May-June 2012 Overture
The May-June issue of the Baltimore Symphony Orchestra's magazine Overture.
overture Wish You Were Here A MAGAZINE FOR THE PATRONS OF THE BALTIMORE SYMPHONY ORCHESTRA MARIN ALSOP, MUSIC DIRECTOR MAY 3, 2012 - JUNE 10, 2012 VARIATIONS ON A THEME Summer's arrival gives many BSO musicians an opportunity to recharge--in venues close to home and around the globe. CONTENTS 7 8 VARIATIONS ON A THEME Summer's arrival gives many BSO musicians an opportunity to recharge--in venues close to home and around the globe. BY JOE SUGARMAN 7 ONE ON ONE Italian-born violinist Nadja Salerno-Sonnenberg tells us why playing Tchaikovsky'sViolin Concerto with Marin Alsop and the BSO is like "coming home." INTERVIEW BY LAURIE LEGUM 39 PROGRAM NOTES 11 MAY 3 & 6 Fleisher Plays Ravel Shostakovich's Seventh Symphony Andr� Watts Plays Rachmaninoff The Beat Goes On! The Music of the Baby Boomers Beethoven's Ninth Mozart and Beethoven Salerno-Sonnenberg Plays Tchaikovsky 3 4 6 10 33 39 LETTER FROM THE PRESIDENT AND CEO IN TEMPO BSO LIVE 13 MAY 5 15 MAY 10, 11 & 13 18 MAY 18-20 News of note. Upcoming events you won't want to miss! ORCHESTRA ROSTER DONORS IMPROMPTU BSO cellist Dariusz Skoraczewski has broadened his repertoire to include recording and producing his own music. 20 MAY 24-25 26 JUNE 1-2 29 JUNE 7, 8 & 10 FROM THE president Dear Friends, overture BSOmusic.org � 410.783.8000 The spring season is in full swing here at the Meyerhoff, but the best of the 2011-2012 season is yet to come! May kicks off what we've dubbed "pianist month"-- an unofficial month-long celebration of pianists and the music that makes their instrument sing. From Ravel's Piano Concerto for the Left Hand (May 3 & 6) to Rachmaninoff 's Piano Concerto No. 2 (May 10, 11 & 13) to Beethoven's Piano Concerto No. 3 (June 1 & 2), the Meyerhoff will be abuzz with the talents of Leon Fleisher and his former pupils Andr� Watts and 31-year-old Jonathan Biss. Come June, guest artist favorite Nadja Salerno-Sonnenberg returns to the BSO to captivate audiences with her performance of Tchaikovsky's Violin Concerto (June 7, 8 & 10).To learn more about Nadja, read her One-on-One interview on page 7. As our patrons have come to expect, the BSO has a thrilling upcoming summer season in store. From Michael Jackson to Led Zeppelin, Star Wars to Otakon, there is something for all music lovers to enjoy. Kicking it off is Baltimore's favorite Fourth of July tradition: the Star-Spangled Spectacular, July 3 and 4 at Oregon Ridge Park. Featuring everyone's favorite patriotic music, the concert culminates in a dazzling fireworks display. The summer excitement, however, does not end here in Baltimore. Many of our musicians will travel throughout the summer months to instruct master classes, participate in festivals and perform all over the world, in addition to playing concerts here at the hall.To read more about the BSO musicians and their exciting summer plans, turn to this issue's feature story: "Variations on a Theme" (p. 8). Finally, June 2012 marks the third year of one of the exciting outreach programs begun during Marin Alsop's tenure: the BSO Academy.This week-long intensive program brings fresh new energy to the hall, as participants meet, rehearse and perform with Orchestra members and Maestra Alsop. As this program grows, students of the Academy continue to become special members of the BSO family.The deep connection between the symphony musicians and participants is palpable, evidenced by their camaraderie onstage and off. As this season draws to a close, I want to extend a special thanks to you, our patrons and friends, who have continued to make the 2011-2012 season a success. Here's to making 2012-2013 our best season yet! Baltimore Symphony Orchestra 2011-2012 Season Marin Alsop Music Director Kenneth W. DeFontes, Jr. Chairman Paul Meecham President and CEO Eileen Andrews Vice President of Marketing & Communications Alyssa Porambo PR & Publications Coordinator Janet E. Bedell Program Annotator Route 95 Publications Custom Media Sue De Pasquale Editor Cortney Geare Art Director Kim Van Dyke Designer Laurie Legum Joe Sugarman Contributing Writers Michael Marlow Proofreader Kristen Cooper Director of Sales & Marketing Karen R. Bark Jenifer Harrington Andrea Medved Jill Whitty Sales Consultants Jeni Mann Director of Custom Media Design and Advertising Sales Route 95 Publications 1040 Park Ave., Suite 200 Baltimore, MD 21201 443.451.0736 Paul Meecham President and CEO, Baltimore Symphony Orchestra Be Green: Recycle Your Program! Please return your gently used program books to the Overture racks in the lobby. Want to keep reading at home? Please do! Just remember to recycle it when you're through. Life is Better with Music The BSO dynamic leadership of Music Director Marin Alsop,relevant is actively Under the is committed to serving our community in the BSO and meaningful ways, including high quality music education and life on redefining the role of an orchestra in the 21st century, with an increased focus enrichment programs for more than 55,000 youthsto the BSO's continued access and relevance in the community. Your support is vital each year. progress, sustaining world-class artistry, touching the lives of more than 55,000 Your support makes this important work possible, helping to secure young people each year through groundbreaking education programs, and in the BSO as a key contributor to the culture and quality of life deepening community and throughout Maryland. Baltimore impact leading up to its 2016 centennial and beyond. For more information to support the music that builds communities Formore information on how about supporting your world-class and transforms lives, please contact our Membership office. orchestra, please contact our membership office. Baltimore Symphony Orchestra May 3, 2012 � June 10, 2012 410.783.8124 BSOmusic.org/musicmatters 410.783.8124| |BSOmusic.org/donate 3 IN MODERN TIMES tempo WEST SIDE STORY � 1961 METRO-GOLDWYN-MAYER STUDIOS INC. ALL RIGHTS RESERVED NEWS OF NOTE 2012-2013 Season Celebrates the Art of the Film Score Grab some popcorn and get yourself a bag of gummy bears--the BSO will celebrate the music of the movies throughout the 2012-2013 season! The BSO embarks on a season-long exploration of the impact of film, movie scores and musicals across the decades. Featured cinema-inspired programs include Charlie Chaplin's Modern Times, a screening of Leonard Bernstein's movie musical West Side Story and the 1938 historical drama Alexander Nevsky with a film score by composer Sergei Prokofiev. As an extension of that theme, SuperPops conductor Jack Everly will collaborate with Baltimore-born filmmaker John Waters to mark the 25th anniversary of the original film release of Hairspray with an exclusive concert production. "Quality cinema has the power to inspire, excite, entertain and make us laugh," said Music Director Marin Alsop."A crucial component of any good film is a captivating musical score. Next season I'm thrilled to present some of the best movies throughout the ages, enhanced by full orchestral scores with themes that have become embedded in the soundtrack of our culture." The upcoming season also features a lineup of the world's best musical performers, including pianists Garrick Ohlsson, Stephen Hough and Simon Trpceski; violinists Gil Shaham and Midori; percussionist Colin Currie; and conductors Yan Pascal Tortelier, Gilbert Varga, Carlos Kalmar, Mario Venzago and Hannu Lintu. Next season, the BSO is also proud to introduce audiences to guest artists making their BSO debuts, including organist Felix Hell, pianist Denis Kozhukhin, violinist Kolja Blacher, cellist Sol Gabetta and conductors Christoph K�nig, Dima Slobodeniouk and Markus Stenz. 2012-2013 subscriptions are now on sale and can be purchased through the BSO Box Office and BSOmusic.org. MODERN TIMES � ROY EXPORT S.A.S WEST SIDE STORY 36th Annual Decorators' Show House: NOW OPEN! We hope you have your interior decorating caps on, because the 36th annual Decorators' Show House is open for business. The Baltimore Symphony Associates Decorators' Show House at the Eck House at Cromwell Valley Park is open now through May 20. This year's Show House--the BSA`s annual fundraiser to benefit the BSO's educational programs--is at the picturesque Eck House in Towson, quaintly situated on the 45-acre property known as Cromwell Valley Park. Governmentowned, the land and its structures were designated for use as outdoor/indoor recreation or open space. Because of so much open space, the view is idyllic from any of the beautifully decorated rooms. "The charming, rustic qualities of Eck House serves as a beautiful backdrop to the decorators' creative styles," said Show House co-chair Barbara Kelly. Co-chair Libby Younglove added: "From ornate wall murals to minimalistic contemporary aesthetics, the designers are showcasing a wide range of creativity and ingenuity for Show House visitors." "We appreciate the opportunity to partner with the Baltimore Symphony Orchestra, a truly world-class cultural 4 resource for our region," said Baltimore County Executive Kevin Kamenetz. "I hope that everyone will have the chance to visit the Symphony Decorators' Show House event and enjoy the beautiful, serene Eck House." Many of the accessories and furnishings used in the designed spaces are available for purchase. Guests may also purchase specialty goods and crafts at the on-site boutique. Gently used items can be purchased in the Encore Shop, and a caf� offers refreshing light lunches. Show House hours are Tuesdays, Wednesdays, Fridays and Saturdays from 10 a.m. to 4 p.m., Thursdays from 10 a.m. to 8 p.m. and Sundays from noon to 5 p.m. Tickets are $25 in advance and are available through the BSO Box Office, BSOmusic.org and at retail outlets such as all Graul's Markets, Budeke Paint Stores and Watson's Garden Center. Tickets are $30 at the door. Overture PAUL E. REDLINE Unparalleled Retirement Lifestyle in a Community that is with You Every Step of the Way! Seeing is believing! Call today to schedule your personal visit to our continuing care retirement community and learn how you can enjoy an affordable and active retirement lifestyle. Connect with Sykesville, Maryland www.FairhavenCCRC.org 410-795-8801 800-241-9997 Easton, Maryland www.WilliamHillManor.org 410-822-8888 800-432-0899 Jewish Baltimore! Connecting People, Passion, and Purpose Roland Park Place is a unique continuing care retirement cont e community in the hea of northern Baltimore City. e heart Baltim more City. Scan me with your smartphone! 410-243-570 410-243-5700 00 830 West 40th Street West Str reet Baltimore, MD 21211 21211 121 www.rolandpa www.rolandparkplace.org landparkpla ace.org TDD: 1-800-735-2258 1-800-735-225 58 A Not-for-Profit Life Care Not-for-Prof it Life Care Community C o m m unit y May 3, 2012 � June 10, 2012 5 BSO live Thur, July 26, 8 p.m. Pier Six UPCOMING KEY EVENTS to perform some of your favorite Led Zeppelin classics, such as Whole Lotta' Love, Kashmir, Immigrant Song, Going to California, Stairway to Heaven, Heartbreaker, and many more. JUST ANNOUNCED! Star-Spangled Symphony featuring the world premiere of the Overture for 2012 by Philip Glass Sponsored by PNC Sun, June 17, 7 p.m. Joseph Meyerhoff Symphony Hall Marin Alsop, conductor Baltimore Symphony Orchestra O'Malley's March U.S. Navy Band Sea Chanters biggest film franchises of the 20th century! John Williams' score to the iconic Star Wars movies will be on full display as the BSO performs this masterpiece choreographed to a laser light show and fireworks.The program opens with selections from blockbusters such as Batman and Pirates of the Caribbean.You won't want to miss one note of this intergalactic musical extravaganza! A Night In Fantasia The Ultimate Games and Anime Experience Sat, July 28, 8 p.m. Joseph Meyerhoff Symphony Hall Philip Chu, conductor Jillian Aversa, vocalist Larry Oji, master of ceremonies Baltimore Symphony Orchestra Inspired by the bicentennial of the War of 1812, the Baltimore Symphony Orchestra proudly presents the world premiere of Overture for 2012, an original work by Maryland-born composer Philip Glass. Special patriotic music showcasing celebrated works by prominent American composers will accompany the new Overture.To mark this 15-star, 15-stripe occasion, tickets are on sale for only $15. The Music Of Michael Jackson Brent Havens, conductor Baltimore Symphony Orchestra Star-Spangled Spectacular Tues, July 3, 8 p.m. Wed, July 4, 8 p.m. Oregon Ridge Robert Franz, conductor Derrick Parker, bass-baritone Baltimore Symphony Orchestra Join the BSO for an all-American holiday celebration featuring Tchaikovsky's 1812 Overture, Sousa's Stars and Stripes Forever and more, choreographed to an amazing fireworks display! Plus hear the BSO's "Oh, Say Can You Sing" contest winner perform the national anthem. From his early years with the Jackson 5 to his mega-hit album Thriller and beyond, Michael Jackson stormed the music industry with hit after hit. "The Music of Michael Jackson" takes you through each era of this storied performer from ABC, I'll Be There and Got To Be There through Beat It, Thriller, Rock With You, The Way You Make Me Feel and many more. Join the BSO for an evening filled with fabulous music spanning 40 years of Michael Jackson's influential and celebrated career! Join the BSO for an exhilarating, one-night-only performance of music from some of the greatest video game and anime scores ever created, all arranged for full orchestra with production by Eminence Symphony Orchestra founder Hiroaki Yura! The show also features vocalist Jillian Aversa, who can be heard on the soundtracks of Soulcaliber V, Halo: Combat Evolved Anniversary, God of War and more. Come dressed as your favorite video game or anime character! To purchase tickets, please contact the BSO Ticket Office at 410.783.8000, 877.BSO.1444 or visit BSOmusic.org. The Music Of Led Zeppelin Fri, July 27, 8 p.m. Pier Six Brent Havens, conductor Baltimore Symphony Orchestra Star Wars And Beyond! Sat, July 14, 8 p.m. Oregon Ridge Robert Bernhardt, conductor Baltimore Symphony Orchestra Relive the explosive music of one of the The Zeppelin lands in Baltimore! Join the BSO and a full rock band as they combine passion and power 6 Overture EMILY EAVES ONE on ONE Tour de Force Q. You've said that you would not have chosen the violin had you a choice of instrument as a child. What instrument would you have preferred? I wouldn't have chosen any instrument.At the time I wanted to be an opera singer.As a child, my grandfather exposed me to opera, which was the biggest influence on me. My mother made the decision for me by handing a violin to me when I was 5, but in the end it turned out to be a good choice. Q. What excites you most about playing Tchaikovsky's Violin Concerto with the BSO? ITALIAN-BORN Nadja Salerno-Sonnenberg began playing the violin at the age of 5. At the suggestion of her violin teacher, who recognized her natural talent, her family immigrated to the United States so that Salerno-Sonnenberg could attend the Curtis Institute of Music in Philadelphia. At 10, she made her debut with The Philadelphia Orchestra. She continued her studies at The Juilliard School of Music, and in 1981, she won the prestigious Walter W. Naumburg International Violin Competition, marking the beginning of her professional career. The multiple award-winning violinist, known for her fearless, energetic musical interpretations, has performed throughout North America and Europe; appeared on The Tonight Show, 60 Minutes and Live from Lincoln Center; penned her autobiography (On My Way); and was the subject of the 2000 Academy Award-nominated documentary Speaking in Strings. Currently the musical director of San Francisco's New Century Orchestra, Salerno-Sonnenberg, 51, has performed regularly with the BSO since her first concert with the Orchestra on July 4,1974. She returns June 7-10 to perform Tchaikovsky's Violin Concerto in D major. Interview by Laurie Legum Playing Tchaikovsky with Marin Alsop at the BSO is like coming home for me in many ways. I won the Walter W. Naumburg International Violin Competition playing Tchaikovsky. I made my debut at Carnegie Hall playing Tchaikovsky. And the second album debuting on my record label, NSS Music, was the Tchaikovsky Violin Concerto and Clarice Assad's Violin Concerto, with Marin Alsop conducting the Colorado Symphony Orchestra. Both concertos happen to be in the same key, which is why the album is called Concertos in D Major. Marin and I both felt it was a good coupling for the album. Plus, I've played with the BSO more than just about any orchestra. I started playing with them every July 4 from the time I was 13 until I was 20. I love the orchestra and I love Baltimore. I've watched the city grow. I've played with many different music directors at the BSO and I have an especially wonderful relationship with Marin Alsop. She is a phenomenal example of a real Renaissance woman. I have always admired her tenacity and imagination. She doesn't go with the trends. She makes them. Baltimore is lucky to have someone like Marin. Playing with her and the BSO is like a return to the golden age of music. Q. When Tchaikovsky's Violin Concerto originally CHRISTIAN STEINER debuted with the Vienna Philharmonic in 1881, it was met with scathing reviews. Why was it so poorly received and how did it evolve to become one of the most beloved violin concertos? The style of Tchaikovsky's Violin Concerto is very physical and can be very harsh. It also stands apart because it becomes an experience. Rather than the typical development of a piece, the Violin Concerto's theme development occurs twice in two different keys. Physically, the piece was far more athletic than any piece that had been previously written in that period. I understand why it was received that way. Today, the level of playing has risen and pieces once considered unplayable when written are regularly performed. However, the concerto is still incredibly challenging because it's so physical. It's a show piece, a tour de force. It's like an Errol Flynn movie. There is nothing subtle about it. It's grand, grand entertainment. I take my vitamins before I play it. May 3, 2012 � June 10, 2012 7 VARIATIONS ON A THEME How do members of the Baltimore Symphony Orchestra spend their summers? For many of the musicians, the answer doesn't vary from other seasons: they keep on performing. From gigs with other orchestras to participating in summer classical music festivals to teaching aspiring muscians, summertime means more work--albeit often in some pretty attractive locales. But the "offseason" also gives musicians a chance to explore new avenues and to recharge their creative energies for the upcoming concert season. 8 Overture ou Were Here Wish Y Summer's arrival gives many BSO musicians an opportunity to recharge--in venues close to home and around the globe. / By Joe Sugarman For Music Director Marin Alsop, summer is just as full as any other season.This spring, she begins a new adventure as principal conductor of the S�o Paulo Symphony Orchestra, but she'll also return for her 21st season as music director of the Cabrillo Festival of Contemporary Music held in Santa Cruz, Calif. Alsop calls the festival "an oasis in my busy career. It's a place where [musicians] come purely because they're dying to play contemporary music with each other and with me," she says."The whole flavor is about the art, the music, the experience. No one gets paid. It's about being engaged in the creativity, working with new composers. It's extremely energizing." Alsop also appreciates the laid-back nature of the concert series, with its open rehearsals and "California" dress code. "There's no formal concert attire," she says. "The musicians can wear whatever they want--except cutoffs or flip-flops." After Cabrillo, Alsop says she often returns to the BSO with fresh ideas and renewed enthusiasm for her craft. "Cabrillo can definitely inform what the BSO does," she says. "I get to try out a lot of new pieces and see how they work with an orchestra, with an audience. And I get the chance to work with new composers, many of whom have become dear friends, it's a rewarding experience on every level." Oboist Jane Marvine has spent the last four summers in China working with the Asian Youth Orchestra, an ensemble of 100 players between the ages of 18 and 26 who hail from countries throughout Asia.The orchestra was started in 1990 as a way to help unite the region and to celebrate the JASON WILLIAMS From left: Cellist Chang Woo Lee coaches a BSO Academy participant; members of the Asian Youth Orchestra take a break from rehearsal; bassist Bob Barney takes a break from performing in Wyoming to hike the Tetons. excellence of pre-professional musicians. Marvine and 15 other professional players from around the world (including five other BSO members) typically spend three weeks with the young musicians working at the Hong Kong Academy for Performing Arts.The three weeks of rehearsals include sectional coachings as well as monitoring full orchestra rehearsals. The orchestra then tours for three weeks throughout Asia. "They are exceptionally dedicated and talented," says Marvine of the young musicians. "We're working with them from 9:30 in the morning until 6 at night. Just studying the music that intensely, I learn an incredible amount, too." Marvine says the AYO's rehearsal camp model, with its mixture of rigorous practice and healthy dose of social interaction, was something she used when helping start the BSO Academy, a summer "music camp" for adults in which amateur musicians get to learn from--and then play alongside--BSO musicians. Cellist Chang Woo Lee was an integral part of the start of the BSO Academy, which debuted in 2010, and now she dedicates part of her summers to helping other string players live out their classical music fantasies. "It's an unbelievable experience for someone," she says. "Maybe their dream of becoming a musician didn't come true, but the music has stayed with them." Lee says she was surprised by how much satisfaction she gets out of the experience of working with Academy participants; it has become something she looks forward to each summer. "It's truly one of the most rewarding things I've ever done in my career," she says. "It's such a thrill for me when you see one of the musicians `get' it. And they're so appreciative.They always ask, `How can you do that so well, so easily?' And I say, `You're a lawyer or a doctor. I could never do that!'" For bassist Bob Barney and his wife, violinist Julie Parcells, summer means traveling to one of the country's most beautiful locales--Jackson Hole, Wyoming, for the Grand Teton Music Festival. Barney first performed at the festival in 1973, and he and Parcells have made it The BSO Heats Up As everyone knows, the Baltimore Symphony Orchestra doesn't take the summer "off!" Throughout the month of July, the Orchestra will offer a variety of concerts at different venues, throughout the area, including Oregon Ridge Park in Baltimore County, Pier Six at the Inner Harbor, the University of Maryland's Clarice Smith Performing Arts Center and even the Meyerhoff. See the BSO Live calendar on p. 6 for details. an annual tradition since 2008. "It attracts great musicians from all over the country," he says. "For me, it's a combination of the music and hiking. I don't want the hiking to interfere with the music or the music to interfere with the hiking." The festival runs for seven weeks, but Barney and Parcells usually perform for just the final two or three. "Baltimore is a great place to live, but not necessarily in August," he quips. The only downside: Barney doesn't trust airlines to check his valuable bass so the couple drives the 2,000 miles every year. Trumpet player Andrew Balio says summertime is when he does 90 percent of his practice. "Our beloved and intrepid librarian, Ray Kreuger, photocopies all my music for the next season in June, and I spend months slowly working out all the awkward passages as well as working toward internalizing the music to the point where I don't have to look at it much." But it's not all practice, practice, practice for Balio. He also leads master classes in Brazil, Croatia and Italy, where he's conducted operatic productions in Sicily and has been coaching the brass sections of the Milan Giuseppe Verdi Orchestra since 1996. And while he admits the beaches and fantastic seafood dinners he enjoys while away from home are a nice respite from the work year, it's not exactly a vacation. "As fun as it may be," he says, "it's anything but time off." TESY PHOTO COUR BOB BARNEY May 3, 2012 � June 10, 2012 9 BALTIMORE SYMPHONY ORCHESTRA 2011-2012 Season Marin Alsop Music Director, Harvey M. and Lyn P. Meyerhoff Chair / Jack Everly Principal Pops Conductor Yuri Temirkanov Music Director Emeritus / Lee Mills BSO-Peabody Conducting Fellow First Violins Jonathan Carney Concertmaster, Ruth Blaustein Rosenberg Chair Madeline Adkins Associate Concertmaster, Wilhelmina Hahn Waidner Chair Igor Yuzefovich* Assistant Concertmaster James Boehm Kenneth Goldstein Wonju Kim Gregory Kuperstein Mari Matsumoto John Merrill Gregory Mulligan Rebecca Nichols Ellen Orner E. Craig Richmond Ellen Pendleton Troyer Andrew Wasyluszko Wayne C. Taylor James Umber Charles Underwood Melissa Zaraya Rui Du** Basses Robert Barney Principal, Willard and Lillian Hackerman Chair Hampton Childress Associate Principal Owen Cummings Arnold Gregorian Mark Huang Jonathan Jensen David Sheets* Eric Stahl Clarinets Steven Barta Principal, Anne Adalman Goodwin Chair Christopher Wolfe Assistant Principal William Jenken Edward Palanker Trumpets Andrew Balio Principal, Harvey M. and Lyn P. Meyerhoff Chair Rene Hernandez Assistant Principal Ryan Darke** Piano Jonathan Jensen Mary Woehr Sidney M. and Miriam Friedberg Chair Violas Richard Field Principal, Peggy Meyerhoff Pearlstone Chair Noah Chaves Associate Principal Karin Brown Acting Assistant Principal Peter Minkler Sharon Pineo Myer Delmar Stewart Jeffrey Stewart Mary Woehr Director of Orchestra Personnel Marilyn Rife Trombones Christopher Dudley Principal, Alex. Brown & Sons Chair James Olin Co-Principal John Vance Bass Clarinet Edward Palanker Assistant Personnel Manager Christopher Monte E-flat Clarinet Christopher Wolfe Librarians Mary Carroll Plaine Principal, Constance A. and Ramon F. Getzov Chair Raymond Kreuger Associate Flutes Emily Skala Principal, Dr. Clyde Alvin Clapp Chair Marcia K�mper Bassoons Julie Green Gregorian Acting Principal Fei Xie David P. Coombs Bass Trombone Randall S. Campora Piccolo Laurie Sokoloff Tuba David T. Fedderly Principal Cellos Dariusz Skoraczewski Principal Chang Woo Lee Associate Principal Bo Li Acting Assistant Principal Susan Evans Seth Low Esther Mellon Kristin Ostling* Paula SkolnickChildress Pei Lu** Contrabassoon David P. Coombs Stage Personnel Ennis Seibert Stage Manager Todd Price Assistant Stage Manager Frank Serruto Technical Director Mario Serruto Electrician Larry Smith Sound *on leave **guest musician Oboes Katherine Needleman Principal, Robert H. and Ryda H. Levi Chair Michael Lisicky Horns Philip Munds Principal, USF&G Foundation Chair Gabrielle Finck Associate Principal Beth Graham* Assistant Principal Mary C. Bisson Bruce Moore Timpani Dennis Kain Principal Christopher Williams Assistant Principal Second Violins Qing Li Principal, E. Kirkbride and Ann H. Miller Chair Ivan Stefanovic Assistant Principal Leonid Berkovich Leonid Briskin Julie Parcells Christina Scroggins Percussion Christopher Williams Principal, Lucille Schwilck Chair John Locke Brian Prechtl English Horn Jane Marvine Kenneth S. Battye and Legg Mason Chair The musicians who perform for the Baltimore Symphony Orchestra do so under the terms of an agreement between the BSO and Local 40-543, AFM. Marin Alsop, Music Director DEAN ALEXANDER Hailed as one of the world's leading conductors for her artistic vision and commitment to accessibility in classical music, Marin Alsop made history with her appointment as the 12th Music Director of the Baltimore Symphony Orchestra. With her inaugural concerts in September 2007, she became the first woman to head a major American orchestra.She also holds the title of Conductor Emeritus at the Bournemouth Symphony in the United Kingdom, where she served as the principal conductor from 2002 to 2008, and is music director of the Cabrillo Festival of Contemporary Music in California. In 2005, Ms. Alsop was named a MacArthur Fellow, the first conductor ever to receive this prestigious award. In 2007, she was honored with a European Women of Achievement Award, in 2008 she was inducted as a fellow into the American Academy of Arts and Sciences, and in 2009 Musical America named her "Conductor of the Year." In November 2010, she was inducted into the Classical Music Hall of Fame. In February 2011, Ms. Alsop was named the Music Director of the Orquestra Sinf�nica do Estado de S�o Paulo (OSESP), or the S�o Paulo State Symphony Orchestra, effective in the 2012 season. Ms. Alsop was named to The Guardian's Top 100 Women list in March 2011. Last spring, she was named an Artist-in-Residence at the Southbank Centre in London. A regular guest conductor with the New York Philharmonic, The Philadelphia Orchestra, the London Symphony Orchestra and the Los Angeles Philharmonic, Ms. Alsop appears frequently as a guest conductor with the most distinguished orchestras around the world. In addition to her performance activities, she is also an active recording artist with award-winning cycles of Brahms, Barber and Dvor�k. Ms. Alsop attended Yale University and received her master's degree from The Juilliard School. In 1989, her conducting career was launched when she won the Koussevitzky Conducting Prize at Tanglewood, where she studied with Leonard Bernstein. 10 Overture PROGRAM notes Thursday, May 3, 2012 8 p.m. Sunday, May 6, 2012 3 p.m. JOSEPH MEYERHOFF SYMPHONY HALL BALTIMORE SYMPHONY ORCHESTRA MARIN ALSOP MUSIC DIRECTOR � HARVEY M. AND LYN P. MEYERHOFF CHAIR Fleisher Plays Ravel Marin Alsop Conductor Leon Fleisher Piano Maurice Ravel Piano Concerto in D major for the Left Hand LEON FLEISHER careers--as conductor and teacher--while learning the extraordinary but limited repertoire for piano left-hand. He began conducting in 1967, but never gave up the idea of playing with both hands again. Experimental treatments finally restored the mobility in Mr. Fleisher's hand, and for several years he has played with both hands, winning enormous acclaim for his 2004 "two-hand" recording aptly titled Two Hands. Mr. Fleisher's story is the subject of the 2006 Oscar- and Emmy-nominated documentary film of the same name, written and directed by Nathaniel Kahn. Mr. Fleisher received the 2007 Kennedy Center Honors at the 30th annual celebration of the arts. In 2005, he was honored by the French government and was named Commander in the French Order of Arts and Letters, the highest rank of its kind. He was the first American to win the prestigious Queen Elisabeth of Belgium competition in 1952. Leon Fleisher last performed with the BSO on July 25, 2008, performing and conducting Mozart's Symphony No. 35, Piano Concerto No. 12 and Symphony No. 40. INTERMISSION Dmitri Shostakovich Symphony No. 7 in C major, opus 60, "Leningrad" Allegretto Moderato - Poco allegretto Adagio Allegro non troppo Notes On The Program Piano Concerto for the Left Hand Maurice Ravel Born in Ciboure, France, March 7, 1875; died in Paris, December 28, 1937 The concert will end at approximately 10 p.m. on Thursday, and 5 p.m. on Sunday. Media Sponsor: 88.1 FM Support for the appearance of Leon Fleisher is generously provided by the Alvin and Fanny Blaustein Thalheimer Guest Artist Fund. Marin Alsop For Marin Alsop's bio, please see p. 10. Leon Fleisher One of today's preeminent concert artists, Leon Fleisher has performed in major music centers around the world. Mr. Fleisher regularly makes visits, holds residencies and conducts student ensembles at colleges and conservatories. His deep commitment to mentoring the next generation JOANNE SAVIO was evidenced by the first Carnegie Hall Workshop for Pianists in Japan at Suntory Hall as well as a Chamber Music Workshop at Carnegie Hall. Debuting with the New York Philharmonic in 1944, Fleisher quickly established himself as one of the world's premier classical pianists. At the height of his career, he was suddenly struck silent at age 37 with a neurological affliction known as focal dystonia, rendering two fingers on his right hand immobile. In the nearly 40 years since Leon Fleisher's keyboard career was so suddenly curtailed, he has followed two parallel Although Maurice Ravel had composed some extraordinary piano works early in his career, he did not put the piano together with the orchestra until much later in life. Then, between 1929 and 1931, he wrote two piano concertos more or less simultaneously; both of them displayed signs of his newfound interest in American jazz.The first, the Piano Concerto in G, displayed the brighter side of his genius while the one we'll hear tonight, the Concerto for the Left Hand, shows us the dark side. Composed in 1929�30, this unusual work was commissioned by Paul Wittgenstein, an Austrian pianist who had lost his right arm during World War I.Wittgenstein, however, was not about to give up his career, and he devoted tremendous effort to developing a formidable technique with his left hand. He also commissioned more than a dozen works for piano left-hand from such prominent composers as Prokofiev, Hindemith and Benjamin Britten, as well as Ravel. Ravel was so fascinated by this challenge that he put May 3, 2012 � June 10, 2012 11 -- Broadmead Resident EQUAL HOUSING OPPORTUNITY Liz has a passion for engaging others and engaging in life. Vibrant, charming, discerning people like you. | 13801 York Rd. Cockeysville, MD 21030 | TTY/Voice: Maryland Relay Service 1.800.201.7165 CARE NETWORK SINCE 1957 CALL US WHEN EXPERIENCED, COMPASSIONATE CARE MATTERS MOST 410-323-1700 � 1-888-353-1700 WWW.ELIZABETHCOONEYAGENCY.COM R.N.S L.P.N.S CERTIFIED NURSING AIDES HOME NURSING CARE COMPANIONS ESCORT TRANSPORTATION PERSONAL ASSISTANCE HOURLY LIVE-IN EMERGENCY RESPITE SHORT LONG-TERM PRIVATE DUTY FLEXIBLE CARE OPTIONS CUSTOMIZED CARE CARING FOR FIVE GENERATIONS OF FAMILIES aside the Concerto in G and devoted himself to studying examples of previous compositions for the left hand.When he finally set to work, he produced the masterpiece of the genre. This is one of Ravel's most dramatic works. As the composer explained: "In a work of this kind, it is essential to give the impression of a texture no thinner than that of a part written for both hands. For that same reason, I resorted to a style that is much nearer to that of the more solemn kind of traditional concerto. A special feature is that after a first section in this traditional style, a sudden change occurs and the jazz music begins. Only later does it become manifest that the jazz music is built on the same themes as the opening part." At the end of the 1920s, Ravel had become friendly with George Gershwin, and he adored both Gershwin's music and the Harlem jazz the American introduced him to. This concerto is in one lengthy movement rooted in D major. It begins in the blackest depths of the orchestra with the lugubrious contrabassoon intoning the principal theme. The horns respond with a syncopated blues idea that will achieve its full jazz potential later. A long orchestral crescendo builds anticipation for the piano's delayed entrance. And what an entrance it is!--huge and unaccompanied, full of chunky chords and bravura figurations covering the entire keyboard. A delicately lyrical second theme finally brings the music out of the cellar, with the pianist's left hand luxuriating high in the right hand's territory. Suddenly, the tempo speeds up, and we enter the realm of jazz.The pianist leads a frenetic danse macabre.Then, a solo bassoon reintroduces the syncopated horn idea from the opening, now with a bluesy accompaniment of side drum, wood blocks and muted trumpet. And the orchestra really swings until silenced by the piano's phenomenal closing cadenza. The BSO most recently performed Ravel's Piano Concerto in D in April 2009, with James Gaffigan conducting and pianist Christopher O'Riley. Instrumentation: three flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, piccolo clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp and strings. Symphony No. 7, "Leningrad" LICENSED & BONDED | MOST INSURANCE AND CREDIT CARDS ACCEPTED | 24-HOUR SERVICE TRUST, INTEGRITY & EXCELLENCE SINCE 1957 12 Overture Dmitri Shostakovich For notes on this program please see p. 13. PROGRAM notes Saturday, May 5, 2012 7 p.m. JOSEPH MEYERHOFF SYMPHONY HALL BALTIMORE SYMPHONY ORCHESTRA MARIN ALSOP MUSIC DIRECTOR � HARVEY M. AND LYN P. MEYERHOFF CHAIR OFF THE CUFF Shostakovich's Seventh Symphony Series Presenting Sponsor: Marin Alsop Conductor Dmitri Shostakovich Symphony No. 7 in C major, opus 60, "Leningrad" Allegretto Moderato - Poco allegretto Adagio Allegro non troppo Visual Presentation by Lee Mills For further information on the archival resources used in the production of this presentation, please visit BSOmusic.org/ShostakovichOTC The concert will end at approximately 8:30 p.m. on Saturday. Marin Alsop For Marin Alsop's bio, please see p. 10. Notes On The Program Symphony No. 7, "Leningrad" Dmitri Shostakovich Born in St. Petersburg, Russia, September 25, 1906; died in Moscow, August 9, 1975 On Sunday, June 22, 1941, the city of Leningrad--the once and future St. Petersburg--was at its most beautiful. It was the height of the famous "White Nights": the summer-solstice period when the sun hardly sets on this city of the far north and a luminous twilight bathes its historic buildings at midnight. Dmitri Shostakovich was planning to attend a soccer game with friends. He adored the game, and pictures of him cheering and grinning broadly from the stands make a delightful contrast with the usual images of a solemn, suffering creator. On the way to the stadium, he heard on the radio the stunning news that Hitler-- despite his pact with Stalin--had invaded the U.S.S.R. The Germans swiftly overran an unprepared Russia and by July were approaching Leningrad. By late summer they had choked off all access to the city. On September 4, bombardment began, and the siege of Leningrad--which would last 900 days until January 1944--had officially begun. Hitler's plan was to wipe the city off the face of the earth. No one will ever know how many Leningraders died, the majority from starvation, during that ordeal, but one million, or one-third the pre-war population, is the figure most often given. But the city refused to capitulate, and Shostakovich's Symphony No. 7,"Leningrad," became the symbol of its resistance. Anxious to defend his beloved hometown, the composer volunteered for the army but was turned down and finally put in the defensive Home Guard. He dug anti-tank trenches and mounted the roof of the St. Petersburg Conservatory as a fireman to put out incendiary strikes. An image of him posed in profile on that roof and wearing the quasi-Roman helmet of a Leningrad firefighter became world-famous, especially after it appeared on the cover of Time magazine in July 1942. But the Soviet authorities were not about to allow their most gifted young composer to die fighting a rooftop blaze; despite his willingness, they found every excuse to keep him away from hazardous duty. For Shostakovich had a much more important role to play for the U.S.S.R. In July 1941, he began composing his Seventh Symphony, which he would dedicate "to the city of Leningrad" on its title page. "I wrote my Seventh Symphony, the Leningrad, very quickly," he later recalled. "I couldn't not write it.War was all around. I had to be together with the people, I wanted to create the image of our embattled country, to engrave it in music." As the situation deteriorated in Leningrad and major artistic and academic figures were evacuated for their safety, Shostakovich refused to leave. By the end of September, he had composed three movements of his massive work. At this point, the government stepped in and ordered him to slightly safer Moscow; from there, he and his family were evacuated to Kuibyshev near the Urals. This dislocation temporarily stalled work on the Symphony. Living with his family in one cramped room, Shostakovich found it nearly impossible to work while his two small children played noisily nearby. Only in December, when he was able to move into two rooms and buoyed by news of Soviet military successes, was he able to compose the finale, which he completed in a burst of energy on December 27. Immediately, the Seventh Symphony became as much a political event as an artistic one. Seeing that they might have a major morale-boosting and international propaganda tool here, the Soviet authorities quickly arranged for its premiere by the evacuated Bolshoi Theatre Orchestra under conductor Samuil Samosud in Kuibysheve on March 5, 1942, a concert broadcast throughout the U.S.S.R. as well as abroad. A Moscow premiere followed on March 29. May 3, 2012 � June 10, 2012 13 PROGRAM notes and memorably sung by solo oboe and later piccolo; it seems to describe a world of peace and serenity soon to be shattered. Then begins the Symphony's most famous section: a protracted crescendo lasting more than 10 minutes. Far in the distance, we hear the military rattle of a snare drum, then a mechanical, almost inane melody. Repeated over and over in different instrumental combinations, this "invasion theme" builds relentlessly to a climax of deafening power and brutality. Many commentators have seen this music as a malign reincarnation of Ravel's Bol�ro, and Shostakovich himself was well aware of the resemblance. "Let them accuse me," he said, "but that's how I hear war." However, the quiet music that succeeds this cataclysm, the composer explained, is really more important than this musical tour de force: "The reprise is a funeral march or, rather, a requiem for the victims of the war." The peaceful second theme returns but now becomes music of mourning, intoned by a solo bassoon over a grunt of plucked low strings sketching the invasion theme.Wearily, the violins and flutes sing the once forceful opening theme. In the background, the military march mutters away, and the movement closes with its grim reality. Shostakovich originally called his second movement "Memories," and he described it as "a very lyrical scherzo." It provides some emotional relaxation after the emotional onslaught of the preceding movement.The second violins open softly with a wistful, nostalgic dance. It is filled with a wailing two-note motive that is like a fingerprint in Shostakovich's music; some commentators have interpreted this motive as a musical code signifying Stalin's oppression. Suddenly, this pensive music is interrupted by a shrill E-flat clarinet shoving the music into a new meter and mood. A fierce, sardonic dance ensues, full of harshly bright timbres including xylophone and brass.When the wistful dance returns, it features a new dark companion, the bass clarinet. Clearly, Shostakovich's pre-war memories are burdened with ambivalence. The composer wrote that the third movement is "a passionate Adagio, the dramatic center of the work. Although it originally bore the title "Our Country's Wide Spaces," Shostakovich revealed that it was actually inspired by his nocturnal wanderings in Leningrad when the White Nights reveal its monuments and houses in their most haunting aspect. A spirit of loneliness and wonder fills this music. We first hear widely spaced wind chords, then a very grand and rangy melody for the violins. One of the composer's great flute solos follows, a melody of sweet innocence and clarity. This lyrical music is succeeded by a louder, weightier middle section, its driving energy and determination struggling against the heavy drag of a syncopated accompaniment.The widely spaced chords and the flute melody, now sung warmly by the violas, return.This is Shostakovich's song of love and grief for his city. The "Victory" finale issues from the slow movement without pause. At first, the music is quiet and tentative, but a soft martial summons from oboe and muted cornet soon energize it. Massed strings initiate a brooding chorale filled with ponderous repeated notes.The eight horns and then the other brass lead the orchestra to a climax of military might and resolve prophesying victory to come. But it will be difficult to achieve, Shostakovich tells us, as his C-major triumph struggles to the end to wrest itself from the grip of C-minor death and destruction. The BSO most recently performed Shostakovich's Symphony No. 7 in June 2001 with Yuri Temirkanov conducting. Instrumentation: three flutes, alto flute, piccolo, two oboes, English horn, three clarinets, bass clarinet, piccolo clarinet, two bassoons, contrabassoon, eight horns, six trumpets, six trombones, tuba, timpani, percussion, two harps, piano and strings Notes by Janet E. Bedell copyright 2012 Russia's wartime allies, the Americans and the English, also clamored for performances. Delivery of the score from Kuibyshev to New York City became a top-priority military effort:Transferred to microfilm, it traveled by plane to Tehran, by automobile across Iraq, Jordan and Palestine to Cairo, by air again to Recife, Brazil, and then on a U.S. naval aircraft to New York. America's top conductors squabbled fiercely for the right to lead the premiere; the winner was Arturo Toscanini, who introduced it on a radio broadcast by the NBC Symphony heard by millions on July 19, 1942. Some 62 performances by many American orchestras (including the Baltimore Symphony) followed during the 1942�43 season. The most remarkable of the Seventh's early performances came on August 9, 1942 in besieged Leningrad. By this time, the Leningrad Philharmonic was in exile, and the Leningrad Radio Symphony had been reduced by casualties to less than 20 able-bodied members.With its enlarged brass and percussion sections, the Seventh requires an orchestra of more than 100 players. Players were even tracked down and brought back from the front to fill the ranks; all musicians were given more than their usual starvation rations to give them strength to play the 75-minute-long work. Since Leningrad was under constant heavy bombardment at the time, the Soviet military, in a special operation code-named "Squall," brought in thousands of artillery weapons to hammer the German siege forces into silence on the day of the concert. Inside the Great Hall of the Philharmonic, a packed audience listened--many with automatic weapons at their sides, more with tears in their eyes--to Shostakovich's stirring epic of suffering and courageous resolve. Listening to the Music Shostakovich initially gave each of the four movements titles, which he later suppressed; he called the Allegretto first movement "War." The music opens with a forceful, vehement theme in C major delivered in a firm unison by the strings, suggesting the strength and courage of the Leningraders; brass and percussion add a military character. This is the principal theme of this 28-minute-long movement.The second theme is quite different: a gentle, spacious melody introduced by violins 14 Overture PROGRAM notes Marin Alsop Thursday, May 10, 2012 8 p.m. Friday, May 11, 2012 8 p.m. Sunday, May 13, 2012 3 p.m. JOSEPH MEYERHOFF SYMPHONY HALL STEVE J. SHERMAN For Marin Alsop's bio, please see p. 10. Andr� Watts Andr� Watts burst upon the music world at the age of 16 when Leonard Bernstein chose him to make his debut with the New York Philharmonic in its Young People's Concerts, broadcast nationwide on CBS-TV. Only two weeks later, Bernstein asked him to substitute at the last minute for the ailing Glenn Gould in performances of Liszt's E-flat Concerto with the New York Philharmonic, thus launching his career in storybook fashion. More than 45 years later, Andr� Watts remains one of the world's most celebrated and beloved superstars. Recent and upcoming engagements include appearances with the Philadelphia and Minnesota orchestras, New York and Los Angeles philharmonics, and the St. Louis, Atlanta, Detroit, Cincinnati, Baltimore, Indianapolis, Seattle and National symphonies among others. During the 2010-2011 season Mr. Watts played all-Liszt recitals throughout the U.S. Recent international engagements include concerto and recital appearances in Japan, Germany and Spain. Mr. Watts has appeared on numerous television programs produced by PBS, the BBC and the Arts and Entertainment Network, performing with the New York Philharmonic, the Boston Symphony, The Philadelphia Orchestra, the Mostly Mozart Festival Orchestra and the Chamber Music Society of Lincoln Center. A much-honored artist who has played before royalty in Europe and heads of government in nations all over the world, Mr. Watts was selected to receive the Avery Fisher Prize in 1988. At age 26, he was the youngest person ever to receive an Honorary Doctorate from Yale University. In June 2006, he was inducted into the Hollywood Bowl of Fame to celebrate the 50th anniversary of his debut with The Philadelphia Orchestra. Andr� Watts last appeared with the BSO on June 3 & 4 and 6, 2010, performing Beethoven's Piano Concerto No. 5, "Emperor," with Music Director Marin Alsop. BALTIMORE SYMPHONY ORCHESTRA MARIN ALSOP MUSIC DIRECTOR � HARVEY M. AND LYN P. MEYERHOFF CHAIR Andr� Watts Plays Rachmaninoff Presenting Sponsors: Marin Alsop Conductor Andr� Watts Piano Sergei Rachmaninoff Piano Concerto No. 2 in C minor, opus 18 Moderato Adagio sostenuto Allegro scherzando ANDR� WATTS INTERMISSION Edward Elgar Symphony No. 1 in A-Flat major, opus 55 Andante, nobilmente e semplice - Allegro Allegro molto Adagio Lento - Allegro Andr� Watts' Hamburg Steinway Piano provided by Mary Schwendeman Concert Service. Recordings by Andr� Watts available on the SONY Classical, Philips, Angel/EMI and Telarc labels. Andr� Watts appears by arrangement with C/M Artists. The concert will end at approximately 9:50 p.m. on Thursday and Friday, and 4:50 p.m. on Sunday. This program is dedicated to the memory of L. Patrick Deering in recognition of his many years of service on the BSO Board of Directors and his generous legacy gift in support of the BSO endowment. May 3, 2012 � June 10, 2012 15 PROGRAM notes The first movement's opening is one of the most justly famous in the repertoire: a series of nine chords in the piano, underpinned by the tolling of a deep F, that crescendos from pianissimo to fortissimo and leads directly into the first theme, played low in the strings and clarinets. Surely this is an evocation of the great bells of Russian churches that fascinated Rachmaninoff from his childhood and inspired many stunning moments in his music. Also influenced by Russian Orthodoxy is the melancholy principal theme, which moves stepwise within a narrow range. The piano introduces the even lovelier second theme; it is pure Rachmaninoff, full of romantic yearning. After a brief development section (announced by a brass fanfare) featuring both themes, the chant theme returns in the strings but now with the piano providing an incisive march tread beneath. A quiet prelude by muted strings opens the slow movement and moves the tonality from C minor to a very distant E major. The movement's main theme is oddly introduced. Over a piano arpeggio a solo flute presents a little phrase that turns out to be the theme's ending. Then the solo clarinet offers the theme proper: It is a subdued, repetitive tune that will only find passionate release when the piano takes it on late in the movement. Rachmaninoff saves his loveliest music for the close: The woodwinds in birdcall triplets mesh magically with the piano while the violins complete the melody. Another bridge prelude opens the finale. Here in the midst of much bold, aggressive music comes a surprise: the marvelous soaring melody, first heard in the plangent tones of solo oboe and viola, for which this concerto is so beloved. This tune almost lost its dignity forever when Tin Pan Alley highjacked it in the 1940s for the sentimental love song "Full Moon and Empty Arms." The work ends with one last sweeping statement by full orchestra and soloist of the big tune, then hustles to an exciting finish. The BSO most recently performed Rachmaninoff's Piano Concerto No. 2 in February 2011 with Juanjo Mena conducting and pianist Yuja Wang. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings. Symphony No. 1 in A-flat major Notes On The Program Piano Concerto No. 2 in C minor Sir Edward Elgar Born in Broadheath, England, June 2, 1857; died in Worcester, England, February 23, 1934 Sergei Rachmaninoff Born in Oneg, Russia, April 1, 1873; died in Beverly Hills, California, March 28, 1943 Composers have dedicated their works to many different sorts of people: royal patrons, family members, soloists, conductors. But, to the best of this writer's knowledge, only one work has been dedicated to the composer's psychiatrist: Rachmaninoff 's Second Piano Concerto to Dr. Nikolai Dahl, who, by freeing Rachmaninoff 's creative block, had made this work possible. In 1897, Rachmaninoff 's First Symphony--a work in which he had great faith--was given a dreadfully inept premiere in St. Petersburg. Unable to separate a promising new work from a bad performance, the critics gave the sensitive 23-year-old composer reviews that would devastate even a more seasoned artist. C�sar Cui's wrote: "If there were a conservatory in Hell, if one of its talented students were instructed to write a program symphony on the `Seven Plagues of Egypt,' and if he were to compose a symphony like Mr. Rachmaninoff 's, then he would have fulfilled his task brilliantly and would delight the inhabitants of Hell." Rachmaninoff withdrew the symphony and would never let it be performed again. He sank into a deep depression. Despite a standing commission from the London Philharmonic to write another piano concerto, for several years he created almost nothing. Dr. Nikolai Dahl was an internist who dabbled in the infant practice of psychiatry, including hypnosis. He was also a gifted amateur viola and cello player. In March 1900, Rachmaninoff 's relatives brought the composer to Dr. Dahl, who put him into a light trance during which he repeated over and over: "You will begin your concerto--You will work with great facility--The concerto will be excellent." Over several sessions this mantra, combined with sympathetic talk with a wise and cultivated man, produced a cure. By summer, Rachmaninoff 's creative juices were pouring into the new concerto, which was completed the following spring. Premiered by Rachmaninoff with the Moscow Philharmonic on October 24, 1901, its immediate success has never faded. 16 Overture The twin premieres of his First Symphony--on December 3, 1908 in Manchester, England and four days later in London--were the greatest successes of Sir Edward Elgar's career.Though British audiences by that time had been thoroughly trained to refrain from clapping between movements, the eloquence and sheer beauty of the Adagio third movement completely overwhelmed etiquette in Manchester as vociferous applause stopped the performance.The response was wilder still in London, where it halted playing after both the first and third movements. Elgar's great friend the music publisher August Jaeger (musically portrayed in the Enigma Variations' great "Nimrod" movement) described what happened at the end: "After that superb Coda (Finale), the audience seemed to rise at E. when he appeared. I never heard such frantic applause ... nor such shouting. Five times he had to appear before they were pacified. People stood up and even on their seats to get a view." Within the following year, the First had amassed nearly a hundred performances not just in England but around the world. One would have expected its creator to have been floating on air. But by Christmas 1908, Elgar was again wrapped in one of his depressive moods, for he was a far more complicated man than his elegant Edwardian-gentleman portraits would suggest. Those photographs show a handsome, dignified man with an equally handsome brush of a mustache, usually impeccably dressed and with the upright, reserved bearing of a member of the English aristocracy. On first meeting him, the younger British composer Arnold Bax described him as: "Hatless, dressed in rough tweeds and riding boots, his appearance was rather that of a retired army officer turned gentleman farmer than an eminent and almost morbidly highly strung artist. One almost expected him to sling a gun from his back and drop a brace of peasants to the ground." This is what some commentators have called the "Public" Elgar: a carefully constructed facade that hid the vulnerable private Elgar from the eyes of all but his closest friends and family.The private Elgar was quite a different man. Born to a family PROGRAM notes of modest means--his father owned a music shop in Worcester and was a piano tuner as well--Elgar also had the bad luck to be born a Roman Catholic in a country still rabidly anti-Catholic. In his early 30s, he married Caroline Alice Roberts, nine years his senior and a well-to-do member of the local gentry. Although the marriage was a deeply devoted one, Alice Elgar's class-conscious relations snubbed Edward and never lost an opportunity to remind them that she had married beneath her station. Even when Elgar had become a national hero, a baronet and the holder of numerous honorary degrees, he never recovered from these early psychic wounds. As sensitive an artist as ever lived, he was subject to dark periods of depression and self-doubt, and he was always a bit of an outsider, observing his culture with a skeptical eye and sometimes a harsh tongue. Because he believed the symphony to be the highest musical form, Elgar waited until he was 50 to tackle it.The First was followed two-and-a-half years later by the equally great, but far less popular Second Symphony.Though both works are so richly and dramatically characterized that they seem to be programmatic, Elgar insisted they were essentially abstract in nature. Of the First he wrote: "There is no programme beyond a wide experience of human life with a great charity (love) & a massive hope in the future." But he also wrote that absolute music should embody "a reflex, or picture, or elucidation of [the composer's own] life. ... As to the phases of pride, despair, anger, peace and a thousand & one things that occur between the first page and the last ... I prefer the listener to draw what he can from the sounds he hears." Like a stage play, the First has a protagonist: a noble (marked "Nobilmente" in Elgar's invented expressive marking), slightly melancholy (Elgar referred to this characteristic mood as "my stately sorrow") march theme, which dominates the first three minutes of the first movement. In fact, it will haunt all four movements, even when it is only implied rather than actually heard; in Elgar's words, it "emerges in the end as the conquering (subduing) idea." Rooted in the Symphony's home key of A-flat major, it is first heard in a misty blend of violas and woodwinds before swelling to full-orchestra splendor. Though this march may sound straightforward, it is actually rhythmically elusive with its regular 4/4 tread clouded by notes tied over the barline. As this protagonist theme fades away, the main Allegro section begins, and the mood shifts violently to nervous, agitated music in the very distant key of D minor.This key will act throughout as an antagonist to the A-flat home key. Soon comes another emotional shift: from aggression to lovely swaying music (Elgar called it "sad and delicate") in violins and oboes that represents the composer's characteristic retreating into a private, peaceful world.This mood is intensified by the violins leaping into the stratosphere for the true "second-subject" theme: a sweetly nostalgic melody with a rippling accompaniment. But in this mercurial music, the agitated theme returns and brings a raucous brass climax on, astonishingly, the "sad and delicate" melody, now transformed into something huge and anguished. A return of the melancholy march in the wistful tones of muted horns opens the development.This extended section unfolds as a series of contrasting scenes or episodes-- some very lovely, others anguished and stormy. As this section draws to a close, we hear a brief echo of the march in clarinets and cellos. The recapitulation reprises the earlier agitated music and reaches a more extreme state with low brass shouting out their anxiety. However, all is tranformed as the noble march theme slowly emerges and swells to rout these demons and their key of D minor, returning us home to A-flat major. But Elgar is far from ready to let his protagonist claim full victory. The second-movement scherzo is a very different world. Over the spooky rumbling of low strings, the violins begin a rapid, scurrying theme with a descending accessory idea like stalking goblins.This is followed by a grotesque Mahler-like march led by strings.The music builds to a considerable ruckus before shifting dramatically to one of Elgar's private worlds. Elgar asks that this gently undulating music, led by flutes, violins and the two harps, be played "like something you hear down by the river." (In childhood, the composer loved to sit on the banks of the Severn River and try to notate "what the reeds were saying.") The scherzo music inundates this peaceful interlude, and the scurrying theme and the grotesque march are now combined in vigorous counterpoint. As the river music returns, we sense that it bears a close kinship to the first movement's melancholy march, which almost, but not quite, emerges from it. As violins and violas hover, Elgar makes one of his loveliest transitions into the celebrated Adagio third movement.There is a secret connection between these two movements:The Adagio's poignantly beautiful melody is, astonishingly, a slowed-down, note-for-note version of the scherzo's scurrying theme. And this long, flowing melody is also related to the melancholy-march protagonist by its rhythmic ambiguity, with most of its notes moving off the beat or on weak beats. Its second strand is an ardent, quintessentially Elgarian melody that keeps leaping upward in aspiration, only to fall back again. As the main melody reprises, listen for the melancholy march trying once again to emerge in horns and timpani. Marvelous scoring utilizing very subtle individual and blended instrumental colors enhances one of the most glorious slow movements in the symphonic literature. The antagonist key of D minor surges back to open the finale. Like movement one, this begins slowly and in the darkest instrumental tones. Ghostly fragments drift by, including the melancholy march in a tonally uncertain minor mode and a grim new march. The music accelerates into the main Allegro section and rich-toned yet agitated string music with a strong Brahmsian flavor.The grim march reasserts itself boldly and reaches a boisterous climax. In the development section, this march competes with the agitated Brahmsian theme in aggressive counterpoint. The battle is calmed by the quiet summons of the melancholy march played from the back stands of strings. And now comes a wonderful surprise: The grim march is suddenly transformed into a gloriously Romantic melody. As the music grows progressively more excited, it climaxes in a grandly triumphant version of the no-longer melancholy march.The sonic and melodic splendor of the Symphony's closing moments explains why its first audiences were standing on their seats. The BSO most recently performed Elgar's Symphony No. 1 in January 2004 with James Judd conducting. Instrumentation: three flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, two harps and strings. Notes by Janet E. Bedell copyright 2012 May 3, 2012 � June 10, 2012 17 PROGRAM notes Friday, May 18, 2012 8 p.m. Saturday, May 19, 2012 8 p.m. Sunday, May 20, 2012 3 p.m. JOSEPH MEYERHOFF SYMPHONY HALL of the American Ballet Theatre for 14 years, where he served as Music Director. Mr. Everly has teamed with Marvin Hamlisch in Broadway shows including The Goodbye Girl, They're Playing Our Song and A Chorus Line. Matt Branic BALTIMORE SYMPHONY ORCHESTRA MARIN ALSOP MUSIC DIRECTOR � HARVEY M. AND LYN P. MEYERHOFF CHAIR JACK EVERLY PRINCIPAL POPS CONDUCTOR SUPERPOPS The Beat Goes On! The Music of the Baby Boomers Presenting Sponsor: Supporting Sponsor: Matt Branic is an Indianapolis native who recently appeared in the Indianapolis Symphony Orchestra's 2011 Yuletide Celebration featuring Ann Hampton Callaway and Liz Callaway and Hello Dolly! in Concert starring Sandi Patty and Gary Beach, in which he played the role of Ambrose Kemper.Additional favorite credits include RENT in Concert (Roger), Joseph and the Amazing Technicolor Dreamcoat (Joseph), Jesus Christ Superstar (Jesus), Company (Robert) and A Little Night Music (Henrik). Joe Cassidy Joe Cassidy has appeared on Broadway in: Catch Me If You Can (Hanratty); Next To Normal; Dirty Rotten Scoundrels (Freddy); 1776 (Rutledge); Show Boat (Ravenal); Les Miserables (Valjean); and A Christmas Carol (Young Scrooge)atThe Garden. Mr. Cassidy has also appeared as a regional soloist under Lorin Maazel, Jack Everly, Steven Reineke and Robert Moody. As a concert soloist Mr. Cassidy has appeared with the American Repertory Theatre,The Old Globe, La Jolla Playhouse, TheatreWorks (CA), Ford's Theatre, Houston TUTS, Casa Manana, North Carolina Theatre and Eugene O'Neill Theater Center. His TV/film credits include Law & Order; Brando and Freefall. BRANDY RODGERS Jack Everly Conductor Matt Branic Joe Cassidy Roy Chicas Farah Alvin N'Kenge Kristin Reese Arr. Everly Sonny Bono/Arr. Barker Arr. Barker/Orch. Barton Arr. Everly Burt Bacharach/Arr. Barker Francis Lai/Arr. Everly Arr. Barker/Orch. Barton Baby Boomer Prelude "The Beat Goes On!" Stop! In the Name of Music The Wonderful World of Television Back to Bacharach Theme from Love Story Valli and the Dolls INTERMISSION LAURA MARIE DUNCAN Roy Chicas Roy Chicas has appeared as a soloist with the Indianapolis, Baltimore, Detroit, Nashville, Phoenix and Fort Worth symphony orchestras. He played Doody in the National and European tours of Grease and starred as Judas in the European tour of Jesus Christ Superstar. Jack Everly Jack Everly is the Principal Pops Conductor of the Baltimore, Indianapolis, Naples Philharmonic and National Arts Centre (Ottawa) symphony 18 Overture MICHAEL TAMMARO orchestras. He is also the Music Director of the National Memorial Day Concert and A Capitol Fourth on PBS. Mr. Everly is the Music Director of Yuletide Celebration, now a 26-year Indianapolis tradition. Originally appointed by Mikhail Baryshnikov, Mr. Everly was conductor PROGRAM notes The Beat Goes On! continued from previous page Arr. Barton Arr. Barker Maurice Jarre/Arr. Holcombe Lennon & McCartney/Arr. Barker Symphonic Sounds of the Sixties Hits of the Tye-Dyed Decade Lara's Theme from Dr. Zhivago The Beatles Medley The concert will end at approximately 10:05 p.m. on Friday and Saturday, and at approximately 5:05 p.m. on Sunday. Co-Produced along with Symphonic Pops Consortium The Symphonic Pops Consortium mission is to conceive, create and produce high quality, innovative, symphonic Pops concerts by uniting a group of symphony orchestras and combining their resources. The Symphonic Pops Consortium is comprised of the Indianapolis (managing partner), Detroit, Milwaukee, National, and Seattle Symphony Orchestras. Music Director: Jack Everly Producer: Ty A. Johnson Stage Direction/Special Material: David Levy Arr./Orchestration: Jack Everly, Wayne Barker Additional Orchestration: Fred Barton Production Management: Brandy Rodgers Vanessa Williams and Barbara Cook, and she starred in the world tour of the Michael Jackson Tribute Show. She made her West End debut in London starring in The Genius of Ray Charles show at the Royal Haymarket Theater and has been nominated for Outstanding Lead Actress for the title role in Elton John's Aida and as a Diva in Marion Caffey's 3 Mo'Divas. Equally at home on the opera stage, N'Kenge has been seen in a range of opera roles including Susanna in The Marriage of Figaro, Musetta in La Boheme and Therese in Les Mamelles de Tiresias. N'Kenge has given recitals at the White House, Kennedy Center and at the Library of Congress (broadcast worldwide through NPR). Kristine Reese Kristine Reese's career as an actress and singer has brought her to venues all across North America. She is best known for her portrayal of Nessarose on the national tours of the Broadway musical Wicked. She starred in more than 1,000 performances of the hit musical and originated the role on the second national tour's opening in 2009. Ms. Reese made her Broadway debut in the revival of Les Mis�rables at the Broadhurst Theatre and spent a year on the road with the North American National Tour of Mamma Mia! (Sophie). Other theater credits include Brigadoon (Fiona), The Mystery of Edwin Drood (Rosa Bud), Grease (Frenchy; The St. Louis MUNY), Annie (Star to Be; Atlanta's TOTS) and the National Tour of Hello, Dolly!, starring Michele Lee. She has performed as a vocal soloist in concerts with symphonic pops and symphony orchestras internationally, including the Baltimore,Toronto, Detroit, Ft.Worth, Modesto, Phoenix and Indianapolis symphonies, as well as the Cincinnati Pops and the National Symphony Orchestra of Canada in Ottawa. Her concert career started in college in Cincinnati, where she first began her work with the late "Prince of Pops," Erich Kunzel, of the Cincinnati Pops Orchestra, in Patriotic Broadway, which was filmed for PBS. She continues to create new concert series with Maestro Jack Everly of the Indianapolis Symphony and Maestro Steven Reineke of the New York Pops. May 3, 2012 � June 10, 2012 Mr. Chicas' Off-Broadway credits include Hello Again (Lincoln Center Theatre), Bring in the Morning (Variety Arts) and Forever Plaid. His recording work includes The Radio City Christmas Spectacular, A Broadway Christmas and Michael Feinstein's Only One Life. He is a native New Yorker and an alumnus of The Hartt School of Music and The Boston Conservatory. Farah Alvin Farah Alvin has been making a name for herself in the recording and theater world for more than 15 years. She has been the recipient of the Los Angeles Music Center Spotlight Award for Pop/ Musical Theater Vocals, the first-ever NFAA YoungARTS Level One Award for Pop Vocals, and was named a Presidential Scholar in the Arts by the White House Commission for Presidential Scholars. Ms.Alvin has appeared on Broadway in Grease!, Saturday Night Fever, The Look of Love: The Music of Burt Bacharach and Hal David, the Tony-Award winning revival of Nine, and Madison Square Garden's A Christmas Carol. Off-Broadway credits include the recent cult hit, I LoveYou Because (and original cast recording), Cam Jansen, If You Give a Mouse a Cookie and Other Story Books, and Kuni-Leml (and original cast recording). She has performed with Jack Everly in the 1950s and '60s Pops shows with the Indianapolis Symphony Orchestra, as well as the symphonies of Detroit, Seattle, Nashville, Fort Worth and Phoenix and the NAC Orchestra. Her album, Someday, released in 2003, is available through www.farahalvin.com. N'Kenge A native New Yorker, N'Kenge graduated from The Juilliard School and Manhattan School of Music. She was described by The NewYork Times as a "more classically oriented Lena Horne" when she made her Carnegie Hall debut and she has performed alongside jazz greats such as Wynton Marsalis and Ornette Coleman at Lincoln Center. She is a principal artist with the New York City Opera and was honored to perform for the Commander-in-Chief 's Inaugural Ball hosted by President Obama. N'Kenge made her Broadway debut in Sondheim on Sondheim, performing alongside 19 PROGRAM notes Thursday, May 24, 2012 8 p.m. Friday, May 25, 2012 8 p.m. JOSEPH MEYERHOFF SYMPHONY HALL BALTIMORE SYMPHONY ORCHESTRA MARIN ALSOP MUSIC DIRECTOR � HARVEY M. AND LYN P. MEYERHOFF CHAIR Beethoven's Ninth Presenting Sponsor: Peter Oundjian Conductor Joyce El-Khoury Soprano Mary Phillips Mezzo-Soprano Brandon Jovanovich Tenor Morris Robinson Bass Baltimore Choral Arts Society Tom Hall Director Music Festival in New York between 1997 and 2007. He has served as a visiting professor at the Yale School of Music since 1981. In May 2009, Mr. Oundjian received an honourary doctorate from the San Francisco Conservatory. During the 2011-2012 season, Mr. Oundjian will be conducting the Colorado, Dallas, St. Louis and Seattle symphony orchestras as well as the Israel Philharmonic and the Royal Scottish National orchestras. Mr. Oundjian was educated in England, where he studied the violin with Manoug Parikian. He then attended the Royal College of Music in London, where he was awarded the Gold Medal for Most Distinguished Student and Stoutzker Prize for excellence in violin playing. He completed his training at The Juilliard School in New York, where he studied with Ivan Galamian, Itzhak Perlman, and Dorothy DeLay. Mr. Oundjian was the first violinist for 14 years with the renowned Tokyo String Quartet. Peter Oundjian last appeared with the BSO on February 26-28, 2009, performing Britten's Four Sea Interludes from Peter Grimes, Dvor �k's Cello Concerto with Daniel Mueller-Schott and Elgar's Enigma Variations. Anton Bruckner Te Deum Te Deum laudamus:Allegro moderato Te ergo quae sumus: Moderato Aeterna fac cum Sanctis tuis:Allegro moderato - Feierlich, mit kraft Salvum fac populum, tuum, Domine: Moderato In te, Domine speravi: M�ssig bewegt Joyce El-Khoury Soprano Joyce El-Khoury is a member of the Metropolitan Opera's Lindemann Young Artist Development Program.A graduate of the Academy of Vocal Arts in Philadelphia, she performed the roles of Tatyana in Eugene Onegin, the title role in Massenet's Manon, Fiordiligi in Cos� fan tutte, the title role in Puccini's Manon Lescaut (Act II) and Violetta in La Traviata. In the 2010-2011 season Miss El-Khoury returned to the Metropolitan Opera as Frasquita in Carmen, and Esmeralda in The Bartered Bride with Maestro James Levine and a collaboration with The Juilliard School. She made her role debut as Mimi in La boh�me with Lorin Maazel at the Castleton Festival, and she returned to The New York Choral Society to perform Rossini's Petite Messe Solenelle. She ended the season with her Tanglewood Music Festival debut performing Beethoven's Ninth Symphony. She was a first-prize winner of the Opera Index Competition, a first-prize winner of the George London Foundation, INTERMISSION Peter Oundjian Toronto-born conductor Peter Oundjian, noted for his probing musicality, collaborative spirit, and engaging personality, has been an instrumental figure in the rebirth of the Toronto Symphony Orchestra since his appointment as music director in 2004. In addition to conducting the orchestra he has been greatly involved in a variety of new initiatives that have strengthened the ensemble's presence in the community and attracted a young and diverse audience. In 2004, he helped to 20 HASNAIN DATTU establish an annual celebration of new music, showcasing new and premi�ring commissioned works. Now an audience favorite, the New Creations Festival celebrates the best in contemporary orchestral music and attracts celebrated contemporary composers. In his tenure with the TSO, Mr. Oundjian has also released four recordings on the orchestra's selfproduced record label, tsoLIVE. The award-winning documentary Five Days In September:The Rebirth of An Orchestra, is available on DVD and chronicles Peter Oundjian's first week as music director. Mr. Oundjian has served as principal guest conductor of the Detroit Symphony Orchestra from 2006 to 2010 and played a major role at the Caramoor International Overture PROGRAM notes Beethoven's Ninth continued from previous page Ludwig van Beethoven Symphony No. 9 in D minor, opus 125, Choral Allegro ma non troppo; un poco maestoso Molto vivace Adagio molto e cantabile Presto - Allegro assai - Allegro assai vivace The concert will end at approximately 10 p.m. Media Sponsor: WBAL Radio Support for the appearance of guest soloists is provided by the Willard and Lillian Hackerman Guest Artist Fund. a second-prize winner in the Gerda Lissner International Voice Competition and an International semi-finalist in Pl�cido Domingo's Operalia Competition. She was also a first-prize winner in the Mario Lanza Vocal Competition and a first-prize winner and WRTI Radio audience favorite in the Giargiari Bel Canto Competition. Joyce El-Khoury makes her BSO debut with this performance. the Brevard Festival, Mozart's Requiem with the Memphis Symphony, Mahler 2 with the Portland Symphony, and Handel's Messiah with the Seattle Symphony. She holds degrees in both music and theater from Rhode Island College and a master's degree in music from Yale University. She resides in New York City with her son, Max. Mary Phillips last appeared with the BSO on December 3, 2010, performing Handel's Messiah with conductor Edward Polochick. RON CADIZ title role in Don Carlos with the Houston Grand Opera. In concert he appears at the Hollywood Bowl performing Beethoven's Ninth Symphony and Choral Fantasy, both with the Los Angeles Philharmonic, as well as with the G�rzenich Orchester K�ln performing Mahler's Eighth Symphony. Comfortable in a variety of repertoire, next season will see Mr. Jovanovich sing the title role of Lohengrin with the San Francisco Opera. He will also reprise one of his signature roles of Pinkerton in a new production of Puccini's Madama Butterfly with the LA Opera. Highlights of previous seasons include Froh in Das Rheingold and Siegmund in Die Walk�re at the San Francisco Opera and Don Jose in Carmen with The Metropolitan Opera. Mr. Jovanovich trained at Northern Arizona University and the Manhattan School of Music. He is a founding member of the Seattle Young Artists program and was a member of the Santa Fe Opera Apprentice program, where he was given the Anna Mackay Case Award. He won the Crawley Award from the Young Patronesses of the Opera/Florida Grand Opera Voice Competition, and in 2004, he was given the prestigious ARIA Award. Brandon Jovanovich makes his BSO debut with this performance. Morris Robinson Morris Robinson is quickly gaining a reputation as one of the most interesting and sought after basses performing today. A graduate of the Metropolitan Opera Lindemann Young Artist Development Program, Mr. Robinson made his debut at the Metropolitan Opera in their production of Fidelio. He has since appeared there as Sarastro in Die Zauberfl�te (both in the original production and in a new children's English version), the King in Aida, and in roles in Nabucco, Tannh�user, and the new productions of Les Troyens and Salome. He has also appeared at the Aix-en-Provence Festival, and with the Opera Company of Philadelphia, the Seattle Opera, the Los Angeles Opera, the Cincinnati Opera, Boston Lyric Opera, the Opera Theater of St. Louis and the Wolf Trap Opera. May 3, 2012 � June 10, 2012 Mary Phillips Mary Phillips has appeared with the Metropolitan, Canadian, San Francisco, Dallas and Seattle operas as well as Barcelona's Teatre de Gran Liceu and the Edinburgh Festival.This year, Ms. Phillips sings Azucena (Il Trovatore) for Seattle Opera, Miss Jessel (Turn of the Screw) for Portland Opera and Fricka (Die Walk�re) for Hawaii Opera Theatre. Ms. Phillips' concert appearances include countless performances of Mahler's Symphony No. 2, Beethoven's Ninth Symphony, Verdi's Requiem and Handel's Messiah with leading orchestras throughout the United States. Recent and upcoming performances include Mahler Symphony No. 8 Mulier Samaritana with the New York Philharmonic, Das Lied von der Erde at I CANDI STUDIOS Brandon Jovanovich Winner of the 2007 Richard Tucker Award, Brandon Jovanovich is renowned for his passionate stage portrayals in French, Italian, German and Slavic operas. Acclaimed for a multitude of roles, The San Francisco Examiner proclaimed his Pinkerton "hit with the force of a revelation.Tall, blond and ridiculously handsome... his vocal performance delivered with plenty of effortless power and deep, baritonal colors." In the 2011-12 season, he appears as Don Jos� with Deutsche Oper Berlin and the Bayerische Staatsoper, as Bacchus in Ariadne auf Naxos with Lyric Opera of Chicago, as Cavaradossi in Tosca with Oper K�ln and the Canadian Opera Company, and as the PETER DRESSEL 21 PROGRAM notes and he is the culture editor on WYPR's Maryland Morning with Sheilah Kast. The Baltimore Choral Arts Society last appeared with the BSO March 2 & 4, 2012, performing Einhorn's Voices of Light with Music Director Marin Alsop. Also a prolific concert singer, Mr. Robinson has appeared with the Baltimore, Chicago, Nashville, National and S�o Paulo symphony orchestras, the Met Chamber Orchestra, the New England String Ensemble, and at the Ravinia, Mostly Mozart,Tanglewood, Cincinnati May, Verbier, and Aspen festivals. He also appeared in Carnegie Hall as part of Jessye Norman's HONOR! Festival. Mr. Robinson's first album, Going Home, was released on the Decca label. An Atlanta native, Mr. Robinson is a graduate of The Citadel and received his musical training from the Boston University Opera Institute. Morris Robinson last appeared with the BSO on November 17-18, 2011, performing Honegger's Jeanne d'Arc au b�cher, with Music Director Marin Alsop. Notes On The Program Te Deum Anton Bruckner Born in Ansfelden, Austria, September 4, 1824; died in Vienna, October 11, 1896 COURTESY OF THE BSO Baltimore Choral Arts Society The Baltimore Choral Arts Society is one of Maryland's premier cultural institutions.The Symphonic Chorus, Full Chorus, Orchestra and Chamber Chorus perform throughout the mid-Atlantic region, as well as in Washington, New York and in Europe. Choral Arts has appeared with the National Symphony and has made regular appearances with the Baltimore Symphony Orchestra. Acclaimed artists collaborating with Choral Arts have included Chanticleer, Dave Brubeck, the King's Singers, Peter Schickele, Sweet Honey in the Rock and Anonymous 4. For the past 15 years WMAR Television has featured Choral Arts in an hour-long special, Christmas with Choral Arts, which won an Emmy Award in 2006. Baltimore Choral Arts' latest CD is Christmas at America's First Cathedral, released on Gothic Records in September 2010. Tom Hall is one of the most highly regarded performers in choral music today. Appointed music director in 1982, Mr. Hall has added more than 100 new works to the BCAS repertoire. He also has prepared choruses for Leonard Bernstein, Robert Shaw, Helmuth Rilling and others; and he served for 10 years as the chorus master of the Baltimore Opera Company. Mr. Hall is the host of Choral Arts Classics, a monthly program on WYPR, 22 Overture Of all the great composers, Anton Bruckner was the most fervently devout. Born into a modest family in rural Upper Austria, he spent much of his student years and the first years of his career at the beautiful Baroque abbey of St. Florian outside the provincial capital of Linz. For 10 years (1845�55), he served as St. Florian's organist before assuming the same position at the cathedral in Linz. St. Florian remained his spiritual home, and today, following his instructions, his body is buried beneath its organ. Even when he moved on to Vienna to advance his career in 1868 at the mature age of 44, he carried St. Florian with him. Such a devout and unquestioning Catholic was Bruckner, his students at the Vienna Conservatory remember that at the sound of the Angelus bell tolling at nearby St. Stefan's Cathedral he would stop the class and sink to his knees in prayer. Renowned far beyond St. Florian for his inspired improvisations, Bruckner became one of the greatest organists in Europe. And before he began writing his monumental symphonies--which were, in fact, great instrumental hymns to God-- he was writing sacred choral music for use in the services at St. Florian and Linz Cathedral. So beautiful was his Mass in D minor of 1864 that Linz's Bishop Franz Josef Rudigier, a passionate music lover himself, reported that while leading the service at the cathedral during its first performance, he was so overcome he was unable to pray. Rudigier commissioned two more Masses from Bruckner, and the second of these, the Mass in F minor, is one of the greatest mass settings in the sacred literature. When Bruckner moved on to Vienna, his composition of choral music largely stopped as he devoted himself wholeheartedly to the creation and revision of his final eight symphonies. Only the Te Deum, the choral-orchestral setting of Psalm 150, and some extraordinary unaccompanied motets come from the Viennese years of full artistic maturity. The Te Deum was composed between 1881 and 1884 at the same time Bruckner was also writing one of the greatest of his symphonies, the Wagner-inspired Seventh, and it lives on that same lofty plain of inspiration. In fact, there was cross-fertilization between the two works: The great ascending theme to which Bruckner set the words "Non confundar in aeternam" in the Te Deum also plays a prominent role in the Seventh's magnificent slow movement. Dedicating the work "All for the greater glory of God," Bruckner called | the Te Deum the "pride of my life" and "my best work." Unlike so many of his symphonies, it scored a huge popular and critical success at its premiere with two-piano accompaniment on May 2, 1885 (led by the composer) and its subsequent premiere with full orchestra on January 10, 1886, both in Vienna. Having been savaged so often by the Viennese critics, Bruckner wrote joyfully to his friend the conductor Hermann Levi: "The Te Deum was received with indescribable jubilation ... the Te Deum ... dedicated to God in gratitude for having overcome so many sorrows in Vienna." When in 1896, the dying Bruckner knew he would be unable to complete his Ninth Symphony, he suggested the Te Deum could be used, Beethoven's Ninth-style, as its final movement. Listening to the Music The Te Deum is an early Christian hymn of praise probably dating from the fourth century. Bruckner chose to set it in five sections, selecting a few phrases for expanded treatment, notably the last three lines of the hymn. In addition to the chorus and four vocal soloists, the score calls for a very large orchestra bolstered by organ. If you are familiar with Bruckner's symphonies, you will recognize some of his signature techniques used here as well: big themes stated in grand unisons, climaxes achieved in layers of building upward, then falling back to build again to greater highs. The opening section, "Te Deum," sets the largest portion of the text: a great paean of praise to God. Over-excitedly rushing arpeggios (a type of accompani- PROGRAM notes ment Bruckner also used frequently in his symphonies), the chorus proclaims the opening words, "You, God, we praise," in a mighty C-major unison. In gentle contrast, the soprano and tenor soloists, later joined by the alto, sing in lyrical, flowing phrases of the songs of the angels. The rushing arpeggios continue to unite most of this section. Bruckner lingers on the words "aperuisti credentibus regna coelorum" ("you opened to believers the kingdom of Heaven") with F-minor music of wonder and awe--even a touch of fear before the unknown realm. A return to the triple-forte unison theme closes the section. The next three lines, "Te ergo quaesumus" ("You, therefore, we pray to come to the aid of your servants"), are a personal prayer, and Bruckner brings the music down to the level of the individual with the tenor soloist singing a lovely arioso in F minor.The other soloists join in the cadences, and a solo violin pleads tenderly above him. The brief third section, "Aeterna fac," returns us to a corporate statement, as the chorus hurtles back with mostly unison calls that they be numbered with the saints in glory, and the orchestra adopts a new accompaniment emphasizing great descending and ascending scales, soon taken up by the chorus as well. The opening of "Salvum fac" ("Make safe Your people") reprises the music of "Te ergo quaesumus"--the tenor's F-minor aria, the violin solo--but now with added interjections from the chorus.This sequence closes with hushed choral phrases illuminated by lovely solos from flute and oboe.Yet another reprise follows: the heaven-storming C-major music of the opening "Te Deum," now set to new words. The final section, "In te, Domini, speravi" ("In You, Lord, have we hoped"), is the magnificent culmination of Bruckner's choral masterpiece. It opens with the solo quartet, then expands to the full chorus.Throughout his life, Bruckner was a compulsive student of counterpoint, and his mastery is unfurled next in a superb fugue. But there is yet more to top this. Supported by deep, noble brass, the basses open the "Non confundar in aeternam" ("May I not be confounded for eternity"): the music that Bruckner also chose to use in his Seventh Symphony. Building in waves, he creates one of the most glorious climaxes in all choral music. Bruckner's Te Deum � BSO premiere Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, organ and strings. Symphony No. 9 in D minor Ludwig van Beethoven Born in Bonn, Germany, December 16, 1770; died in Vienna, Austria, March 26, 1827 In the 184 years since its composition, Beethoven's Symphony No. 9 has become far more than just another symphony. It is now "The Ninth": an artistic creation, like Shakespeare's Hamlet, in which every age and nearly every culture finds a mirror of its identity, its struggles and its aspirations. In his guide to the work, Nicholas Cook traces the breadth and often-contradictory nature of the Ninth's appeal. To the European revolutionaries of 1848, it expressed their democratic aspirations to break free of entrenched autocratic regimes. And yet to the Chinese during the Cultural Revolution of the 1960s it became identified with Communist ideology: Beethoven's "joy through struggle" seen as identical to Communism's slogan "victory through struggle."And who can forget Leonard Bernstein's supercharged performance of the Ninth with musicians from the former East and West Germanys at the crumbling Berlin Wall in 1989? Capturing the exhilaration of the collapse of the Iron Curtain, he asked the singers in the finale to change the word "Freude"--"joy"--to "Freiheit"--"freedom." How could one work mean so much to so many different cultures and for so many different reasons? And what does it mean to us today? Most listeners would agree with Michael Steinberg that, "Explicitly, it seeks to make an ethical statement as much as a musical statement." Beethoven always believed that music had a higher purpose beyond the making of beautiful sounds, that it could express and inspire human aspirations toward a more exalted life, in closer harmony with neighbors and strangers alike, and ultimately with God. In the Ninth, he drove home this message by crowning his instrumental symphony with an unprecedented choral finale: a setting of Friedrich Schiller's poem "Ode to Joy," in which joy is defined as a state in which "all men are made brothers." The Ninth Symphony comes from the visionary last years of Beethoven's life during which he also created the Missa solemnis and his celebrated late string quartets. He had not written a symphony since the Eighth in 1812.The years that followed had been a period of emotional struggle and artistic stasis. Only when Beethoven resolved the battle for custody of his nephew Karl in 1820 did his creative powers flow freely again. By 1822 when he began sketching the Ninth, he was described by a Viennese contemporary, Johann Sporschil, as "one of the most active men who ever lived ... deepest midnight found him still working." Now virtually stone deaf, he had, in biographer Maynard Solomon's words, "reached a stage where he had become wholly possessed by his art." Since at least the early 1790s, Beethoven had loved Schiller's "Ode to Joy" (written in 1785 as a drinking song!) and considered setting it to music. But as late as the summer of 1823, he was still considering a purely instrumental finale for the Ninth.When he made the bold decision to risk a vocal movement, he edited the poem to make it express a higher joy for mankind than could be found in any tavern. Premiered at Vienna's K�rtnertor Theater on May 7, 1824, the first performance reportedly moved its audience to tears as well as cheers. Beethoven was on the podium, but the real conductor was Michael Umlauf; the musicians had been instructed to follow only his beat and ignore the deaf Beethoven's. The performance would probably have sounded terrible to us today: orchestra and singers had had only two rehearsals together of a work that many found beyond their capabilities. And yet the magic of the Ninth somehow won out. At the end of symphony, the alto soloist, Caroline Unger, had to turn Beethoven around to see the audience's tumult; unable to hear them, he had remained hunched over his score. And what of the wonders of this score? Later composers wrote longer first movements, but the Ninth's opening movement, at just 15 minutes, seems the vastest of them all. From the opening trickle of notes, seemingly born from the primordial ooze, emerges the mightiest descending theme. After moods of struggle, reverie, and provisional triumph, Beethoven appends a huge coda--one quarter of the May 3, 2012 � June 10, 2012 23 PROGRAM notes Te Deum: Text and Translation Te Deum laudamus; te Dominum confitemur. Te aeternum Patrem omnis terra venerator We praise Thee, O God; we acknowledge Thee to be the Lord. All the earth doth worship thee, the Father everlasting. To thee all Angels cry aloud, the Heavens, and all the Powers therein. To thee Cherubim and Seraphim continually do cry: Holy, holy, holy Lord God of Sabaoth! movement--that even touches on a ghostly funeral march before the orchestra shouts the principal theme one last time in a powerful unison. The Scherzo second movement-- Beethoven's greatest example of the fierce dance form he refashioned from the 3/4-time minuet--is built out of another descending motive, consisting of just two pitches and a dotted rhythm. From that dotted rhythm and the potential it offers to the timpani to become a major player instead of an accompanist, Beethoven creates a witty, infectious movement of relentless intensity. And if the Scherzo is the apotheosis of a rhythm, the succeeding slow movement is the apotheosis of melody. Here Beethoven builds a double variations movement out of two melodies, one slow and noble, the other like a flowing stream: a musical representation of a heavenly utopia. The key of D major finally triumphs over D minor in the exhilarating choral finale, famed for making the cellos and basses speak like human voices as they review the events of the previous movements and then dismiss them in favor of the sublimely simple "Joy" theme.The remainder of the finale then becomes a series of extraordinary variations on this heart-stirring melody, sung by chorus, the solo quartet and orchestra.A particularly striking one comes early on: a jaunty military march featuring the tenor soloist. The other major theme of this huge finale is sung in unison by the tenors and basses at the words "Seid umschlungen, Millionen"-- "Be embraced, ye millions." It opens an extended, awe-struck episode in which the chorus hails the loving Father, creator of the universe, and concludes in a magnificent double fugue in combination with the "Ode to Joy" theme. At the end, Beethoven drives his voices almost beyond their capacities to express his glorious vision of a new world just beyond human reach. The BSO most recently performed Beethoven's Symphony No. 9 in July 2009, with G�nther Herbig conducting, and soprano Heidi Stober, mezzo-soprano Kelley O'Connor, tenor Gordon Gietz, bass Stephen Powell and the Baltimore Choral Arts Society. Instrumentation: two flutes, piccolo, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, percussion and strings. Notes by Janet E. Bedell copyright 2012 Tibi omnes Angel, tibi caeli et universae Potestates. Tibi Cherubim et Seraphim incessabili voce proclamant: Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra maiestatis gloriae tuae. Te gloriosus Apostolorum chorus. Te prophetarum laudabilis numerous. Te martyrum candidatus laudat exercitus. Te per orbem terrarium sancta confitetur Ecclesia. Patrem immensae maiestatis: Venerandum tuum verum et unicum Filium; Sanctum quoque Paraclitum Spiritum. Tu Rex gloriae, Christe. Tu Patris sempiternus es Filius. Tu ad liberandum suscepturus hominem, non horruisti Virginis uterum. Tu devicto mortis aculeo, aperuisti credentibus regna caelorum. Tu ad dexteram Dei sedes, in gloria Patris. Judex crederis esse venturus. Te ergo quaesumus, tuis famulis subveni quos pretioso sanguine redemisti. Aeterna fac cum sanctis tuis in gloria numerari. Heaven and earth are full of the Majesty of Thy glory. The glorious company of the Apostles praises Thee. The goodly fellowship of the prophets praises Thee. The noble army of martyrs praises Thee. The holy Church throughout the world doth acknowledge Thee. The Father of infinite Majesty; Thine honorable, true and only Son; and the Holy Ghost, the Comforter. Thou art the King of glory, O Christ! Thou art the everlasting Son of the Father. Thou, having taken it upon Thyself to deliver man, didst not disdain the Virgin's womb. Thou overcame the sting of death and hast opened to believers the Kingdom of Heaven. Thou sittest at the right hand of God, in the glory of the Father. We believe that thou shalt come to be our Judge. We beseech Thee, help Thy servants, whom Thou hast redeemed with thy precious blood. Make them to be numbered with Thy Saints, in glory everlasting. Save Thy people, O Lord, and bless Thine inheritance! Govern them, and lift them up forever. Day by day we thank Thee. And we worship Thy name ever, world without end. O Lord, deign to keep us from sin this day. Have mercy on us, O Lord, have mercy on us. Salvum fac populum tuum Dominae, et benedic herditati tuae. Et rege eos, et extolle illos usque in aeternum. Per singulos dies, benedicimus te. Et laudamus nomen tuum in saeculum, et in saeculum saeculi. Dignare Domine die isto sine peccato nos custodire. Miserere nostril Domine, miserere nostri. Fiat misericordia tua Domine super nos, quemadmodum speravimus in te. In te, Domine, speravi: non confundar in aeternum. Let Thy mercy, O Lord, be upon us, for we have hoped in Thee. O Lord, in Thee have I trusted, let me never be confounded. 24 Overture Ode to Joy Finale: Text and Translation O Freunde, nicht diese T�ne! Sondern lasst uns angenehmere anstimmen und freudenvollere! Freude, sch�ner G�tterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum. Deine Zauber binden wieder Was die Mode streng geteilt, Alle Menschen werden Br�der, Wo dein sanfter Fl�gel weilt. Wem der grosse Wurf gelungen Eines Freundes Freund zu sein, Wer ein holdes Weib errungen, Mische seinen Jubel ein, Ja wer auch nur eine Seele Sein nennt auf dem Erdenrund; Und wer's nie gekonnt, der stehle Weinend sich aus diesem Bund. O friends, not these tones! Let us sing more cheerful songs, more full of joy! Joy, bright spark of divinity, Daughter of Elysium, Fire-inspired we tread, Thy sanctuary. Thy power reunites All that custom has divided, All men become brothers, Under the sway of thy gentle wings. Whoever has created An abiding friendship, Or has won a true loving wife, All who can call, at least one soul theirs Join in our song of praise; But any who cannot, must creep tearfully away from our circle. All creatures drink of joy At nature's breast. Just and unjust Alike taste of her gift. She gave us kisses and the fruit of the vine, a friend to the end. Even the worm can feel contentment, And the cherub stands before God! Gladly, like the heavenly bodies Which He sent on their courses, Through the splendor of firmament, Brothers, you should run your race, As a hero going to conquest. You millions, I embrace you! This kiss is for all the world! Brothers, above the starry canopy There must dwell a loving Father. Do you fall in worship, you millions? World, do you know your Creator? Seek Him in the heavens! Above the stars must He dwell. Peabody Congratulates Faculty Member Kevin Puts Winner of the Pulitzer Prize in Music on the Performances by the BSO of his Symphony No. 4 Freude trinken alle Wesen An den Br�sten der Natur. Alle Guten, Alle B�sen Folgen ihrer Rosenspur. K�sse gab sie uns und Reben, Einen Freund, gepr�ft im Tod. Wollust ward dem Wurm gegeben, Und der Cherub steht vor Gott! Froh, wie seine Sonnen fliegen Durch des Himmels pr�cht'gen Plan, Laufet, Br�der, eure Bahn, Freudig, wie ein Held zum Siegen. Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt! Br�der, �ber'm Sternenzelt Muss ein lieber Vater wohnen. Ihr st�rzt nieder, Millionen? Ahnest du den Sch�pfer,Welt? Such' ihn �ber'm Sternenzelt! �ber Sternen muss er wohnen. May 3, 2012 � June 10, 2012 25 PROGRAM notes Friday, June 1, 2012 8 p.m. Saturday, June 2, 2012 8 p.m. JOSEPH MEYERHOFF SYMPHONY HALL BALTIMORE SYMPHONY ORCHESTRA MARIN ALSOP MUSIC DIRECTOR � HARVEY M. AND LYN P. MEYERHOFF CHAIR Mozart and Beethoven Presenting Sponsor: G�nther Herbig Conductor Jonathan Biss Piano Posts Herbig has held include music director of the Detroit Symphony and the Toronto Symphony, principal guest conductor of both the Dallas Symphony and the BBC Philharmonic Orchestra and general music director of both the Dresden Philharmonic Orchestra and Berlin Symphony Orchestra. Former artistic advisor of the National Symphony Orchestra of Taiwan, he is now its conductor laureate. He is principal guest conductor of Las Palmas in the Grand Canaries, Spain. Mr. Herbig has recorded more than 100 works, some of which were with the East German orchestras with whom he was associated prior to moving to the West in 1984. Since then, he has made recordings with several London orchestras, the BBC Philharmonic Orchestra and the Saarbr�cken RSO. Key figures in his musical training include Hermann Abendroth, Hermann Scherchen and Herbert von Karajan. G�nther Herbig last appeared with the BSO on November 20 & 21, 2010, performing Ravel's Mother Goose Suite, Prokofiev's Violin Concerto No. 1, featuring Tianwa Yang, and Shostakovich's Symphony No. 10. Wolfgang Amadeus Mozart Symphony No. 40 in G minor, K. 550 Molto allegro Andante Menuetto: Allegretto Allegro assai Piano Concerto No. 3 in C minor, opus 37 Allegro con brio Largo Rondo: Allegro JONATHAN BISS Ludwig van Beethoven Jonathan Biss American pianist Jonathan Biss, widely regarded for his artistry and deeply felt interpretations, has won international recognition for his orchestral, recital and chamber music performances on four continents and for his award-winning recordings. Noted also for his prodigious technique, intriguing programs and musical intelligence, he performs a diverse repertoire. Mr. Biss, whom the Toronto Globe and Mail describes as "one of the most striking North American pianists of the new generation," made his New York Philharmonic debut in 2001 and since then has appeared with the foremost orchestras of North America, Europe, Asia and Australia. He is a frequent performer at leading international music festivals and gives recitals in major music capitals both at home and abroad. This season his recital appearances take him to 10 countries across Europe and in the U.S. with highlights that include his debut at the Edinburgh Festival, his opening the Master Piano series at the Concertgebouw, and his much-anticipated Carnegie Hall main hall debut. JIMMY KATZ INTERMISSION Franz Schubert Symphony No. 6 in C major, D. 589 Adagio - Allegro Andante Scherzo Allegro moderato The concert will end at approximately 9:50 p.m. Media Sponsor: WYPR 88.1 FM G�nther Herbig G�nther Herbig left behind the challenging political environment of East 26 Overture Germany and moved to the United States in 1984, where he has since conducted all of the top-tier orchestras, including the New York Philharmonic, the Los Angeles Philharmonic, the Cleveland Orchestra,The Philadelphia Orchestra, and the Chicago, Boston and San Francisco symphony orchestras. PROGRAM notes An enthusiastic chamber musician and a frequent participant at the Marlboro Music Festival, Mr. Biss collaborates with many of today's finest players, including recent performances with Midori, cellist Antoine Lederlin and violist Nobuko Imai at Carnegie Hall's Japan Festival and the Kennedy Center. He has also performed the complete cycle of Beethoven's 10 sonatas for violin and piano with Miriam Fried in Seoul, Korea. Mr. Biss represents the third generation in a family of professional musicians that includes his grandmother Raya Garbousova, one of the first well-known female cellists (for whom Samuel Barber composed his Cello Concerto), and his parents, violinist Miriam Fried and violist/violinist Paul Biss. Jonathan Biss last appeared with the BSO on June 27, 2003, performing Beethoven's Piano Concerto No. 2 with Marin Alsop conducting. Notes On The Program Symphony No. 40 in G minor, K. 550 Wolfgang Amadeus Mozart Born in Salzburg, Austria, January 27, 1756; died in Vienna, December 5, 1791 During the summer of 1788, in an amazing burst of inspiration spanning just six weeks, Mozart composed his last three symphonies: No. 39 in E-flat, No. 40 in G minor, and No. 41 ("Jupiter") in C major. Ironically, this creative surge occurred during a low ebb in the composer's fortunes. His popularity with the Viennese public had waned, pupils were scarce, a major court appointment was still beyond his grasp, and he had begun to borrow large sums of money from his brother Michael Puchberg to support his wife and children--and a rather extravagant lifestyle. To add to Mozart's frustrations, it seems that plans for the concerts to premiere these magnificent new works--the crown of his symphonic achievement--eventually fell through; today it is not clear when, if ever, in his lifetime the last three symphonies were performed. However, Mozart/Haydn scholar H.C. Robbins Landon believes there is evidence that the G minor Symphony may have been performed at concerts in April 1791, if not at an earlier date as well. Of the last three symphonies, only the G minor seems to reflect the turmoil Mozart was actually experiencing in his life as he wrote it. Its minor key--unusual for Mozart outside of his operas--harmonic daring, and pervading spirit of anger, pain and unrest set this symphony apart from its fellows. Mary Ann Feldman, former annotator for The Minnesota Orchestra, believes that in this symphony the composer was also reacting to larger cultural and political issues beyond his own personal situation. "The Symphony No. 40 was composed on the eve of the French Revolution.Another year, and the Bastille would fall. Something of the defiance and unrest of that epoch, if not Mozart's darkest inner thoughts, resonates at least as an undercurrent of this symphony. He may have been apolitical, but he was nevertheless an artist of the times. Moreover, he had not gone untouched by the Sturm und Drang movement that pervaded German art in the late 1770s and '80s. The descriptive label `Storm and Stress,' borrowed from a drama of that period, evokes the impassioned subjectivity and brooding atmosphere of this aesthetic, the harbinger of Romanticism." In the opening bars of the Molto Allegro first movement, an agitated rocking figure for the violins, on the chromatic half step of E-flat to D, launches us immediately into a world of "Storm and Stress." Chromaticism will be the watchword for the entire symphony, used both in melodic patterns for the various instruments and in harmonic movement. For instance, at the opening of the development section of this sonata-form movement, listen for Mozart's sudden careening off to F-sharp minor--tonally about as far away from the home key of G minor as one can wander--followed by a passage of sinking chromatic modulations that sounds as though the whole orchestral machine were being rapidly unwound. Even the recapitulation abounds with surprises, including a sly moment of tonal uncertainty just before the final cadence. Pathos mingles with beauty in the Andante second movement in E-flat major, also a sonata form.The graceful flourishes that conclude the principal theme at first sound ornamental, but by the time Mozart has finished working them over in the development section, they have been transformed into audible tears of pain. Lovely passages for the woodwinds also adorn this movement. The G-minor third movement is no courtly minuet; instead it is a dance of defiance. Mozart seems very much the rebellious courtier here; the violins and bassoons are determinedly out of step with the rest of the ensemble, producing some violently accented dissonances that seem to say,"If I have to play your game, I'll play it my way." By contrast, the gentle trio, with its exquisite woodwind writing, is the only wholly untroubled section of the entire symphony. In keeping with the spirit of the rest of the work, the Allegro assai finale is not a playful rondo but another aggressive sonata form.The pert, upward-shooting principal theme, played softly by the violins, is immediately answered by stormy scolding from the full ensemble.The development section is introduced by a nose-thumbing gesture in the tough-minded spirit of Beethoven, as the whole ensemble, in unison and octaves, marches angrily away from the key of B-flat. More astonishments follow in the contrapuntally enriched development before the recapitulation wraps up the work in a mood that is more black comedy than high spirits. The BSO most recently performed Mozart's Symphony No. 40 in April 2007 with James Judd conducting. Instrumentation: one flute, two oboes, two bassoons, two horns and strings. Piano Concerto No. 3 in C minor Ludwig van Beethoven Born in Bonn, December 16, 1770; died in Vienna, March 26, 1827 With his Third Concerto, and his only one in the minor mode, Beethoven decisively declared his independence as a composer. In Donald Francis Tovey's words,"It is one of the works in which we most clearly see the style of his first period preparing to develop into that of his second": the "heroic" period that would soon produce its namesake, the "Eroica" Symphony. Musicologists are not certain when this concerto was actually composed.The year 1800 is the date often cited, but the work was not premiered until April 1803 in a concert at Vienna's Theater an der Wien that also included Beethoven's First and Second symphonies. So he may have spent those intervening years refining this work in the painstaking fashion characteristic of much of his composing.And the revisions must have continued right up to the premiere.After a marathon all-day rehearsal of this ambitious program, the composer's friend Ignaz von Seyfried remembered the concerto's first performance as a helter-skelter affair."He asked me to turn the pages for him; but-- heaven help me!--that was easier said then done. I saw almost nothing but empty leaves; at the most on one page or the other a few May 3, 2012 � June 10, 2012 27 PROGRAM notes interjects a little tenderness with a charming theme for clarinet, partnered by bassoon. In the Presto coda, now in brightest C major, all the heroism of the first movement, the reflective melancholy of the second is swept away in a comic-opera finish. The BSO most recently performed Beethoven's Piano Concerto No. 3 in January 2010 with G�nther Herbig conducting. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Symphony No. 6 in C major Egyptian hieroglyphs wholly unintelligible to me scribbled down to serve as clues for him; for he played nearly all of the solo part from memory since, as was so often the case, he had not had time to put it all on paper." First Movement: The bold C-minor principal theme is stated immediately by the strings. It is a quintessential Beethoven theme: clear and simple in outline, strongly rhythmic, ideal for later development, and so instantly memorable that we will be able to follow its transformations easily as this sonata-form movement unfolds. Beethoven also isolates and uses its short-long rhythmic tail later in his development and as a binding accompanimental figure throughout this lengthy movement. In fact, the opening orchestral exposition is so long it appears for a time that Beethoven has forgotten all about the soloist. As though he were launching the first movement of a symphony, he modulates to E-flat major for a graceful second theme in violins and flutes and even shows signs of wanting to get down to the business of developing his material. But suddenly he remembers the waiting pianist and returns to C minor. After this protracted introduction, the soloist must establish himself very strongly, and this he does, with three dramatic scales followed by a heroic declamation of the principal theme in double-fisted octaves. Later, those three bold scales will also signal the beginning of the movement's development section. In the closing coda, Beethoven breaks with Classical tradition by including the soloist in a mysterious duet with the timpanist, tapping out the short-long rhythm of the principal theme. The elegiac slow movement provides maximum contrast in both mood and tonality. Beethoven was interested in the sense of adventure and tension created by juxtaposing very distant keys both within and between movements. Here the slow movement is in E major, a key far from the opening C minor. And the tempo is slow indeed for Beethoven: a true Largo. On this languid pulse, the soloist spins a long, gracefully embellished melody that is rhapsodic in character and presages the Romantic language of composers far in the future: Schumann and even Chopin.A middle section features a hushed, melancholy dialogue between solo flute and bassoon. The rondo finale returns to C minor, but there is no minor-mode pathos in this playful, witty movement.The pianist launches the puckish rondo theme, which on a later return will be given a brief, energetic fugal treatment by the strings.The central episode 28 Overture Franz Schubert Born in Vienna, Austria, January 31, 1797; died in Vienna, November 19, 1828 Schubert's Sixth Symphony is often referred to now as the "Little C major" to distinguish it from his imposing last symphony, No. 9, the "Great C major." But certainly the composer didn't think of it as "little" in any way when he completed it in 1818. In fact, he wrote "Grand Symphony" at the top of the score and intended it to be a symphony on a more ambitious and expansive scale than his first five. But this witty work has unfortunately remained one of the most seldom played of his eight symphonies. Then 21, Schubert was in an awkward transitional stage between adolescence and adulthood.After several months living at the home of his well-to-do friend Franz von Schober and tasting the heady freedom of being a full-time composer, he was now back in his father's house, teaching the three Rs to the young children enrolled in the family grammar school. Yet despite these pressures, he aspired to move beyond the classically oriented first five symphonies written in his teens.The Sixth would not entirely fulfill these ambitions; he would have to mature still more before creating his symphonic masterpieces: the "Unfinished" of 1822 and the "Great C major" of 1825�28. Both Beethoven and Rossini are godfathers to the Sixth--a very strange pairing because Beethoven detested Rossini's wildly popular operas as falling below the high moral purpose he believed music should serve. Schubert, however, adored Rossini, who at this time was the darling of Vienna, his operas dominating Viennese theater stages. Simultaneously with the Sixth, he paid homage to the Italian with two brilliant overtures "In the Italian Style," D. 590 and D. 591. In this symphony, Rossini can be heard in the light-hearted comic-opera themes, especially in the second and fourth movements, while Beethoven's bold spirit inspired the third-movement scherzo. The first movement seems like a musical battle between Rossini's lightfingered insouciance and Beethoven's magisterial thunder. This duel begins immediately in the slow introduction in which the full orchestra's majestic opening measures are answered by languishing, soft woodwinds.Throughout this work, Schubert sharply delineates his woodwind band of flutes, oboes, clarinets, and bassoons from the rest of the orchestra and honors them with much important thematic material including both the first movement's principal themes.The Allegro section's winsome toy-soldier first theme for flutes and oboes is a kissing cousin to the opening theme of Haydn's famous "Military" Symphony and quickly dispels any notion suggested by the introduction that this is to be a solemn symphony. In the exciting, sped-up closing coda, Schubert charmingly brings it back in a mocking dialogue with the violins. The second movement, in a not very slow Andante tempo, alternates a little violin aria fit for a Rossinian heroine with mock-martial music driven by constant triplet rhythms.When the aria returns, it has acquired those triplets as well.This is a marvelously orchestrated atmosphere piece rather than a moment to shed tears. Beethoven nudges Rossini off the stage for the aggressive third movement, Schubert's first foray into the scherzo model created by the Bonn master.The alternation between soft and loud dynamics, staccato (clipped) and smooth phrasing, as well as the stabbing loud accents are all Beethoven hallmarks. More Schubertian is the slower-tempo trio section with its heavy drone accompaniment, accented every other measure. The last movement is the lightest of all: a series of sprightly themes strung loosely together in the style of a comic-opera finale. Commentators have criticized its rambling length, but better to simply enjoy Schubert's ability to create one blithe tune after another. The BSO most recently performed Schubert's Symphony No. 6 in January 2003 with G�nther Herbig conducting. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. Notes by Janet E. Bedell copyright 2012 PROGRAM notes Marin Alsop Thursday, June 7, 2012 8 p.m. Friday, June 8, 2012 8 p.m. Sunday, June 10, 2012 3 p.m. CHRISTIAN STEINER For Marin Alsop's bio, please see p. 10. Nadja SalernoSonnenberg Internationally acclaimed soloist and chamber musician Nadja SalernoSonnenberg is best known for her exciting performances, passionate interpretations and charismatic personality.An innovative artist, her daring, dedication and enthusiasm for all facets of her career have resulted in her becoming one of today's leading violinists, renowned for her work on the concert stage, in the recording studio and in her role as music director of the San Francisco-based New Century Chamber Orchestra, which she joined in January 2008. This season, her orchestral appearances include the Minnesota, Philadelphia, National, Seattle,Vancouver, Oregon and Baltimore symphony orchestras in North America, and the NHK Symphony Orchestra in Japan. She gives the world premiere of Ellen Taaffe Zwilich's violin concerto this spring with the New Century Chamber Orchestra, written specifically with her distinctive artistry in mind. A powerful and creative presence on the recording scene, she has several acclaimed CDs on NSS MUSIC, the record label she started in 2005, as well as more than 20 releases on the EMI and Nonesuch labels. Ms. Salerno-Sonnenberg's professional career began in 1981 when she won the Walter W. Naumburg International Violin Competition. In 1983 she was recognized with an Avery Fisher Career Grant, and in 1999 the prestigious Avery Fisher Prize, awarded to instrumentalists who have demonstrated "outstanding achievement and excellence in music." An American citizen, Ms. Salerno-Sonnenberg was born in Rome and emigrated to the United States at the age of 8 to study at The Curtis Institute of Music. She later studied with Dorothy DeLay at The Juilliard School. Nadja Salerno-Sonnenberg last appeared with the BSO at its Gala on September 11, 2010, performing Piazzolla's Four Seasons of Buenos Aires with Music Director Marin Alsop. JOSEPH MEYERHOFF SYMPHONY HALL BALTIMORE SYMPHONY ORCHESTRA MARIN ALSOP MUSIC DIRECTOR � HARVEY M. AND LYN P. MEYERHOFF CHAIR Salerno-Sonnenberg Plays Tchaikovsky Marin Alsop Conductor Nadja Salerno-Sonnenberg Violin Kevin Puts Symphony No. 4, "From Mission San Juan" Prelude: Mission San Juan Bautista, ca.1800 Arriquetpon (the diary of Francisco Arroyo de la Cuesta, 1818) Interlude Healing Song Violin Concerto in D major, opus 35 Allegro moderato Canzonetta: Andante Finale: Allegro vivacissimo NADJA SALERNO-SONNENBERG Piotr Ilyich Tchaikovsky INTERMISSION Igor Stravinsky The Rite of Spring (Le Sacre du printemps) Part I:The Adoration of the Earth Part II:The Sacrifice The concert will end at approximately 10:05 p.m. on Thursday and Friday, and 5:05 p.m. on Sunday. Media Sponsor: WBAL Radio Support for the appearance of Nadja Salerno-Sonnenberg is provided by the Ruth Blaustein Rosenberg Guest Artist Fund. Support for the performance of Kevin Puts' Symphony No. 4 is provided in part by Howard and Caroline Hansen in honor of Kevin Puts, with additional support from Amy Anderson and George Somero. The Wagner Tuben used in this concert are a gift from Beth Green Pierce in memory of her father, Elwood I. Green. May 3, 2012 � June 10, 2012 29 PROGRAM notes to his wife Carrie. He sent me some histories of the Mission and its town and asked me to write something inspired by this place which had become so special to him over the years. "That San Juan Bautista has been called `the Mission of Music' owes itself to the musical predispositions of some its founding friars who baptized thousands of Mutsune Indians and took it upon themselves to teach them to sing church music. They were disturbed by the Mutsun's failure to abandon their own music in favor of that which the friars presumably considered to be more civilized. Once I read this, I became immediately interested in tracking down any remnants of this Mutsun musical ancestry.Victoria Levine, a specialist in Native American music who teaches at the University of Colorado Fort Collins, pointed me toward the Bancroft Library of UC Berkeley, where a manuscript of Francisco Arroyo de la Cuesta which she believed contained transcriptions of around 200 Mutsun songs had been held since it had been sent there by the Smithsonian Institute several years ago. This manuscript, dating from around 1818, is falling apart, so I had it sent to me on microfilm only to discover to my disappointment many pages of Spanish and Latin text and only a few songs at the very end of the manuscript. "Quirina Luna Costillas is one of the few surviving descendants of the Mutsuns and a highly regarded leader among this small community. She told me that I had found Francisco Arroyo's arriquetpon, a dictionary he made himself which contains several hundred Mutsun words and a few song transcriptions as well. Ms. Costillas said she had been searching all over the world for the volume of 200 songs Dr. Levine had described but to no avail. She also told me that the songs of her people should not be misused-- healing songs are for healing, wedding songs are for weddings, etc.--and that if the few songs I had found in Arroyo's journal were to find their way into my piece, it could cause a sickness for her people. With this in mind, I decided I could treat this `source material' in much the same way I treated Bj�rk's album Vespertine in my Third Symphony. I would try to imitate the flavor and nuance of it but avoid direct quotation. "Symphony No. 4 begins with music designed for performance within the reverberant walls of Mission San Juan Bautista, in other words music inspired by an acoustic environment with which I became acquainted when Marin Alsop performed my Symphony No. 2 with the Festival Orchestra at the Mission in 2003. [In movement one] rather "archaic"-sounding melodic lines recall the simplicity of early chant and feature an echo effect that is written into the orchestration. The second movement (arriquetpon) is an imaginary compendium of Mutsun tunes loosely based on the shapes and motives I found in Arroyo's diary. From this festive and varied river of melodies, a prosaic, unchanging hymn tune repeatedly emerges and recedes. A return to the opening music follows this movement in the form of an interlude and reaches a climactic upheaval of some magnitude. It leads to a `healing song' which--in the midst of the current world climate-- seems to me as appropriate as ever." Puts' Symphony No. 4 � BSO Premiere Instrumentation: three flutes, two piccolos, two oboes, English horn, three clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp and strings. Violin Concerto in D major, opus 35 Notes On The Program Symphony No. 4, "From Mission San Juan" Kevin Puts Born in St. Louis, Missouri, January 3, 1972 Not only Marin Alsop but also the BSO's two previous music directors Yuri Temirkanov and David Zinman have embraced Kevin Puts' vibrant, enormously appealing music. Maestro Termikanov chose Puts' Network for performances here in 2002, and River's Rush followed in 2006. One of the composer's most important pieces, Vision for cellist Yo-Yo Ma and orchestra, was commissioned by the Aspen Music Festival in honor of Maestro Zinman's 70th birthday. It's hardly surprising that three such different musicians would share an appreciation of Kevin Puts, who since 2006 has been a member of the composition faculty at the Peabody Institute, for Puts is unafraid of such traditional virtues as compelling melodies, clear tonally based harmonies and unfettered emotional expression. All these elements are proudly on display in his beautiful Symphony No. 4, "From Mission San Juan," which received its world premiere under Maestra Alsop's baton at the Cabrillo Festival of Contemporary Music in August 2007. It was inspired by one of California's oldest surviving mission churches, San Juan Batista, which played an unforgettable role in Alfred Hitchcock's film masterpiece Vertigo. The composer has provided the following note detailing the Native American musical influences that animate this work: "Every year in August, an entire orchestra of dedicated musicians gathers in Santa Cruz, California to play nothing but contemporary orchestral music for two weeks. On the last day of this period, they travel south about 30 miles to the town of San Juan Bautista to play their final concerts at the old Spanish mission there. "For more than 25 years, Howard Hansen (no relation to the composer who spelled his name "Hanson) has not only avidly attended the Cabrillo Festival of Contemporary Music, he has been one of its most generous patrons. For Mr. Hansen, the high point each year is the concert at San Juan Bautista, and he decided to commission a work as a gift 30 Overture Piotr Ilyich Tchaikovsky Born in Votkinsk, Russia, May 7, 1840; died in St. Petersburg, Russia, November 6, 1893 Tchaikovsky's Violin Concerto belongs to that illustrious group of masterpieces that were savaged by uncomprehending critics at their premieres. Nearly all the critics at its first performance--in Vienna on December 4, 1881 with Russian violinist Adolf Brodsky as soloist backed by the Vienna Philharmonic--gave the work negative reviews, but the one penned by the notoriously conservative Eduard Hanslick was so vicious it stung Tchaikovsky for years after. "Tchaikovsky is surely no ordinary talent, but rather, an inflated one ... lacking discrimination and taste. ... The same can be said for his new, long, and ambitious Violin Concerto. ... The violin is no longer played; it is tugged about, torn, beaten black and blue." Hanslick demolished the finale "that transports us to the brutal and wretched jollity of a Russian church festival. We see PROGRAM notes a host of savage, vulgar faces, we hear crude curses, and smell the booze." Because of its flamboyant language and mind-boggling wrong-headedness, this is the review that has come down to us from a city that was generally unsympathetic to Tchaikovsky's Russian intensity. A much fairer judgment of the concerto's worth came from an anonymous critic for the "Wiener Abendpost": "The first movement with its splendid, healthy themes, the mysterious, quiet middle movement (who could fail to be reminded by this of Turgenev's female characters!) and the wild peasant dance make up a whole for which we would claim an outstanding place among contemporary compositions." Today, this work holds an outstanding place among all violin concertos. One of the more demanding works for the violin virtuoso, it is more remarkable still for its unwavering melodic inspiration and passionate expression of human feeling. Here, Tchaikovsky speaks to us from the heart, using the communicative voice of the solo violin as his medium. The concerto came in the aftermath of the composer's ill-conceived marriage to Antonina Milyukova in 1877. Eight months later in March 1878, his wanderings to escape his wife brought him to Clarens, Switzerland on the shores of Lake Geneva. Here, he and his brother Modest were visited by the gifted 22-year-old violinist Yosif Kotek, a composition pupil of Tchaikovsky's in Moscow. Kotek had been a witness at the composer's wedding and a confidante of his post-nuptial anguish; now, he provided both artistic inspiration and practical technical advice for Tchaikovsky's recently begun Violin Concerto. In less than a month, the work was nearly finished, and on April 3, Kotek and Tchaikovsky gave it a full reading at the piano. After the run-through, both agreed the slow movement was too slight for such a large work, and in one day flat, the composer replaced it with the tenderly melancholic Andante second movement it bears today. So prodigal is Tchaikovsky's melodic inspiration that he can afford to begin the sonata-form opening movement with a lovely little theme for orchestral violins and then--just as he did at the beginning of his First Piano Concerto--never play it again. The orchestra next hints at the big theme to come and provides anticipatory excitement for the soloist. After a brief warmup stretch, she launches one of Tchaikovsky's most inspired themes, and one with multiple personalities. At first, it is gentle, even wistful, but when the orchestra takes it up a few minutes later, it becomes very grand: music for an Imperial Russian ball. Later still in the development section, the soloist transforms it again with an intricately ornamented, double-stopped variation. The violin's second theme, begun in its warm lower register, retains its wistful nature. Much later in the poignant recapitulation section, the principal theme is beautifully adopted by the solo flute. The exquisite second-movement "Canzonetta" (little song) in G minor-- Tchaikovsky's one-day miracle--blends the melancholy colors of woodwinds with the violin. Tchaikovsky scholar David Brown suggests that it reflects the composer's homesickness during his selfimposed exile from Russia. Rather than ending, it rises on a two-note sighing motive and then explodes into the Allegro vivacissimo finale. In this hearty rondo inspired by Russian folk dance, Tchaikovsky finally lets the soloist fly. He alternates two contrasting themes: the first a high-spirited scamper; the second a slower, downwarddrooping melody that shows off the violin's earthy low register and also features a nostalgic dialogue with woodwind solos. At the close, the dance keeps accelerating to a breathless finish. The BSO most recently performed Tchaikovsky's Violin Concerto in D major in July 2011 with Christian Colberg conducting and violinist Sirena Huang. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani and strings. The Rite of Spring (Le Sacre du printemps) Igor Stravinsky Born in Oranienbaum, Russia; June 17, 1882; died in New York City, April 6, 1971 The premiere of The Rite of Spring in Paris in 1913 has come down to us as perhaps the wildest evening in the history of classical music.This was the third of the spectacular Russian ballet scores Stravinsky had created for Serge Diaghilev's Ballets Russes ensemble, which had become the sensation of pre-World War I Paris.The two previous ballets, The Firebird and Petrouchka, had been rapturously received. But the music for The Rite was much more advanced: a revolutionary statement that the 19th century was gone for good. In its savage rhythms, harmonic dissonances, and orchestral effects, it brutally embodied the "fleeting vision" of pagan Russia that Stravinsky said had inspired him. "I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watched a young girl dance herself to death.They were sacrificing her to propitiate the god of spring." Stravinsky remembered that infamous performance on May 29, 1913 at the Th��tre Champs-Elys�es, conducted by Pierre Monteux and with choreography by the notorious Russian dancer Nijinsky. Audience disturbances began shortly into the introduction, and when with the fierce chugging of strings the curtain rose on a group of "knock-kneed, long-braided Lolitas jumping up and down," the catcalls escalated to pandemonium. Fistfights broke out in the audience between those who liked the piece and those who didn't. Furious, Stravinsky rushed backstage where Nijinsky was standing on a chair shouting out the beats to the dancers and Diaghilev alternately turning the house lights on and off in a vain attempt to calm the fracas. Once the riot began, the audience was probably reacting more to the choreography or simply its own frenzy than the score itself, since the music became virtually inaudible. The story of this catastrophe is well known. But it had an important, less-told sequel that turned the fortunes of The Rite of Spring completely around. On April 5, 1914, again in Paris, Monteux led its concert premiere--without any dancers and controversial choreography--and this time the performance was an overwhelming success.The audience erupted in a cheering ovation, and enthusiastic fans bore Stravinsky out of the hall on their shoulders. But The Rite of Spring was, and even remains today, a shocking work: one fit to provoke a riot. Stravinsky had a very different image of the coming of spring than we do in America. In Russia when winter's legacy of snow and ice begins to melt and swell the streams, the effect is much more extreme than our soft breezes and flowering fruit trees. Stravinsky referred to it as "the violent Russian spring that 31 May 3, 2012 � June 10, 2012 PROGRAM notes violent energy in Part II's "Glorification of the Chosen One" and the final "Sacrificial Dance." Throughout the 19th century, rhythm had been the stepchild of European concert music, trailing behind melodic allure and harmonic richness. Europeans essentially looked down on intricate rhythm as belonging to more "primitive" musical cultures, such as Africa and Asia. Stravinsky showed them what they were missing. Along with pounding percussion--and in this score even the string instruments join the percussion section--Stravinsky created his pagan world through strikingly original writing for the wind instruments: whether the primeval sound of a high bassoon opening the work, the cool high woodwinds setting an ominously eerie nocturnal atmosphere at the beginning of Part II, the "elderly" sounding English horn leading the penultimate "Ritual of the Old Men," or the savagely snarling brass throughout. Stravinsky provided his own terse scenario for The Rite: "First Part: "The Adoration of the Earth." [Daytime] The spring celebration ... the pipers pipe and the young men tell fortunes. ... Young girls with painted faces come in from the river in single file.They dance the spring dance. Games start.The Spring Khorovod [round dances].The people divide into two groups opposing each other.The holy procession of wise old men ... interrupts the spring games. ... The people pause trembling. ... The old man blesses the earth. ... The people dance passionately on the earth, sanctifying it and becoming one with it. "Second Part: "The Great Sacrifice." At night, the virgins hold mysterious games walking in circles. One of the virgins is consecrated and is twice pointed to by fate, being caught twice in the perpetual circle. The virgins honor her, the chosen one, with a marital dance. ... They invoke the ancestors and entrust the chosen one to the old wise men. She sacrifices herself in the presence of the old men in the great holy dance." The BSO most recently performed Stravinsky's The Rite of Spring (Le Sacre du Printemps) in January 2007 with Marin Alsop conducting. Instrumentation: three flutes, alto flute, two piccolos, four oboes, two English horns, three clarinets, two bass clarinets, piccolo clarinet, four bassoons, two contrabassoons, eight horns, two Wagner tuben, four trumpets, piccolo trumpet, bass trumpet, three trombones, two tubas, two timpanists, percussion and strings. Notes by Janet E. Bedell copyright 2012 seems to begin in an hour and was like the whole world cracking."To express this raw elemental force and the passionate response it must have evoked in pagan Russia, he created music of unprecedented violence. In his score Stravinsky wrote: "Music exists if there is rhythm, as life exists if there is a pulse." And it is indeed rhythm--in powerful repetitive ostinatos, constantly changing meters, and brutal pileups--that dominates this score and reaches a climax of UNCORKEd! --8-& tradition --8-NOW OPEN IN THE WINTERTHUR GALLERIES Raise a glass in toast to this fascinating exhibition! Come join us for a joyous celebration of objects and imagery created in response to society's love of wine. For more information, please visit winterthur.org/uncorked. Included with admission. Members free. Presented by With support from Bouchaine Vineyards, Gerret & Tatiana Copeland, Proprietors wine, objects Winterthur is nestled in Delaware's beautiful Brandywine Valley on Route 52, between I-95 and Route 1 � 800.448.3883 � 302.888.4600 � winterthur.org 32 Overture SYMPHONY FUND HONOR ROLL T H E B A L T I M O R E S Y M P H O N Y O R C H E S T R A January 14, 2011 � March 14, 2012 WE ARE PROUD to recognize the BSO's Symphony Fund Members whose generous gifts to the Annual Fund between January 14, 2011 � March 14, 2012 helped the Baltimore Symphony Orchestra further its mission: "To make music of the highest quality, to enhance Baltimore and Maryland as a cultural center of interest, vitality and importance and to become a model of institutional strength." The Century Club The Baltimore Symphony Orchestra is deeply grateful to the individual, corporate, foundation and governmental donors whose cumulative annual giving of $100,000 or more plays a vital role in sustaining the Orchestra's magnificent tradition of musical excellence. Marin Alsop with guest speaker Dr. Anita Nahal and PNC guests at a WOW-Festival kick-off event. Marin Alsop The Baltimore Orioles Georgia and Peter Angelos The Baltimore Symphony Associates Marge Penhallegon, President Mayor and City Council of Baltimore City Individuals Founder's Circle $50,000 or more The Charles T. Bauer Foundation Jessica and Michael Bronfein Rifkin, Livingston, Levitan and Silver, LLC Mr. and Mrs. Alan M. Rifkin Esther and Ben Rosenbloom Foundation Michelle G. and Howard Rosenbloom Dr. and Mrs. Solomon H. Snyder Ms. Ellen Yankellow Baltimore County Executive & County Council Joseph and Jean Carando* Constellation Energy Adalman-Goodwin Foundation Hilda Perl and Douglas* Goodwin, Trustees Hecht-Levi Foundation Ryda H. Levi* and Sandra Levi Gerstung M&T Bank Maryland Department of Business and Economic Development Maryland State Arts Council The Andrew W. Mellon Foundation Harvey M. Meyerhoff Joseph & Harvey Meyerhoff Family Charitable Funds Robert E. Meyerhoff and Rheda Becker Mr. and Mrs.* Arthur B. Modell Arts and Humanities Council of Montgomery County and Montgomery County Maryland National Endowment for the Arts PNC Henry and Ruth Blaustein Rosenberg Foundation and Ruth Marder* Howard A. and Rena S. Sugar* The Whiting-Turner Contracting Company Mr. and Mrs. Willard Hackerman Charles* and Shirley Wunder $25,000 or more Mr. and Mrs. George L. Bunting, Jr. Caswell J. Caplan Charitable Income Trusts Constance R. Caplan The Cordish Family Fund Suzi and David Cordish Mr. Kenneth W. DeFontes, Jr. Dr. Perry A. Eagle*, Ryan M. Eagle, and Bradley S. Eagle Frances Goelet Charitable Trust Dr. and Mrs. Philip Goelet Mr. and Mrs. Kingdon Gould Mr. and Mrs. Benjamin H. Griswold, IV Mr. Joseph P. Hamper, Jr.* The Sandra and Fred Hittman Philanthropic Fund Mr. and Mrs. H. Thomas Howell The Huether-McClelland Foundation George and Catherine McClelland David and Marla Oros Margaret Powell Payne* Dr. and Mrs. Thomas Pozefsky Bruce and Lori Laitman Rosenblum Mr. and Mrs. Richard Rudman The Honorable Steven R. Schuh Dorothy McIlvain Scott* Mr. and Mrs. Stephen D. Shawe Jane and David Smith Ellen W.P. Wasserman Maestra's Circle $15,000 or more Anonymous (2) Donna and Paul Amico Herbert Bearman Foundation, Inc. Dr. Sheldon and Arlene Bearman The Bozzuto Family Charitable Fund Mr. and Mrs. Robert Coutts The Dopkin-Singer-Dannenberg Foundation, Inc. Mrs. Margery Dannenberg George and Katherine Drastal Alan and Carol Edelman Ms. Susan Esserman and Mr. Andrew Marks Judi and Steven B. Fader Family Foundation Mr. and Mrs. Douglas Hamilton Michael G. Hansen and Nancy E. Randa Beth J. Kaplan and Bruce P. Sholk Sarellen and Marshall Levine Jon and Susan Levinson Susan and Jeffrey* Liss Mr. and Mrs. Michael P. Pinto Mr. George A. Roche Lainy LeBow-Sachs and Leonard R. Sachs Mr. and Mrs. William Wagner David and Chris Wallace The Zamoiski-Barber-Segal Family Foundation $10,000 or more Liddy Manson "In memory of James Gavin Manson" Anonymous (2) A&R Development Corporation Kenneth S. Battye* The Legg & Co. Foundation Mr. and Mrs. Douglas Becker Mr. and Mrs. Ed Bernard Mr. and Mrs. A.G.W. Biddle, III Robert L. Bogomolny and Janice Toran Mr. Robert H. Boublitz Ms. Kathleen A. Chagnon and Mr. Larry Nathans May 3, 2012 � June 10, 2012 33 Special Thanks to for its generous support! BSO Chairman Ken DeFontes, Donna DeFontes, David and Alena Schwaber and Kate Caldwell mingle over cocktails. Governing Members Jay and Ruth Lenrow mingle with BSO Violinist Ellen Troyer at the Gala Celebration. Individuals Maestra's Circle (continued) $10,000 or more Judith and Mark Coplin Mr. and Mrs. H. Chase Davis, Jr. Chapin Davis Investments Rosalee C. and Richard Davison Foundation Mr. and Mrs. Anthony Deering Mr. and Mrs. James L. Dunbar Sara and Nelson Fishman Sandra Levi Gerstung Ms. Mary Haub Riva and Marc Kahn Individuals (continued) Governing Members Platinum $7,500 or more Deborah and Howard M. Berman Drs. Sonia and Myrna Estruch Mrs. Anne Hahn Mr. and Mrs. Neil Meyerhoff Dr. and Mrs. Anthony Perlman Gar and Migsie Richlin Alena and David M. Schwaber Mr. and Mrs. W. Danforth Walker Dr. and Mrs. Murray Kappelman Mrs. Barbara Kines Mrs. Mary H. Lambert Therese* and Richard Lansburgh Dr. and Mrs. Yuan C. Lee Mr. Richard E. Levine and Mrs. Lori Balter Mr. and Mrs. Samuel G. Macfarlane Howard Majev and Janet Brandt Majev Hilary B. Miller and Dr. Katherine N. Bent Sally S. and Decatur H. Miller Mr. and Mrs. Bill Nerenberg Arnold and Diane Polinger Dr. Rudiger and Robin Breitenecker Dr. and Mrs. Donald D. Brown Mrs. Elizabeth A. Bryan Ms. Mary Catherine Bunting Dr. Robert P. Burchard Laura Burrows-Jackson Loretta Cain Mr. and Mrs. S. Winfield Cain James N. Campbell M.D. and Regina Anderson M.D. Cape Foundation Turner and Judy Smith Michael and Kathy Carducci Ms. Susan Chouinard Corckran Family Charitable Foundation Mr. and Mrs. John C. Corckran, Jr. Mr. and Mrs. David S. Cohen Mr. Harvey L. Cohen and Ms. Martha Krach Mrs. Miriam M. Cohen and Dr. Martin Taubenfeld Joan Piven-Cohen and Samuel T. Cohen Mr. and Mrs. Elbert Cole Mr. and Mrs. John W. Conrad, Jr. Dr. and Mrs. David Cooper Jane C. Corrigan Mrs. Rebecca M. Cowen-Hirsch Mr. and Mrs. William H. Cowie, Jr. Alan and Pamela Cressman Michael R. Crider Dr. and Mrs. George Curlin Mr. and Mrs. Edward A. Dahlka, Jr. Dr. and Mrs. Cornelius Darcy Mr. and Mrs. William F. Dausch Richard A. Davis and Edith Wolpoff-Davis James H. DeGraffenreidt and Mychelle Y. Farmer Kari Peterson, Benito R. and Ben DeLeon Arthur F. and Isadora Dellheim Foundation, Inc. Ms. Geraldine Diamond Drs. Susan G. Dorsey and Cynthia L. Renn in honor of Doris A. and Paul J. Renn, III Mr. and Mrs. A. Eric Dott Dr. and Mrs. Daniel Drachman Mr. and Mrs. Larry D. Droppa Bill and Louise Duncan Mr. and Mrs. Laurence Dusold Mr. Joseph Fainberg Dr. and Mrs. Donald O. Fedder Dr. and Mrs. Arnold S. Feldman Mr. and Mrs. Maurice R. Feldman Sherry and Bruce Feldman Mr. Stephen W. Fisher Winnie and Bill Flattery Dr. and Mrs. Jerome L. Fleg Ms. Lois Flowers Mr. and Mrs. John C. Frederick Mr. and Mrs. Kenneth Freed Jo Ann and Jack Fruchtman, Jr. Ms. Lois Fussell Mr. and Mrs. Denis C. Gagnon Mrs. Violet G. Raum Alison and Arnold Richman Dr. Scott and Frances Rifkin Rona and Arthur Rosenbaum Dr. and Mrs. Charles I. Shubin Joanne Gold and Andrew A. Stern Mr. and Mrs. Gideon N. Stieff, Jr. The Louis B. Thalheimer and Juliet A. Eurich Philanthropic Fund Richard C. and Julie I. Vogt Judy M. Witt * Deceased Darielle and Earl Linehan Mrs. June Linowitz and Dr. Howard Eisner Dr. James and Jill Lipton Dr. Diana Locke and Mr. Robert E. Toense Louise D. and Morton J. Macks Family Foundation, Inc. Genine Macks Fidler and Josh Fidler Steven and Susan Manekin Dr. Frank C. Marino Foundation Diane and Jerome Markman Mr. and Mrs. Abbott Martin Donald and Lenore Martin Linda and Howard Martin Maryland Charity Campaign Mr. Thomas Mayer Dr. Marilyn Maze and Dr. Holland Ford Mrs. Kenneth A. McCord Mrs. Marie McCormack Mr. and Mrs. Gerald V. McDonald Paul Meecham and Laura Leach Ellen and Tom Mendelsohn Dr. and Mrs. John O. Meyerhoff Sheila J. Meyers Judy and Martin Mintz Northern Pharmacy and Medical Equipment Jacqueline and Sidney W. Mintz Mr. and Mrs. Humayun Mirza Ms. Patricia J. Mitchell Drs. Dalia and Alan Mitnick Mr. and Mrs. Charles O. Monk, II Dr. and Mrs. C.L. Moravec Dr. Mellasenah Y. Morris Mrs. Joy Munster Louise and Alvin Myerberg* / Wendy and Howard* Jachman Mr. and Mrs. Rex E. Myers Drs. Roy A. and Gillian Myers Phyllis Neuman, Ricka Neuman and Ted Niederman David Nickels and Gerri Hall Mr. and Mrs. Roger F. Nordquist Number Ten Foundation Mr. and Mrs. Kevin O'Connor Drs. Erol and Julianne Oktay Mrs. Bodil Ottesen Olive L. Page Charitable Trust Dr. and Mrs. Lawrence C. Pakula Ellen and Stephen* Pattin Drs. Hans Pawlisch and Takayo Hatakeyama Michael Love Peace Beverly and Sam Penn Jan S. Peterson and Alison E. Cole Peter E. Quint Ms. Nancy Kohn Rabin Reverend and Mrs. Johnny Ramsey Dr. Jonas Rappeport and Alma Smith Mr. and Mrs. Frederick Rheinhardt Ms. Nancy Rice Nathan and Michelle Robertson Governing Members Gold $5,000 or more Anonymous (1) Mr. and Mrs. Edward J. Adkins Dr. and Mrs. Wilmot C. Ball, Jr. Jean and John Bartlett Ms. Arlene S. Berkis Barry D. and Linda F. Berman John and Bonnie Boland Mr. and Mrs. Leland Brendsel The Eddie C. and C. Sylvia Brown Family Foundation Ellyn Brown and Carl J. Schramm Mrs. Frances H. Burman* Mr. and Mrs. Robert Butler Nathan and Suzanne Cohen Foundation Dr. and Mrs. Stephen P. Cohen Mr. and Mrs. Albert R. Counselman, The RCM&D Foundation and RCM&D, Inc. Faith and Marvin Dean Ronald E. Dencker Ms. Margaret Ann Fallon Mr. Mark Fetting Andrea and Samuel Fine John Gidwitz Sandra and Barry Glass Betty E. and Leonard H. Golombek Mr. and Mrs. Stewart Greenebaum Mrs. Catharine S. Hecht* Joel and Liz Helke Mr. and Mrs. J. Woodford Howard, Jr. Mr. and Mrs. Richard E. Hug Susan and Steven Immelt Mr. and Mrs. Mark Joseph Mr. and Mrs. Harry Kaplan Mr. William La Cholter Mr. and Mrs. Stephen M. Lans Dr. David Leckrone and Marlene Berlin Eileen A. and Joseph H. Mason Dan and Agnes Mazur Norfolk Southern Foundation McCarthy Family Foundation Drs. William and Deborah McGuire Margot and Cleaveland Miller Jolie and John Mitchell Mr. and Mrs. Peter Muncie Drs. Virginia and Mark Myerson Dr. A. Harry Oleynick Dr. and Mrs. David Paige Linda and Stanley Panitz Mrs. Margaret Penhallegon Dr. Todd Phillips and Ms. Denise Hargrove The Ross & Grace Pierpont Charitable Trust Helene and Bill Pittler Mr. and Mrs. Richard Roca Jane S. Baum Rodbell and James R. Shapiro Mr. and Mrs. William Rogers Mike and Janet Rowan Dr. and Mrs.* John H. Sadler Ms. Tara Santmire and Mr. Ben Turner Mr. and Mrs. J. Mark Schapiro M. Sigmund and Barbara K. Shapiro Philanthropic Fund Ronald and Cathi Shapiro Francesca Siciliano and Mark Green Mr. and Mrs. Daniel Silver Mr. and Mrs. Harris J. Silverstone The Honorable and Mrs. James T. Smith, Jr. Ms. Patricia Stephens Dr. and Mrs. Carvel Tiekert Mr. and Mrs. Peter Van Dyke Mr. and Mrs. Loren Western Mr. Edward Wiese Mr. and Mrs. LeRoy A. Wilbur, Jr. Wolman Family Foundation Laurie S. Zabin Governing Members Silver $2,500 or more Mr. and Mrs. Arthur Chomas "In memory of Mrs. Gloria Chomas" "In memory of Reverend Howard G. Norton and Charles O. Norton" Anonymous (7) Diane and Martin* Abeloff Dr. and Mrs. Robert J. Adams Julianne and George Alderman Dr. and Mrs. Thomas E. Allen Ms. Susan Angell Mr.* and Mrs. Alexander Armstrong Jackie and Eugene Azzam Mr. and Mrs. Thomas H.G. Bailliere, Jr. Susan and David Balderson Donald L. Bartling Dr. and Mrs. Theodore M. Bayless Lynda and Kenneth Behnke Dr. and Mrs. Emile A. Bendit Mr. and Mrs. James Berg Max Berndorff and Annette Merz Alan and Bunny Bernstein Dr. and Mrs. Mordecai P. Blaustein Randy and Rochelle Blaustein Mr. Gilbert Bloom Dr. and Mrs. Paul Z. Bodnar Carolyn and John Boitnott Mr. and Mrs. John M. Bond, Jr. Mr. and Mrs. Charles R. Booth Dr. and Mrs. Stuart H. Brager Dr. Helene Breazeale John Galleazzi and Elizabeth Hennessey Mr. Ralph A. Gaston Mr. and Mrs. Ramon* F. Getzov Mrs. Ellen Bruce Gibbs Mr. and Mrs. Joseph S. Gillespie, Jr. Mr. Robert Gillison and Ms. Laura L. Gamble Ms. Jean Goldsmith Evee and Bertram Goldstein Mr. Mark Goldstein, Paley Rothman Brian and Gina Gracie Mrs. Ann Greif Dr. Diana Griffiths Drs. Felix and Mary T. Gyi Ms. Louise A. Hager Carole Hamlin and C. Fraser Smith Melanie and Donald Heacock Mr. and Mrs. Edward Heine Sandra and Thomas Hess Mr. Thomas Hicks Betty Jean and Martin* S. Himeles, Sr. Mr. and Mrs. Samuel Himmelrich Ms. Marilyn J. Hoffman Betsy and Len Homer Mr. Robert Honsa Mr. and Mrs. Jack* Hook Mr. and Mrs. A.C. Hubbard, Jr. Mr. and Mrs. William Hughes Elayne and Benno Hurwitz Susan and David Hutton Dr. Richard Johns Dr. Richard T. Johnson Richard and Brenda Johnson Barbara Katz Gloria B. and Herbert M. Katzenberg Fund Susan B. Katzenberg Louise and Richard Kemper Kent Family Foundation Suzan Russell Kiepper Mr. and Mrs. Young Kim Mr. Richard Kitson Dr. and Mrs. Richard A. Kline Paul and Susan Konka Mr. and Mrs. Steven S. Koren Barbara and David Kornblatt Ms. Patricia Krenzke and Mr. Michael Hall Miss Dorothy B. Krug Marc E. Lackritz and Mary B. DeOreo Sandy and Mark Laken Dr. and Mrs. Donald Langenberg Mr. and Mrs. Luigi Lavagnino Anna and George Lazar Mr. Kevin Lee Burt and Karen Leete Mr. and Mrs. Howard Lehrer Claus Leitherer and Irina Fedorova Ruth and Jay Lenrow Dr. and Mrs. Harry Letaw, Jr. C. Tilghman Levering Mr. and Mrs. Vernon L. Lidtke Dr. Frances and Mr. Edward Lieberman 34 Overture Baltimore Symphony Orchestra Membership Benefits 2011-2012 Season To learn more about becoming a member, please email membership@BSOmusic.org or call 410.783.8124. A contribution to the Baltimore Symphony Orchestra entitles you to special events and exclusive opportunities to enhance your BSO experience throughout the season. $75 BACH LEVEL MEMBERS Charles Blackburn, Glen Dehn, Chris Taylor, Thomas Shipley and Carol Bogash meet National Geographic Photographer Frans Lanting at an Allegretto Dinner. Stephen L. Root and Nancy A. Greene Mr. and Mrs. John Rounsaville Mr. and Mrs. Charles Rowins Robert and Lelia Russell T. Edgie Russell Neil J. and JoAnn N. Ruther Dr. John Rybock and Ms. Lee Kappelman Dr.* and Mrs. Marvin M. Sager Norm and Joy St. Landau Ilene and Michael Salcman Dr. Henry Sanborn Ms. Doris Sanders Dr. Jeannine L. Saunders Lois Schenck and Tod Myers Marilyn and Herb* Scher Dr. and Mrs. Horst K.A. Schirmer Mrs. Roy O. Scholz Mr. Jack Schwebel Carol and James Scott Cynthia Scott Ida & Joseph Shapiro Foundation and Diane and Albert* Shapiro Mr. Stephen Shepard and Ms. Peggy Hetrick Dr. and Mrs. Ronald F. Sher Mrs. Suzanne R. Sherwood Mr. Thom Shipley and Mr. Christopher Taylor Francine and Richard Shure Dr. and Mrs. Frederick Sieber The Sidney Silber Family Foundation Drs. Ruth and John Singer Mr. and Mrs. David Punshon-Smith Ms. Leslie J. Smith Ms. Nancy E. Smith Ms. Patricia Smith Mr. and Mrs. Lee M. Snyder Diane L. Sondheimer and Peter E. Novick Dr. and Mrs. John Sorkin Dr. and Mrs. Charles S. Specht Joan and Thomas Spence Melissa and Philip Spevak Mr. George H. Steele* Anita and Mickey Steinberg Mr. Edward Steinhouse Mr. James Storey Mr. and Mrs. Dale Strait Mr. Alan Strasser and Ms. Patricia Hartge Susan and Brian Sullam Mrs. Janis Swan Mr. and Mrs. Robert Taubman Dr. Bruce T. Taylor and Dr. Ellen Taylor Dr. Ronald J. Taylor Mr. and Mrs. Terence Taylor Sonia Tendler Ms. Susan B. Thomas Paul and Karen Tolzman Dr. Jean Townsend and Mr. Larry Townsend Donna Triptow and Michael Salsbury In Memory of Jeffrey F. Liss, Dr. and Mrs. Henry Tyrangiel John and Susan Warshawsky Martha and Stanley Weiman Peter Weinberg Mr. and Mrs. David Weisenfreund Ms. Beverly Wendland and Mr. Michael McCaffery Mr. and Mrs. Christopher West Dr. Edward Whitman Dr. and Mrs. Donald E. Wilson Mr. and Mrs. T. Winstead, Jr. Laura and Thomas Witt Mr. and Mrs. Richard Wolven Drs. Yaster and Zeitlin Chris and Carol Yoder Mr. and Mrs. Michael Young Paul A. and Peggy L.Young NOVA Research Company Dr. and Mrs. Robert E. Zadek BSO donors meet members of the Cirque de la Symphonie Cast at a post-concert reception. Ms. Elyse Vinitsky Janna Wehrle Mr. and Mrs. Sean Wharry Dr. Richard Worsham and Ms. Deborah Geisenkotter Ms. Anne Worthington Symphony Society Gold $1,500 or more David and Ursula Unnewehr "In memory of Laurel Jean Unnewehr" Anonymous (1) George and Frances Alderson Robert and Dorothy Bair Monsignor Arthur W. Bastress Patricia and Michael J. Batza, Jr. The Becker Family Fund Mr. and Mrs. John W. Beckley Mr. and Mrs. Stanley Ber Mr. Edward Bersbach Mr. and Mrs. Albert Biondo Mr. Joseph G. Block Venable Foundation, Inc. Honorable and Mrs. Anthony Borwick Steven Brooks and Ann Loar Brooks Mr. Charles Cahn, II Donna and Joseph Camp Mr. Mark Chambers Mr. Robert M. Cheston Mr. and Mrs. Howard Cohen Mr. and Mrs. Jonas M.L. Cohen Ms. Sophie Dagenais Mrs. Marcia K. Dorst Donna Z. Eden and Henry Goldberg Mrs. Nancy S. Elson Deborah and Philip English Mr. and Mrs. Charles Fax Mr. Ken French Mr. and Mrs. Leland Gallup Dr. and Mrs. Donald S. Gann Mr. and Mrs. Stanford Gann, Sr. Mr. Louis Gitomer Drs. Ronald and Barbara Gots Mr. Jonathan Gottlieb Mr. Ronald Griffin and Mr. Shaun Carrick Sandra and Edward J. Gutman Mrs. Ellen Halle Ms. Gloria Shaw Hamilton Dr. Mary Harbeitner Mr. Gary C. Harn Mr. James F. Hart Mr.* and Mrs. E. Phillips Hathaway Mr. and Mrs. George B. Hess, Jr. Nancy H. Hirsche Donald W. and Yvonne M. Hughes Mr. and Mrs. James G. Jones Mr. Max Jordan Dr. Robert Lee Justice and Marie Fujimura-Justice Gail and Lenny Kaplan Ms. Margaret F. Keane Harriet* and Philip Klein Andrew Lapayowker and Sarah McCafferty Mrs. Elaine Lebar Colonel William R. Lee Mr. and Mrs. Jeffrey Legum Mr. and Mrs. Leonard M. Levering, III Ms. Susan Levine Dr. and Mrs. Michael O. Magan Mr. and Mrs. Luke Marbury Mr. Winton Matthews Carol and George McGowan Bebe McMeekin Alvin Meltzer Mr. Charles Miller Mrs. Mildred S. Miller Mr. and Mrs. M. Peter Moser Mr. and Mrs. Robert C. Neiman Ms. Patricia Normile Mr. and Mrs. Frank Palulis The Pennyghael Foundation, Inc. Mr. and Mrs. Stephen Petrucci Mr. and Mrs. James Piper Mr. and Mrs. John Brentnall Powell Mr. Larry Prall Mr. Joseph L. Press Ms. Margaret K. Quigg Dr. Tedine Ranich and Dr. Christian Pavlovich Mr. and Mrs. Michael Renbaum Margaret and Lee Rome Martha and Saul Roseman Mr. and Mrs. William Saxon, Jr. The Honorable William Donald Schaefer* Ms. Phyllis Seidelson Mr. Jeffrey Sharkey Mrs. Barbara Skillman Mr. and Mrs. Edgar Smith Mr. and Mrs. Richard D. Spero Mrs. Ann Stein Dr. John F. Strahan Harriet Stulman Mr. and Mrs. Albert Sun Ms. Sandra Sundeen Mr. and Mrs. Richard Swerdlow Dr. Martin Taubenfeld Dr. Robert E. Trattner Dr. John K. Troyer and Ms. Ellen Pendleton-Troyer Mr. Robert Tung � Two complimentary tickets to a Donor Appreciation Concert or event (R) � BSO Membership Card � Opportunity to purchase tickets prior to public sale* � 10% discount on music, books and gifts at the Symphony Store and An Die Musik � Invitation to one Open Rehearsal (R) $150 BEETHOVEN LEVEL MEMBERS All benefits listed above, plus ... � Invitation to an additional Open Rehearsal (R) � Two complimentary drink vouchers Symphony Society Silver $1,000 or more Dr. John Boronow and Ms. Adrienne Kols "In memory of John R.H. and Charlotte Boronow" Mrs. Frank A. Bosworth Jr. "In honor of Marin Alsop" Mr. Kevin F. Reed "In honor of Steven R. Schuh" Anonymous (18) Mr. and Mrs. Anthony Abell Mrs. Rachael Abraham Mr. and Mrs. Ronald Abrams Dr. and Mrs. Marshall Ackerman Virginia K. Adams and Neal M. Friedlander, M.D. Mr. and Mrs. Carter Adkinson Charles T. and Louise B. Albert Dr. Marilyn Albert Mr. Owen Applequist Mr. Paul Araujo Dr. Juan I. Arvelo Mr. Thomas Atkins Leonard and Phyllis Attman Mr. William Baer and Ms. Nancy Hendry Mrs. Jean Baker Mr. George Ball Ms. Penny Bank Mr. and Mrs. L. John Barnes Dr. and Mrs. Bruce Barnett Mr. and Mrs. Edward Barta Susan A. Battye Eric* and Claire Beissinger Ms. Elaine Belman Mr. and Mrs. Charles Berry, Jr. David and Sherry Berz Mr. and Mrs. Edwin and Catherine Blacka Reverend James Blackburn Dr. Lawrence Blank Nancy Patz Blaustein Ms. Dorothy Bloomfield Mr. and Mrs. Bruce I. Blum Mr. James D. Blum Ms. Carol Bogash Mr. Howard Bowen Ms. Betty Bowman David E. and Alice R. Brainerd M. Susan Brand and John Brand Drs. Joanna and Harry Brandt Dr. and Mrs. Mark J. Brenner The Broadus Family Barbara and Ed Brody Dr. Galen Brooks Gordon F. Brown Ms. Jean B. Brown Mr. Robert Brown Ms. Elizabeth J. Bruen Ms. Jeanne Brush Mr. Walter Budko Ms. Ronnie Buerger Bohdan and Constance Bulawka Mrs. Edward D. Burger Ms. Jennifer Burgy Ms. Judy Campbell Mrs. Mary Jo Campbell Mr. and Mrs. John Carey Russ and Beverly Carlson Jonathan and Ruthie Carney Marilyn and David Carp Mr. and Mrs. Claiborn Carr Mr. James T. Cavanaugh, III Mr. Richard Cerpa Mr. David P. Chadwick and Ms. Rosalie Lijinsky Bradley Christmas and Tara Flynn Dr. Mark Cinnamon and Ms. Doreen Kelly Ms. Dawna Cobb and Mr. Paul Hulleberg Jane E. Cohen Mrs. Wandaleen Cole Mr. and Mrs. Alan Colegrove Ms. Patricia Collins Ms. Kathleen Costlow Mr. and Mrs. Charles C. Counselman, Jr. Mr. and Mrs. Arthur C. Cox Mr. Matthew R. Coyne and Mr. Devon W. Hill $250 BRAHMS LEVEL MEMBERS All benefits listed above, plus ... � 10% discount on tickets to BSO performances* � Two additional complimentary tickets to a Donor Appreciation Concert or event (R) $500 BRITTEN LEVEL MEMBERS All benefits listed above, plus ... � Invitation to the Premium Evening Open Rehearsal (R) � Donor recognition in one issue of Overture magazine � Two additional complimentary drink vouchers � Four complimentary dessert vouchers � Invitation to the Opening Night Celebration Cast Party $1,000 SYMPHONY SOCIETY All benefits listed above, plus ... � Invitations to additional Cast Parties, featuring BSO musicians and guest artists (R) � Year-long donor recognition in Overture magazine � Two complimentary passes to the Baltimore Symphony Associates' Decorators' Show House � Two one-time passes to the Georgia and Peter G. Angelos Governing Members Lounge � Invitation to Season Opening Gala (R/$) � Invitation for two to a Musicians' Appreciation event � Opportunity to attend one Governing Members Candlelight Conversation per year � Reduced rates for select BSO events $2,500 GOVERNING MEMBERS All benefits listed above, plus ... � Invitation to exclusive On-Stage Rehearsals (R) � Governing Member Allegretto Dinners (R/$) � Complimentary parking upon request through the Ticket Office � Season-long access to the Georgia and Peter G. Angelos Governing Members Lounge � Invitation to the BSO's Annual Electoral Meeting � VIP Ticket Concierge service including complimentary ticket exchange � Opportunity to participate in exclusive Governing Member trips and upcoming domestic tours (R/$) � Invitation to all Candlelight Conversations (R/$) � Priority Box Seating at the Annual Donor Appreciation Concert $5,000 GOVERNING MEMBERS GOLD All benefits listed above, plus ... � Complimentary copy of upcoming BSO recording signed by Music Director Marin Alsop (one per season) � Exclusive events including meet-and-greet opportunities with BSO musicians and guest artists $10,000 MAESTRA'S CIRCLE All benefits listed above, plus ... � Exclusive and intimate events catered to this special group including post-concert receptions with some of the top artists in the world who are performing with the BSO � One complimentary use of the Georgia and Peter G. Angelos Governing Members Lounge facilities for hosting personal or business hospitality events ($) (R) Reservation required and limited to a first-come basis. ($) Admission fee *Some seating and concerts excluded. LEGATO CIRCLE Legato Circle recognizes those patrons who have included the BSO in their estate plans. If you have questions or wish to explore these arrangements, please call Kate Caldwell, 410.783.8087. Support your BSO and make a donation today! May 3, 2012 � June 10, 2012 35 Corporations $100,000 or more BSO donors enjoy refreshments at an Open Rehearsal. BSO patrons mingle prior to an exclusive Open Rehearsal of Voices of Light. Edwin H. Moot Delmon Curtis Morrison Lester and Sue Morss Dr. and Mrs. Hugo W. Moser Mr. Howard Moy Ms. Marguerite Mugge Dr. and Mrs. Donald Mullikin Mr. and Mrs. Gregory Murray Ms. Marita Murray Mr. Harish Neelakandan and Ms. Sunita Govind Mr. Irving Neuman Douglas and Barbara Norland Ms. Irene E. Norton and Dr. Heather T. Miller Anne M. O'Hare Mr. Garrick Ohlsson Mr. James O'Meara and Ms. Marianne O'Meara Ms. Margaret O'Rourke and Mr. Rudy Apodaca Mr. and Mrs. William Osborne Mrs. S. Kaufman Ottenheimer Mr. and Ms. Ralph Ottey Ms. Judith Pachino Ms. Janet Parente Mr. and Mrs. Thomas Parr Mr. and Mrs. Richard Parsons Ms. Courtney C. Pastrick Dr. and Mrs. Arnall Patz Mrs. J. Stevenson Peck Mr. and Mrs. William Pence Jerry and Marie Perlet Dr. and Mrs. Karl Pick Ms. Mary Carroll Plaine Mr. and Mrs. Morton B. Plant Herb and Rita Posner Thomas Powell Robert E. and Anne L. Prince Captain and Mrs. Carl Quanstrom Dr. and Mrs. Richard Radmer Mr. and Mrs. Terry Randall Ted and Stephanie Ranft Mr. and Mrs. William E. Ray Mr. Charles B. Reeves, Jr. Mr. Arend Ried Mr. Thomas Rhodes Mr. and Mrs. Thomas P. Rice Mr. and Mrs. Carl Richards Mr. and Mrs. Herbert Ridder David and Mary Jane Roberts Mrs. Randall S. Robinson Drs. Helena and David Rodbard Dr. and Mrs. Gerald Rogell Joellen and Mark Roseman Ann and Frank Rosenberg Mr. and Mrs. Robert Rosenberg Joanne and Abraham Rosenthal Dr. Steven R. Rosenthal Dr. and Mrs. Saul D. Roskes Mr. and Mrs. Randolph* S. Rothschild Colonel Joseph H. Rouse Mr.* and Mrs. Nathan G. Rubin Mr. J. Kelly Russell John B. Sacci and Nancy Dodson Sacci Beryl and Philip Sachs Mr. Lee Sachs Ms. Andi Sacks Dr. and Mrs. Arthur Sagoskin Peggy and David Salazar Ms. Carolyn Samuels Ms. Vera Sanacore Mr. and Mrs. Gilbert Sandler Mr. and Mrs. Nathaniel Sandler Mr. and Mrs. Ace J. Sarich Mr. Thomas Scalea Mr. and Mrs. Benjamin Schapiro Mr. and Mrs. David Scheffenacker Mrs. Barbara K. Scherlis Mr. and Mrs. Albert S. Schlachtmeyer Ronald and Cynthia Schnaar Mr. and Mrs. Eugene H. Schreiber Estelle D. Schwalb Ken and Nancy Schwartz Bernard and Rita Segerman Mr. and Mrs. Norman A. Sensinger, Jr. Mr. Sanford Shapiro Mr. and Mrs. Brian T. Sheffer Reverend Richard Wise Shreffler Mr. and Mrs. Daniel Shykind Mr. Richard Silbert Ronnie and Rachelle Silverstein Mr. Donald M. Simonds Ellwood and Thelma Sinsky Mr. Richard Sipes Marshall and Deborah Sluyter Mr. and Mrs. Robert Smelkinson Individuals (continued) Mr. and Mrs. Jeffrey Crooks Mr. and Mrs. R. Gregory Cukor John and Kate D'Amore Beatrice Dane Mr. David O. Dardis Mr. and Mrs. Thomas Darr Mr. John Day and Mr. Peter Brehm Joan de Pontet Mr. and Mrs. William C. Dee Dr. and Mrs. Thomas DeKornfeld Mr. Duane Calvin DeVance Mr. and Mrs. Mathias J. DeVito Ms. Priscilla Diacont Jackson and Jean H. Diehl Marcia Diehl and Julie Kurland Ms. Maribeth Diemer Nicholas F. Diliello Walter B. Doggett, III Mr. and Mrs. Robert Duchesne Ms. Lynne Durbin Mr. Terence Ellen and Ms. Amy Boscov Mr. and Mrs. Stuart Elsberg and the Elsberg Family Foundation Sharon and Jerry Farber Kenneth and Diane Feinberg Mr. Mark Felder Dr. and Mrs. Marvin J. Feldman Mrs. Sandra Ferriter Joe and Laura Fitzgibbon Mr. and Mrs. Anthony Fitzpatrick Wojciech and Alicja Fizyta Dr. Charles W. Flexner and Dr. Carol Trapnell Mr. and Mrs. John Ford Dr. and Mrs. Nicholas J. Fortuin Dr. and Mrs. William Fox Dr. Neal M. Friedlander Mr. and Mrs. R. Friedlander Mr. and Mrs. Roberto B. Friedman William and Carol Fuentevilla Mr. Ron Gerstley and Ms. Amy Blank Dr. and Mrs. Frank A. Giargiana, Jr. Mr. and Mrs. William Gibb Mr. Price and Dr. Andrea Gielen Mr. Peter Gil Lori and Gene Gillespie Ms. Iva Gillet Dr. and Mrs. Sanford Glazer Mr. Harvey Gold Mr. Jonathan Goldblith Mr. Kim Z. Golden and Ms. Jean M. Suda William R. and Alice Goodman Dr. and Mrs. Joseph Gootenberg Barry E. and Barbara Gordon Dr. and Mrs. Sheldon Gottlieb Mr. Alexander Graboski Larry D. Grant and Mary S. Grant Erwin and Stephanie Greenberg Mr. Robert Greenfield Dr. and Mrs. Geoffrey Greif Mr. Charles H. Griesacker Mark and Lynne Groban Mary and Joel Grossman Mr. and Mrs. Stuart Grossman Mrs. LaVerne Grove Mr. and Mrs. Donald Gundlach Mr. and Mrs. Norman M. Gurevich Mr. and Mrs. Henry L. Gutman Ms. Faith Hagerty Mr. and Mrs. J.M. Dryden Hall, Jr. Dr. Jane Halpern and Mr. James B. Pettit Ms. Lana Halpern Ms. Carole Finn Halverstadt Mr. and Mrs. John Hanson Sara and James A. Harris, Jr. Dr. and Mrs. S. Elliott Harris Mr. Fred Hart and Ms. Elizabeth Knight Mr. John Healy Mr. David Heckman Mr. and Mrs. Robert Helm Mr. Lloyd Helt Ms. Doris T. Hendricks Mr. and Mrs. Eugene Herman Ellen and Herb Herscowitz David A. and Barbara L. Heywood Dr. Stephen L. Hibert Mr. Martin K.P. Hill Mr. and Mrs. Martin Himeles Mr. and Mrs. Bruce Hoffberger Edward Hoffman Mr. and Mrs. Gill Holland Dr. R. Gary Hollenbeck Mr. William Holmes Mr. and Mrs. John Hornady, III Ms. Irene Hornick Mr. Herbert H. Hubbard $50,000 or more $25,000 or more Ms. Elizabeth Huttar Drs. Paul and Deborah Young-Hyman Mr. David Imre and Mr. Thomas Crusse Madeleine and Joseph Jacobs Carol Jantsch and David Murray Mrs. Janet Jeffein Dr. Helmut Jenkner and Ms. Rhea I. Arnot Betty W. Jensen Mrs. Kathy Johnson Mr. R. Tenney Johnson Mr. J. Lee Jones Mrs. Helen Jordahl Ms. Jennifer Jose Mrs. Amri Joyner Ann and Sam Kahan Dr. Henry Kahwaty Ms. Carolyn Kaplan Mary Ellen and Leon Kaplan Mrs. Harry E. Karr Richard M. Kastendieck and Sally J. Miles Mr. and Mrs. William E. Kavanaugh Dr. and Mrs. Haiq Kazazian, Jr. Mr. Frank Keegan Mr. and Mrs. Charles Kelber Mr. John P. Keyser Virginia and Dale Kiesewetter Mr. Andrew Klein George and Catherine Klein Mr. William Klemer Mr. and Mrs. Stewart Kohl Kohn Foundation Mr. and Mrs. Lawrence Koppelman Dr. and Mrs. Jeffrey Kremen Francine and Allan Krumholtz Mr. Charles Kuning Richard and Eileen Kwolek Mr. and Mrs. Charles Lamb Susan and Stephen Langley John and Diane Laughlin Ms. Rebecca Lawson Melvyn and Fluryanne Leach Mr. Peter Leffman Mr. and Mrs. Charles F. Legters Mr. and Mrs. Jeffrey Lemieux Mr. Ronald P. Lesser Sara and Elliot* Levi Dr. and Mrs. Bernard Levy Mr. Leon B. Levy Mr. Richard Ley Mrs. E.J. Libertini Ms. Joanne Linder Mr. Dennis Linnell George and Julie Littrell Mr. and Mrs. K. Wayne Lockard Carol Brody Luchs and Kenneth Luchs Dr. and Mrs. Peter C. Luchsinger Mr. and Mrs. Arthur Lynch Ms. Louise E. Lynch Michael and Judy Mael Ms. Lauretta R. Maisel Ms. Gail G. and F. Landis Markley Mr. Richard Marriott Ms. Joan Martin Jane Marvine Mr. Joseph S. Massey Susan J. Mathias Dr. and Mrs. Robert D. Mathieson Mr. and Mrs. Jordan Max Dr. and Mrs. Donald E. McBrien Mrs. Linda M. McCabe Mr. Chris McGeachy Mr. Thomas B. McGee Mr. and Mrs. James McGill Ms. Kathleen McGuire Mr. George McKinney Mr. Richard C. McShane Mr. and Mrs. Scott A. McWilliams Mr. and Mrs. David Meese Mr. and Mrs. David Menotti Mr. Timothy Meredith Mr. Alan Merenbloom Mr. and Mrs. Abel Merrill Daniel and Anne Messina Mr. and Mrs. Robert E. Michel, Jr. Drs. Alan and Marilyn Miller Mrs. Anne Miller Mr. and Mrs. Charles R. Miller Mr. and Mrs. Gary Miller Mr. and Mrs. J. Jefferson Miller, II Mr. and Mrs. James D. Miller Mr. Lee Miller Mr. Louis Mills Dr. and Mrs. Stanley R. Milstein Noah and Carol C. O'Connell Minkin Ms. Adrianne Mitchell Lloyd E. Mitchell Foundation Mr. Nathan Mook 36 Overture BSO Board of Directors 2011-2012 Season OFFICERS Kenneth W. DeFontes, Jr.* Chairman Kathleen A. Chagnon, Esq.* Secretary Lainy LeBow-Sachs* Vice Chair Stephen D. Shawe, Esq. The Honorable James T. Smith, Jr. Solomon H. Snyder, M.D.* Andrew A. Stern William R. Wagner LIFE DIRECTORS Peter G. Angelos, Esq. Willard Hackerman H. Thomas Howell, Esq. Yo-Yo Ma Harvey M. Meyerhoff Decatur H. Miller, Esq. Linda Hambleton Panitz DIRECTORS EMERITI Barry D. Berman, Esq. Richard E. Hug M. Sigmund Shapiro CHAIRMAN LAUREATE Michael G. Bronfein Calman J. Zamoiski, Jr. BOARD OF TRUSTEES BALTIMORE SYMPHONY ENDOWMENT TRUST Benjamin H. Griswold, IV Chairman Terry Meyerhoff Rubenstein Secretary Michael G. Bronfein Kenneth W. DeFontes, Jr. Mark R. Fetting Paul Meecham The Honorable Steven R. Schuh Calman J. Zamoiski, Jr. *Board Executive Committee ^ex-officio Governing Members Denise Hargrove and Todd Phillips meet Violinist Hillary Hahn at the Gala. Mr. and Mrs. Norman Smith Richard and Gayle Smith Mr. and Mrs. Scott Smith Mr. and Mrs. William J. Sneeringer, Jr. Mr. and Mrs. John Snyder Laurie M. Sokoloff Mr. Don Spero and Ms. Nancy Chasen Jennifer Kosh Stern and William H. Turner Dr. and Mrs. F. Dylan Stewart Ms. Barbara Stricklin Ms. Mary K. Sturtevant Ms. Jean M. Suda and Mr. Kim Z. Golden Ms. Dianne Summers Margot and Phil Sunshine Mr. James Sutherlin Mr. Brenan Swartz Ms. Margaret Taliaferro Mr. Tim Teeter Mr. Harry Telegadas Mr. Marc J. Teller Patricia Thompson and Edward Sledge Reid and Elizabeth Thompson Mr. and Mrs. William Thompson Mr. Peter Threadgill Mr. and Mrs. David Traub Mr. and Mrs. Israel S. Ungar Mr. and Mrs. Robert Vogel Ms. Mary Frances Wagley Ms. Joan Wah and Ms. Katherine Wah Mr. Robert Walker Dr. Philip D. Walls Dr. Robert F. Ward Mr. and Mrs. Guy T. Warfield Marilyn and David Warshawsky Mr. and Mrs. Jay Weinstein Dr. and Mrs. Matthew Weir Anne Weiss and Joseph Schwartz Drs. Susan and James Weiss Ms. Lisa Welchman David Wellman and Marjorie Coombs Wellman Ms. Camille B. Wheeler and Mr. William B. Marshall Mrs. Margaret Wheeler Dr. Barbara White Jill and Douglas White Mr. Michael White Mr. and Mrs. Stephen Wilcoxson Mr. Barry Williams Mrs. Gerald H. Williams Ms. Ann Willis Mr. and Mrs. Judy Wilpon Sylvia and Peter Winik Robert and Jean Wirth Mr. and Mrs. David K. Wise Mr. Orin Wise Marc and Amy Wish Dr. and Mrs. Frank R. Witter Mr. John W. Wood Ms. Jean Wyman Mr. Alexander Yaffe Ms. Norma Yess H. Alan Young and Sharon Bob Young, Ph.D. Christine Zaharka Andrew Zaruba Dr. Mildred Zindler SECU Towson University Valley Motors Venable Foundation Zuckerman Spaeder LLP Richard and Julie Vogt attend an exclusive Governing Member Event. $2,500 or more ALH Foundation, Inc. The Campbell Foundation, Inc. The Aaron Copland Fund for Music The Harry L. Gladding Foundation Johns Hopkins Health System Israel and Mollie Myers Foundation Judith and Herschel Langenthal Jonathan and Beverly Myers The Jim and Patty Rouse Charitable Foundation, Inc. The Wiessner Foundation for Children, Inc. Paul Meecham* President & CEO The Honorable Steven R. Schuh* Treasurer BOARD MEMBERS Jimmy Berg A.G.W. Biddle, III Robert L. Bogomolny Barbara M. Bozzuto* Constance R. Caplan Robert B. Coutts $2,500 or more Downtown Piano Works Federal Parking, Inc. Jos. A. Bank Clothiers, Inc. S. Kann Sons Company Foundation $1,000 or more Bedford Oak Advisors, LLC Delmarva Surety Dimick Foundation Eagle Coffee Company, Inc. Ellin & Tucker, Chartered Eyre Bus, Tour & Travel Harford Mutual Insurance Companies Independent Can Company J.G. Martin Company, Inc. Marshfield Associates, Inc. Mercer Offit Bank R&H Motor Cars Renaissance Charitable Foundation, Inc. Rosenberg Martin Greenberg, LLP Semmes, Bowen & Semmes Taco Bell Target Tower Bancorp Von Paris Moving & Storage $1,000 or more Anonymous (1) Cameron and Jane Baird Foundation Baltimore Community Foundation Margaret O. Cromwell Family Fund Delaplaine Foundation Robert Wood Johnson Foundation Ethel M. Looram Foundation, Inc. Mangione Family Enterprises Rathmann Family Foundation Share Our Strength Susan G. Dorsey, Ph.D. ^ Governing Members Chair George A. Drastal* Alan S. Edelman* Susan G. Esserman* Michael G. Hansen Beth J. Kaplan Murray M. Kappelman, M.D. Sandra Levi Gerstung Ava Lias-Booker, Esq. Susan M. Liss, Esq.* Howard Majev, Esq. Liddy Manson David Oros Marge Penhallegon ^ President, Baltimore Symphony Associates Michael P. Pinto Margery Pozefsky Scott Rifkin, M.D. Ann L. Rosenberg Bruce E. Rosenblum* Government Grants Mayor and City Council of Baltimore and the Baltimore Office of Promotion and the Arts Baltimore County Executive, County Council, and the Commission for the Arts and Sciences Carroll County Government & the Carroll County Arts Council The Family League of Baltimore City, Inc. Howard County Government & the Howard County Arts Council The Maryland Emergency Management Agency Maryland State Arts Council Maryland State Department of Education Arts and Humanities Council of Montgomery County National Endowment for the Arts Foundations $50,000 or more William G. Baker, Jr. Memorial Fund Creator of the Baker Artist Award www.bakerartistawards.org The Annie E. Casey Foundation The Hearst Foundation, Inc. Hecht-Levi Foundation Ryda H. Levi* and Sandra Levi Gerstung Harley W. Howell Charitable Foundation The Andrew W. Mellon Foundation Joseph & Harvey Meyerhoff Family Charitable Funds Henry and Ruth Blaustein Rosenberg Foundation and Ruth Marder* The Rouse Company Foundation Endowment The BSO gratefully acknowledges the generosity of the following donors who have given Endowment Gifts to the Sustaining Greatness and/or the Heart of the Community campaigns. * Deceased Anonymous (6) Diane and Martin* Abeloff AEGON USA Alex. Brown & Sons Charitable Foundation Dr. and Mrs. Thomas E. Allen Eva and Andy Anderson Anne Arundel County Recreation and Parks Department William G. Baker, Jr. Memorial Fund Mr. H. Furlong Baldwin Baltimore Community Foundation Baltimore County Executive, County Council and the Commission on Arts and Baltimore Office of Promotion and the Arts The Baltimore Orioles Georgia and Peter Angelos The Baltimore Symphony Associates, Marge Penhallegon, President Patricia and Michael J. Batza, Jr. Henry and Ruth Blaustein Rosenberg Foundation The Jacob and Hilda Blaustein Foundation Mr. and Mrs. Bruce I. Blum Dr. and Mrs. John E. Bordley* Jessica and Michael Bronfein Mr. and Mrs. George L. Bunting, Jr. Dr. and Mrs. Oscar B.* Camp Carefirst BlueCross BlueShield CitiFinancial Constellation Energy Mr. and Mrs. William H. Cowie, Jr. Richard A. Davis and Edith Wolpoff-Davis Rosalee C. and Richard Davison Foundation Mr. L. Patrick Deering*, Mr. and Mrs. Albert R. Counselman, The RCM&D Foundation and RCM&D, Inc. $25,000 or more Paul M. Angell Family Foundation Jacob and Hilda Blaustein Foundation Ann and Gordon Getty Foundation The Goldsmith Family Foundation, Inc. Peggy & Yale Gordon Trust Young Artist Sponsor Ensign C. Markland Kelly, Jr. Memorial Foundation Middendorf Foundation The Salmon Foundation Zanvyl & Isabelle Krieger Fund Upcoming Members-Only Events! > Cast Party Don't miss your chance to meet Andr� Watts as he makes his return to the BSO stage to perform Rachmaninoff's ravishing Piano Concerto no. 2. Event begins following the performance. Friday, May 11. Members $1,000+ > On-Stage Rehearsal Sit beside your favorite BSO musicians as the Orchestra rehearses under the baton of Maestro G�nther Herbig. Mozart's G minor symphony and Beethoven's C minor piano concerto, in the exceptional hands of young American pianist Jonathan Biss, are followed by Schubert's "Little C Major" symphony. Thursday, May 31 at 9:15 a.m. Members $2,500+ $10,000 or more Anonymous (1) Baltimore Women's Giving Circle Clayton Baker Trust Bunting Family Foundation The Morris and Gwendolyn Cafritz Foundation Degenstein Foundation Francis Goelet Charitable Lead Trusts Betty Huse MD Charitable Trust Foundation The Abraham and Ruth Krieger Family Foundation John J. Leidy Foundation, Inc. The Letaw Family Foundation Macht Philanthropic Fund of the AJC Cecilia Young Willard Helping Fund Wright Family Foundation Corporations $10,000 or more Atapco Robert W. Baird & Company Beltway Fine Wines CareFirst BlueCross BlueShield IWIF Macy's McKesson Miles & Stockbridge Notre Dame of Maryland University Pandora Jewelry LLC Ritz-Carlton Residences, Inner Harbor, Baltimore Washington National Opera Wells Fargo Foundation > Allegretto Dinner Join us prior to the performance of Tchaikovsky's Violin Concerto featuring renowned violinist Nadja Salerno-Sonnenberg for cocktails, appetizers and an elegant dinner. Thursday, June 7 at 6 p.m. Members $2,500+ > Annual Donor Appreciation Concert Maestra Marin Alsop leads the Orchestra and members of the groundbreaking BSO Academy for an exclusive performance not available to the general public! Saturday, June 30 at 7:30 p.m. Members $75+ All Events subject to change. To enjoy these events or to receive more information, please call the BSO's Events hotline for Members at 410.783.8074 or email MemberEvents@BSOmusic.org. $5,000 or more Arts Consulting Group, Inc. Classical Movements, Inc. Corporate Office Properties Trust D.F. Dent & Company Lockheed Martin MS2 McGuireWoods LLP Mister, Burton, Palisano & French, LLC P&G Fund of the Greater Cincinnati Foundation $5,000 or more Anonymous (1) The Arts Federation Edward Collins Fund for American Music The Charles Delmar Foundation Helen P. Denit Charitable Trust Edith and Herbert Lehman Foundation, Inc. Ronald McDonald House Charities of Baltimore, Inc. The John Ben Snow Memorial Trust May 3, 2012 � June 10, 2012 37 Baltimore Symphony Staff Paul Meecham President and CEO Leilani Uttenreither Executive Assistant Beth Buck Vice President and CFO Carol Bogash Vice President of Education and Community Engagement Deborah Broder Vice President of BSO at Strathmore Dale Hedding Vice President of Development Eileen Andrews Vice President of Marketing and Communications Matthew Spivey Vice President of Artistic Operations ARTISTIC OPERATIONS Toby Blumenthal Manager of Facility Sales Tiffany Bryan Manager of Front of House Erik Finley Artistic Planning Manager and Assistant to the Music Director Anna Harris Operations Assistant Alicia Lin Director of Operations and Facilities Chris Monte Assistant Personnel Manager Marilyn Rife Director of Orchestra Personnel and Human Resources Meg Sippey Artistic Coordinator EDUCATION Annemarie Guzy Director of Education Hana Moford Education Associate Nick Skinner OrchKids Manager Larry Townsend Education Assistant Dan Trahey OrchKids Artistic Director DEVELOPMENT Jennifer Barton Individual Giving Manager Margaret Blake Development Office Manager Allison Burr-Livingstone Director of Institutional Giving Kate Caldwell Director Philanthropic Services Stephanie Johnson Donor Relations Manager, BSO at Strathmore Becky McMillen Donor Stewardship Coordinator Rebecca Potter Institutional Giving Specialist Joanne M. Rosenthal Director of Major Gifts, Planned Giving and Government Relations Rebecca Sach Director of Annual Fund Richard Spero Community Liaison for BSO at Strathmore FACILITIES OPERATIONS Shirley Caudle Housekeeper Bertha Jones Senior Housekeeper Curtis Jones Building Services Manager Ivory Miller Maintenance Facilities FINANCE AND INFORMATION TECHNOLOGY Tom Allan Controller Sophia Jacobs Senior Accountant Janice Johnson Senior Accountant Sybil Johnson Payroll and Benefits Administrator Evinz Leigh Administration Associate Chris Vallette Database and Web Administrator MARKETING AND PUBLIC RELATIONS Brendan Cooke Group Sales Manager Rika Dixon Director of Marketing and Sales Laura Farmer Public Relations Manager Derek A. Johnson Manager of Single Ticket Sales Theresa Kopasek Marketing and PR Associate Samanatha Manganaro Direct Marketing Coordinator Alyssa Porambo PR and Publications Coordinator Michael Smith Digital Marketing and E-Commerce Coordinator Elisa Watson Graphic Designer TICKET SERVICES Amy Bruce Manager of Special Events and VIP Ticketing J. Morgan Gullard Ticket Services Agent Adrian Hilliard Senior Ticket Services Agent, Strathmore Timothy Lidard Assistant Ticket Services Manager Kathy Marciano Director of Ticket Services Peter Murphy Ticket Services Manager Michael Suit Ticket Services Agent BALTIMORE SYMPHONY ASSOCIATES Larry Albrecht Symphony Store Volunteer Manager Louise Reiner Office Manager Endowment (continued) DLA Piper Rudnick Gray Cary US LLP Carol and Alan Edelman Dr. and Mrs. Robert Elkins Deborah and Philip English Esther and Ben Rosenbloom Foundation France-Merrick Foundation Ramon F.* and Constance A. Getzov John Gidwitz The Goldsmith Family Foundation, Inc. Joanne Gold and Andrew A. Stern Jody and Martin Grass Louise and Bert Grunwald H&S Bakery Mr. John Paterakis Harford County Hecht-Levi Foundation Ryda H. Levi* and Sandra Levi Gerstung Betty Jean and Martin* S. Himeles, Sr. Hoffberger Foundation Howard County Arts Council Harley W. Howell Charitable Foundation The Huether-McClelland Foundation Mr. and Mrs. Richard E. Hug Independent Can Company Laura Burrows-Jackson Beth J. Kaplan and Bruce P. Sholk Dr. and Mrs. Murray M. Kappelman Susan B. Katzenberg Marion I. and Henry J. Knott Scholarship Fund The Zanvyl and Isabelle Krieger Fund Anne and Paul Lambdin Therese* and Richard Lansburgh Sara and Elliot* Levi Bernice and Donald S. Levinson Darielle and Earl Linehan Susan and Jeffrey* Liss Lockheed Martin E. J. Logan Foundation M&T Bank Macht Philanthropic Fund of the AJC Mrs. Clyde T. Marshall Maryland Department of Business and Economic Development The Maryland State Arts Council MD State Department of Education McCarthy Family Foundation McCormick & Company, Inc. Mr. Wilbur McGill, Jr. MIE Properties, Inc. Mr. Edward St. John Mercantile-Safe Deposit & Trust Joseph & Harvey Meyerhoff Family Charitable Funds Sally and Decatur Miller Ms. Michelle Moga Louise and Alvin Myerberg* / Wendy and Howard* Jachman National Endowment for the Arts Mr. and Mrs. Bill Nerenberg Mrs. Daniel M. O'Connell Mr. and Mrs. James P. O'Conor Stanley and Linda Hambleton Panitz Cecile Pickford and John MacColl Dr. Thomas and Mrs. Margery Pozefsky Mr. and Mrs. T. Michael Preston Alison and Arnold Richman The James G. Robinson Family Mr. and Mrs. Theo C. Rodgers Mr. and Mrs. Randolph S. Rothschild* The Rouse Company Foundation Nathan G.* and Edna J. Rubin The Rymland Foundation S. Kann Sons Company Foundation, Inc. B. Bernei Burgunder, Jr. Dr. Henry Sanborn Saul Ewing LLP Mrs. Alexander J. Schaffer Mr. and Mrs. J. Mark Schapiro Eugene Scheffres and Richard E. Hartt* Mrs. Muriel Schiller Dorothy McIlvain Scott* Mrs. Clair Zamoiski Segal and Mr. Thomas Segal Ida & Joseph Shapiro Foundation and Diane and Albert Shapiro Mr. and Mrs. Earle K. Shawe The Sheridan Foundation Richard H. Shindell and Family Dr. and Mrs. Solomon H. Snyder The St. Paul Companies Barbara and Julian Stanley T. Rowe Price Associates Foundation, Inc. The Alvin and Fanny Blaustein Thalheimer Guest Artist Fund Alvin and Fanny B. Thalheimer Foundation, Inc. TravelersGroup The Aber and Louise Unger Fund Venable LLP Wachovia Robert A. Waidner Foundation The Whiting-Turner Contracting Company Mr. and Mrs. Willard Hackerman Mr. and Mrs. Jay M. Wilson / Mr. and Mrs. Bruce P. Wilson The Zamoiski-Barber-Segal Family Foundation Baltimore Symphony Associates Executive Committee Marge Penhallegon, President Jim Doran,Vice President, Communications Larry Townsend,Vice President, Education Estelle Harris, Co-Vice-President, Meetings and Programs Louise Higgins, Co-Vice-President, Meetings and Programs Sandy Feldman, Vice President, Recruitment & Membership Deborah Stetson,Vice President, Special Services & Events Larry Albrecht, Vice President, Symphony Store Vivian Kastendike, Corresponding Secretary Mary Ann Waldron, Recording Secretary Barbara Kelly, Treasurer Winnie Flattery, Past President LaVerne M. Grove, Parliamentarian The Legato Circle The Board of Directors of the Baltimore Symphony Orchestra established The Legato Circle to honor those individuals who have included the BSO in their long-term financial plans, including gifts by bequest, life income, trust, IRA or retirement plan, life insurance, or real estate. As in a legato musical line, these special designations ensure the smooth transfer of musical values from this generation to the many following. Over the years, these legacy gifts, both large and small, have played a significant role in the financial stability of the BSO, supporting the BSO commitment to perform the highest quality symphonic music of all eras that nurtures the human spirit. We gratefully acknowledge the following donors who have let us know that they have included the Baltimore Symphony Orchestra in their estate plans. ((F) Founding Member (N) New Member * Deceased Anonymous (5) Donna B. and Paul J. Amico Hellmut D.W. "Hank" Bauer Deborah R. Berman Mrs. Phyllis B. Brotman (F) Dr. Robert P. Burchard Mrs. Selma Carton Harvey A. Cohen, PhD Mark D. and Judith L. Coplin Mr. and Mrs. William H. Cowie, Jr. James Davis Roberta L.* and Richard A. Davis Ronald E. Dencker Freda (Gordon) Dunn H. Lawrence Eiring, CRM Carol and Alan Edelman Anne "Shiny" and Robert M. Evans Mr. and Mrs. Maurice R. Feldman Winnie and Bill Flattery Haswell M. and Madeline S. Franklin Mr. Kenneth J. Freed Samuel G*. and Margaret A. Gorn (F) Robert E. Greenfield Sue and Jan K. Guben Carole B. Hamlin Ms. Denise Hargrove Gwynne and Leonard Horwits Mr. and Mrs. H. Thomas Howell Mr. and Mrs. Richard E. Hug David and Susan Hutton (N) Dr. Phyllis R. Kaplan (N) Dr. and Mrs. Murray M. Kappelman Suzan Russell Kiepper Miss Dorothy B. Krug Richard M. Lansburgh Ruth and Jay Lenrow Joe and Lynne Lentz, Jr. Joyce and Dr. Harry Letaw, Jr. Bernice S. Levinson Mrs. Jean M. Malkmus Mrs. George R. McClelland Mr. Roy E.* and Mrs. M. Moon Robert* and Marion Neiman Carol O'Connell Minkin Stanley and Linda Hambleton Panitz Beverly and Sam Penn (F) Mrs. Margery Pozefsky G. Edward Reahl, Jr. M.D. Nancy Rice Dr. Henry Sanborn Dr. and Mrs. Harry S. Stevens Mr. Michael R. Tardif Roy and Carol Thomas Fund for the Arts Dr. and Mrs. Carvel Tiekert Leonard Topper Mr. and Mrs. William Volenick (N) Ingeborg B. Weinberger W. Owen and Nancy J. Williams Charles* and Shirley Wunder Mr. and Mrs.* Calman J. Zamoiski, Jr. We gratefully acknowledge the following donors, now deceased, who have provided a gift through their estate in support of the Baltimore Symphony Orchestra: Mrs. Alma T. Martien Bond W. George Bowles Mrs. Frances H. Burman Joseph and Jean Carando Clarence B. Coleman L. Patrick Deering (F) Dr. Perry A. Eagle (F) Douglas Goodwin Dailina Gorn Mr. Joseph P. Hamper, Jr. Judith C. Johnson Robert and Ryda H. Levi Ruby Loflin-Flaccoe Ruth R. Marder Ralph W. Nichols Margaret Powell Payne Mr. William G. Robertson, Jr. Randolph S. and Amalie R. Rothschild Eugene Scheffres and Richard E. Hartt Mrs. Muriel Schiller (F) Dr. Albert Shapiro Howard A. and Rena S. Sugar What would you like your legacy to be? If you have named the BSO in your estate plans, or would like further information, please contact Kate Caldwell, Director of Philanthropic Services at 410.783.8087 or kcaldwell@BSOmusic.org 38 Overture impromptu AS PRINCIPAL CELLIST FOR THE BSO, Dariusz Skoraczewski leads a section numbering more than eight players in an orchestra of 80 musicians. It is a grand enterprise, indeed. His work with the Monument Piano Trio, which features Skoraczewski, violinist Igor Yuzefovich and pianist Michael Sheppard, provides a more intimate musical experience. Skoraczewski enjoys the difference in scale. "We play music by the same composers that I perform with the BSO, but playing with the trio sheds new light on the works and expands the repertoire," he says, adding, "I love making music with Igor and Michael. We all studied at the Peabody Conservatory and have similar philosophies about music." He also relishes the autonomy of playing in a small chamber group. "It's like each member of the group is a conductor and together we dictate the performance, unlike playing in an orchestra where one must rely on the conductor to make musical decisions." Through the recent release of the Monument Piano Trio's self-titled debut recording Monument Piano Trio: Brahms, Shostakovich and Schoenfield, as well as the 2010 release of Cello Populus, which marked Skoraczewski's solo recording debut, the cellist has also discovered a new love. "I did all of the technical work for both CDs, including the editing and mastering, and learned so much about recording," he says. "It's a lengthy process to complete a recording, but listening to the finished product is so satisfying because I know that I've made the music sound the best it can. It's something that I've become quite passionate about, and I hope to do much more of it in the future, including producing and recording a Bach Cello Suite later this year." -- Laurie Legum From left: Igor Yuzefovich, first violinist and BSO Assistant Concertmaster, Dariusz Skoraczewski, cello and Principal Joseph and Rebecca Meyerhoff Chair, and Michael Sheppard, pianist. May 3, 2012 � June 10, 2012 39 CHRISTIAN COLBERG Your technique is impeccable. Your phrasing, sensational. Your talent, undeniable. But when noise-induced hearing loss damages your pitch perception, ...that's when the music stops. Protect Your Most Precious Asset Audiologists at The Hearing and Speech " ! protection that will keep your hearing perfetto. ! #$%% & ' ( &' )*)*# + , - ! & . Call to schedule an appointment: 410-318-6780. Major insurances accepted. THE HEARING AND SPEECH AGENCY w w w. h a s a . o r g 410-318-6780 31 Submit your favorite sounds to The Baltimore Soundscape Project. Find out more at www.hasa.org.