozen finest works of its kind. Clara thought very highly of it, but evidently her husband did not, for after scheduling a performance in 1852, he withdrew it. It was finally released for pub-lication in 1854, the tragic year when Schumann attempted suicide by throw-ing himself into the Rhine. As far as is known, the concerto was never performed during the composer’s lifetime and did not receive its initial hearing until June 9, 1860, when it was played at the Leipzig Conservatory in a concert marking the 50th anniversary of Schumann’s birth.

Schumann’s Cello Concerto has three connected movements. Cyclical in con-struction, it has a motto theme that is heard at the very outset and that reap-pears at various times and in various guis-es throughout the entire work. The beau-tifully lyrical, flowing first movement,

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marked Nicht zu schnell (Not too fast), begins with the theme that serves as the basic motto for the whole concer-to. A bridge passage connects the first movement directly with the second movement, which is slow and lyrical. A transitional passage recalls the first movement, and the tempo accelerates, propelling soloist and orchestra into the spirited, energetic finale, Sehr lebhaft (Very lively). This sonata form move-ment has a theme whose principal sub-ject is derived directly from the motto motive. Near the end, a cadenza for the solo cello comments and elaborates on material from the entire concerto. When the orchestra re-enters, its pace is more animated, and the work concludes brilliantly.

The orchestral score requires two flutes, two oboes, two clarinets, two bas-soons, two horns, two trumpets, timpani and strings.

Symphony no. 1 in C minor, Op. 68

Johannes Brahms

Twenty-two years before Brahms com-pleted his Symphony No. 1, he began to think about composing a symphonic work when his fellow composer Rob-ert Schumann, in a review of the young Brahms’ work, publicly compared his music to that of Beethoven. Finally, eight years later, although he would not complete the symphony for 14 years, Brahms began to work on the music that was to become his Symphony No. 1. His colleagues, especially Schumann, anticipated the symphony’s appearance eagerly, but their anticipation did not hasten Brahms. “Composing a sympho-ny is no laughing matter,” he once said, and at another time, “I shall never fin-ish a symphony. You have no idea how it feels to hear behind you the tramp of a giant like Beethoven.”

In 1862 Brahms sent Clara Schumann, Robert’s wife, a sketch of a first movement, minus the introduc-tion, of music that would evolve into his Symphony No. 1. A few years later, in 1868, he sent Clara a birthday song that later he used as the horn theme in the finale of the symphony. Even

though the awe Beethoven instilled in Brahms was formidable, Brahms under-stood what he needed to do to follow in Beethoven’s footsteps in an acceptable way. Like Beethoven, he had to syn-thesize and balance the elements of the Classical and the Romantic in music.

In 1876, when Brahms was 43 years old, he was offered the position of music director in Düsseldorf, and when he ten-tatively decided to leave Vienna to go there, he wrote a friend that “I have ar-rived at the decision to come out with a symphony. … I just think I ought to offer the Viennese something present-able by way of farewell.” He decided against going to Vienna, but he did fi-nally allow his first symphony to be re-leased. The premiere performance took place on Nov. 4 at the Grand Ducal Theater in Karlsruhe. Because he trust-ed the conductor and admired the or-chestra of this small city, Brahms re-fused offers to perform the symphony elsewhere, but soon after the premiere he conducted the work himself in Mannheim, Munich and Vienna. At early performances, the reception was quite cold; listeners were at first puzzled by the work’s combination of restric-tive formality and expansive expression, but, of course, it eventually became one of the most popular symphonies in the repertory.

The symphony opens with a broad introduction, Un poco sostenuto, that leads to the vigorous main section of the first movement, Allegro. In the very be-ginning, Brahms gives the violins prom-inent ascending notes (by half-steps: C, C-sharp, and D), which become evi-dent again at many spots throughout the movement. The violins announce the first theme, while the second theme appears in the woodwinds. The music is austere and displays restlessness and a kind of brooding melancholy. The love-ly second movement, Andante soste-nuto, is lyrical and serene but restrained. Two different oboe solos are particular-ly noteworthy in this movement. The coda is unusual with a solo for the horn with a violin obbligato, which culmi-nates with a tender reprise of the chro-matic notes that began the symphony.

In place of a scherzo, like the one Beethoven used or a minuet like Haydn favored for the form of the third move-ment, Brahms composed a brief, light hearted intermezzo, Un poco allegretto e grazioso, with a contrasting trio or mid-dle section. The opening subject is heard first in the clarinet; it is similar in struc-ture and character to the second subject of the preceding movement, where Brahms also used the clarinet. Grove called this theme a “sort of national tune or Volk-slied of simple sweetness and grace.” Brahms planned the third movement as a foil for the matchless grandeur of the finale, which, similar to the first move-ment, begins with a tensely dramatic Ada-gio introduction. This introduction is ex-ceptionally protracted; in fact, its length equals that of the preceding movement. Like Beethoven in his Symphony No. 5, Brahms waits until the final movement to unleash the trombones, monumental here in the heroic trombone chorale of the introduction. Toward the end of the section, the tempo changes, and a horn calls for attention to the movement’s prin-cipal section, Allegro non troppo, ma con brio, with its broad hymn-like main theme. This theme unquestionably owes a large debt to Beethoven in his Sympho-ny No. 9. Brahms’ answer when this obvi-ous “reminiscence” or affinity was pointed out to him was, “Any ass can hear that.” At early performances, comparisons of the thematic melody with the theme of the finale of Beethoven’s Symphony No. 9 made Brahms’ partisans accept the idea of calling it Beethoven’s Symphony No. 10; however, in truth, the resemblance is slight, except that the listener is aware of a struggle and then a resolution. Actually, neither the last symphony of Beethoven nor the first of Brahms needs or gains from the comparison. The movement con-cludes with a speeding up, or stretto, and heroic treatment of the trombone chorale that had been introduced in the begin-ning of the movement.

The score of the Symphony No. 1 calls for two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani and strings.

Copyright Susan Halpern, 2013.

Let the music move you.

To learn more or schedule a personal tour, please call (240)499-9019.

A Remarkable Retirement Community

701 King Farm Blvd. • Rockville, MD www.inglesidekingfarm.com

e are now accepting wait list reservations! A visit to Ingleside could turn out to be a moving experience!

Spectacular, gracious and outstanding describes life at Ingleside at King Farm. Become part of a community that sets the standards of excellence in amenities, lifestyle, security and affordability by joining the IKF Club. This unique program allows you to enjoy many benefits and amenities of Ingleside right now.

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Wednesday, October 30, 2013, 8 p.m.


WEDNESDAY, OCTOBER 30, 2013, 8 P.M.


Chris thile

This tour engagement of Chris Thile is funded through the American Masterpieces program of Mid Atlantic Arts Foundation with support from

the National Endowment for the Arts and the Maryland State Arts Council.


Chris ThileChris Thile, of Punch Brothers, is a mandolin virtuoso, composer and vocalist. With his broad outlook that encompasses progressive bluegrass, classical, rock and jazz, Thile tran-scends the borders of conventionally circumscribed genres. He has created a distinctly American canon and a new musical aesthetic for performers and audiences alike.

Recently awarded a MacArthur Fellowship, in February 2013 Thile also won a Grammy for his work on The Goat Rodeo Sessions, collaborat-ing with Yo-Yo Ma, Edgar Meyer and Stuart Duncan.

Punch Brothers, described by The Times of London as “brilliant, auda-cious, original and, above all, enter-taining,” released their latest album, Who’s Feeling Young Now?, in 2012 on Nonesuch Records. The quintet’s album includes a cover of Radiohead’s song “Kid A.” “I like the irony that the cover from the famous band is the most abstract thing on the record,” Thile says. D

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The Punch Brothers’ debut album, Punch—featuring the bluegrass suite The Blind Leaving the Blind—was released in 2008. Since then, says Thile, “Punch Brothers has gradually evolved from a band that existed to present the ideas of one guy into a band presenting the unified idea of five guys. I had a very clear vision for The Blind Leaving the Blind and I’m very proud how that turned out, but the reason to put yourself in this kind of situation is to have the opportunity to present a real sense of community to other people.

“When there are five dudes up there doing something as a unit that en-courages people to participate, that’s where Punch Brothers is exhibiting a lot of growth. We can actually bring a sense of real musical camaraderie, creative camaraderie, to people who come to our shows and those who listen to the records.”

Thile’s latest album, Bach Sonatas & Partitas Vol. 1, was released in August by Nonesuch Records.

In the album, Thile stretches the limits of the mandolin as he plays works written for solo violin—Sonata No. 1 in G minor, BWV 1001; Partita No. 1 in B minor, BWV 1002; and Sonata No. 2 in A minor, BWV 1003.

On this new program, he draws from his new Bach recording, while also exploring his own compositions and contemporary music.

ApplAuse at Strathmore • September/OctOber 2013 67

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"She takes the time to really appreciate what you want and doesn't waste your time. She has impeccable taste and never gets agitated even when indecision and uncertainty sets in. She knows the business and the area having grown up here. She knows everyone and helps even after you've moved in. She has a great network of mortgage lenders and is creative and flexible."

"We are a military family and move around a lot so, needless to say, we have experience with Realtors! Andy is professional, knowledgeable and caring."

"Andy helped me find and buy my first house over 15 years ago, and she's been my Realtor ever since. Over the years, I've used her both as a buyer's and a seller's agent, and each time she has provided me with outstanding customer service."

"Andy Alderdice has helped me with three separate sales. She is professional, incredibly knowledgeable about the market, responsive and always on top of all the details."

Andy AlderdicewC & an Miller realtors, a Long & foster Company4701 sangamore road, Bethesda, MD 20816301-466-5898 | [email protected]

profiles | Women in Business

Profiles_all.indd 67 8/8/13 12:38 PM


Special advertiSing Section

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What makes you different than others in your profession?Why don't I let my clients answer this? After 20 years, most of

my business today is through referrals anyway:

"Andy is so wonderful to work with. Looking for a new home could have been a stressful experience, but her warmth and expertise put us at ease."

"She takes the time to really appreciate what you want and doesn't waste your time. She has impeccable taste and never gets agitated even when indecision and uncertainty sets in. She knows the business and the area having grown up here. She knows everyone and helps even after you've moved in. She has a great network of mortgage lenders and is creative and flexible."

"We are a military family and move around a lot so, needless to say, we have experience with Realtors! Andy is professional, knowledgeable and caring."

"Andy helped me find and buy my first house over 15 years ago, and she's been my Realtor ever since. Over the years, I've used her both as a buyer's and a seller's agent, and each time she has provided me with outstanding customer service."

"Andy Alderdice has helped me with three separate sales. She is professional, incredibly knowledgeable about the market, responsive and always on top of all the details."

Andy AlderdicewC & an Miller realtors, a Long & foster Company4701 sangamore road, Bethesda, MD 20816301-466-5898 | [email protected]

profiles | Women in Business


68 ApplAuse at Strathmore • September/OctOber 2013

Special advertiSing SectionProfiles | Physicians

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sonya Kella, MD, Director, Velma Casanova, MD, and renu Berry, MD

shady Grove breast center9711 Medical center Drive, suite 201, rockville, MD 20850301-762-1116 | www.shadyGroveradiology.com

An office of the renowned Shady Grove Radiology diagnostic imaging practice, Shady Grove Breast Center is completely focused on breast health. “We believe strongly that breast care should be comprehensive,” said Dr. Kella, who directs the office. “Breast care gets 100 percent of our attention at Shady Grove Breast Center.”

The Center offers the most accurate, FDA-approved equip-ment for breast imaging with digital mammography, optional 3D imaging, and the highest resolution ultrasound and MRI. A board-certified breast radiologist reads mammograms on site, and immediate results are given to patients. Complete workups can even be done in one visit, including a same day biopsy, with final pathology results given within days of an abnormal mammogram.

“Over 95 percent of the time an abnormal mammogram turns out okay,” said Dr. Kella. “But our experience indicates

that breast cancer is affecting women at a younger age, and rapid early detection and treatment can be key.”

The office offers a special program to measure a woman’s lifetime risk of developing breast cancer. The Tyrer-Cuzick Model is a comprehensive risk assessment tool that weighs family histories as well as non-familial and demographic factors. “Our goal is to increase awareness among doctors and patients about whether screening with a mammogram alone is enough for each individual patient,” said Dr. Kella. Shady Grove Breast Center reports breast density to all patients already, which is only becoming a state-mandated requirement in the fall.

The Center has been designated as a Breast Imaging Center of Excellence by the American College of Radiology, which demonstrates achievement and high practice standards in im-age quality, personnel qualifications, facility equipment, quality control procedures and quality assurance programs.

Our goal is to increase awareness among doctors and patients about whether screening with a mammogram alone is enough for each individual patient.”“



Special advertiSing Section profiles | Physicians

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Aimee seidman, MD, fACp, and Marcia Goldmark, MD

rockville Concierge Doctors15020 shady Grove road, suite 300, rockville, MD 20850301-545-1811 | www.rockvilleconciergedocs.com

As internal medicine physicians, Drs. Seidman and Goldmark treat adults of all ages. They are concierge doctors, which means they have about 20 percent of the patients of a typical primary care practice, and therefore a much smaller patient panel.

“Our patients get far more time than in a typical primary care setting,” said Dr. Goldmark. “With a limited number of patients we can give maximum attention.”

With more time with each patient, the doctors provide more preventive and wellness care in addition to sick care and disease management. Each patient has direct access to the physician via cell phone and email. Same day and next day no-wait appointments are the norm. Doctors also coordinate care with specialists and hospitals and advocate for patients throughout the health care system. “The opportunity to develop close relationships with patients is the most satisfying aspect of our small, intimate practice,” said Dr. Seidman.

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How does teamwork contribute to a great senior living community?

It takes a village to run any organization well. At Kensington Park Senior Living our love for seniors, respect for each other, passion for excellence and spirit to serve enable us to care for our residents as we do our own families. Our team of collaborative professionals—who manage activities, dining, housekeeping, maintenance and many other departments—has been brought together by Kensington Park’s own-ers, passionate leaders in the senior living industry.

This small, privately owned company empowers our team to help our residents feel loved and secure by delivering heartfelt excellence in our Independent Living, Assisted Living and Memory Care neighbor-hoods. Directors of each neighborhood are committed to engaging our team members and to regard our residents as they do their own fami-lies. Hugs, laughs and companionship are routine parts of everyday life at Kensington Park Senior Living.

Tanya Walker, executive Director

Kensington Park senior living3620 littledale road, Kensington, MD 20895301-946-7700 | www.kensingtonretirement.com

(l to r) luis Herrera, director of culinary Services; Barbara duncan, director of community outreach; tanya Walker, executive director; lyuba dovgalyuk, director of activities; Stephany rodriguez, direc-tor of community relations; chea peters, rn, director of Memory care nursing Services.

Special advertiSing Section profiles | asK ThE sEniOR sERVicEs EXPERTs



Special advertiSing Section profiles | ASK THE SENIOR SERVICES EXPERTS

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My husband has dementia, and I’m so afraid all our assets will be lost to costly nursing home care. Is it true that I have to spend all our money in order to receive Medicaid benefits to help with nursing home care?

One of the greatest misconceptions I hear from those who face this dilemma is that you must spend down all of your assets in order to qualify for Medicaid benefits. Whether you are married or single, I urge you to seek the counsel of an experienced elder law attorney since there are proactive ways we can help you to protect most, or possibly all, of your assets.

I often meet with distraught families who believe there is no way to make it through their circumstances without becoming destitute. I recently had the privilege of helping a family who had

nearly lost all hope of protecting anything. After reviewing their plight, I was pleased to be able to help them save everything.

Another benefit we often help our clients explore, that few people know about, is the veterans’ benefit for wartime veterans, age 65 and older, that will help pay for assisted living expenses. The benefit is called Aid and Attendance, which can be obtained if proper planning is done prior to applying.

At Felinton Elder Law and Estate Planning Centers, we are all about providing solutions. Perhaps you are searching for answers. You may just find what you are looking for in my new TV program, "Senior Solutions," where we discuss topics impacting seniors and their families. You can find my show on Channel 16, airing on Tuesdays at 7:30 pm and Wednesdays at 10 pm or go to www.mmctv.org to view past episodes.

Mindy felinton, JD

Felinton elder Law & estate Planning Centers932 Hungerford Drive, #29a, rockville, MD 20850301-610-0055 | www.FelintonelderLaw.com



Special advertiSing Section profiles | ASK THE SENIOR SERVICES EXPERTS

Pe

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My husband has dementia, and I’m so afraid all our assets will be lost to costly nursing home care. Is it true that I have to spend all our money in order to receive Medicaid benefits to help with nursing home care?

One of the greatest misconceptions I hear from those who face this dilemma is that you must spend down all of your assets in order to qualify for Medicaid benefits. Whether you are married or single, I urge you to seek the counsel of an experienced elder law attorney since there are proactive ways we can help you to protect most, or possibly all, of your assets.

I often meet with distraught families who believe there is no way to make it through their circumstances without becoming destitute. I recently had the privilege of helping a family who had

nearly lost all hope of protecting anything. After reviewing their plight, I was pleased to be able to help them save everything.

Another benefit we often help our clients explore, that few people know about, is the veterans’ benefit for wartime veterans, age 65 and older, that will help pay for assisted living expenses. The benefit is called Aid and Attendance, which can be obtained if proper planning is done prior to applying.

At Felinton Elder Law and Estate Planning Centers, we are all about providing solutions. Perhaps you are searching for answers. You may just find what you are looking for in my new TV program, "Senior Solutions," where we discuss topics impacting seniors and their families. You can find my show on Channel 16, airing on Tuesdays at 7:30 pm and Wednesdays at 10 pm or go to www.mmctv.org to view past episodes.

Mindy felinton, JD

Felinton elder Law & estate Planning Centers932 Hungerford Drive, #29a, rockville, MD 20850301-610-0055 | www.FelintonelderLaw.com



IMPORTANT INFORMATION5301 Tuckerman Lane North Bethesda, MD 20852-3385 www.strathmore.org Email: [email protected] Ticket Office Phone: (301) 581-5100 Ticket Office Fax: (301) 581-5101 Via Maryland Relay Services for MD residents at 711 or out of state at 1(800) 735-2258

TICKET OFFICE HOURSMonday, Tuesday, Thursday, Friday 10 a.m. – 5 p.m. Wednesday 10 a.m. – 9 p.m. Saturday 10 a.m. – 2 p.m.

Sixty minutes prior to each performance in the Music Center through intermission.

GROUP SALES, FUNDRAISERS

For information, call (301) 581-5199 or email [email protected].

TICKET POLICIESUnlike many venues, Strathmore allows tickets to be exchanged. Tickets may only be exchanged for shows presented by Strathmore or its resident partner organizations at the Music Center. Exchanges must be for the same presenter within the same season. Ticket exchanges are NOT available for independently produced shows. Please contact the Ticket Office at (301) 581-5100 for details on how to exchange tickets.

if a performance is cancelled or postponed a full refund of the ticket price will be available through the Ticket Office for 30 days after the original scheduled performance date.

All tickets are prepaid and non-refundable.

WILL CALLPatrons must present the credit card used to purchase tickets or a valid iD to obtain will call tickets.

TICKET DONATION if you are unable to use your tickets, they may be returned for a tax-deductible donation prior to the performance. Donations can be made by mail, fax or in person by 5 p.m. the day of the performance.

MISPLACED TICKETS if you have misplaced your tickets to any performance at Strathmore,

please contact the Ticket Office for replacements.

CHILDREN

For ticketed events, all patrons are required to have a ticket regardless of age. Patrons are urged to use their best judgment when bringing children to a concert that is intended for adults. There are some performances that are more appropriate for children than others. Some presenters do not allow children under the age of six years to non-family concerts. as always, if any person makes a disruption during a concert, it is appropriate that they step outside to accommodate the comfort and convenience of other concert attendees. Contact the Ticket Office at (301) 581-5100 for additional information.

PARKING FACILITIESConcert parking is located in the Grosvenor-Strathmore Metro garage off Tuckerman Lane. at the end of each ticketed event in the Music Center at Strathmore, the exit gates to the garage will be open for 30 minutes to exit the garage. if you leave before, or up to 90 minutes after this 30-minute period, you must show your ticket stub to the stanchion video camera at the exit gate to exit at no cost. For all non-ticketed events, Monday-Friday, parking in the garage is $5 and may be paid using a Metro SmarTrip card or major credit card. Limited short-term parking also is available at specially marked meters along Tuckerman Lane. To access the Music Center from the Grosvenor-Strathmore Metro garage, walk across the glass-enclosed sky bridge located on the fourth level.

PUBLIC TRANSPORTATIONStrathmore is located immediately adjacent to the Grosvenor-Strathmore Metro station on the Red Line and is served by several Metro and Ride-On bus routes. See www.strathmore.org, or the Guide to the Music Center at Strathmore for detailed directions.

DROP-OFFThere is a patron drop-off circle off Tuckerman Lane that brings patrons to the Discovery Channel Grand Foyer via elevator. No parking is allowed in the circle, cars must be moved to the Metro garage after dropping off

patrons. Both main entrances have power- assisted doors.

GIFT CERTIFICATES Gift certificates may be purchased at the Ticket Office.

COAT CHECKLocated in the Promenade across from the Ticket Office. as weather requires, the coat check will be available as a complimentary service to our patrons. if you would like to keep your coat or other belongings with you, please place them under your seat. Coats may not be placed over seats or railings.

THE PRELUDE CAFÉThe Prelude Café in the Promenade of the Music Center at Strathmore, operated by Restaurant associates, features a wide variety of snacks, sandwiches, entrees, beverages and desserts. it is open for lunch and dinner and seats up to 134 patrons.

CONCESSIONSThe interlude intermission bars offer beverages and snacks on all levels before the show and during intermission. There are permanent bars on the Orchestra, Promenade and Grand Tier levels.

LOST AND FOUNDDuring a show, please see an usher. all other times, please call (301) 581-5100.

LOUNGES AND RESTROOMSLocated on all seating levels, except in the Upper Tier.

PUBLIC TELEPHONESCourtesy telephones for local calls are located around the corner from the Ticket Office, in the Plaza Level Lobby, and at the Promenade Right Boxes.

ACCESSIBLE SEATINGaccessible seating is available on all levels. Elevators, ramps, specially designed and designated seating, designated parking and many other features make the Music Center at Strathmore accessible to patrons with disabilities. For further information or for special seating requests in the Concert hall, please call the Ticket Office at (301) 581-5100.

ASSISTIVE LISTENINGThe Music Center at Strathmore is equipped with a Radio Frequency assistive Listening System for patrons who are hard of hearing. Patrons can pick up assistive listening devices at no charge on a first-come, first-served basis prior to the performance at the coatroom when open, or at the ticket taking location as you enter the Concert hall with a driver’s license or other acceptable photo iD. For other accessibility requests, please call (301) 581-5100.

ELEVATOR SERVICEThere is elevator service for all levels of the Music Center at Strathmore.

EMERGENCY CALLSif there is an urgent need to contact a patron attending a Music Center concert, please call (301) 581-5112 and give the patron’s name and exact seating location, and telephone number for a return call. The patron will be contacted by the ushering staff and the message relayed left with head Usher.

LATECOMER POLICYLatecomers will be seated at the first appropriate break in the performance as not to disturb the performers or audience members. The decision as to when patrons will be seated is set by the presenting organization for that night.

FIRE NOTICEThe exit sign nearest to your seat is the shortest route to the street. in the event of fire or other emergency, please WaLK to that exit. Do not run. in the case of fire, use the stairs, not the elevators.

WARNINGSThe use of any recording device, either audio or video, and the taking of photographs, either with or without flash, is strictly prohibited by law. Violators are subject to removal from the Music Center without a refund, and must surrender the recording media. Smoking is prohibited in the building.

Please set to silent, or turn off your cell phones, pagers, PDAs, and beeping watches prior to the beginning of the performance.

Music Center at

Strathmore


StrAthMOre hAll FOundAtiOn, inC. BOArd OF direCtOrS

EXECUTIVE COMMITTEEWilliam G. Robertson ChairDale S. Rosenthal Vice Chair and TreasurerRobert G. Brewer, jr., Esq. Secretary and Parliamentarian

BOARD OF DIRECTORSjoseph F. BeachDickie S. CarterDavid M.W. Dentonhope B. Eastman, Esq.Suzanne Brennan Firstenberghon. Nancy FloreenWilliam R. Ford

Barbara Goldberg GoldmanSol GrahamThomas h. GrahamNancy E. hardwick Paul L. hatchettDr. Sachiko Kuno Delia K. LangCarolyn P. Leonardhon. Laurence Levitanj. alberto Martinez, MDThomas a. NatelliKenneth O’BrienDeRionne P. PollardDonna Rattley WashingtonGraciela Rivera-OvenRegina Brady Vasan

dOnOrSStrathmore thanks the individuals and organizations who have made contributions between July 1, 2011 and June 30, 2012. Their support of at least $500 and continued commitment enables us to offer the affordable, accessible, quality programming that has become our hallmark.

$250,000+arts and humanities Council of

Montgomery CountyMaryland State arts CouncilPost-Newsweek Media, inc.

(includes in-kind)Carol Trawick

$100,000+Booz allen hamilton

$50,000+Delia and Marvin LangLockheed Martin Corporation

$25,000+alban inspections, inc.asbury Methodist VillageGEiCOjordan Kitt’s MusicCarolyn and jeffrey LeonardThe Morris and Gwendolyn Cafritz

FoundationMid-atlantic arts FoundationNational Endowment for the artsPEPCOEmily Wei Rales and Mitchell RalesSymphony Park LLC

$15,000+Capital One, N.a. jonita and Richard S. CarterKiplinger FoundationMaRPaT FoundationNatelli Communities LPRestaurant associates

$10,000+adventist health CarePaul M. angell Family FoundationClark Construction Group, LLCClark-Winchcole Foundation

ComcastElizabeth W. CulpThe Max and Victoria Dreyfus

Foundation, inc.EagleBankStarr and Fred EzraFederal Realty investment TrustSuzanne and Douglas FirstenbergGlenstone FoundationGiant Food LLCDorothy and Sol GrahamNancy and Raymond hardwickjoel and Liz helkeEffie and john MacklinMontgomery County Department of

Economic Developmentjanine and Phillip O’BrienLeon and Deborah Sneadhailin and james WhangLien and S. Bing yao

$5,000+Rona and jeffrey abramsonPennie and Gary abramsonMary and Greg BruchDallas Morse Coors Foundation for the

Performing artsEllen and Michael Goldjulie and john hamre

Vicki hawkins-jones and Michael jones

yanqiu he and Kenneth O’BrienBridget and joseph judgeDianne KayLerch, Early & Brewer, CharteredSharon and David LockwoodConstance Lohse and Robert Brewerj. alberto MartinezKatherine and William Parsons

Susan and Brian PenfieldDella and William RobertsonCarol Salzman and Michael MannTheresa and George Schujohn Sherman, in memory of

Deane Shermanann and jim Simpsonjane and Richard StokerUBS Financial Services, inc.Meredith Weiser & Michael RosenbaumEllen and Bernard youngPaul and Peggy young, NOVa Research Co.Washington Post. Co

$2,500+ anonymousLouise appellartsite, inc.BB&T BankBarbara BensonVicki Britt and Robert SelzerFrances and Leonard BurkaPeter yale Chenjane Cohenalison Cole and jan PetersonMargaret and james ConleyCarin and Bruce CooperCORTCarolyn Degroothope EastmanVivian Escobar-Stack and Robert StackMichelle FeaginCarolyn Goldman and Sydney PolakoffLana halpernLaura hendersonCheryl and Richard hoffmana. Eileen horanigersheim Family Foundationalexine and aaron (deceased) jacksonjohnson’s Landscaping Service, inc.

(in-kind)Peter S. Kimmel, in memory of

Martin S. KimmelTeri hanna Knowles & john M. Knowlesjudie and harry Linowesjill and jim LiptonLoiederman Soltesz associates, inc.M&T Bankjanet L. MahaneyDelores MaloneyMarsh USa inc.Caroline and john Patrick McLaughlinPatricia and Roscoe MooreSusan NordeenPaley, Rothman, Goldstein, Rosenberg,

Eig & Cooper ChtdCarole and jerry PeroneCharlotte and Charles PerretMindy and Charles PostalPRM Consulting, inc.

Restaurant associates at StrathmoreTasneem Robin-BhattiLorraine and Barry RogstadDale S. RosenthalElaine and Stuart Rothenbergjanet and Michael RowanBarbara and Ted RothsteinPhyllis and Ken SchwartzTanya and Stephen SpanoWendy and Don SussweinPaulette and Larry WalkerWard & Klein, CharteredSusan WellmanRonald Westanne Witkowsky and john Barker

$1,000+anonymousSwati agrawalSusan and Brian BaylyCarole and Maurice BerkDeborah Berkowitz and Geoff GarinGary Blockharriet and jerome BreslowCarol and Scott BrewerDian and Richard BrownEllen ByingtonLinda and james CafritzEileen CahillLucie and Guy CampbellEleanor and Oscar Caroglanianallen Clarkapril and john DelaneyCarrie DixonE. Bryce and harriet alpern FoundationEaglestone Wealth advisorsFidelity investmentsEileen and Michael FitzgeraldMarlies and Karl FlickerTheresa and William FordSenator jennie Forehand and

William E. Forehand, jr.Sally and john FreemanNoreen and Michael FriedmanSuzanne and Mark FriisNancy Frohman and james LaTorreCarol FrombolutiPamela Gates and Robert SchultzLoreen and Thomas GehlSusan and allen GreenbergGreene-Milstein Family Foundationjudy and Sheldon GrosbergMarla Grossman and Eric SteinmillerLinda and john hansonMonica jeffries hazangeles and

john hazangelesLinda and i. Robert horowitzRandy hostetler Living Room FundLinda and Van hubbardPatricia and Christopher jones

Left: Sachiko Kuno, founding CEO and co-founder of Sucampo Pharmaceuticals Inc. and president and CEO of S&R Foundation, with Ryuji Ueno, chief executive officer, chief scientific officer, founder and chairman of Sucampo Pharmaceuticals. Right:Proceeds from the Spring Gala at Strathmore support education and artistic programs, including the Strathmore Student Concerts and the Artists in Residence program.


Left: County Executive Isiah Leggett and Catherine Leggett backstage with Strathmore Gala performer Michael Feinstein, Karmen Walker Brown and Maryland Lt. Gov. Anthony Brown. Center: Gail Nachman, philanthropist Carol Trawick of the Jim and Carol Trawick Foundation and Phyllis Maharam. Right: Nancy Hardwick, immediate past Strathmore Board chair and executive vice president for strategy and organization at Booz Allen Hamilton, with Strathmore President Monica Jeffries Hazangeles and Strathmore CEO Eliot Pfanstiehl.

StrAthMOre StAFF

Eliot PfanstiehlChief Executive Officer

Monica jeffries hazangelesPresident

Carol MarymanExecutive Assistant to the President & CEO

Mary Kay almyExecutive Board Assistant

DEVELOPMENTBianca Beckham

Director of Institutional GivingBill Carey

Director of Donor and Community Relations

Lauren CampbellDevelopment & Education Manager

julie hamreDevelopment Associate

PROGRAMMINGShelley Brown VP/Artistic DirectorGeorgina javor Director of Programmingharriet Lesser Visual Arts CuratorSam younes Visual Arts AssistantSarah jenny Hospitality Coordinator

EDUCATIONBetty Scott

Education Coordinator

OPERATIONSMark j. Grabowski Executive VP of Operations Miriam Teitel

Director of Operationsallen V. McCallum, jr.

Director of Patron Servicesjasper Cox

Director of FinanceLaura Webb

Staff AccountantMarco Vasquez

Operations Manager

Phoebe anderson DanaOperations Assistant

allen C. ClarkManager of Information Services

Christopher S. inmanManager of Security

Chadwick SandsTicket Office Manager

Wil johnsonAssistant Ticket Office Manager

Christian Simmelink Ticket Services Coordinator Christopher a. Dunn

IT Technicianjohnathon Fuentes

Operations SpecialistBrandon Gowen

Operations Specialistjon Foster

Production Stage ManagerWilliam Kassman

Lead Stage TechnicianLyle jaeger

Lead Lighting TechnicianCaldwell Gray

Lead Audio Technician

THE SHOPS AT STRATHMORECharlene McClelland

Director of Retail MerchandisingLorie Wickert

Director of Retail Operations and Online Sales

MARKETING AND COMMUNICATIONSjennifer a. Buzzell

VP, Marketing and Communicationsjerry hasard

Marketing Directorjenn German

Marketing Managerjulia allal

Group Sales and Outreach ManagerMichael Fila

Manager of Media Relations

STRATHMORE TEA ROOMMary Mendoza Godbout

Tea Room Manager

joan and howard KatzRenee Korda and Mark OlsonCarole and Robert KurmanLeadership MontgomeryBarbara and Laurence LevitanNancy and Dan LongoSandra and Charles Lyonsjacqueline and j. Thomas MangerPamela and Douglas MarksPaul MasonMathis harper Groupjanice McCallVirginia and Robert McCloskeyann G. Miller, in memory of

jesse i. MillerDenise and Thomas MurphyLissa Muscatine and Bradley GrahamNew England Foundation for the artsKaren O’Connell and Tim MartinsGloria Paul and Robert atlasCynthia and Eliot PfanstiehlCharla and David PhillipsGregory Proctorjane and Paul RiceKaren Rosenthal and

M. alexander StiffmanLeaann and Tom SandersCharlotte and hank SchlosbergRichard Silbertjames SmithSpectrum Printing (in-kind)Mary Talarico & Michael SundermeyerMarilyn and Mark TenenbaumMyra Turoff and Kenneth WeinerRebecca Underhilljudith Welchjudy Whalley and henry OttoKaren and Roger Winstonjean and Ken WirschingSusan and jack yanovski

$500+Mary Kay and Dave almyjudy and joseph antonuccijeff aslenLaura Baptiste and Brian KildeeMary BellBen & jerry’sBethesda Travel Center LLCMichelle and Lester BorodinskyTrish and Timothy CarricoKathy and C. Bennett ChamberlinDorothy FitzgeraldWinifred and anthony FitzpatrickGail Flederjohn Flukejoanne FortMichael FrankhuizenVictor Frattalijuan Gaddis

Nancy and Peter GalloSandra and Steven GichnerMr. and Mrs. alan GourleyGerri hall and David NickelsDiana and Paul hatchettFred hiatthilary and Robert hoopesCarol and Larry hornBootsie and David humenanskyBarbara and David humptonBeth jessupCheryl jukesMr. and Mrs. anthony KamerickZorina and john KeiserBarbara and jack Kayhenrietta and Christopher KellerDeloise and Lewis Kellertiris and Louis KormanSusan and Gary Labovichjulia and james LangleyCatherine and isiah LeggettThe Leon FoundationLerner EnterprisesDorothy LinowesSusan and Eric LuseMaryland Classic youth OrchestrasLynne MayoNancy McGinness & Thomas Tarabrellajohn and james MeiburgerCynthia and Toufic MelhiVijaya and Daniel MelnickWilliam OakcrumGrace Rivera Oven and Mark OvenMargie Pearson and Richard LamplPhyllis Peres and Rajat SenRose PorrasDr. and Mrs. William PowellStephanie RenziMarylouise and harold RoachChristine Schreve & Thomas Bowersoxhenry SchalizkiEstelle SchwalbBetty Scott and jim McMullenRoberta and Lawrence ShulmanDiane and jay SilhanekDonald SimondsCora and Murray SimpsonTina SmallValerye and adam StrochakChris SyllabaReginald TaylorMarion and Dennis TorchiaPeter Vance Treibleyanne and james TysonLinda and irving Weinbergj. Lynn Westergaardirene and Steven WhitePenelope Williamsjean and Robert Wirth

Con Brio SocietySecuring the future of Strathmore through a planned gift.anonymous (2)Louise appelljohn Cahilljonita and Richard S. Carterirene CoopermanTrudie Cushing and Neil Beskinjulie and john hamreyanqiu he and Kenneth O’Briena. Eileen horanVivian and Peter hsuehTina and art LazerowMelody and Chui Lin

Diana Locke and Robert Toensejanet L. MahaneyCarol and alan MowbrayEliot and Cindy PfanstiehlBarbara and David (deceased) Ronishenry Schalizki and Robert Davis (deceased)Phyllis and Ken Schwartzannie Simonian Totah and Sami TotahMaryellen Trautman and Darrell LemkeCarol TrawickPeter Vance TreibleyMyra Turoff and Kenneth Weinerjulie Zignego


BALTIMORE SYMPHONY ORCHESTRA

OFFICERSKenneth W. DeFontes, jr.*, ChairmanKathleen a. Chagnon, Esq.*, SecretaryLainy LeBow-Sachs*, Vice ChairPaul Meecham*, President & CEOThe honorable Steven R. Schuh*,

Treasurer

BOARD MEMBERSa.G.W. Biddle, iiiBarbara M. Bozzuto *Constance R. CaplanRobert B. Couttsalan S. Edelman*Susan G. Esserman*Michael G. hansen*Murray M. Kappelman, M.D.Stephen M. LansSandra Levi Gerstung ava Lias-Booker, Esq.Susan M. Liss, Esq.*howard Majev, Esq.Liddy Mansonhilary B. MillerDavid OrosMarge Penhallegon^, President,

Baltimore Symphony AssociatesMichael P. PintoCynthia Renn^, Governing Member ChairScott Rifkin, M.D.ann L. RosenbergBruce E. Rosenblum*Stephen D. Shawe, Esq.The honorable james T. Smith, jr. Solomon h. Snyder, M.D. *andrew a. Stern

William R. Wagnerjeffrey Zoller^, BSYO Chair

LIFE DIRECTORSPeter G. angelos, Esq.Willard hackermanh. Thomas howell, Esq.yo-yo Maharvey M. MeyerhoffDecatur h. Miller, Esq.Linda hambleton Panitz

DIRECTORS EMERITIBarry D. Berman, Esq.Richard hugM. Sigmund Shapiro

CHAIRMAN LAUREATEMichael G. BronfeinCalman j. Zamoiski, jr.

BOARD OF TRUSTEES BALTIMORE SYMPHONY ENDOWMENT TRUSTBenjamin h. Griswold, iV, ChairmanTerry Meyerhoff Rubenstein, SecretaryMichael G. BronfeinKenneth W. DeFontes, jr. Mark R. FettingPaul MeechamThe honorable Steven R. SchuhCalman j. Zamoiski, jr.

*Board Executive Committee ^ ex-officio

BOArd OF direCtOrS

SuPPOrterS OF the BAltiMOre SYMPhOnY OrCheStrAThe Baltimore Symphony Orchestra is deeply grateful to the individual, corporate, foundation and government donors whose annual giving plays a vital role in sus-taining the Orchestra’s tradition of musical excellence. The following donors have given between May 1, 2012 and July 10, 2013.

LEADERSHIP CIRCLEarts and humanities Council of

Montgomery CountyThe andrew W. Mellon FoundationThe Maryland State arts CouncilNational Endowment for the arts

CHAIRMAN’S CIRCLE PARTNERS($25,000 AND ABOVE)The Morris and Gwendolyn Cafritz

FoundationM&T BankPNCLori Laitman & Bruce RosenblumVOCUS

MAESTRA’S CIRCLE($10,000 AND ABOVE)Mr. and Mrs. a. G. W. Biddle, iiiMs. Susan Esserman and

Mr. andrew Marks

Michael G. hansen & Nancy E. Randajoel and Liz helkeMr. and Mrs. Stephen M. LansSusan Liss and Familyin memory of james Gavin Mansonhilary B. Miller & Dr. Katherine N. BentMr. and Mrs. arnold PolingerTotal Wine & More

GOVERNING MEMBERS GOLD($5,000-$9,999)anonymousThe Charles Delmar FoundationSusan FisherDr. David Leckrone & Marlene BerlinDr. james and jill LiptonMr. and Mrs. William RogersMike & janet RowanDaniel and Sybil SilverMs. Deborah Wise/Edith and herbert

Lehman Foundation, inc

GOVERNING MEMBERS SILVER($2,500-$4,999)anonymous (3)alan V. asay and Mary K. SturtevantMr. Gilbert BloomDr. Nancy D. BridgesLt Gen (Ret) Frank B. and Karen CampbellGeri & David Cohenjane C. CorriganKari Peterson and Benito R. and

Ben De LeonMarcia Diehl and julie KurlandMs. Marietta EthierMr. joseph FainbergSherry and Bruce FeldmanGeorgetown Paper Stock of Rockville, inc.john and Meg haugeMadeleine and joseph jacobsDr. Robert Lee justice and Marie

Fujimura-justiceMr. and Mrs. Charles KelberKiplinger FoundationMarc E. Lackritz & Mary DeOreoBurt & Karen LeeteMr. & Mrs. howard LehrerS. Kann Sons Company Foundation,

amelie and Bernei BurgunderMrs. june Linowitz & Dr. howard EisnerDr. Diana Locke & Mr. Robert E. Toensehoward and Linda MartinMarie McCormackMr. & Mrs. humayun MirzaDavid Nickels & Gerri hallMs. Diane M. Perinjan S. Peterson & alison E. ColeMr. Martin Poretsky and

Ms. henriette WarfieldPatricia Smith and Dr. Frances LussierMr. a. Strasser & Ms. P. hartgeThe Washington Post Companyjohn & Susan WarshawskyDr. Edward WhitmanPaul a. & Peggy L. young,

NOVa Research Company

SYMPHONY SOCIETY($1,000-$2,499)anonymous (4)Mr. and Mrs. anthony abellCharles C. alston and Susan DentzerMr. William j. Baer and

Ms. Nancy h. hendryPhebe W. BauerLeonard and Gabriela BebchickMrs. Elaine BelmanDavid and Sherry BerzDrs. Lawrence and Deborah BlankDorothy R. Bloomfieldhon. & Mrs. anthony BorwickMr. Kurt Thomas BrintzenhofeGordon F. BrownMr. Vincent CastellanoDr. Mark Cinnamon & Ms. Doreen KellyMr. harvey a. Cohen and

Mr. Michael R. TardifMr. and Mrs. arthur C. Coxjoan de PontetDelaplaine Foundationjackson and jean h. DiehlDimick FoundationMr. john C. DriscollMr. and Mrs. Charles FaxMr. and Mrs. Kenneth R. FeinbergDr. Edward FinnMr. and Mrs. anthony FitzpatrickCatoctin Breeze VineyardMr. and Mrs. arthur P. FloorMr. and Mrs. john FordMr. and Mrs. Roberto B. FriedmanMr. and Mrs. William GibbPeter GilDr. and Mrs. Sanford GlazerGeorge and joni Gold

Dr. and Mrs. harvey R. Goldalan and joanne GoldbergMr. and Mrs. Frank GoldsteinDrs. joseph Gootenberg &

Susan LeibenhautMr. David GrizzleMark & Lynne GrobanMr. & Mrs. Norman M. GurevichMs. Lana halpernMs. Gloria Shaw hamiltonMr. & Mrs. john hansonSara and james a. harris, jr.Mr. Fred hart and Ms. Elizabeth KnightEsther and Gene hermanEllen & herb herscowitzDavid a. & Barbara L. heywoodFran and Bill holmesBetty W. jensenDr. henry KahwatyDr. Phyllis R. KaplanVirginia and Dale KiesewetterDarrell Lemke and Maryellen TrautmanMs. Marie Lerch and Mr. jeff KolbDrs. David and Sharon LockwoodDr. and Mrs. Peter C. LuchsingerMichael & judy MaelMs. janet L. MahaneyMr. Winton MatthewsDavid and Kay McGoffThe Meisel GroupMr. and Mrs. David MenottiDr. & Mrs. Stanley R. MilsteinTeresa and Don MullikinDouglas and Barbara NorlandMr. and Mrs. Peter Philippsherb and Rita PosnerRichard and Melba ReichardDr. and Mrs. Gerald RogellMr. and Mrs. Barry RogstadBill and Shirley RookerMr. and Mrs. john RounsavilleEstelle D. SchwalbRoger and Barbara SchwarzMrs. Phyllis SeidelsonMr. Donald M. SimondsMr. and Mrs. jeffrey SingerDon Spero & Nancy ChasenMr. and Mrs. Richard D. Sperojennifer Kosh Stern and William h. TurnerMargot & Phil SunshineMr. and Mrs. Richard SwerdlowDonna and Leonard WartofskyDavid Wellman & Marjorie Coombs

WellmanMs. Susan WellmanRichard and Susan WestinDr. ann M. WillisSylvia and Peter WinikMarc and amy Wishh. alan young & Sharon Bob young, Ph.D.Robert & antonette Zeiss

BRITTEN LEVEL MEMBERS($500-$999)anonymousDonald BakerMs. Cynthia L. Bowman-GholstonMr. Richard h. Broun & Ms. Karen E. DalyFrances and Leonard BurkaCecil Chen & Betsy haanesBradley Christmas and Tara FlynnBarbara and john ClaryMr. herbert CohenMr. & Mrs. jim CooperMr. and Mrs. Robert FauverMs. alisa GoldsteinFrank & Susan GrefsheimMs. haesoon hahnKeith and Linda hartmanMr. jeff D. harvell & Mr. Ken MontgomeryMr. & Mrs. William L. hickmanMs. Daryl KaufmanMr. & Mrs. Christopher Keller


Dr. Birgit KovacsDr. arlin j. KruegerMs. Delia LangMs. Pat Larrabee and Ms. Lauren MarkleyMr. Richard Leyharry and Carolyn LincolnMerle and Thelma MeyerMs. Ellen MilesMr. & Mrs. Walter MillerMr. William MorganEugene and Dorothy MulliganMrs. jane PapishMr. and Mrs. Peter PhilippsThomas Plotz and Catherine Klionandrew and Melissa PolottMr. and Ms. Donald RegnellMr. james RisserMs. Trini Rodriquez and

Mr. Eric Toumayanharold RosenMs. Ellen RyeLois and David SacksMr. allen Shaw and Ms. Tina ChisenaDonna and Steven ShriverMs. Terry Shuch and Mr. Neal MeiselmanMs. Sonja SolengGloria and David SolomonMr. and Mrs. Duane StraubMr. Peter ThomsonMr. & Mrs. Richard TullosLinda and irving WeinbergMr. David M. WilsonRobert and jean WirthMr. Daniel Zaharevitz and Ms. Karen FlintMs. Maryann Zamula

BRAHMS LEVEL MEMBERS($250-$499)anonymous (3)Ms. Kathryn abellMs. judith agardRhoda and herman aldermanMr. Bill apterMr. and Mrs. james BaileyDrs. Richard and Patricia BakerMr. Robert BarashMr. & Mrs. john W. BeckwithMelvin Bellalan Bergstein and Carol joffeMr. Neal BienMr. and Mrs. john BlodgettMs. judith a. BrahamMr. & Mrs. Ronald BrotmanMr. and Mrs. Serefino CambareriMr. and Mrs. Nicholas CarreraMs. june Colilla

Ms. Marion ConnellMr. and Mrs. herbert CooperMs. Margaret CusackDr. & Mrs. james R. DavidMr. David S. DavidsonMr. ahmed El-hoshyLionel and Sandra EpsteinClaudia and Eliot FeldmanMr. Michael FinkelsteinDr. & Mrs. David FirestoneMr. & Mrs. Michael Scott FriedmanLucian & Lynn M. FurrowRoberta Geierirwin GerdukMr. and Mrs. Stephen GiddingsBrian and Mary ann harrisMr. Lloyd haughMrs. jean N. hayesjoel and Linda hertzMr. Myron L. hoffmannMr. Frank hopkinsMr. john howesMr. & Mrs. Paul hymanMs. Susan irwinDr. Richard h. israelDr. and Mrs. herbert josephMr. Peter KaplanDr. & Mrs. Robert W. KarpLawrence & jean KatzMr. & Mrs. james KempfMr. William and Ms. Ellen D. KominersMs. Nancy KoppMr. and Mrs. Eugene LambertMr. and Mrs. Francis Leahyalan and judith LewisLTC David Lindauer, U.S. army (Ret’d)Dr. Richard E. and Susan Papp LippmanLucinda Low and Daniel MagrawMr. David MarcosMr. and Mrs. Charles h. MattersonMr. Mark MattucciMr. and Mrs. Thomas MaestriMs. Susan McGee anna Therese McGowanMr. Steve MetalitzMrs. Rita MeyersMs. Caren Novickamanda & Robert OgrenMrs. Patricia OlsonMr. jerome OstrovMr. and Mrs. Philip PadgettMr. Kevin ParkerMarie Pogozelski and Richard BelleMr. and Mrs. Edward PortnerMr. and Ms. Richard Pratt

Ms. Laura Ramirez-RamosDr. and Mrs. Bernard ReichMr. Thomas ReichmannDr. joan Rittenhouse &

Mr. jack RittenhouseMr. & Mrs. Robert SandlerMs. Beatrice SchiffMr. j. Kenneth SchwartzMr. and Mrs. David ScottMs. Debra ShapiroMr. & Mrs. Larry ShulmanMr. and Mrs. Micheal D. SlackMs. Deborah Smith

Richard SniffinMr. alan ThomasMr. john TownsleyDr. and Ms. George UrbanMs. Roslyn Weinsteinalan WhiteMs. Carol WolfeEileen and Lee WoodsDr. & Mrs. Richard N. WrightMr. Warren Zwicky

Paul Meecham, President & CEOjohn Verdon, Vice President and CFOLeilani Uttenreither, Executive AssistantEileen andrews, Vice President of Marketing

and CommunicationsCarol Bogash, Vice President of Education

and Community EngagementDale hedding, Vice President of DevelopmentMatthew Spivey, Vice President of Artistic

Operations

ARTISTIC OPERATIONSToby Blumenthal, Manager of Facility SalesTiffany Bryan, Manager of Front of HousePatrick Chamberlain, Artistic Coordinatoranna harris, Operations AssistantChris Monte, Assistant Personnel ManagerTabitha Pfleger, Director of Operations and

FacilitiesMarilyn Rife, Director of Orchestra Personnel

and Human ResourcesMeg Sippey, Artistic Planning Manager and

Assistant to the Music Director

EDUCATIONNicholas Cohen, Director of Community

Engagementannemarie Guzy, Director of EducationPatrick Locklin, Education Program Manager Nick Skinner, OrchKids Site ManagerLarry Townsend, Education AssistantDan Trahey, OrchKids Artistic Director

DEVELOPMENTMegan Beck, Donor Stewardship Coordinatoradrienne Bitting, Development Assistant allison Burr-Livingstone, Director of the BSO

Campaign for the Second CenturyKate Caldwell, Director of Philanthropic

ServicesStephanie johnson, Manager of Annual Giving,

BSO at Strathmorejoanne M. Rosenthal, Director of Major Gifts,

Planned Giving and Government Relations

Valerie Saba, Institutional Giving CoordinatorRebecca Sach, Director of the Annual FundRichard Spero, Community Liaison for BSO

at Strathmore

FACILITIES OPERATIONSShirley Caudle, HousekeeperBertha jones, Senior HousekeeperCurtis jones, Building Services Managerivory Miller, Maintenance Facilities

FINANCE AND INFORMATION TECHNOLOGYSarah Beckwith, Director of AccountingSophia jacobs, Senior Accountantjanice johnson, Senior AccountantEvinz Leigh, Administration AssociateChris Vallette, Database and Web Administratorjeff Wright, Director of Information Technology

MARKETING AND PUBLIC RELATIONSRika Dixon, Director of Marketing and SalesLaura Farmer, Public Relations ManagerDerek a. johnson, Manager of Single TicketsTheresa Kopasek, Marketing and PR AssociateBryan joseph Lee, Direct Marketing Coordinator alyssa Porambo, PR and Publications

Coordinatoradeline Sutter, Group Sales ManagerElisa Watson, Graphic Designer

TICKET SERVICESamy Bruce, Director of Ticket Services Timothy Lidard, Manager of VIP Ticketingjuliana Marin, Senior Ticket Agent for StrathmorePeter Murphy, Ticket Services ManagerMichael Suit, Ticket Services AgentThomas Treasure, Ticket Services Agent

BALTIMORE SYMPHONY ASSOCIATESLarry albrecht, Symphony Store Volunteer

ManagerLouise Reiner, Office Manager

BAltiMOre SYMPhOnY OrCheStrA StAFF

BENEFITS OF MEMBERSHIP WITH THE BSOMake a donation today and become a Member of the BSO! There is a gift level that is right for everyone, and with that comes an insider’s perspective of your world-class orchestra.

For a complete list of benefits, please call our Membership Office at 301.581.5215 or contact via e-mail at [email protected]. You may also visit our Web site at BSOmusic.org/benefits.

Donor Nancy Hendry speaks with violinist Midori at the exclusive Artist Reception following

her performance.

BSO President and CEO Paul Meecham, Maestra Marin Alsop and Ambassador H.E. Mauro Vieira at Bravo Brazil With the BSO at

the Residence of the Ambassador of Brazil

Host Committee Co-Chairs lucinda low and Daniel Mcgraw, BSO Board Member Jack Biddle and Host Committee Co-Chair and Board

Member Susan Esserman enjoying Bravo Brazil With the BSO


nAtiOnAl PhilhArMOniC BOArd OF direCtOrSBOARD OF DIRECTORSRabbi Leonard Cahan*Carol EvansRuth FaisonDr. Bill Gadzuk*Dr. Robert Gerard Ken hurwitz*Dieneke johnsonWilliam LascelleGreg Lawsonjoan LevensonDr. jeff LeviDr. Wayne Meyer*Kent MikkelsenDr. Roscoe M. Moore, jr.Dr. Kenneth MoritsuguRobin C. PeritojaLynn Prince*Peter Ryan

Sally SternbachDr. Charles TonerElzbieta Vande Sande

BOARD OFFICERS*albert Lampert, ChairWilliam Lascelle, Treasurer*Paul Dudek, Secretary*Todd R. Eskelsen, Chair Emeritus

BOARD OF ADVISORSjoel alperalbert LampertChuck LyonsRoger Titusjerry D. Weast

As of July 1, 2013*Executive Committee

As of July 1, 2013

SuPPOrterS OF the nAtiOnAl PhilhArMOniCThe National Philharmonic takes this opportunity to gratefully acknowledge the following businesses, foundations and individuals which have made the Philhar-monic’s ambitious plans possible through their generous contributions.

Maestro Circle $10,000+Concertmaster Circle $7,500 to $9,999Principal Circle $5,000 to $7,499Philharmonic Circle $3,500 to $4,999Benefactor Circle $2,500 to $3,499Sustainer Circle $1,000 to $2,499Patron $500 to $999Contributor $250 to $499Member $125 to $249

OrGAniZAtiOnSMAESTRO CIRCLEameriprise FinancialPaul M. angell Family Foundationarts and humanities Council of

Montgomery CountyMorris and Gwendolyn Cafritz FoundationPhilip L. Graham Fundingleside at King FarmMaryland State arts CouncilMontgomery County, MDMontgomery County Public SchoolsMusician Performance Trust FundNational Endowment for the artsSchiff hardin, LLPThe State of Maryland

CONCERTMASTER CIRCLEClark-Winchcole FoundationThe Gazette

PRINCIPAL CIRCLEann and Gordon Getty Foundationjohnson & johnsonjim and Carol Trawick Foundation, inc.

PHILHARMONIC CIRCLEExxon Mobil FoundationNational Philharmonic/MCyO Educational

PartnershipThe Washington Post Company

BENEFACTOR CIRCLECorina higginson Trusthenry B. & jessie W. Keiser Foundation, inc.Rockville Christian Church, for donation

of space

SUSTAINER CIRCLEamerican Federation of Musicians,

DC Local 161-170Cardinal BankDimick FoundationEmbassy of PolandExecutive Ball for the artsKPMG FoundationLucas-Spindletop Foundation PATRONamerican String Teachers’ association

DC/MD ChapterBoeingGailes Violin Shop, inc.GE FoundationiBMLashof ViolinsThe Potter Violin CompanyThe Stempler Family FoundationViolin house of WeaverWashington Music Center

CONTRIBUTORBank of america

individuAlSGIFTS OF $50,000+Robert & Margaret hazen for the Second

Chair Trumpet Fund

GIFTS OF $25,000+Ms. anne Claysmith for the Chorale

Chair-Soprano ii Fundann & Todd Eskelsen for the Chorale

Music FundTanya & albert Lampert for the Guest

artist Fund

GIFTS OF $15,000+Mrs. hilda Goodwin Patricia haywood Moore and Roscoe M.

Moore, jr. for the Guest artist FundPaul & Robin Perito for the Guest artist

Vocal Fund

MAESTRO CIRCLEThe jacob & Malka Goldfarb Charitable

Foundation, inc. Mrs. Margaret MakrisDr. Kenneth P. Moritsugu, Emily Moritsugu

& Ms. Lisa R. Kory, includes match by johnson & johnson

Paul a. & Peggy L. young

CONCERTMASTER CIRCLEMr. and Mrs. Paul Dudek

PRINCIPAL CIRCLEanonymousDr. Paul jay FinkDr. Ryszard GajewskiDr. & Mrs. Val G. hemmingMs. Dieneke johnson, includes match by

Washington PostDrs. Charles and Edna Foa KahnMr. arthur LangermanMr. Robert MisbinDr. Gregory & jaLynn PrinceDr. Saul Sternberg

PHILHARMONIC CIRCLEMrs. Nancy Dryden Baker, in memory of

Lt. Cmdr. William F. Baker, jr.Dr. & Mrs. john V. Evansj. William & anita Gadzuk *Dr. Robert Gerard & Ms. Carol Goldberg *Mr. & Mrs. joseph hamerMr. Ken hurwitzMr. William a. Lascelle & Ms. Blanche

johnsonPfeffer Family Foundation Mr. & Mrs. Peter RyanDrs. Charles and Cecile TonerMs. Elzbieta Vande Sande, in memory of

George Vande Sande, Esq.

BENEFACTOR CIRCLEMrs. Ruth BermanMr. Edward Brinker & Ms. jane LiuMr. Dale Collinson *Dr. Lawrence Deyton * & Dr. jeffrey LeviMr. & Mrs. john L. DonaldsonMr. Greg Lawson, includes match by

Bank of americaMr. & Mrs. Kent Mikkelsen *Michael & janet Rowan

SUSTAINER CIRCLEanonymous (3)Mrs. Rachel abrahamMr. & Mrs. joel alperFred & helen altman *Ms. Sybil amitay *Mr. Stanley asrael Ms. Nurit Bar-josefMr. Robert BeizerDr. Ronald Cappelletti *Dr. Mark Cinnamon & Ms. Doreen KellyMr. Steven C. Decker & Ms. Deborah W. DavisDrs. Eileen & Paul DeMarco *Mr. & Mrs. Robert DollisonDr. Stan Engebretson *Mr. William E. Fogle & Ms. Marilyn Wun-Fogle

Dr. Maria a. Friedman *Mr. & Mrs. Darren & Elizabeth Gemoets *Ms. Sarah Gilchrist *Mr. Barry GoldbergDr. joseph Gootenberg &

Dr. Susan LeibenhautDr. Etsuko hoshino-BrowneMr. & Mrs. joseph a. huntDrs. William & Shelby jakobyMs. Margaret KeaneMs. Katherine KoppMs. joanna Lam, in memory of

Mr. Chin-Man LamMr. & Mrs. john R. Larue, includes match

by iBMMr. & Mrs. harald LeubaMrs. joan M. LevensonMr. & Mrs. Leslie LevineMr. & Mrs. Charles a. LyonsMr. Larry Maloney *Ms. Cecily MangoMr. Winton MatthewsMrs. Eleanor D. Mcintire *Susan & jim Murray *Mr. & Mrs. Charles NaftalinMr. Thomas Nessinger *Ms. Martha Newman *David Nickels & Gerri hallDr. & Mrs. Goetz OertelMr. & Mrs. William PairoDr. and Mrs. Edward PerlMr. & Mrs. jerome Pinson, includes match

by GE FoundationMs. Phyllis RatteyMs. aida Sanchez *Mrs. jan Schiavone *Ms. Kathryn Senn, in honor of

Dieneke johnsonShara Family, in honor of the Langerman

FamilySeltzer Family FoundationMs. Carol a. Stern *Sternbach Family FundDr. & Mrs. Robert Temple *Mr. & Mrs. Scott UlleryMs. Ellen van Valkenburgh *Mr. & Mrs. Robert Vocke *Mr. & Mrs. Royce WatsonMr. & Mrs. jack yanovskiMr. & Mrs. Bernard j. youngMs. Sandra Zisman

PATRONMary Bentley & David Kleiner *Mr. Thomas M. BoyleRabbi & Mrs. Leonard CahanSusan Linn & Clifford CraineMr. & Mrs. Norman DoctorMs. Linda EdwardsMr. john EklundMr. joseph FainbergDavid & Berdie FirestoneMr. & Mrs. herbert GoldmanMr. & Mrs. William hickmanMr. David hofstadWilliam W. & Sara M. josey*Mr. Robert justice & Mrs. Marie

Fujimura-justiceMr. Michael LameMs. May LesarMr. Pardee Lowe, jr. Ms. jane Lyle *Mr. jerald MaddoxMr. & Mrs. Raymond MountainMr. Larz Pearson & Mr. Rick TrevinoMrs. Bernice SandlerMs. Kari Wallace & Dr. Michael SapkoMr. & Mrs. Steven SeeligMs. Lori j. Sommerfield * and

Mr. Dennis DollingerMr. Walter Zachariasiewicz

CONTRIBUTORanonymous (2)Mr. & Mrs. Byron alsopMr. Robert B. andersonMrs. Marietta Balaan *Mike & Cecilia Ballentine


Mr. and Mrs. Thomas BechertMr. Michael BelferMr. & Mrs. Richard BenderMs. Patricia BulhackMr. john ChoiMrs. Patsy ClarkMs. irene CoopermanMs. Kimberly ElliottMr. & Mrs. William EnglishMr. & Mrs. Elliott Fein, includes match

by iBMMr. Eliot FeldmanDr. & Mrs. john h. FergusonMr. & Mrs. Mayo FriedlisMr. & Mrs. William GibbMr. & Mrs. Paul GoldsteinMr. William haffnerMs. Nina helmsenMr. Robert henryDr. Roger herdmanMs. Katharine Cox jonesMr. & Mrs. William KominersMs. Cherie KrugDr. Marcia D. Litwack Dr. & Mrs. David LockwoodMr. Kevin MacKenzieMr. David E. Malloy & Mr. john P. Crockett *Mr. David McGoff *Dr. & Mrs. Oliver Moles, jr. *Mr. Stamatios MylonakisMr. & Mrs. harvey NathanDr. Ruth S. NewhouseMrs. jeanne NoelMr. and Mrs. Kenneth a. Oldham, jr.Evelyn & Peter PhilippsDr. & Mrs. Manuel PorresMrs. Dorothy PratsMr. jacques RosenbergMs. Lisa Rovin *Mr. j. Michael Rowe & Ms. Nancy ChesserMs. Sandi SavilleMr. Ronald SekuraDr. & Mrs. Kevin ShannonMr. john i. Stewart & Ms. Sharon S. StoliaroffMr. Gerald VogelMr. & Mrs. Greg WagerMr. & Mrs. john F. WingTom & Bobbie WolfDr. & Mrs. Richard WrightMrs. Beatrice Zuckerman

MEMBERanonymousMr. Dan abbottMrs. Fran abramsMs. ann albertsonMr. & Mrs. Nabil azzamMr. Mikhail BalachovMr. Robert BarashMrs. Barbara BotsfordMr. & Mrs. herman Branson

Mr. & Mrs. jerome BreslowMr. & Mrs. Frederick BrownMrs. Dolores j. BryanMr. john BuckleyDr. john CaldwellDr. & Mrs. Gordon M. CraggMr. alan T. CraneMs. Louise CraneMr. Dean CullerMr. & Mrs. David DancerMr. Carl DeVoreMr. jian DingMr. Paul DragoumisMr. & Mrs. Tom DunlapMr. & Mrs. j. Steed EdwardsMr. Charles EisenhauerF.W. EnglandMr. Philip FlemingMr. harold FreemanMs. Phyllis FreemanMr. Bernard GelbMr. & Mrs. Richard O. GilbertMr. Tom GiraMs. jacqueline havenerMs. Lisa helmsDr. & Mrs. Donald hensonMr. & Mrs. james hochron *Mr. j. Terrell hoffeldMr. Robert hoffmanMr. & Mrs. Nelson hsingMr. & Mrs. Doug jacobsonMr. & Mrs. Barbara jarzynskiMrs. harriett G. jenkinsDr. Elke jordanMr. Gerald KaizMs. Elizabeth KingMr. & Mrs. allan KirkpatrickMr. Mark a. KnepperMs. Martha jacoby KriegerMr. Dale KrumviedeMr. & Mrs. Sheldon LandsmanMs. Sandra LebowitzMs. Michelle LeeMr. & Mrs. Paul LegendreMr. & Mrs. herbert j. LernerMr. & Mrs. Elliot Lieberman *Mr. & Mrs. Forbes ManerDr. Lorenzo MarcolinMr. and Mrs. james MasonMrs. Nancy C. MayMr. alan E. Mayers *Mr. & Mrs. Robert McGuireMr. Edward MillsMr. & Mrs. Thaddeus MireckiMs. Stephanie MurphyMrs. Gillian NaveMr. Leif Neve *, includes match by aquilentDr. Ruth S. NewhouseDr. Sammy S. NoumbissiMr. & Mrs. Kenneth OldhamDr. & Mrs. David Pawel

HERITAGE SOCIETYThe Heritage Society at the National Philharmonic gratefully recognizes those dedicated individuals who strive to perpetuate the National Philharmonic through the provision of a bequest in their wills or through other estate gifts.

For more information about the National Philharmonic’s Heritage Society, please call Ken Oldham at 301-493-9283, ext. 112.

Mr. David abraham* Mrs. Rachel abraham Mr. joel alper Ms. Ruth Berman Ms. anne Claysmith Mr. Todd Eskelsen Mrs. Wendy hoffman,

in honor of Leslie SilverfineMs. Dieneke johnson

Mr. & Mrs. albert Lampert Mrs. Margaret Makris Mr. Robert MisbinMr. Kenneth a. Oldham, jr. Mr. W. Larz Pearson Ms. Carol a. SternMr. Mark Williams

*Deceased

National Philharmonic donors Michael and Janet Rowan with National Philharmonic Director of Development leanne Ferfolia.

National Philharmonic Board Member leonard Cahan with Chorale member lori Sommerfield in the Comcast lounge.

Mr. & Mrs. alan PeterkofskyMr. & Mrs. Paul PlotzDrs. Dena & jerome PuskinMr. & Mrs. Clark Rheinstein *Mr. Drew RiggsMr. and Mrs. john SchnorrenbergMs. Bessie ShayMr. Charles ShortDr. & Mrs. Paul SilvermanMs. Myra W. SklarewMr. Victor Steiger

Ms. Priscilla StevensMs. Sarah ThomasMs. Maureen TurmanMs. Virginia W. Van Brunt *Mr. David B. WardMr. Stephen WelshMs. joan WikstromMr. Robert E. WilliamsDr. & Mrs. Kevin Woods* Chorale members

ChOrAle SuStAinerS CirCle Fred and helen altmanMs. Sybil amitayMrs. William F. Baker, jr.Dr. Ronald CappellettiMs. anne ClaysmithMr. Dale CollinsonDrs. Eileen and Paul DeMarcoDr. Lawrence Deyton & Dr. jeffrey LeviDr. Maria a. FriedmanDr. & Mrs. Bill GadzukElizabeth Bishop & Darrin GemoetsDr. Robert Gerard & Ms. Carol GoldbergMs. Sarah Gilchrist

Mr. Larry MaloneyMr. & Mrs. Carl McintireMr. & Mrs. Kent MikkelsenMr. & Mrs. james E. MurrayMr. Thomas NessingerMs. Martha NewmanMs. aida SanchezMrs. jan SchiavoneMs. Carol a. SternDr. & Mrs. Robert TempleMs. Ellen van ValkenburghMr. & Mrs. Robert Vocke

NATIONAL PHILHARMONIC STAFFPiotr Gajewski, Music Director & ConductorStan Engebretson, Artistic Director,

National Philharmonic ChoraleVictoria Gau, Associate Conductor &

Director of EducationKenneth a. Oldham, jr., PresidentFilbert hong, Director of Artistic OperationsDeborah Birnbaum, Director of Marketing & PRLeanne Ferfolia, Director of Development

Katie Tukey, Manager of Development Operationsamy Salsbury, Graphic DesignerLauren aycock, Graphic Designer

William E. Doar Jr. Public Charter School for the Performing Arts Staff

Kimberly Teachout, Music Program Director Scarlett Zirkle, Suzuki Violin Instructor


Reginald Van Lee, Chairman* (c)

james j. Sandman, Vice Chair* (c)

Christina Co Mather, Secretary* (c)

Steven Kaplan, Esq. Treasurer* (c)

Burton j. Fishman, Esq., General Counsel* +

jenny Bilfield, President and CEO Douglas h. Wheeler, President EmeritusNeale Perl, President Emeritus Patrick hayes,

Founder †

Katherine M. andersonalison arnold-SimmonsPaxton Bakerarturo E. Brillembourg*hans Bruland (c)Rima CalderonCharlotte Cameron*Karen i. Campbell*yolanda CarawayLee ChristopherEric D. Collinsjosephine S. CooperDebbie DingellPamela FarrRobert Feinberg*Norma Lee FungerFelecia Love Greer, Esq.jay M. hammer* (c)Maria j. hankersonBrian hardieGrace hobelman (c)jake jonesDavid Kamenetzky*jerome B. Libin, Esq. (c)David MarventanoTony Otten

Rachel Tinsley Pearson*joseph M. RigbyElaine Roseirene RothCharlotte SchlosbergSamuel a. Schreiberjohn SedmakRoberta SimsRuth Sorenson* (c)Dr. Paul G. SternWendy Thompson-MarquezMary jo Veverka*Carol W. WilnerCarol Wolfe-Ralph

HONORARY DIRECTORSNancy G. BarnumRoselyn Payne Epps, M.D.Michelle Cross FentySophie P. FlemingEric R. FoxPeter Ladd Gilsey †Barbara W. GordonFrance K. Graagejames M. harkless, Esq.ViCurtis G. hinton †Sherman E. KatzMarvin C. Korengold, M.D.Peter L. KreegerRobert G. LiberatoreDennis G. LyonsGilbert D. Mead †Gerson Nordlinger †john F. Olson, Esq. (c)Susan PorterFrank h. Richalbert h. SmallShirley SmallThe honorable james W. SymingtonStefan F. Tucker, Esq. (c)Paul Martin Wolff

PAST CHAIRSTodd Duncan †,

Past Chairman LaureateWilliam N. Cafritzaldus h. Chapin †Kenneth M. Crosby †jean head Sisco †Kent T. Cushenberry †harry M. LinowesEdward a. Foxhugh h. Smithalexine Clement jacksonLydia Micheaux MarshallStephen W. Porter, Esq.Elliott S. hallLena ingegerd Scott (c)james F. LafondBruce E. RosenblumDaniel L. KorengoldSusan B. hepnerjay M. hammer

WOMEN’S COMMITTEE OFFICERSElaine Rose, Presidentalbertina Lane, Recording SecretaryLorraine adams, 1st Vice PresidentBeverly Bascomb, Assistant

Recording SecretaryRuth hodges, 2nd Vice PresidentCheryl McQueen, TreasurerZelda Segal, Corresponding

Secretaryjanet Kaufman, Assistant TreasurerGladys Watkins, Immediate Past

President

LAWYERS’ COMMITTEE CO-CHAIRSjerome B. Libin, Esq.james j. Sandman, Esq.

* Executive Committee+ Ex Officio† Deceased(c) Committee Chair

As of Aug. 1, 2013

BOArd OF direCtOrS

WPAS AnnuAl FundWPAS gratefully acknowledges the contributions of the following individuals, corporations, foundations and government sources whose generosity supports our artistic and education programming throughout the National Capital area. Friends who contribute $500 or more annually are listed below with our thanks. (As of July 24, 2013)

Kiplinger Foundation inc.KPMG LLPjudith a. Lee, Esq. (L)Ms. Marcia MacarthurMr. and Mrs. john Marshall Dan

Cameron Family Foundation, inc.The Meredith FoundationPricewaterhouseCoopers LLPMr. james j. Sandman and

Ms. Elizabeth D. Mullin (L)Mr. and Mrs. hubert M.

Schlosberg (L) (W)NoraLee and jon Sedmak Mr. and Mrs. Daniel SimpkinsVerizon Washington, DCVersarMs. Mary jo VeverkaWashington Gas Light CompanyWells Fargo Bank

$10,000-$14,999avid Partners, LLCMr. and Mrs. Eliezer h. BenbassatBooz allen hamiltonDiamondrock hospitality

CompanyFedEx CorporationMr. and Mrs. Kenneth R. FeinbergGeorge Wasserman Family

Foundation, inc.Ms. Carolyn GuthrieDr. Maria j. hankerson, Systems

assessment & Researchj. Willard and alice S. Marriott

FoundationMr. jake jones and Ms. Veronica

Nyhan-jonesRobert P. and arlene R. Kogod

Family Foundationjune and jerry Libin (L)Macy’s FoundationThe Max and Victoria Dreyfus

Foundation, inc.The honorable Bonnie

McElveen-hunterMr. and Mrs. herbert Milsteinjohn F. Olson, Esq. (L)Ms. janice j. Kim and

Mr. anthony L. OttenMs. aileen Richards and

Mr. Russell jonesMr. and Mrs. Stefan F. Tucker (L)Mrs. judith WeintraubMr. Marvin F. Weissberg and

Ms. judith Morris †Wiley Rein LLPMr. and Mrs. Bernard young

$7,500-$9,999anonymousapollo GroupMr. Wes Combs and Mr. Greg

albrighthilton WorldwideDavid and anna-Lena KamenetzkyMs. Danielle Kazmier and Mr.

Ronald M. BradleyMr. and Mrs. Paul LiistroThe hon. Mary V. Mochary and

Dr. Philip E. WineOurisman automotive of Vaadam Clayton Powell iii Prince Charitable TrustsDr. irene RothSutherland asbill & Brennan

$5,000-$7,499Dr. and Mrs. Clement C. alpertKatherine M. andersonMr. and Mrs. joseph BrodeckiCapitol Tax PartnersMrs. Dolly ChapinMs. josephine S. CooperMr. joaquin FajardoBob and jennifer Feinsteinjames a. Feldman and

Natalie Wexler

Mr. and Mrs. Robert S. GilesMr. and Mrs. Stephen GrahamMr. and Mrs. Carlos GutierrezMr. and Mrs. Brian j. hardiehost hotels & ResortsMs. Debra LeeMs. Sandy LernerMr. Mark London and Ms. Dania

FitzgeraldMr. and Mrs. David O. MaxwellDr. Robert MisbinMr. and Mrs. Glenn a. MitchellMs. Rachel Tinsley PearsonThe honorable and Mrs. Stephen

PorterMr. and Ms. Steve SilvermanMs. Diane TachmindjiMr. and Mrs. john V. ThomasVenable Foundation

$2,500-$4,999anonymous (2)Mr. alvin adellMr. and Mrs. Barry BarbashMr. and Mrs. Boris BrevnovMs. Beverly j. BurkeMr. Peter Buscemi and

Ms. judith MillerMr. and Mrs. William N. CafritzThe Charles Delmar FoundationDr. and Mrs. abe Cherrick Ms. Nadine CohodasMr. and Mrs. j. Bradley DavisDr. Morgan Delaney and Mr.

Osborne P. MackieDyalCompassMr. and Mrs. Melvin Eagle (L)Mr. and Mrs. Glenn EpsteinLinda R. Fannin, Esq. (L)Mr. and Mrs. Burton j. FishmanMr. and Mrs. Wayne GibbensDr. and Mrs. Michael S. Goldjames R. GoldenMr. and Mrs. Rolf GraageMr. and Mrs. Raymond hardwickjames McConnell harkless, Esq.Ms. Dena henry and

Mr. john ahremalexine and aaron † jackson (W)Mr. and Mrs. joseph jacobsDrs. Frederick jacobsen and

Lillian Comas-DiazMr. and Mrs. Merritt jonesMr. and Mrs. David T. Kenneyarleen and Edward Kessler (W)Mr. Daniel L. Korengold and

Ms. Martha DippellMrs. Stephen K. KwassMr. and Mrs. Steve LansMr. and Mrs. harry M. Linowesjames M. Loots, Esq. and Barbara

Dougherty, Esq. (L)Mr. and Mrs. Christoph E. Mahle (W)The honorable and Mrs. Rafat

MahmoodMr. and Mrs. Ralph ManakerMarshall B. Coyne FoundationMr. Scott MartinMrs. joan McavoyMr. Larry L. MitchellMr. and Mrs. Robert MonkDr. William Mullins and Dr. Patricia

PetrickMs. Catherine NelsonMr. Paul Nelson and Mrs.

Labrenda Garrett-NelsonMs. Nicky Perry and Mr. andrew

StiflerMr. Trevor Potter and Mr. Dana

WestringMr. and Mrs. Robert RamsayDr. and Mrs. Douglas RathbunMrs. Lynn RhombergMr. and Mrs. Peter RichMr. Ken Rietz and Ms. Ursula

Landsrath

$100,000+altria Group, inc.Ms. Christina Co Mather and

Dr. Gary MatherD.C. Commission on the arts

and humanitiesBetsy and Robert FeinbergMars, incorporatedMs. jacqueline Badger MarsThe Morris & Gwendolyn Cafritz

FoundationMr. Reginald Van Lee

$50,000-$99,999abramson Family FoundationDaimlerDallas Morse Coors Foundation

for the Performing artsNational arts and Cultural affairs

Program/The Commission of Fine arts

Park Foundation, inc.Dr. Paul G. Stern

$35,000-$49,999anonymousMr. Bruce Rosenblum and

Ms. Lori LaitmanMs. Wendy Thompson-Marquez

$25,000-$34,999 anonymous ambassador and Mrs. Tom

andersonBank of americaBB&T Private Financial ServicesBET NetworksBilly Rose FoundationMrs. Ryna CohenErnst and youngMark and Terry McLeodMr. and Mrs. herbert S. Miller

National Endowment for the artsPEPCORuth and arne Sorenson

$15,000-$24,999arcana FoundationaT&T ServicesDiane and Norman BernsteinMr. and Mrs. arturo E.

BrillembourgMr. Eric Collins and Mr. Michael

Prokopow Embassy of South africa, his

Excellency Ebrahim RasoolMs. Pamela FarrMr. and Mrs. jose FigueroaMr. and Mrs. Morton FungerMr. and Mrs. Bruce GatesMr. and Mrs. jay M. hammerCarl D. † and Grace P. hobelmanMr. and Mrs. Terry jones


Mr. and Mrs. David RouxMs. Christine C. Ryan and

Mr. Tom GrahamMr. Claude SchochMr. and Mrs. Samuel a. SchreiberLena ingegerd Scott and Lennart

LundhMr. and Mrs. albert h. SmallMs. Mary Sturtevant and

Mr. alan asayMr. and Mrs. George R. Thompson jr.Mr. and Mrs. R. Moses ThompsonMr. and Mrs. Brian TommerMr. Richard M. TuckermanDrs. anthony and Gladys Watkins (W)Mr. and Mrs. james j. WilsonDr. and Mrs. William B. WolfMr. Bruce Wolff and Ms. Linda MillerMr. and Mrs. Paul a. young, NOVa

Research Company

$1,500-$2,499anonymous (4)Ms. Lisa abeelMrs. arthur arundelLisa and james BaughRobert and arlene BeinMr. and Mrs. Robert S. Bennettjane C. Bergner, Esq. (L)Ms. Bunny Bialek (W)Ms. Carol a. BogashMr. and Mrs. Leonard BurkaDr. C. Wayne Callaway and

Ms. jackie ChalkleyMr. and Mrs. jordan CasteelDr. and Mrs. Purnell W. ChoppinDrs. judith and Thomas ChusedDr. Mark Cinnamon and

Ms. Doreen KellyMr. and Mrs. Douglas CookMr. Paul D. CroninDr. and Mrs. joseph h. DanksDCi GroupMs. Lisa Egbuonu-DavisMs. Lynda EllisMrs. john G. EssweinMrs. Sophie P. FlemingFriday Morning Music Club, inc.Mr. Tom GallagherMrs. Paula Seigle Goldman (W)Mrs. Barbara GoldmuntzMr. j. Michael hall and

Dr. Natalie hallDr. and Mrs. joseph E. harris (W)Mr. and Mrs. james harris, jr.Ms. Leslie hazelMs. Gertraud hechlDr. Charlene Drew jarvisMrs. Enid T. johnson (W)Mr. E. Scott KasprowiczStephen and Mary Kitchen (L)Ms. Betsy Scott KleeblattMr. and Mrs. Steven LambMr. and Mrs. Gene Lange (L)Mr. and Mrs. Richard F. LarkinDr. and Mrs. Lee V. Leak (W)Ms. jacqueline Rosenberg

London and Mr. Paul LondonMr. james LynchRear adm. and Mrs. Daniel P.

MarchMr. and Mrs. Michael Marshallhoward T. and Linda R. MartinMrs. Gail MathesonMs. Katherine G. McLeodMs. Cheryl C. McQueen (W)Mr. and Mrs. Samuel MuscarellaLt. Gen. and Mrs. Michael a. NelsonMs. Michelle NewberryThe Nora Roberts FoundationMr. and Mrs. jack h. OlenderMr. and Mrs. Gerald W. PadweDr. and Mrs. Ron PaulMs. jean PerinMr. Sydney M. Polakoff

Mr. james RichMs. Mary B. SchwabVirginia Sloss (W)Mrs. Nadia StanfieldCita and irwin StelzerMr. Richard StrotherMs. Loki van RoijenMs. Viviane Warrena. Duncan Whitaker, Esq. (L)

$1,000-$1,499anonymousRuth and henry aaronMrs. Rachel abrahamMr. john B. adamsMr. and Mrs. james B. adlerMr. and Mrs. Dave aldrichMs. Carolyn S. alperMr. and Mrs. Michael Barnellohon. and Mrs. john W. BarnumMr. Mark Bisnow and Ms. Margot

MacholMr. a Scott BoldenMs. Liz BuchbinderMr. and Mrs. Calvin CafritzMr. arthur CirulnickMr. jules CohenMr. David D’alessioMr. and Mrs. Gregory DavisEdison W. Dick, Esq. (L)Mr. and Mrs. Sidney DicksteinMr. anthony E. DiResta (L)Ms. Nancy Ruyle DodgeDaniel j. DuBray and Kayleen

M. jonesMarietta Ethier, Esq. (L)Dr. irene Farkas-ConnMs. janet FarrellFierce, isakowitz & Blalock, LLCMr. Gregory i. FlowersMs. Gloria GarciaMr. Donald and Mrs. irene GavinGelman, Rosenberg & FreedmanThe hon. Ruth Bader GinsburgMr. and Mrs. William L. Goldman (W)Mrs. Barbara W. Gordon (W)Mr. Michael hagerMs. Gail harmonMr. Charles E. hoyt and Ms.

Deborah Weinberger (L)Mr. David Kahn and Ms. Sherry a.

BindemanMrs. Carol KaplanMr. and Mrs. Sherman E. Katz (L)Dr. Marvin C. KorengoldSimeon M. Kriesberg and

Martha L. KahnSandra and james LafondMr. and Mrs. Eugene i. Lambert (L)Ms. Patricia MarvilDr. jeanne-Marie a. MillerMr. and Mrs. adrian L. Morchower (W)Mr. Richard MoxleyMr. and Mrs. Daniel MulcahyNancy Peery Marriott Foundation,

inc.Mr. and Mrs. Patrick NettlesMr. and Mrs. Lawrence C.

NussdorfMr. and Mrs. john OberdorferMrs. Elsie O’Grady (W)Tom and Thea Papoian with

Mr. SmoochyMrs. Linda Parisi and

Mr. j.j. FinkelsteinDr. Gerald PermanMr. and Mrs. arnold PolingerReznick GroupMr. and Mrs. Martin RitterMr. and Mrs. Michael RowanMs. yvonne Mentzer SabineSteven and Gretchen SeilerMr. and Mrs. arman SimoneMs. Karen Sowellann and Stuart Stock

Sid Stolz and David hatfieldMr. and Mrs. Thomas StrongChris SyllabaMr. and Mrs. Tom TinsleyMr. and Mrs. aaron TomaresMr. j. Rock Tonkel, jr.Mr. and Mrs. jim TrawickMr. and Mrs. j. Christopher TurnerG. Duane Vieth, Esq. (L)Mr. john Warren McGarry (L)Mr. and Mrs. Stanley WeissMr. and Mrs. Stephen WeiswasserDrs. irene and john WhiteMr. Peter L. WinikMr. and Mrs. Robert h. WinterMr. john C. WohlstetterChristopher Wolf, Esq. (L)

$500-$999anonymous (4)Ms. and Mrs. Edward adams (W)Mr. Donald R. allenMr. and Mrs. Gary altman EsqMr. jerome andersen and june

hajjarMr. and Mrs. Ricardo andradeMs. amy BallardMiss Lucile E. BeaverMs. Patricia N. Bonds (W)Mr. and Mrs. Charles BothMs. Francesca Britton (W)Mrs. Elsie Bryant (W)Mr. Robert BuslerMrs. Gloria Butland (W)Ms. Deborah Clements and Mr.

jon MooreMr. john W. CookDr. and Mrs. Chester W. De LongMr. and Mrs. james B. Deerin (W)Mr. and Mrs. Carlos Del ToroMrs. Rita DonaldsonMr. john DriscollMr. and Mrs. Marc DuberMrs. yoko EguchiMr. and Mrs. harold FingerFitness For Older adults, LLCMr. Michael FrankhuizenMr. juan GaddisDr. and Mrs. Robert Gagosian (W)Dr. Melvin Gaskinsjack E. hairston jr.Ms. june hajjarDr. and Mrs. harry handelsman

(W)Mrs. Robert a. harperMs. Tatjana hendryMr. and Mrs. Carl F. hicks, jr.Mr. and Mrs. Laszlo hogyej.S. Wagner CompanyMr. and Mrs. Ernest Drew jarvisRalph N. johanson, jr., Esq. (L)Ms. anna F. jones (W)Mr. and Mrs. Charles jonesMr. and Mrs. Sunny KapoorMs. janet Kaufman (W)Mr. Daniel Kazzaz and Mrs.

audrey CorsonDr. Rebecca Klemm, Ph.D.Dr. allan KolkerMr. and Mrs. john KoskinenMr. and Mrs. Nick KotzMs. Debra LadwigMs. albertina D. Lane (W)Mr. William Lascelle and Blanche

johnsonMr. and Mrs. Christopher LernerThe honorable and Mrs. jan LodalMr. and Mrs. David Maginnes (W)Shaila ManyamMr. and Mrs. Glenn MarshallMr. Winton E. Matthews, jr.john C. McCoy, Esq. (L)Mr. and Mrs. Paul McDonnellMs. hope McGowanMr. and Mrs. james Mcintyre

Mr. and Mrs. Rufus W. McKinney (W)Ms. jacqui MichelMs. Rachel MondlMrs. ann MoralesMr. and Mrs. Bruce D. MoretonMs. Dee Dodson MorrisMr. Charles NaftalinMr. and Mrs. David NealMs. Christine PieperMr. and Mrs. herbert PosnerDr. and Mrs. Linwood RayfordMr. Spencer K. RaymondMr. and Mrs. Dave RiggsMr. and Mrs. Robert RosenfeldMr. Lincoln Ross and Changamire (W)Mr. Burton Rothlederanne & henry Reich Family

Foundation Lee G. Rubenstein, Co-President

Dr. and Mrs. jerome SandlerMr. and Mrs. Michael Schultz

in memory of Mr. h. Marc Moyens

Mrs. Zelda Segal (W)Dr. Deborah Sewell (W)Mrs. Madelyn Shapiro (W)Dr. Deborah j. SherrillMr. Peter ShieldsDaniel and Sybil SilverDr. and Mrs. Michael h. SilverMr. jeffrey Z. SlavinMr. and Mrs. john SlaybaughMr. and Mrs. Stephen SmithMrs. Therrell C. Smith (W)Mr. and Mrs. L. Bradley StanfordDr. and Mrs. Moises N. SterenSternbach Family FundMr. and Mrs. David SulserMr. akio TagawaMr. Daniel Tarullo

Maria Voultsides and Thomas Chisnell, ii

Dr. june Whaun and Dr. Pauline Ting

Mr. William h. WheelerMr. Craig Williams and Ms.

Kimberly SchenckMr. and Mrs. john WilnerMr. and Mrs. james D. Wilson (W)Ms. Christina WitsbergerDr. Saul yanovichMr. james yapPaul yarowsky and Kathryn

Grumbach

IN-KIND DONORSBooz allen hamiltonMr. and Mrs. Charles BothEmbassy of japan Embassy of SpainjamalFelder Music Productions LLCThe hay-adams hotelMr. Daniel L. Korengold and Ms.

Martha DippellDr. and Mrs. Marc E. LelandThe honorable and Mrs. jan LodalMars, incorporatedMr. Neale PerlSt. Gregory Luxury hotels & SuitesMr. anthony WilliamsKathe and Edwin D. WilliamsonElizabeth and Bill Wolf

KEY:(W) Women’s Committee(L) Lawyers’ Committee† Deceased

jenny Bilfield President & CEODouglas h. Wheeler President EmeritusNeale Perl President Emeritus

Development Murray horwitz Director of DevelopmentMeiyu Tsung Assistant Director of Develop-

ment/Director of Major GiftsDaren Thomas Director of Leadership and

Institutional GiftsMichael Syphax Director of Foundation and

Government Relationshelen aberger Membership Coordinator and

Tessitura Application Specialist

Education Michelle hoffmann Director of Education Katheryn R. Brewington Assistant Director of Education/

Director of Gospel Programs Megan Merchant Education Program Coordinator Koto Maesaka Education Associate Chase Maggiano Education and Development

Associate

Finance and Administration allen Lassinger Director of Finance Rebecca Tailsman Accounting Associate

Robert Ferguson Database AdministratorLeah Manning Administrative Assistant

Marketing and Communications jonathan Kerr Director of Marketing and

Communications hannah Grove-Dejarnett Associate Director of Market-

ing and Communications Scott Thureen Creative Media and Analytics

Manager Wynsor Taylor Audience Engagement ManagerCelia anderson Graphic Designer Brenda Kean Tabor Publicist

Programming Samantha Pollack Director of ProgrammingTorrey Butler Production Manager Stanley j. Thurston Artistic Director, WPAS Gospel

Choirs

Ticket Services Office Folashade Oyegbola Ticket Services Manager Cara Clark Ticket Services Coordinator Edward Kerrick Group Sales Coordinator

WASHINGTON PERFORMING ARTS SOCIETY STAFF


Audra McDonald with WPAS board member

Beverly Burke and guests

Mr. Stefan F. Tucker, Chairanonymous (6)Mr. David G.† and Mrs. Rachel abrahamDr. and Mrs. Clement C. alpertMr. and Mrs. George a. averyMr. james h. Berkson †Ms. Lorna Bridenstine †Ms. Christina Co MatherMr. and Mrs. Douglas CookMr. and Mrs. F. Robert CookMs. josephine CooperMr. and Mrs. james DeerinMrs. Luna E. Diamond †Mr. Edison W. Dick andMrs. Sally N. DickMr. and Mrs. Sidney DicksteinMs. Carol M. DreherMr. and Mrs. Melvin Eagle

WPAS leGACY SOCietY

legacy Society members appreciate the vital role the performing arts play in the community, as well as in their own lives. By remembering WPAS in their will or estate plans, members enhance our endowment fund and help make it possible for the next generations to enjoy the same quality and diversity of presentations both on stages and in our schools.Mrs. Shirley and Mr. albert h. Small, Honorary Chairs

Ms. Eve Epstein †Mr. and Mrs. Burton FishmanMrs. Charlotte G. Frank †Mr. Ezra Glaser †Dr. and Mrs. Michael L. GoldMs. Paula GoldmanMrs. Barbara GordonMr. james harklessMs. Susan B. hepnerMr. Carl hobelman † and

Mrs. Grace hobelmanMr. Craig M. hosmer and Ms. Daryl ReinkeCharles E. hoytjosephine huang, Ph.D.Dr. † and Mrs. aaron jacksonMrs. Enid Tucker johnsonMr. and Mrs. Charles jonesMr. Sherman E. Katz

Mr. and Mrs. Bruce KimbleMr. Daniel L. KorengoldDr. Marvin C. KorengoldMr. and Mrs. james LafondMs. Evelyn Lear † and Mr. Thomas Stewart†Mrs. Marion Lewis †Mr. herbert Lindow †Mr. and Mrs. harry LinowesMr. and Mrs. David MaginnesMs. Doris McClory †Mrs. Carol MelamedRobert i. MisbinMr. Glenn a. MitchellMs. Viola MusherMr. jeffrey T. NealThe alessandro Niccoli Scholarship awardThe Pola Nirenska Memorial awardMr. Gerson Nordlinger †Mrs. Linda Parisi and Mr. j.j. FinkelsteinMr. and Mrs. Neale PerlDr. W. Stephen and Mrs. Diane PiperMrs. Mildred Poretsky †The hon. and Mrs. Stephen PorterMrs. Betryce Prosterman †Miriam Rose †Mr. james j. Sandman and

Ms. Elizabeth D. MullinMrs. ann ScheinMr. and Mrs. hubert (hank) SchlosbergMs. Lena ingegerd ScottMrs. Zelda SegalMr. Sidney SeidenmanMs. jean head Sisco †Mr. and Mrs. Sanford L. SlavinMr. and Mrs. albert h. SmallMr. Robert Smith and

Mrs. Natalie Moffett SmithMrs. isaac SternMr. Leonard TopperMr. hector TorresMr. and Mrs. Stefan TuckerMr. Ulric † and Mrs. Frederica WeilMr. and Mrs. Douglas WheelerMr. and Mrs. Robert h. WinterWPaS Women’s CommitteeMs. Margaret S. Wu in memory of y. h. and T. F. Wu

For more information, please contact Douglas H. Wheeler at (202) 533-1874, or e-mail [email protected].

EXCEPTIONAL

FILMS─ FOR ─90 YEARS

As Washington, DC’s only nonprofit film center, The Avalon brings the community the best in commercial, independent and foreign film.

Our beautifully restored historic theater is located at 5612 Connecticut Ave., near Chevy Chase Circle.

Visit www.theavalon.org for showtimes and tickets.

• Children (Youth 5-7 yrs, Junior 8-12 yrs, Teen 13 & up)

• Adults (Wedding, Social, Competitive)

• Dance Fitness Programs

Award-winning, Avant Garde Ballroom, offers a state-of-the-artdance studio and talented instructors who specialize in classic

and cutting edge dance.

View our Class Schedule at:

Now Enrolling for Fall ClassesNow Enrolling for Fall Classes

(301) 881-1436avantgardedc.com

5268-M Nicholson LaneNorth Bethesda, MD

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Independence by Convergent Bethesda Applause September Issue Final.pdf 1 8/2/2013 3:09:21 PM

www.stuartkitchens.com

SINCE 1955, WE’VE BEEN FIRST CHOICE FOR THE BEST KITCHEN IN THE NEIGHBORHOOD.COME VISIT OUR

SHOWROOMS. EVERYTHING YOU NEED FOR THE ROOM YOU’LL LOVE THE MOST IS HERE IN ONE PLACE.AND, YOU’LL UNDERSTAND WHY SO MANY PEOPLE SAY, “NOTHING ADDS MORE VALUE TO YOUR HOME.”

FIND OUT MORE ABOUT STUART KITCHENS BY VISITING OUR NEW WEB SITE. JUST ENTER

WWW.STUARTKITCHENS.COM AND YOU’LL FIND LOTS OF USEFUL INFORMATION ABOUT OUR CABINETS,CAPABILITIES AND MUCH MORE.

BE T H E S D A SH O W R O O M AT 8203 W I S C O N S I N AV E . 240-223-0875

MCLE A N SH O W R O O M AT 1359 BE V E R LY RD. 703-734-6102

GUNSTON SHOWROOM IN LORTON AT 10440 FURNACE RD. 703-690-4045

A N N E A R U N D E L S H O W R O O M AT 8031 R I T C H I E H W Y. 410 -761 -5700

BA LT I M O R E SH O W R O O M AT 1858 RE I S T E R S T O W N RD. 410-486-0500

YOU ALWAYS KNOW A STUART KITCHEN.

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Strathmore Applause Sept/Oct 2013

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Transcript of Strathmore Applause Sept/Oct 2013