2022-2023 Masterworks VI

I’m excited to join the Annapolis Symphony Orchestra as your new Director of Development. For over eight years, I was up the road as the Deputy Director of Historic London Town and Gardens. We’re so fortunate to have such amazing cultural treasures in Anne Arundel County. I often get asked what “development” means? Fundraising is exactly what you think: asking people for money. But that’s an oversimplification. Really, I help organizations find the resources they need to thrive. I also help people make a difference in their community by investing in nonprofits that speak to their values. Many of us are experiencing “hope fatigue” from the emotional drain of the news. The best way I know how to combat that feeling is to make a difference, such as volunteering or giving a donation. That’s why I work in fundraising. To me, donating assumes a better tomorrow is coming. I want to spark that hope.

Join me in making our world brighter through the power of music. I work with arts organizations because they’re restorative, ignite creativity, and engage curiosity. Working with the ASO is a dream for me. As a former French Horn player, I’m in awe of the talent of our performers. I’m inspired by the ASO’s mission to provide More Music in More Places, for More People. I hope you’ll join me in supporting the Annapolis Symphony Orchestra. Create a positive impact through a gift to the ASO’s Education, Artistic, and Musician funds. You’ll make concerts accessible, expand music education, and create a solid financial foundation. Your donation will create extraordinary music experiences with uncompromising artistic excellence.

Donate today at www.annapolissymphony.org. You can reach me at 410-267-3645 or lsilberman@annapolissymphony.org. I’m looking forward to getting to know you! Thank you for your generosity to the Annapolis Symphony Orchestra.

Lauren Silberman, Director of Development Annapolis Symphony Orchestra

more music for more people in more places

ABOUT THE ANNAPOLIS SYMPHONY ORCHESTRA

2022-2023 Board of Trustees

Officers

Mary McKiel, PhD Chair

Shelley Row, PE, CSP Vice Chair

Jerray Slocum Treasurer

Ann Whitcomb

Assistant Treasurer & VP-Finance

Katherine Edwards, MD Secretary

Elizabeth MaxwellSchmidt, MD Assistant Secretary

Robert Arias

Florence Calvert

Georgianna Crosby

Bill Davis

Ginger From

Trustees

Charles Grudzinskas

Michelle Hellstern

Deb Howe

Geraldine “Mimi” Ladd Jones

Mike Kelsey

Trustees Emeritus

Jill Kidwell

Monique Langston, MD

Shaun Mathis

Stephen A. Sotack

Marie Treanor

Tina Young

Peter Evans | David Anthony Huggins | Joe Rubino

Ex Officio Trustees

José-Luis Novo

Artistic Director & Conductor The Philip Richebourg Chair

Paula Abernethy

FASO Representative

Orchestra Representative

Kristin Bakkegard

Musicians’ Representative, Players Committee

ABOUT THE ANNAPOLIS SYMPHONY ORCHESTRA

The mission of the Annapolis Symphony Orchestra is to inspire, educate and enrich lives near and far by creating extraordinary musical experiences with uncompromising artistic excellence.

With a 61-year history of artistic excellence, the Annapolis Symphony Orchestra is recognized as the largest and most distinguished performing arts organization in Maryland’s capital city. Under the direction of José-Luis Novo, the Symphony continues to rise in excellence and national reputation, performing Masterworks, Pops, Family Concerts and special events. The Symphony reaches thousands annually with its free Pops in the Park concert, joint concerts with the United States Naval Academy, accompanying the Annapolis Opera, and collaborative projects with other arts organizations and touring headliners. Additionally, we sponsor award-winning education concerts and outreach programs in community schools, sharing the joy of music-making with thousands of school children.

Annapolis Symphony Orchestra Staff

Barbara Randolph Interim Executive Director

Miriam Fogel

Director of Artistic Operations

Diana Love Director of Marketing & Communications

Olivia Ren Orchestra Librarian

Shun Yao

Assistant Conductor, Annapolis Symphony Academy

Sarah Johansen

Director of Business Operations

Netanel Draiblate

Annapolis Symphony Academy Director & Founder

David Sciannella Operations Manager

Heather Haughn

Annapolis Symphony Academy

Department Head, Strings

Annapolis Symphony Orchestra

Lauren Silberman Director of Development

Julie Nolan Director of Education & Community Outreach Grants Manager

Maya McAtee Office & Data Manager

Kimberly Valerio

Annapolis Symphony Academy

Department Head, Winds & Brass

801 CHASE STREET, SUITE 204, ANNAPOLIS, MD 21401

410-263-0907 (BOX OFFICE)

410-269-1132 (ADMIN)

Elizabeth Richebourg Rea, in honoring the legacy of her father as co-founder and first board president of the Annapolis Symphony Orchestra, has created her own legacy with the ASO. Her continued support, beginning with the largest single gift in the history of the orchestra for the 50th Anniversary Season in 2011, has been noted as transformational in inspiring future donations of substantial amounts, in addition to gifts by pledge over multiple years. She has pioneered new levels of giving and today an expanded ASO continues to thrive to greater heights. Elizabeth is sponsor of The Music Director’s Chair in her father’s name and in addition is the founding member of the annual Philip Richebourg Encore Circle.

My father Philip Richebourg conducted his own orchestra every day of his life. He personified exactitude and precision in business; in service to his community and in leadership on numerous Boards. He was meticulous in his passions as pilot, musician, archivist. Dedicated to each task at hand my father approached all things in life as if resolute in achieving one goal, that of perfect harmony.

Elizabeth Richebourg Rea is a fine art photographer and curator. Rea’s art career began in the 1970s working for The Museum of Modern Art and Leo Castelli. Curator of numerous exhibitions of Joseph Cornell, she was also catalogue editor and research consultant for two Roy Lichtenstein Museum Retrospectives. Elizabeth is President of the Dungannon Foundation, sponsor of The Rea Award for the Short Story. She is active on the Peggy Guggenheim Advisory Board in Venice and is Honorary Trustee of the Solomon R. Guggenheim Foundation. Elizabeth Rea lives in Connecticut.

The Annapolis Symphony Orchestra is indebted to Philip Richebourg, CoFounder and First Board President (1967-1974). Philip Richebourg’s stalwart support, organizational vision and strong leadership during its formative years helped solidify the orchestra financially and administratively, ensuring its longevity and signature as one of Maryland’s most distinguished performing arts organizations. Philip passionately supported the Annapolis Symphony Orchestra as it sought to enrich the lives of the community through classical music and educational programs. From the modest beginnings of a small community ensemble to the present acclaimed professional orchestra, Philip was at the helm every step of the way. Philip Richebourg’s commitment, dedication and passion for musical awareness leaves an indelible mark on the history of the ASO. The Annapolis Symphony Orchestra would not be what it is today without him.

THANK YOU

The Annapolis Symphony Orchestra offers a very special thank‑you to the following donors and sponsors.

Businesses & Foundation Sponsors

Council Family Foundation

Elville Center for the Creative Arts

J.M. Kaplan Fund

JosuahOneNine Fund

The Dealy Foundation, Inc.

Old Fox Books & Coffeehouse

Janney Montgomery Scott LLC

Pledgeling Foundation

Major Funding provided by William Seale & Marguerite Pelissier and Jeff Harris & Joyce Pratt

TO OUR SPONSORS!

The Philip Richebourg Chair

A generous gift from Elizabeth Richebourg Rea names the Artistic Director and Conductor's Chair in her father’s honor

Concertmaster

The Concertmaster, Dr. Netanel Draiblate, is sponsored by a generous grant from Jill and David Kidwell

Education Sponsors

Friends of the Annapolis Symphony Orchestra

Annapolis Musicians Fund for Musicians

The Helena Foundation

Dean Douglas

Elville Center for the Creative Arts

Laird Lott and Linda Gooden

The Annapolis Symphony’s residency at Maryland Hall is made possible in part by a generous grant from Laird Lott and Linda Gooden

On Sale Now!

THE 2023-2024 SEASON IS BRIMMING WITH EXTRAORDINARY SYMPHONIC MUSIC, INCLUDING:

United States Première of composer Boris Pigovat’s Holocaust Requiem

7

World Première of composer Nicky Sohn’s ASO/GLFCAM Co-commission

7

World’s greatest classical guitarist Pepe Romero visits Annapolis from Spain

7

Award-winning cellist Steven Isserlis brings his music from London to the ASO

7

ASO musicians take on Respighi, Schumann, Beethoven, Elgar & Sibelius

2023-2024 SEASON SCHEDULE

Pops in the Park

September 2 & 3, 2023

Downs Park at 11 am

Quiet Waters Park at 5:30 pm

Masterworks I

Music to Remember

simon, grieg & pigovat with pianist Gabriela Montero & violist Peter Minkler

September 29 & 30 at 7:30 pm

Maryland Hall

Masterworks II

Pepe Plays Ponce:

Ravel, Revueltas & Ponce with guitarist Pepe Romero

November 3 & 4 at 7:30 pm

Maryland Hall

Holiday Pops

December 15 at 7:30 pm

Maryland Hall

Family Concert

January 20 at 11:00 am

Maryland Hall

Masterworks III

Raging Fire:

Tchaikovsky & Sibelius with violinist Elissa Lee Koljonen

February 2 & 3 at 7:30 pm ,

Maryland Hall

February 4 3:00 pm

Strathmore

Masterworks IV

Portraits:

Elgar & Schumann with cellist Steven Isserlis

March 1 & 2 at 7:30 pm

Maryland Hall

March 3 3:00 pm

Strathmore

Masterworks V

Roman Festivals:

Respighi & Beethoven with pianist Awadagin Pratt

April 12 & 13 at 7:30 pm

Maryland Hall

April 14 3:00 pm

Strathmore

Masterworks VI

This Midnight Hour:

Clyne & Sibelius

May 10 & 11 at 7:30 pm

Maryland Hall

Steven Isserlis

Elissa Lee Koljonen

Gabriela Montero

Peter Minkler

Pepe Romero

Awadagin Pratt

ANNAPOLIS SYMPHONY ORCHESTRA

SIXTY-FIRST SEASON MASTERWORKS SERIES

May 5, 8PM | May 6, 8PM

Maryland Hall

May 7, 3 PM | Music Center at Strathmore

José-Luis Novo, Artistic Director & Conductor

The Philip Richebourg Chair

James Ehnes, Violin

Charles Overton, Harp

Living Pono  (World Premiere) Michael Thomas Foumai (b. 1987)

Charles Overton, harp

 Co-commissioned by the ASO and the Gabriela Lena Frank Creative Academy of Music

Violin Concerto in D major, Op. 35 Erich Wolfgang Korngold (1897‑1957)

I. Moderato nobile

II. Romance: Andante

III. Finale: Allegro assai vivace

James Ehnes, violin

~ INTERMISSION ~

Symphony No. 3 in C minor, Op. 78 “Organ” Camille Saint Saëns (1835 1921)

I. Adagio—Allegro moderato, Poco adagio

II. Allegro moderato—Presto, Maestoso—Allegro

Daniel Aune, organ

2022-2023 Masterworks Season sponsors: Faith Goldstein and Jesse Cunitz

Photography and video/audio recording are not permitted in the concert hall. Please silence and dim all electronic devices. Thank you.

Annapolis Symphony Orchestra 2022-23

MUSICIANS – MASTERWORKS VI

VIOLIN I

Netanel Draiblate, Concertmaster

Nicholas Currie, Associate Concertmaster

Hanbing Jia, Acting Assistant Concertmaster

Heather Haughn

Wan-Chun Hu

Susan Benac

Rachael Stockton

William Wang

Katelyn Lyons Peaden

Angela Chew

Kei Sugiyama

Amelia Giles

VIOLIN II

Kristin Bakkegard, Acting Principal

Alexandra Mikhlin, Acting Associate Principal

Megan Gray

Sally Stallings Amass

Karin Kelleher

Natalia Merezhuk

Haerin Jee

Kimberly McCollum

Freya Creech

Paul Bagley

VIOLA

Sarah Hart, Principal

Derek Smith, Associate Principal

Susan Taylor Dapkunas

Daphne Benichou

Rachel Holaday

Kate Zahradnik

Heidi Remick

Sinan Wang

CELLO

Pei Lu, Acting Principal

April Studeny, Acting Associate Principal

Catherine Mikelson

Alison Bazala Kim

MaryAnn Perkel

Nicole Boguslaw

Lauren Weaver

Rachel Sexton

BASS

Patrick Raynard, Acting Principal

Broc Mertz, Acting Associate Principal

Peter Cohn

Adriane Irving

Lee Philip

Mark Stroud

FLUTE

Kimberly Valerio, Principal

Genevieve Eichman

Lori Kesner

OBOE

Rick Basehore, Acting Principal

Joseph DeLuccio

Amanda Dusold

CLARINET

Robert DiLutis, Principal

Brian Eldridge

Jennifer Everhart

BASSOON

George Sakakeeny, Acting Principal

Patricia Morgan

Lynn Moncilovich

HORN

Alex Kovling, Principal

Shane Iler, Associate Principal

Ken Bell, Acting Assistant Principal

Steven Barzal

Anthony Valerio

TRUMPET

Christopher Sala, Principal, The Philip Richebourg Chair

Christopher Buchanan

Drew Fremder

TROMBONE

David Perkel, Principal

David Sciannella

Jay Heltzer

TUBA

Jake Fewx, Principal

TIMPANI

Jonathan Rance, Acting Principal

PERCUSSION

Robert Jenkins, Acting Principal

Aubrey Adams

HARP

Anastasia Pike, Acting Principal

PIANO

Tomoko Kanamaru, Acting Principal

Anastasia Pike

ARTISTIC DIRECTOR & CONDUCTOR

JOSÉ-LUIS NOVO

THE PHILIP RICHEBOURG CHAIR

Spanish born José-Luis Novo instilled a new and vibrant artistic vision into the Annapolis Symphony Orchestra since his appointment as Artistic Director and Conductor of the Maryland-based symphony in 2005. Highlights of Novo’s tenure include numerous appearances at the Music Center at Strathmore with violinists James Ehnes, Anne Akiko Meyers, Leticia Moreno and Chee-Yun, pianist Olga Kern, late cellist Lynn Harrell, guitarist Manuel Barrueco, pipa virtuoso Wu Man and the Naval Academy Glee Club. Also remarkable are a 2012 return appearance at the Clarice Smith Performing Arts Center with mezzo-soprano Denyce Graves, national broadcasts on NPR’s Performance Today, debut TV broadcasts on Washington’s WETA Metro PBS, the launching of the ASO’s award-winning streaming platform Symphony+, the creation of the Annapolis Symphony Academy and the ASO’s first commercial CD com-

The Artistic Director’s Chair is graciously underwritten by Elizabeth Richebourg Rea, daughter of Philip Richebourg, Annapolis Symphony Orchestra Co-Founder and First Board President (1967-1974).

“My father conducted every day of his life as if resolute in achieving perfect harmony. I can think of no greater legacy than naming the Artistic Director’s Chair after my father, Philip Richebourg.”

memorating the 300th anniversary of the signing of the City of Annapolis’ Royal Charter. In July of 2022, Maestro Novo and the ASO stunned audiences on both sides of the Atlantic in a debut international tour to Spain with guitar virtuoso Pepe Romero as guest soloist.

Maestro Novo’s continuous drive for artistic excellence, innovative thematic programming, and collaborations with some of today’s most respected guest artists keeps generating unprecedented artistic growth and enthusiastic reviews from publications such as The Washington Post and The Baltimore Sun.

In addition to his directorship of the ASO, Maestro Novo held an impressive thirteen-year tenure as Music Director and Conductor of the Binghamton Philharmonic in New York state from 2003 to 2016. Prior to this, he served as Assistant Conductor of the Cincinnati Symphony Orchestra under both late Music Director Emeritus Jesús López-Cobos and former Music Director Paavo Järvi, and the Cincinnati Pops Orchestra under the late Erich Kunzel.

Recent and upcoming guest conducting engagements include debut appearances with the Rochester Philharmonic, the Grand Rapids, Hilton Head, Palm Beach, Alexandria and South Bend Symphony Orchestras, and return appearances with the Baltimore Symphony, the Fresno Philharmonic, Symphoria, and a Kimmel Center debut in Philadelphia conducting the Curtis Institute Orchestra. After a successful debut with the Thailand Philharmonic Orchestra (TPO) for the Thailand International

Composition Festival in 2015, Maestro Novo has been invited back regularly to guest conduct the TPO on several occasions. Other guest conducting engagements have included appearances with the Symphony Silicon Valley; the Minnesota Orchestra; the Syracuse, Modesto, Windsor, Stamford, Tulsa, and Tallahassee Symphonies; the Cincinnati Chamber Orchestra; the Cleveland and Abilene Philharmonics, and most of the major Spanish orchestras.

José-Luis Novo has also fostered a reputation as a keen educator of young musicians. He has held conducting positions with the Cincinnati Symphony Youth Orchestra, University of Maryland Symphony Orchestra, Miami University Symphony Orchestra and National Repertory Orchestra, and has been on the conducting faculty at the Eastern Music Festival in Greensboro, North Carolina since 1999. In addition, he has conducted many noteworthy college and youth orchestras such as the Curtis Institute Orchestra, the Cleveland Institute of Music Orchestra, the Bard Conservatory Orchestra, the Ithaca College Symphony Orchestra, and the Portuguesa State Youth Orchestra of the Venezuelan El Sistema. Last season, under the auspices of the Annapolis Symphony Academy, he presided over the debut of its Orion Youth Orchestra, conducting the inaugural concert in June 2022.

Maestro Novo was featured in the League of American Orchestras Symphony magazine in “Podium Powers,” an article about emerging Hispanic conductors in the United States of America. He holds music degrees from the Cleveland Institute of Music, Yale University and the Royal Conservatory of Music in Brussels, and is the recipient of a 2010 Annie Award in Performing Arts from the Arts Council of Anne Arundel County, a 2008 American Society of Composers, Authors, and Publishers Adventurous Programming Award, and a 2005 Broome County Arts Council Heart of the Arts Award.

JAMES EHNES VIOLIN

James Ehnes has established himself as one of the most sought-after musicians on the international stage. Gifted with a rare combination of stunning virtuosity, serene lyricism, and an unfaltering musicality, Ehnes is a favorite guest at the world’s most celebrated concert halls.

Recent orchestral highlights include the MET Orchestra at Carnegie Hall, Gewandhausorchester Leipzig, San Francisco Symphony, London Symphony Orchestra, NHK Symphony Orchestra, and Munich Philharmonic. Throughout the 22/23 season, Ehnes continues as Artist in Residence with the National Arts Centre of Canada.

Alongside his concerto work, Ehnes maintains a busy recital schedule. He performs regularly at Wigmore Hall (including the complete cycle of Beethoven Sonatas in 2019/20, and the complete violin/viola works of Brahms and Schumann in 2021/22), Carnegie Hall, Chicago Symphony Center, Amsterdam Concertgebouw, Ravinia, Montreux, Verbier Festival, Dresden Music Festival, and Festival de Pâques in Aix. A devoted chamber

musician, he is the leader of the Ehnes Quartet and the Artistic Director of the Seattle Chamber Music Society.

Ehnes has an extensive discography and has won many awards for his recordings, including two Grammys, three Gramophone Awards, and 11 Juno Awards. In 2021, Ehnes was announced as the recipient of the coveted Artist of the Year title in the 2021 Gramophone Awards which celebrated his recent contributions to the recording industry, including the launch of a new online recital series entitled “Recitals from Home” which was released in June 2020 in response to the COVID-19 pandemic and subsequent closure of concert halls. Ehnes recorded the six Bach Sonatas and Partitas and six Sonatas of Ysaÿe from his home with state-of-theart recording equipment and released six episodes over the period of two months. These recordings have been met with great critical acclaim by audiences worldwide and Ehnes was described by Le Devoir as being "at the absolute forefront of the streaming evolution".

Ehnes began violin studies at the age of five, became a protégé of the noted Canadian violinist Francis Chaplin aged nine, and made his orchestra debut with L’Orchestre symphonique de Montréal aged 13. He continued his studies with Sally Thomas at the Meadowmount School of Music and The Juilliard School, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music upon his graduation in 1997. He is a Member of the Order of Canada and the Order of Manitoba, a Fellow of the Royal Society of Canada, and an honorary fellow of the Royal Academy of Music, where he is a Visiting Professor.

Ehnes plays the “Marsick” Stradivarius of 1715.

CHARLES OVERTON HARP

Equally at home in an orchestra or in a jazz club, it is the goal of Bostonbased harpist Charles Overton to create a musical environment that is accessible, exciting, and can resonate deeply with any audience, regardless of the genre of music.

Charles performs all genres of music and has shared the stage with various groups, artists, and orchestras. As a classical musician, he appears frequently with the Boston Symphony Orchestra and has performed with Boston-based ensembles such as the Walden Chamber Players and Collage New Music. In addition, he has participated in numerous festivals including the Marlboro Music Festival, Tanglewood Music Center, Pacific Music Festival, and the Castleton Festival. As a jazz musician he has played in festivals abroad like the Harpes au Max festival in Ancenis, France, while locally frequenting jazz series like Jazz at Indian Hill and Mandorla Music Dot Jazz Series. While still in school, he was a featured act at Scullers Jazz Club, one of Boston’s premiere jazz clubs.

His recent performances include concerts with the Boston Symphony Orchestra at Tanglewood with conductors Michael Tilson Thomas, KenDavid Masur, and Keith Lockhart; Orpheus Chamber Orchestra; Boston Landmarks Orchestra; Music from the Grove; and the Yellow Barn Concert Series. He toured on the Blue Journal Tour with Ester Wiesnerova and is featured on her debut album.

As a recording artist, Charles was a part of the Experiential Orchestra that won a Grammy in 2021 for The Prison by Ethyl Smyth. In addition, the Charles Overton Group released the album Convergence in 2017.

Originally from Richmond, VA, Charles began his harp studies at the age of ten under the direction of Lynnelle Ediger and was a member of the American Youth Harp Ensemble. He then attended the Interlochen Arts Academy studying with Joan Raeburn Holland. His studies continued at the Berklee College of Music, where he was the first harpist to be accepted to Berklee’s Global Jazz Institute, and worked with master jazz artists such as Danilo Pérez, John Patitucci, Joe Lovano, and Terri Lyne Carrington. His primary teachers were Jessica Zhou, principal harpist of the BSO, and Felice Pomeranz, jazz harp professor at Berklee. He was a finalist in the 2013 American Harp Society National Competition.

In addition to performing, Charles Overton is an active teacher and cur rently serves on the faculty of the Boston Conservatory at Berklee.

MICHAEL-THOMAS FOUMAI COMPOSER

Dr. Michael-Thomas Foumai (b. 1987, Honolulu, Hawai‘i) is the Director of Artistic Engagement and the first Composer in Residence for the Hawai‘i Symphony Orchestra (HSO). His music, described as “vibrant and cinematic” (New York Times) and “full of color, drama, and emotion” (Milwaukee Journal Sentinel), encompasses an extensive catalog of symphonic music, spanning commercial arranging to the avant-garde, and focuses on the culture of his Hawai‘i home. Dr. Foumai’s orchestral works have been conducted and performed by Yannick Nézet-Séguin with the Philadelphia Orchestra, Lidiya Yankovskaya with the Los Angeles Philharmonic, Lina González-Granados with the National Symphony Orchestra, George Manahan with the American Composers Orchestra at Carnegie Hall, and Osmo Vänskä with the Minnesota Orchestra. In addition, Dr. Foumai designs and hosts the HSO education series Beyond the Music; he is the program notes annotator for the HSO Masterworks series and is the principal HSO arranger for guest artists who have included Yo-Yo Ma, Jake Shimabukuro, Raiatea Helm, Amy Ha naiali‘i, and

Robert Cazimero. His honors include a Fromm Music Foundation Grant from Harvard University, MTNA Distinguished Composer of the Year Award, Jacob Druckman Prize from the Aspen Music Festival, and three BMI composer awards. Dr. Foumai is currently on faculty at the University of Hawai‘i West O‘ahu and holds multiple degrees in music composition from the University of Hawai‘i at Ma noa (BM) and the University of Michigan (MM, DMA).

PROGRAM NOTES

LIVING PONO MICHAEL-THOMAS FOUMAI , B. 1987

Michael-Thomas Foumai is a composer of contemporary concert music, arranger, and educator whose work spans the avant-garde to the commercial. His concert music focuses on storytelling and the history, people, and culture of his Hawai’i home. The following are his own program notes for this weekend’s world premiere, co-commissioned by the Annapolis Symphony Orchestra and the Gabriela Lena Frank Creative Academy of Music:

By the end of the century, scientific consensus projects a global temperature rise that is either dangerous or catastrophic for human life. Mirroring the health and biological circuitry of our human bodies, the symptoms of elevated carbon emissions in our environment come with record-high temperatures in Antarctica, devastating wildfires, coral bleaching, and sea level rise. Prolonged and unchecked emissions significantly impact other human systems, the inflammation of social and cultural mechanisms, elevated violent crimes, political turmoil, class and racial divides, food supply shortages, chronic human diseases from poor diet, unemployment, domestic abuse, education deficiencies, homelessness, crime, and death. The window to effect positive change in carbon emissions is fast approaching a point of no return, an earthly insulin resistance when any positive change becomes ineffective.

Indigenous knowledge offers humanity a simple and elegant solution to the crisis: to live in balance. The Ancient Hawaiians sustained themselves, isolated in the Pacific Ocean, without contact with the known world for over a thousand years. Yet, they were incredibly versatile, with the skill and knowledge to sail thousands of miles of deep ocean without modern technology. They survived and thrived with limited means and resources, enacting practices and laws that conserved the environment (an extension of the human body and ancestors, a deity). With commercial and foreign interests taking root in the Kingdom of Hawai’i, a struggle to maintain political power led to the overthrow in 1893, paving the path to an industry boom in sugar cane imports and statehood. Today, imports make up

90 percent of the food supply in the Hawaiian Islands. The appetite to consume corrupts and is unsustainable.

The Hawaiian word “pono” has many definitions but generally refers to being balanced and doing what is right. On July 31, 1842, King Kamehameha III spoke what would become the state motto for the State of Hawai’i: “Ua Mau ke Ea o ka ‘Aina i ka Pono” (the life of the land is perpetuated in righteousness). The call to live “pono,” rings strongly today; Living Pono speaks to the act of living righteously, to live in balance with the environment.

The work mirrors my journey to finding purpose to advocate environmental awareness through music and the lens of indigenous knowledge. Featuring harp as the main protagonist, the work is in one continuous dramatic narrative, a musical journey that illustrates the search to live pono in the climate crisis. Informed by my studies through the Gabriela Lena Frank Creative Academy of Music Composing Earth Initiative, the work traverses many emotional states. Exploring fear, dread, optimism, and empowerment, I strived to capture music illustrating the beauty of mother earth with warnings of an uninhabitable planet. Three large harp cadenzas divide the work with sermons calling to live pono amongst a turbulent sea of political and social oppositions.

By Michael-Thomas Foumai

VIOLIN CONCERTO IN D MAJOR, OP. 35 ERICH WOLFGANG KORNGOLD, 1891-1953

Erich Wolfgang Korngold is a representative of the last gasp of late romanticism in Vienna. He never veered from this established idiom and never ventured into modernistic experiments. He was a true child prodigy whose works were performed in public in Vienna by the time he was 11 (although the fact that his father was the music critic of Vienna’s most prestigious newspaper, Neue Freie Presse, may have helped).

In the early part of the century Korngold was known mainly through his operas (Violanta, Die tote Stadt, Das Wunder der Heliane) but today he is primarily remembered by his pioneering film music. At the urging of the director Max Reinhardt, with whom he had staged Die Fledermaus in Berlin in the 1920s, he came to Hollywood in 1934 where he wholeheartedly embraced the new medium, which, incidentally, saved his life.

By the time Korngold came to Hollywood, his “classical” compositions were regarded as superficial and irrelevant to the proponents of mainstream 20th-century modernism. But Hollywood adored him. Korngold saw film as the true successor to the operatic stage. His success as a film music composer was phenomenal; two of his scores, Anthony Adverse (1936) and The Adventures of Robin Hood (1938), won Oscars.

The film music scene in Hollywood of the 1930s and 40s was dominated by German and Austrian émigrés who had escaped Nazism. It is not surprising, therefore, that when Korngold once again took up his classical pen in 1945 to write his Violin Concerto he dedicated it to an old family friend, the doyenne of the émigrés, Franz Werfel’s wife and Gustav Mahler’s widow, the legendary Alma Mahler-Werfel. No less a master than Jascha Heifetz premiered the concerto in St. Louis.

It is an amusing exercise, when listening to the Concerto, to note how many themes and passages immediately call to mind the musical conventions we have come to associate with certain kinds of film action. We

make these associations on the basis of countless hours of movie-going, during which the musical “language” has implanted itself in the subconscious—perhaps even into the collective unconscious—and controlled our emotional response. In the Concerto, Korngold reworked music from his successful film scores, including Juarez (1939), Anthony Adverse (1936), Another Dawn (1937) and The Prince and the Pauper (1937).

But the Concerto is not all “movie music.” Korngold transforms the themes to conform to the concert conventions of the concertos of composers from Mendelssohn to Max Bruch. The technical and expressive demands, as well as the harmonies, surpass melodic clichés. Although it reflects the composer’s nostalgic attachment to fin-de-siécle Viennese Romanticism, even the most discerning 21st-century ears are eclectic and accepting, no longer trapped in the clutches of atonal dogma. Most important of all, Korngold’s writing for the violin is everything a soloist could dream of.

The first movement’s main theme, from Another Dawn, is a multifaceted melody and an ancestor of the Star Trek theme. The more sentimental second theme is from Juarez. The development inhabits the violin’s stratosphere.

The second movement is a rhapsodic romantic reverie on a theme from Anthony Adverse. As opposed to the sprawling melodies from the first movement, this one is surprisingly simple. Heating up the passion, Korngold uses a more expansive melody for the middle section.

In the energetic, humorous finale, Korngold teases the listener by delaying an outright statement of the movement’s single theme, from The Prince and the Pauper. Instead, the soloist starts with a fanciful melody containing hints of the theme for a couple of minutes, until the soloist finally “pins it down.”

Bows & Violins

177 Defense Highway, Suite 7

Annapolis, MD 21401 410-440-7938

www.annapolisbows.com

SYMPHONY NO. 3 IN C MINOR, OP. 78, “ORGAN” CAMILLE SAINT-SAËNS, 1835-1921

Composer, organist, and pianist Camille Saint-Saëns was phenomenally precocious and gifted in everything he undertook. He was a man of wide culture, well versed in literature, the arts, and scientific developments. As a child prodigy, he wrote his first piano compositions at age three and at ten made his formal debut at the Salle Pleyel in Paris, playing Mozart and Beethoven piano concertos. In his youth he was considered an innovator, but by the time he reached maturity he had become a conservative pillar of the establishment, trying to maintain the classical musical tradition in France and expressing open disdain for the new trends in music, including the “malaise” of Wagnerism. He premiered his five piano concertos with impeccable technique and effortless grace. But neither his compositions nor his pianism were ever pinnacles of passion or emotion. Berlioz noted that Saint-Saëns “... knows everything but lacks inexperience.”

Saint-Saëns professed to uphold the classical virtues of clarity, restraint, and elegance, but none of these virtues appear in the C minor Symphony, a romantic work with colorful and grandiose orchestration throughout. The organ part is integrated into the orchestra and does not emerge as a solo counterforce, as in a concerto. Appropriately, Saint-Saëns dedicated it to the memory of Franz Liszt, whose virtuosic organ music served as his model. The symphony was commissioned by the London Philharmonic Society and premiered by that orchestra in May 1886 with the composer conducting from the keyboard.

There is thematic interconnection between the movements, and the traditional four movements are fused into two: “[the Symphony] embraces in principle the four traditional movements, but the first, halted in its development, serves as introduction to the Adagio, while the Scherzo is abandoned by the same process to lead to the Finale,” the composer wrote. Saint-Saëns borrowed from Liszt the technique of thematic

transformation in which a single theme, or motto, recurs in various guises as an essential unifying device. But despite his insistence that the Symphony is a two-movement work, it is easier to think of it as having four movements since there are four distinctly discernible sections each with its own mood and musical structure. A brief slow introduction hints at the motto in the solo oboe and flute. The following Allegro moderato immediately presents the motto in hushed, stuttering strings, creating an anxious tension that pervades even the lilting second theme. The Allegro moderato comprises a continuous stream of transformations of the motto and via a reprise of the introduction, the movement blends into the Poco adagio without pause. This is the first appearance of the organ, accompanying an expansive new melody in the lower strings. After a few minutes, the motto quietly returns, eventually combining with the Poco adagio melody, where it is played pizzicato by the basses and cellos.

The stuttering rhythm returns in the third movement scherzo (Allegro moderato) in a new theme, but soon the motto recurs in the flutes and oboes, eventually taking over. The trio (Presto), yet another iteration of the motto, is accompanied by the addition of the piano into the orchestral mix. After the revised repeat of the scherzo and trio, the movement ends on a serene note.

The final section (Maestoso—Allegro), which is entirely based on the motto, begins with a grand entrance of the organ, which, with the strings and piano, first states it as a majestic chorale. With a nod to Bach, there follows a fugue. Further transformations bring the Symphony to a triumphant conclusion.

Program notes by:

Joseph & Elizabeth Kahn

Wordpros@mindspring.com

www.wordprosmusic.com

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