Pensacola Symphony Orchestra, 2018/2019

PENSACOLA SYMPHONY ORCHESTRA Peter Rubardt Music Director

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~ UPCOMING PERFORMANCES ~

February 21, 2019 Victory Vertical Project 7:30 p.m. Pensacola State College Ashmore Auditorium

April 2, 2019 Italian Saxophone Quartet 7:30 p.m. Pensacola State College Ashmore Auditorium

For more information on tickets & events, call or visit: 850.484.1847 | PensacolaState.edu/Lyceum Pensacola State College does not discriminate against any person on the basis of race, ethnicity, national origin, color, gender/sex, age, religion, marital status, pregnancy, disability, sexual orientation, gender identity, or genetic information in its educational programs, activities, or employment. For inquiries regarding Title IX and the College’s nondiscrimination policies, contact the Executive Director of Institutional Diversity and Student Conduct at (850) 484-1759, Pensacola State College, 1000 College Blvd., Pensacola, Florida 32504.

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MAGAZINE Proudly SuPPortS the

Pensacola Symphony Orchestra

www.pensacolamagazine.com

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WELCOME TO THE PENSACOLA SYMPHONY ORCHESTRA We are glad that you are here. This season we look forward to sharing meaningful musical experiences together. Please contact us at 850.435.2533 or info@pensacolasymphony.com with any comments or suggestions about enhancing your experience.

Discounts The Pensacola Symphony Orchestra honors two standing discounts: Student Discount: Students in elementary school, middle school, high school, and college (with ID) are eligible to receive $10 student tickets in the D-level seating area with the exception of special events.

Military Discount: Active duty military (with valid ID) are eligible to receive $10 tickets in the D-level seating area or 25% off B or C seating areas with the exception of special events.

Group Sales For groups of 10 or more, please contact Marshall Corzette, Patron Services and Community Engagement, at tickets@pensacolasymphony.com or 850.435.2533 ext. 100.

Music Director Peter Rubardt Executive Director Bret Barrow Administrative Assistant Emily Follman Advancement & External Relations Jessica Hyche

Ticket Policies Exchanges: Single tickets may be exchanged for a $3 fee, which is waived for subscribers.

Delivery Fees: When requesting that tickets be mailed to your address, a fee of $3 will be added to cover postage and handling expenses.

Matinee Dress Rehearsals Matinee dress rehearsals for all Masterworks concerts take place at the Saenger Theatre at 1:30 p.m. on the day of the concert. Tickets are $5 and may be purchased at the door on the day of the event or prior to that day in the Symphony Office. Ticket holders to the evening concert may present their tickets for free admission to the dress rehearsal.

Patron Development & Communications Courtney Dell Patron Services & Community Engagement Marshall Corzette Personnel Manager Dale Riegle Production Manager John Callahan

Phone: 850.435.2533 Email: info@pensacolasymphony.com Physical Address: 205 East Zaragoza Street | Pensacola, FL 32502 Mailing Address: P.O. Box 1752 | Pensacola, FL 32591

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TABLE OF CONTENTS About the PSO Ticket Information Music Director’s Biography Letter from our Music Director Musician Roster The History of the PSO Season Calendar Beyond the Stage

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Support Governance 34 PSO Guild 36 Annual Fund Donors 38 Corporate & Foundation Support 41 Honorariums & Memorials 42 Special Event Sponsors 44 In-Kind Donors 46 Government Support 46 Campaign Society 47 Making a Lasting Difference 48 Additional Ways to Give 49 Legacy Society 50 Opening Night • October 13 Mozart & Brahms • November 3 Celebrate the New Year! • December 31 Beethoven & Blue Jeans • January 19

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MUSIC DIRECTOR PETER RUBARDT Peter Rubardt has earned wide acclaim for powerful and insightful performances that inspire passionate responses to symphonic music. In addition to his long-standing position as Music Director of the Pensacola Symphony, in recent seasons he has added the Music Directorships of the Meridian and Gulf Coast Symphonies. Throughout his career he has worked successfully to deepen the relationships between communities and their orchestras, leading to growing audiences and a broad base of support. A gifted speaker about music as well as a performer, he actively engages audiences and community groups in the appreciation of symphonic music. Also busy as a guest conductor, Rubardt recently

debuted with the Alabama Symphony, the Fort Worth Symphony, and the Augusta Symphony, among others.

Now in his 22nd season as Music Director of the Pensacola Symphony Orchestra, Rubardt continues to grow the organization through a wide range of classical, pops, and educational programs.

He has played a central role in designing the orchestra’s innovative “Beyond the Stage” program, partnering with a range of local organizations to bring music to hospitals, schools, and neighborhoods.

Previously he was at the forefront of the effort that successfully renovated the historic Pensacola Saenger Theatre, giving

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the orchestra increased visibility and vitality. He also led a significant capital campaign for the orchestra, and played a key role in the creation of an hour-long documentary in collaboration with WSRE public television. Since assuming the Music Directorship in Meridian, that community has seen a sharp increase in concert attendance, an acoustical retrofit of the hall, a new symphonic pops event, and the introduction of a newly formed symphony chorus.

Prior to his appointment in Pensacola, Rubardt served four seasons as Associate Conductor of the Syracuse Symphony Orchestra and three seasons as Resident Conductor of the New Jersey Symphony Orchestra, conducting numerous classical and pops performances, regional tours, and educational programs with both orchestras. He has also conducted the Utah Symphony, Alabama Symphony, Louisiana, Rochester, and Las Vegas Philharmonic Orchestras, The Louisville Orchestra, the Jacksonville Symphony Orchestra, The Richmond Symphony, Japan’s Hiroshima Symphony Orchestra, Century Orchestra Osaka, Yamagata Symphony, Hyogo Performing Arts Center Orchestra (where he performed for the Imperial Highness Princess Hitachi of Japan), Kansai Philharmonic Orchestra, and Nova Filarmonia Portuguese, with which he toured Portugal several times, as well as the orchestras of Acadiana, Anchorage, Annapolis, Augusta, Bangor, El Paso, Lubbock, Peoria, Portland, Quad Cities, Rogue Valley, South Dakota, Southwest Florida, Spokane, and Youngstown, among others. From 1991-96, he served as Music Director of the Rutgers Symphony.

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A native of Berkeley, California, Rubardt holds a Doctor of Musical Arts degree in Orchestral Conducting from The Juilliard School, where he was the recipient of the Bruno Walter fellowship. A Fulbright scholar, he studied piano and conducting at the famed Vienna Hochschule fur Musik, and pursued further studies at the Tanglewood Music Center and the Los Angeles Philharmonic Institute. He has participated in the masterclasses of Leonard Bernstein, Seiji Ozawa, AndrĂŠ Previn, and Herbert Blomstedt; his major teachers have included Otto-Werner Mueller, Sixten Ehrling, Michael Senturia, and David Lawton. He was selected by the League of American Orchestras to perform in the National Conductor Preview with the Jacksonville Symphony.

Rubardt has served on the faculties of The Juilliard School, Rutgers University, and the State University of New York at Purchase. In addition to Juilliard he has received awards and degrees in music from the State University of New York at Stony Brook and the University of California at Berkeley. Rubardt has recorded for Pantheon Records International. He resides in Pensacola with his wife Hedi Salanki, a Distinguished University Professor in the Music Department of the University of West Florida, and their two children.

PeterRubardt.com

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From Our Music Director Good evening, and welcome to this performance of the Pensacola Symphony!

As I’ve prepared for this season I’ve found myself surprised all over again by this amazing art. The program before us tonight may feature a classic by Beethoven or Tchaikovsky, or it may push the boundaries into less common things. Either way, the music is full of delightfully unexpected twists and turns; I hope you hear something that surprises you tonight.

I’m sometimes asked how I choose the pieces that the PSO performs each season.

The first step is, quite simply, to cast the net wide and see what strikes me. Sometimes I’ll browse a catalog and chance upon a piece that I did long ago that might be due for a fresh look, or I’ll revisit the long (and growing) list of pieces I’m interested in to see if anything jumps out and says “Yes – play this now.” I’ll browse programs of other orchestras, read repertoire surveys, pull scores randomly off my shelf, wander the library, explore suggestions from orchestra members or guest artists or audience members. Often I let Spotify, a podcast, or public radio choose a playlist for me.

I’ll listen to pieces in different settings: in the car, by a pool, at the gym. The goal is to have the music hit me fresh, to capture the feeling of hearing it for the first time, whether it was composed last year or it’s something I’ve known for decades. The more random the inputs, the more likely I am to be intrigued.

Every piece that we are playing this season is a piece that has surprised me, inspired me, intrigued me in some way, and I hope it will do the same for you. Our repertoire ranges from popular core symphonic works to brilliant pieces that I’m guessing most of us haven’t heard before: Michael Daugherty’s concerto for English Horn, or Elgar’s over-the-top arrangement of Bach.

We have some playful pieces like Gershwin’s scintillating Cuban Overture or Strauss’s elegant Emperor Waltzes, and, at the other extreme, Mahler’s staggeringly intense Sixth Symphony. It’s a rich and wide-ranging season, with nothing routine about it.

There is no one way to hear a piece, but if I were going to offer advice I’d say “trust the composer.” Without exception, they have something special to say, and they want you to hear it. Set aside whatever expectations you may have, and simply let the music have its way; the rewards are great. It’s with pride and excitement that the Pensacola Symphony welcomes you to this performance! I’m glad you’ve joined us.

Peter Rubardt Music Director

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MUSICIAN ROSTER First Violin

Leonid Yanovskiy, Concertmaster Pensacola Symphony Orchestra Guild Chair Minyoung Cho, Associate Concertmaster Christian Aldridge Petra Bubanja Edward Charity Ken Davis Burcu Goker Nicholas Hatt Molly Hollingsworth Ji Won Hwang Angele Lawless Gosia Leska Natasha Marsalli Tania Moldovan Kristin Pfeifer Yu Aaron Seiler Jared Starr Enen Yu *

Second Violin

Grace Kim, Principal † Sarah Bossa Brian Brown Juliana Gaviria Ellen Grant Frances Michaels Zully Morales Maeanna Naffe Joe Ortiguera Brianna Rhodes Megan Sahely Robin Tozzie Barbara Withers Nathan Witter

Viola

Michael Fernandez, Principal ‡ Marian Viccars Chair Brian Brown Rossana Cauti Amaro Dubois Courtney Grant Jim Lichtenberger Daniela Pardo Oana Potur

Catherine Schilling Matthew Watts Laurel Yu

Cello

Aleksandra Pereverzeva, Principal Helen N. Williams Chair Greg Sauer Chun-hsin Chang Boyan Bonev Barbara Gabriel ¶ Jordan Galvarino Juan Jose Gutierrez Paul Hanceri Daniel Martinez Andrea Restrepo Ryan Snapp Jose Sunderland

Bass

Taylor Hollyer, Principal Samuel Dahmer Michael Johnson John Palensky Jeb Stuart Ernie Szugyi Doug Therrien

Flute

Stephanie Riegle, Principal Bethany Witter Wood Gay and Bruce Burrows Chair Sarah Jane Young Mary Elizabeth Patterson Chair Monika Durbin Christopher Kuhns Rachel Nozny

Piccolo

Sarah Jane Young

Oboe

Matt Fossa, Principal Margaret Cracchiolo Bobby and Suzanne Kahn Chair Rebecca Mindock Asher Kelly Scott Erickson

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English Horn

Margaret Cracchiolo

Timothy Tesh Johnny Brewer

Clarinet

Trombone

Richard Jernigan, Principal Newell Hutchinson Kim Whaley Melissa Turner Samuel Peliska

E Flat Clarinet Newell Hutchinson

Bass Clarinet Kim Whaley

Saxophone Dave Camwell Ron Smith Kim Whaley

Bassoon

Jeff Keesecker, Principal Paul W. Runge and Phyllis G. Runge Chair Abigail Walker Richard Hopkins Joy Hoffman

Contra-Bassoon Richard Hopkins Abigail Walker

Horn

Jacqueline Adams, Principal Claudio Torres, Jr. MD Chair Tony Chiarito Stuart Kinney Jodi Graham Wood Rebecca Chambers Jonathan Gannon James Baker Michelle Stebleton

Trumpet

Dale Riegle, Principal Marea Jo Milner Chair Jonathan Martin Ned and Jan Mayo Chair Tom Savage Mike Huff

Bret Barrow, Principal Don Snowden Josh Bledsoe Wes Lebo

Bass Trombone Wess Hillman

Tuba

Mike Mason, Principal

Timpani

Laura Noah, Principal Matt Greenwood

Percussion

Jordan Wood, Principal Ian Be Adam Blackstock Justis Davis Benjamin Fraley Kris Grant Matt Greenwood Pete Krostag Brian Nozny Luis Rivera

Harp

Katie Ott, Principal Rebekah Atkinson Catherine Anderson

Keyboard

Tina Buran, Principal

Artistic Staff

Dale Riegle, Personnel Manager John Callahan, Production Manager * Concertmaster – Pensacola Opera Productions † Concertmaster – Concerto for Orchestra ‡ One-Year Appointment ¶ On Leave for 2018-19 Season

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THE HISTORY OF THE PSO Instrumental music performances and music study clubs begin to appear in Pensacola during the late 1800s and early 1900s. By 1919, the Pensacola Music Study Club forms and in 1925, John and Louise Northup begin hosting regular music gatherings with friends in their home on the southwest corner of Spring and Gregory Streets (today the Pensacola Victorian Bed & Breakfast). In 1926, representatives of the Civic Music Association of America came to Pensacola to sell memberships that gave exclusive access to performances of classical music through a series of concerts featuring national talent. In their initial campaign, they were able to sell 800 memberships for the traveling series at $5 each.

The Pensacola Philharmonic Orchestra was first formed in 1926 by German immigrant John W. Borjes as a reaction to the visiting concert series.

Professor Borjes, who studied music at the storied conservatory Leipzig, recognized the need for Pensacola to have an institution of its own that could develop local talent and also provide access to symphonic music for the entire community.

We know from Borjes’ comments that he formed the ensemble with a hope “to demonstrate to this city that it is not necessary to go out of town to get good music.” Having been music director of orchestras in New York’s Shubert Theatre and Memphis’ Orpheum Theatre no doubt gave Borjes the requisite experience and credibility this new venture would need. Members of this early ensemble included many members of the 20-piece Saenger Theatre Concert Orchestra, among others. Their debut performance, a free concert that took place at Pensacola High School, was well received as documented in the local newspaper.

From those early years, the Pensacola Philharmonic Orchestra transitioned through a few name changes. Under the baton of Dr.

John Venetozzi in the 1950s, the organization emerged as the Greater Pensacola Symphony Orchestra, its legal name to this day. The Ladies Auxiliary of the Orchestra formed in 1956, and later the Pensacola Symphony Orchestra Guild formed in 1973. After a major renovation effort in 1982, the Saenger Theatre became the concert home of the Orchestra while under the direction of Dr. Grier Williams. Dr. Williams led the PSO until 1996. During that time he was also the founder of the Music Department at the University of West Florida, music director of First Presbyterian Church, and also brought together a group of singers that later became the Pensacola Children’s Chorus. In 1997, the Pensacola Symphony welcomed Peter Rubardt as its new music director. Since that time, Dr. Rubardt has played a central role in increasing the organization’s impact through a wide range of classical, pops, and community engagement programs. In 2003, Rubardt assisted the Orchestra in launching a capital campaign that grew PSO’s endowment, provided percussion equipment, added chamber orchestra concerts, boosted musician compensation, and expanded community engagement opportunities.

Now in its 93rd season, the PSO continues to seek ways to fulfill its mission of promoting the well-being of the Greater Pensacola community through excellence in live symphonic music and lifelong learning through engaging musical activities. From the stage, PSO’s goal is to provide the Pensacola community with transformative musical experiences through performances with world-renowned artists. In addition to enlivened performances, PSO’s “Beyond the Stage” program brings musical experiences to the Pensacola community in settings that include schools, retirement communities, healthcare facilities, and galleries.

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2018–2019 SEASON CALENDAR October 13, 2018 – 7:30 p.m.

Masterworks – Opening Night!

November 3, 2018 – 7:30 p.m.

Masterworks – Mozart & Brahms November 4, 2018 – 1:30 p.m.

Free Community Concert Great Gulfcoast Arts Festival Seville Square November 8, 2018 – 7:30 p.m.

Chamber Music with Dance See the Music, Hear the Dance Pensacola Cultural Center December 31, 2018 – 7 p.m.

Pops! – Celebrate the New Year!

January 19, 2019 – 7:30 p.m.

Masterworks – Beethoven & Blue Jeans February 2, 2019 – 7:30 p.m.

Pops! – The Envelope, Please

February 16, 2019 – 7:30 p.m.

Chamber Orchestra Concert Mozart Madness First United Methodist Church March 9, 2019 – 7:30 p.m.

Masterworks – Mahler: Symphony No. 6 March 29, 2019 Special Event 2019 Center Stage: A Benefit Concert featuring Dee Daniels Vinyl Music Hall April 6, 2019 – 7:30 p.m.

Russian Spectacular April 27, 2019 – 7:30 p.m.

Masterworks – Concerto for Orchestra May 18, 2019 – 9:30 a.m.

Special Event Music for Families

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Beyond the Stage

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ince 1926, musicians in our community have been performing, teaching, and sharing music under the auspices of this Orchestra. The legacy of this work creates a solid foundation on which we continue to build. During the past several years, your involvement and generosity have made it possible for the Pensacola Symphony Orchestra to move beyond the stage and join with key community partners in providing meaningful musical experiences during every stage of life. From an introduction to music through an instrument petting zoo to the comfort of music in a healthcare setting, these recurring experiences, provided by small groups of PSO’s professional musicians, foster encouragement, joy, and connections in key moments.

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Community Engagements

5,685

Escambia and Santa Rosa County Fifth Graders reached through 4 concerts at the Saenger Theatre

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patients and family members reached through 35 musical experiences at Studer Family Children’s Hospital at Sacred Heart and Nemours Children’s Specialty Care

14,620 people reached through meaningful community engagement

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patients and family members reached through 32 musical experiences with Covenant Care

Partnerships COMMUNITY Artel Gallery Autism Pensacola Azalea Trace Pensacola Community Music School HEALTHCARE Covenant Care Nemours Children’s Specialty Care The Studer Family Children’s Hospital at Sacred Heart

SCHOOLS Brown Barge Middle School Ransom Middle School Tate High School

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Board of Directors

The board of directors plays an active role in strategic thinking, financial and legal oversight, and relationship building for the organization. Their vast experience and passion for serving our community through music are essential in addressing the PSO’s challenges and opportunities. Members serve a three-year, renewable term and meet regularly to discuss the direction of the PSO, ensuring that our resources are most effectively allocated toward the fulfillment of our mission.

Jessica Lee President Charles Beall Vice President Kevin Nelson Treasurer Jack Zoesch Secretary Mark Lee Past President

Diane Appleyard Thomas Bailey Barbara Bruckmann Terry Bryan Margaret Couch Bradley “Beej” Davis, Jr. Nan DeStafney George Dmytrenko William Dollarhide Christina Doss Julie Estess Preston Forshee KC Gartman Chris Horak

Ex officio

Newell Hutchinson Tad Ihns Ron Jackson Teri Levin Jock Mobley Peter Mougey Willis Mullet Marte Picker Trey Poirier Leelaa Rao Stephanie Riegle Betty Roberts Jeff Rogers Robert Turner

Peter Rubardt Music Director

Roz Leahy Guild President

Bret Barrow Executive Director

Jonathan Thompson Advisory Council Chair

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ADVISORY COUNCIL

Formed in 2017, this group of creative thought partners meets quarterly to provide input about the our artistic imperatives, audience development, and community engagement. With open discussions and opportunities to engage with our musicians, partners, and staff, Advisory Council meetings provide an important space to evaluate the effectiveness of current programs and influence the future direction of the Orchestra.

Jonathan Thompson Chair Janet Kahn Vice Chair Lucy Belk William Belk Carol Cooper Dawn Cooper Franklyn Cutrone Sonya Davis Bet Ellis Joe Ellis

Betsy Greer Suellen Hudson Caroline Huff Maryette Huntinghouse Suzanne Kahn Cheryl Knowles Patsy Langhorne Ann Litvak Carol Malt Don Mason Mary Mason George Milner Katrina Mougey Jill Nelson

Anne Patterson Jim Potter Nell Potter David Richbourg Norman Ricks Suzanne Riley Kathy Summerlin Bob Stumpf Susie Stumpf Robb Taylor Bradley Vinson Joe Vinson Trisha Woodburn

If you are interested in learning about how you can become more involved with the Pensacola Symphony, contact Jessica Hyche, Advancement and External Relations, at jhyche@pensacolasymphony.com or 850.435.2533 ext. 102.

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pensacola symphony orchestra Guild

The Pensacola Symphony Orchestra Guild is a group of dynamic individuals who are passionate about the Orchestra and its mission. With activities that include the annual Magnolias and White Linen benefit event and monthly luncheons, the Guild has been one of the biggest supporters of the Pensacola Symphony for the last 45 years. Operating as a separate nonprofit organization from the PSO, the Guild advances its mission to educate and enrich the community by supporting the PSO through volunteer and fundraising efforts such as musician hospitality and music in education support.

Roz Leahy President

Charlotte Cheney Treasurer

Ann Mitchell First Vice President

Jo Jones Assistant Treasurer

Romana Lopez Second Vice President

Trisha Woodburn Past President

Sandee Houston Secretary

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ANNUAL FUND DONORS We are deeply grateful to the following individuals who support our concert season and services to the community through their generous contributions to the Annual Fund. The following is a list of donors through August 16, 2018. $20,000+

Mark E. Lee and Gary Michaels Mark and Lesley Lucas Marte Picker Diane Peterson Dr. and Mrs. Daniel Ross Paul and Lynne Tobin

Scott and Maryette Huntinghouse A. Newell Hutchinson and H. Dean Brown Ron and Margaret Jackson Carl and Ann Jeffcoat $10,000+ Charles and Janet Kahn Mr. and Mrs. Robert Byrnes The Sid and Jeannie Tad and Lisa Ihns $1,000+ Kamerman Arts Fund Jessica Lee CAPT Linda J. Balink Dave and Lyndi Kessler Teri Levin White, USN (Ret) Cookie Kichler Mrs. Garlan Sisco Dr. and Mrs. William Richard and Shirley Knight Robert and Gloria Turner W. Belk Dr. and Mrs. W.H. Langhorne, II Barbara O. Bruckmann Carol Law $5,000+ Dr. F. Terry Bryan Janice M. LeCocq Margaret S. Allred Franklyn Cutrone Evan and Windy Levin Diane Appleyard Bradley “Beej” Davis, Jr. LtCol Walter R. Limbach Lewis and Belle Bear Jim and Sonya Davis and RADM Joan M. Engel Carol and Dawn Cooper Ferdinand and Elsbeth Dr. and Mrs. Allen L. Litvak, Sr. Joseph Gilchrist de la Fontaine Dr. and Mrs. Don Mason Bonita and Tony Jacobs Jim and Nan DeStafney Michael and Anne Mazenko Helen Long Ihns Bill and Margaret J. Collier and Cate Merrill Robert and Abby Rinke Dollarhide Marie Myles Valerie and Ray Rob and Christina Doss Richard D. Miller Russenberger Marcia Dean Enquist Mr. George A. Milner and Eric Enquist Peter and Katrina Mougey $2,500+ David and Jody Falvey Maresa and John O’Connor Tom and Nora Bailey Preston and Kaitlin Forshee Nels and Abbie Offerdahl Charles Beall KC and Mike Gartman Christa O’Harrow Dr. and Mrs. Gordon Mrs. Sharon C. Gibb Gene Nell Olsen T. Couch John Gormley Mike Papantonio Jean-Ellen Giblin and RADM and Mrs. William A. Trey and Claire Poirier Jerome Gordon Gureck, USN (Ret) William and Cherrie Rankin Steve and Kristen Nostrand Dr. Jerome E. Gurst Charles and Suzanne Riley Junker Chris Petro Horak Ms. Betty Roberts The Robert H. Kahn, Jr. Dr. and Mrs. Ed Rogers Family Foundation M. Blair Clark and George Dmytrenko Drs. Jim and Nell Potter

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Jeff Rogers Maestro Rubardt and Dr. Hedi Salanki Dr. and Mrs. Larry Sauls Dan and Beth Shugart Susan S. Smith Crystal and Brian Spencer Dr. and Mrs. Mark Sprayberry, DVM Nancy and William Stafford Dr. Paul Tamburro Sally and Henry Trimble Roger and Ellen Vinson Jack and Amy Zoesch And two who wish to remain anonymous

$500+

Jeff and Lydia Abram Naoko Buchholz Nina Campbell Melvyn and Ruth Carson Charlotte Cheney and Thomas E. Roberts, Jr. CAPT. and Mrs. Joe Ellis, USNR (Ret) Daniel and Megan Flake Donald and Betsy Greer Nan Harper Thomas Hayman and Martha Turner Marc and Caroline Huff Bruce A. “Doc� Holliday Jane Kugelman D. Robert Laporta Roz Leahy John and Romana Lopez Dr. and Mrs. R. Mendez Don and Rita Meyer Ron and Jan (Cavanaugh) Miller Marcia D. Moritz

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Jill Nelson Kevin and Amy Nelson Mr. and Mrs. P. Michael Patterson Tim Peters David Richbourg and Norman Ricks Dale and Stephanie Riegle Mr. and Mrs. Anthony Rouchon Gene Rosenbaum Cleon Smith and Cheryl Jeffries Smith Karl and Kathy Summerlin Mr. and Mrs. Rodney Sutton Jonathan E. Thompson Joe and Bradley Vinson Ken and Karen Wilder Trisha Woodburn

Drs. Mary and David Mehta Mr. and Mrs. David J. Myers Mr. Donald H. Partington Mr. and Mrs. Bruce M. Phillips Allen and Susan Pote Bob and Faye Robinson Margaret A. Shimmin CAPT and Mrs. Robert E. Stumpf, USN (Ret) Steve and Candy Timberlake Kay S. Valentino Dr. and Mrs. Frank E. Witter Ken and Elizabeth Woolf Dr. William and Beverly Zimmern

$250+

Mrs. J.W. Andress Amelia Asmar Linda Barrow Frank and Sylvia Beall Patricia Bennett Lydia Brackett Margo Broxton Richard L. and Judy Cannon Suzanne and Cecil Carlton Harry and Gayle Cramer Dr. Philip Dean Bertrun Delli Lewis and Joann Doman Miles G. Doolittle Darlene Duffie Deborah Dunlap Kathy Dunagan Ray and Carol Engel Carl and Linda Ennis Pete and Maryann Federovich Dr. Bruce Felder Scott and Elly Fisher

Mr. Paul Blakeburn Anna W. Campbell Randle and Suzanne Carpenter Mr. and Mrs. William G. Champlin Jeffrey Comitalo Mr. and Mrs. William W. Danner Mrs. Patricia R. Dyehouse Laura Ericson and Stephanie Karous Mrs. Ann Grandin Bill and Connie Greenhut Richard and Diane Hahner Marilyn Hayman Ron and Emily Hedgecock Dr. and Mrs. Finley C. Holmes Janice R. Kilgore Mr. and Mrs. Mark King William McDonald Dr. and Mrs. James S. Miller

And one who wishes to remain anonymous

$100+

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Annual fund donors continued Dr. and Mrs. White E. Gibson, III Ellen Givens Dr. and Mrs. Richard Grayson Mr. and Mrs. Chris Hart Mr. and Mrs. Robert D. Hart, Jr. David W. Henn Dr. Rovena L. Hillsman Mrs. K. Inge Holman Ann and Kermit Housh Suzanne K. Horton Hal and Suellen Hudson Peggy Ives Joe and Barbara Jackson Renata Jankauskas Richard Jernigan Jerry Johns Georgia Ketchum Thad L. Kopec Vivian Krumel Jacqueline Lane Sara B. Langston Peter and Mary Lee Sue and Joel Levin Mary Lewis Philomena Madden Rex McKinney Dr. and Mrs. Tom Mignerey Bob and Mary Kay Miller Ann and Pat Mitchell Mr. Phillip Mortimer and Ms. Leila Hobbs Dr. Nan H. Mullins Fran Norman William H. Norman III and Elaine N. Cox Dr. and Mrs. Ramon Oldenburg Maureen Orrantia

Dr. and Mrs. Amos Prevatt Pat and Donna Quinn Dr. Wilson Radding and Dr. Terrie C. Reeves Andrew and Summer Rasnick Dennis Reynolds and Angeleque HillReynolds Martha and Tom Richard Dr. and Mrs. Scott Rickoff John and Diane Ripley Mr. and Mrs. Alan Robinson Felix and Helen Saino Mr. and Mrs. Charles A. Schuster Christopher Shawyer Mr. Don Snowden and Mrs. Holly Shelton Cathy and Mike Stephenson Dr. and Mrs. Charles Terrell Dr. and Mrs. Daniel J. Thomas John and Marilyn Thorpe Dr. Louise Tolbert Gordon and Rose Marie Tyrrell Dr. and Mrs. F. Norman Vickers Pat Vince Frances Vinci Ms. Tatyana Vlasova Gisela R. Vogentanz Tom and Deb Wachs Joseph and Dona Wcislo The Webber Family Dan and Connie Wendleton Helen Wigersma Sue Wilson Virginia C. Wells

Doug and Paula Werber Robert and Joanne Wermuth Charles Wilson Robert Yates Mr. Peter Young

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CORPORATE AND FOUNDATION SUPPORT $50,000+ Art, Culture & Entertainment, Inc. $20,000+ Division of Cultural Affairs, Florida Department of State Pensacola Symphony Orchestra Guild $10,000+ Avalex Technologies Centennial Imports Kia AutoSport National Endowment for the Arts Regions Bank $5,000+ Baptist Health Care The Bear Family Foundation Melba B. Meyer Charitable Trust Moore, Hill & Westmoreland, PA Grainger Foundation Gulf Power Company The Perry Foundation: By L. Thomas McClung and Philip Hull McClung - Trustees Wendy’s | Wendco Group $2,500+ Accustaff Cox Communications GoodWin Asset Management, Inc. The Robert H. Kahn, Jr. Family Foundation Sacred Heart Health System, Inc.

Saltmarsh, Cleaveland & Gund Still Waters Day & Medical Spa The Retirement Planners Professionals, Inc. Wind Creek Hospitality $1,000+ Azalea Trace Bank of America Foundation Beggs & Lane, RLLP Covenant Care Drug Free Workplaces Hewes & Company, LLC International Paper Foundation Nemours Children’s Specialty Care Pensacola Rotary Club of Pensacola Sandy Sansing Dealerships Spencer Law, PA $999 and Below Cat Country 98.7 and NewsRadio 92.3 FM & 1620 AM Aluma Designs BBVA Compass Don Alan’s Home Instead Senior Care Levin Papantonio, PA Levin Rinke Resort Realty, Inc. Liberty Sertoma Club Navy Federal Credit Union State Farm - Brad Phelps Wilson Family Foundation

MUSICIAN SPONSORS Jean-Ellen Giblin and Jerome Gordon Katie Ott, Harp

Mark and Leslie Lucas Jeff Keesecker, Bassoon

Garlan Sisco Tina Buran, Keyboard Garlan Sisco in memory of A.B. Sisco The Trombone Section

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Honorariums & Memorials Memorials In memory of Jack Allen Karen Allen

In memory of Frances LeCocq Barbara Oliver In memory of Anne and John Lett Anonymous

In memory of Commander Philip A. In memory of RADM and Mrs. Balink-White, MBE, Royal Navy Richard A. Paddock CAPT Linda J. Balink-White, USN (Ret) CAPT and Mrs. Robert E. Stumpf, USN (Ret) In memory of Michael David Barrow Linda Barrow Laurie Neeb

In memory of Greta Rickoff Amelia Asmar Mrs. Patricia Drlicka In memory of Virginia Dean Marcia Dean Enquist and Eric Enquist Helen Long Ihns Pensacola Symphony Orchestra Guild Roger and Ellen Vinson In memory of Jeanne Hutchison Bob Hutchison

In memory of Jane and Fred Seligman Kay S. Valentino

In memory of Rose and Ben Johns Jerry Johns

In memory of A.B. Sisco Mrs. Garlan Sisco

In memory of Frederick Orson Johnson In memory of Roy W. Smith, Jr. Susan S. Smith Mrs. Ann Grandin In memory of Dan Krumel Vivian Krumel

In memory of William Vinci Frances Vinci

In memory of Jane Kugelman Pensacola Symphony Orchestra Guild The Robert H. Kahn, Jr. Family Foundation Robert and Gloria Turner

In memory of Ellen Jane Watson Roger and Ellen Vinson

In memory of James Henry Lane Jacqueline Lane

In memory of Dr. Charles C. White, Jr. Gary DeLapp James and Joyce Estes Mr. and Mrs. John W. Renfroe, Jr.

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In memory of Dr. Grier Williams Michael and Alexis Bolin

In honor of Gloria Turner Marilyn Hayman

In memory of Johanna Winkler Christa O’Harrow

In honor of Robert Turner Marilyn Hayman Thomas Hayman and Martha Turner

Honorariums In honor of Brett Bayer Mr. and Mrs. Robert Byrnes In honor of Marshall Corzette’s Birthday Pat Vince And seven who wish to remain anonymous In honor of Jurgen Richard Ihns Helen Long Ihns In honor of Teri Levin Ron and Jan (Cavanaugh) Miller In honor of Ann Litvak’s Birthday Robert and Gloria Turner In honor of Maestro Peter Rubardt and Dr. Hedi Salanki-Rubardt LtCol Walter R. Limbach and RADM Joan M. Engel In honor of Don Snowden Ron and Emily Hedgecock In honor of Jose Sunderland Robert and Joanne Wermuth

In honor of Clara Wimberly Steve and Candy Timberlake

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2018 center stage Sponsors

Last year was record-breaking for our Center Stage benefit event featuring Byron Stripling and Bobby Floyd. With all proceeds supporting the Beyond the Stage program for community engagement and education, this sold-out event at Vinyl Music Hall featured a lively second line, culinary delights and an unforgettable performance. We extend our sincere gratitude to the sponsors, listed below, who made this event such a success. Join us for this year’s event on March 29, 2019 to hear vocalist Dee Daniels’ swing, soul, and blues-inspired performance.

Platinum Lewis and Belle Bear Teri Levin Gold Avalex Technologies KIA AutoSport Mark Lee and Gary Michaels Patti Taylor and Robb Taylor Robert and Gloria Turner The Perry Foundation Silver Azalea Trace Beggs & Lane, RLLP Centennial Imports Hewes & Company, LLC Marte Picker Mike Papantonio Drs. Jim and Nell Potter Saltmarsh, Cleaveland & Gund Sandy Sansing Dealerships Spencer Law, PA Still Waters Day & Medical Spa And One Who Wishes to Remain Anonymous Bronze Diane Appleyard Tom and Nora Bailey BBVA Compass Dr. F. Terry Bryan Carol and Dawn Cooper Cox Communications Jim and Sonya Davis Roz Leahy Mike and KC Gartman Jean-Ellen Giblin and Jerome Gordon

Joseph Gilchrist Home Instead Senior Care Scott and Maryette Huntinghouse Dave and Lyndi Kessler Levin Papantonio, PA Levin Rinke Resort Realty, Inc. John and Romana Lopez Ron and Jan (Cavanaugh) Miller Jill Nelson Betty Roberts Ray and Valerie Russenberger Cleon and Cheryl Jeffries Smith Brad Phelps – State Farm Paul and Lynne Tobin Honorary Chair Teri Levin Event Committee Diane Appleyard Kyra Pelletier Marte Picker Robb Taylor Emcee Dan Shugart Additional Support Bluejay’s Bakery Ashley Camp with Mau Loa Photography Classic City Catering Cloud 9 Chocolates Fioré of Pensacola Kate Treick with Kate Treick Photography The Switzer Family Village Brass Vinyl Music Hall

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2018 Magnolias and white linen sponsors

As the Guild’s largest fundraising event, the annual Magnolias and White Linen Luncheon features entertaining speakers at Skopelos at New World Landing. Last year’s sold-out event benefited the programs of the Pensacola Symphony Orchestra and featured the hilarity of speaker and columnist Julia Reed. We appreciate the sponsors, listed below, who made this event successful. Join us for this year’s event on March 6, 2019 to hear noted author, speaker, and humorist Roy Blount, Jr. For further information, please call Jan Peterson at 850.982.4424.

Benefactor The Kugelman Family Foundation

Lazy Daisy Garden Club Lean In Pensacola!

Mary Ann Long Linda Massey McCombs Electric Heating and Air Grand Honorary Sponsors CAPT Linda (and CDR Philip) Balink- Pensacola Museum of Art Past Presidents White Jan Peterson Evelyn M. Davis Marte Picker The Robert H. Kahn, Jr. Family Foundation Silver Sponsors Monette Kelly Payne Carol and Dawn Cooper Drs. Jim and Nell Potter Nancy Fetterman Linda Terhaar Home Instead Senior Care Robert and Gloria Turner Roz Leahy Dona Usry Teri Levin Veranda of Pensacola Carolyn Pfeiffer Quenneville Investment Group of Gold Sponsors Wells Fargo Advisors Eleanor Aspliden Pat and Donna Quinn Dick and Bonnie Bedics Sylvia Ronayne and August Pereira, Jr. BHR Advantage Terry and Judy Scruggs Constance Crosby Interiors Paul and Lynne Tobin Bill and Beverly Donahue Roger and Kat Villines Bea Enfinger and Audra Sebastian Trisha Woodburn Jean-Ellen Giblin Pat Griffin Bill and Sandy Gureck Gulf Power Bill and Jo Jones Nan Harper – Island Realty Hart Family Heron’s Forest Ron and Margaret Jackson Patsy Langhorne and Ann Litvak

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In-kind donors Apple Market Artel Gallery Diane Appleyard Aragon Wine Market Ballinger Publishing Bluejay’s Bakery Blues Angel Music Cat Country 98.7 and NewsRadio 92.3 FM & 1620 AM Classic City Catering Cloud 9 Chocolates CPC Office Technologies Cox Communications Cox Media Culinary Productions | Mike DeSorbo Evergreen Marketing Solutions Fioré of Pensacola Great Southern Restaurants Hilton Garden Inn Pensacola Airport/Medical Center Independent News Kate Treick Photography

Dr. and Mrs. W.H. Langhorne, II Teri Levin Mau Loa Photography Peter and Katrina Mougey Pensacola News Journal Marte Picker Charles and Suzanne Riley Saltmarsh, Cleaveland & Gund Schmidt’s Music Solé Inn and Suites The Southern Creative The Switzer Family The University of West Florida Village Brass Band Vinyl Music Hall WEAR ABC 3 and WFGX My TV 35 Jacquelyn Wilson and the University of West Florida Historic Trust WUWF Public Media, 88.1 FM

Government Support The Pensacola Symphony Orchestra is funded in part by: The State of Florida, Department of State, Division of Cultural Affairs and the Florida Council on Arts and Culture Art, Culture & Entertainment, Inc. National Endowment for the Arts

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Campaign society These donors have generously contributed $25,000 or more to the Symphony Campaign and will be permanently recognized in the Symphony season program. $250,000 and Above

The Robert H. Kahn, Jr. Family Foundation Hilda B. Kahn and Doris Jean Kahn Ensembles in the Schools Fund

$100,000 to $249,999

Ned and Janet Mayo Ned and Janet Mayo Trumpet Chair Paul and Phyllis Runge Paul W. Runge and Phyllis G. Runge Principal Bassoon Chair

Drs. Jim and Nell Potter Nell and James Potter Fund

And one who wishes to remain anonymous

Robert Turner and Gloria Turner

$25,000 to $49,999

$50,000 to $99,999

Johnny H. Bell and Sue Tate Bell

James H. Baroco Foundation, Inc.

Mr. and Mrs. John S. Carr

The Bear Family Foundation Bobby and Suzanne Kahn Oboe Chair

Ken and Marsha Cole Ensembles in the Schools Fund

Gay and Bruce Burrows Gay and Bruce Burrows Flute Chair Bill and Connie Greenhut Mr. and Mrs. Robert D. Hart, Jr. In Memory of R. Daniel Hart

Norma S. Crooke and Bernard E. Crooke R.K. “Skip” and Martha Ann Hunter James J. Marks Foundation Mr. and Mrs. Eric J. Nickelsen

Dr. and Mrs. William Henry Langhorne Mary Elizabeth Patterson Flute Chair In Memory of Mary Elizabeth Patterson

Russenberger Foundation Russenberger Foundation Fund for Strings

Ann G. Litvak and Allen L. Litvak Litvak Family Cello Chair

William and Mary Smart William and Mary Smart Fund

Sacred Heart Health System, Inc.

Wendy’s | Wendco Group Wendy’s Fund

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MAKING A LASTING DIFFERENCE IN OUR COMMUNITY

Gifts to the Orchestra’s Annual Fund are an invaluable part of the continuation of the organization’s mission, but there are certain gifts that elevate the experience that the Orchestra can bring to our community.

With a visionary spirit, donors can support the appearance of world-class guest artists on the Saenger stage or special projects that expand the reach of the Orchestra.

We would like to recognize and thank the following donors for investing in transformational artistic experiences: Campaign for Historic Artists Carol and Dawn Cooper Dr. Jean-Ellen Giblin and Mr. Jerome Gordon The Robert H. Kahn, Jr. Family Foundation Robert and Gloria Turner Fund for Special Music Robert and Gloria Turner

For information about how you can become involved, contact Jessica Hyche, Advancement and External Relations, at jhyche@pensacolasymphony.com or 850.435.2533 ext. 102.

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ADDITIONAL WAYS TO GIVE Looking for a way to help further the mission of the Pensacola Symphony Orchestra? There are numerous ways to give that advance the goals of the Orchestra while providing meaningful benefits for you and your family.

IRA Charitable Rollovers

IRA charitable giving is a way that you can transfer funds from your IRA directly to the Orchestra while realizing some important tax benefits.

If you are 70 ½ or older and own an IRA, you can reduce your taxable income and may lower your taxable Social Security (from your IRA withdrawals).

Additional Benefits of an IRA Charitable Rollover • Avoid taxes on transfers of up to $100,000 annually • Satisfy your required minimum distribution (RMD) for the year • Make a gift not subjected to the 50% deduction limit on charitable gifts or other limitations placed on itemized deductions • Help avoid thresholds for net investment income tax or phaseout range for itemized deductions * 401(k), 403(b), SEP IRA accounts, and other retirement accounts do not qualify. * Organizations not currently eligible are certain private foundations and donor advised funds

Legacy Gifts

Most of us would like to leave a lasting legacy – to feel we have made a contribution that will benefit future generations. Those who are most devoted to Pensacola and live symphonic music can help guarantee the future of both – through bequests, trusts, and other planned gifts.

By naming the Pensacola Symphony Orchestra as a beneficiary in your will or by making other planned gifts, you ensure the Symphony’s longterm vitality while possibly realizing significant tax advantages for yourself and your loved ones.

The Symphony always recommends that you consult your tax professional for the most up-to-date and personalized information about giving benefits.

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legacy society Planned Gifts to the Pensacola Symphony Orchestra Legacy Society BGen Joseph P. Adams, USMC* Margaret S. Allred* Tom and Nora Bailey Gay and Bruce Burrows Ken and Marsha Cole Carol and Dawn Cooper Norma S. and Bernard E. Crooke Mr. and Mrs. Robert D. Hart, Jr. Robert H. Kahn, Jr.* Dr. and Mrs. W.H. Langhorne, II

Ann G. Litvak and Allen L. Litvak Marea Jo Milner* Paul and Phyllis Runge* Robert and Gloria Turner Milton and Dona Usry And one who wished to remain anonymous* *deceased

Past BOARD Presidents 1953-54 Mr. Gene Trader 1954-58 Mr. George Narber 1958-60 Mr. Theo Baars, Jr. 1960-61 Mr. James Lay 1961-62 Mr. J. McCarthy Miller 1962 Mr. Paul Emerson (May-Dec) 1962-63 Mr. Howard Rein (Dec) 1963-64 Mr. W. W. Miller, Jr. 1964-66 Mr. Harry E. Newkirk 1966-67 Mrs. Marjorie Brown 1967-68 Dr. W. W. Miller, Jr. 1968-69 Mrs. Philomena Marshall 1969-70 Mrs. Marjorie Brown 1970-71 Mr. Earl Newton 1971-72 Mrs. Erica Wooley 1972-73 Mr. Ed Lake 1973-74 Dr. Allen Litvak 1974-75 Dr. John Brayton 1975-76 Dr. Frank Dobinson 1976-77 Dr. Ken Lea 1977-78 Dr. James Potter 1978-79 Dr. Newton Allebach 1979-80 RADM Dean Axene, USN (Ret) 1980-81 Dr. James Potter 1981-82 Dr. Philip Payne 1982-83 Mr. Sam Smith 1983-84 Mr. Arden Anderson 1984-85 Capt. J.H. O’Donnell, Jr., JAGC, USN (Ret)

1985-86 Mr. Robert Emmanuel 1986-87 Mrs. Gail Torres 1987-88 Capt. Edward Boywid, JAGC, USN (Ret) 1988-89 Mrs. Muriel Shugart 1989-90 Mr. Rand Spiwak 1990-91 Mrs. Suzanne Scoggins Riley 1991-92 RADM Richard A. Paddock, USN (Ret) 1992-93 Dr. Philip Payne 1993-95 Mrs. Dona Usry 1995-96 Mrs. Joyce Porras 1996-97 Mrs. Anne Hart 1997-98 Mr. Nelson Johnson 1998-99 Mr. Robert A. Moore, Jr. 1999-00 Mr. David Sjoberg 2000-01 RADM William Gureck, USN (Ret) 2001-02 Mrs. Gay M. Burrows 2002-03 Mrs. Suzanne Kahn 2003-04 Mr. Ken Cole 2004-05 Dr. Elizabeth L. Smith 2005-06 Mr. Robert de Varona 2006-08 Mr. Thomas Bailey 2008-10 Mr. William Dollarhide 2010-12 Mr. Tad Ihns 2012-14 Mr. Roger Webb 2014-16 Mr. Mark Lee 2016-17 Mrs. Bentina Terry

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Opening NIGHT! Saturday, October 13, 2018, 7:30 p.m.

Saenger Theatre Pensacola Peter Rubardt, Conductor Jennifer Koh, Violin George Gershwin (1898 – 1937)

Cuban Overture

Samuel Barber (1910 – 1981)

Concerto for Violin and Orchestra, Op. 14 I. Allegro II. Andante III. Presto in moto perpetuo

Featuring Jennifer Koh, Violin

INTERMISSION Modest Mussorgsky Pictures at an Exhibition (1839 – 1881) Promenade orch. Maurice Ravel I. Gnomus (The Gnome)

Promenade

II. Vecchio Castello (The Old Castle)

Promenade

III. Tuileries

IV. Bydlo (Cattle)

Promenade

V. Ballet of the Chicks in Their Shells

VI. “Samuel” Goldenberg and “Schmuyle”

Promenade

VII. The Marketplace at Limoges

VIII. Catacombae, Sepulchrum

Romanum (Roman Burial Place)

– Con Mortuis in Lingua Mortua (With the Dead in a Dead Language)

IX. The Hut on Fowl’s Legs (Baba Yaga)

X. The Great Gate of Kiev

Piano Provided By: Blues Angel Music Media Sponsors: WEAR ABC 3, WFGX My TV 35, Cox Media, Cat Country 98.7, NewsRadio 92.3 FM and 1620 AM, Pensacola Magazine, Pensacola News Journal, InWeekly, WUWF 88.1 FM Official Automobile Sponsor: Centennial Imports Official Hotel Sponsor: Solé Inn and Suites Official Catering Sponsor: Culinary Productions Official Décor Sponsor: Fioré of Pensacola Guest Artist Accommodations Provided By: Hilton Garden Inn

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Violinist Jennifer Koh is recognized for her intense, commanding performances, delivered with dazzling virtuosity and technical assurance. An adventurous musician, she collaborates with artists of multiple disciplines and curates projects that find connections between music of all eras, from traditional to contemporary. She believes that all the arts and music of the past and present form a continuum and has premiered over 60 works written especially for her.

Koh has performed with leading orchestras worldwide, including the New York and Los Angeles Philharmonics; Cleveland, Philadelphia, and Philharmonia (London) Orchestras; and Atlanta, Chicago, Cincinnati, and Singapore Symphonies.

Last season she performed a new concerto

by Christopher Cerrone, written for her New American Concerto project with the Detroit Symphony Orchestra. Through commissions from a diverse collective of composers, this multi-season project explores the form of the violin concerto and its potential for artistic engagement with contemporary societal issues.

In addition to this project, Koh launched Limitless, which celebrates the collaborative relationship between composer and performer through duo commissions and contemporary works performed by Koh and the composers themselves. She also continues such projects as Shared Madness, comprising more than 30 short solo works that explore violin virtuosity in the 21st century; Bridge to Beethoven, a recital series exploring the impact

Photo by Juergen Frank

Featured artist Jennifer Koh

Beethoven has had on a diverse group of artists, pairing the composer’s sonatas for violin and piano with new works; and Bach and Beyond, which traces the history of the solo violin repertoire from Bach’s six Sonatas and Partitas to works by contemporary composers.

Born in Chicago of Korean parents, Koh began playing the violin by chance, choosing the instrument in a Suzuki-method program only because spaces for cello and piano had been filled. She made her debut with the Chicago Symphony Orchestra at age 11, and went on to win the International Tchaikovsky Competition in Moscow, the Concert Artists Guild Competition, and an Avery Fisher Career Grant. In 2016, she was Musical America’s “Instrumentalist of the Year.” She has a degree in English literature from Oberlin College and studied at the Curtis Institute. She is Artistic Director of arco collaborative, an artist-driven nonprofit that fosters a better understanding of our world through a musical dialogue inspired by ideas and the communities around us.

Koh is exclusively represented by Opus 3 Artists. For further information, visit JenniferKoh.com.

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Opening Night!

George Gershwin Cuban Overture

George Gershwin was born in Brooklyn, New York in 1898 and died in Hollywood in 1937. He composed this work in 1932, and it was first performed (under its original title, Rumba) the same year by the New York Philharmonic under the direction of Albert Coates. The score calls for 3 flutes, piccolo, 2 oboes, English Horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings. Gershwin directed that four of the percussion instruments (claves, maracas, guiro, and bongos) should be placed “right in front of the conductor’s desk.”

In 1932 Gershwin was at the height of his fame and fortune, having written innumerable hit songs, a string of successful Broadway shows, and made his first forays into the concert hall with his Rhapsody in Blue and An American in Paris. He was ready for a vacation.

So it was that he spent two weeks in Havana, Cuba. His visit was to be low-key, but that city’s great musicians surely knew he was there: while enjoying Havana’s nightlife he was seen with most of them at one time or another, including being present for a live radio broadcast featuring Ignacio Piñeiro and his septet. It was there he heard Piñeiro’s “Échale salsita,” the island’s current hit, which became a theme in the Cuban Overture he composed upon his return.

The Overture was premiered at the firstever all-Gershwin concert in a stadium

in New York City, with nearly 18,000 in the audience and 5,000 turned away at the gate. Gershwin called the event “the most exciting night I have ever had.” Of his Overture he said, “In my composition I have endeavored to combine the Cuban rhythms with my own thematic material.

The result is a symphonic overture which embodies the essence of Cuban dance.”

The Overture does that, and more.

Gershwin had always been self-conscious about his lack of formal training—so much so that he continually took lessons from the finest composers he could persuade to teach him. (Amused, Ravel had asked him, “Why do you want to be a Ravel when you are a perfectly fine Gershwin?”)

All those lessons paid off: although the Cuban Overture is instantly recognizable as Gershwin, it is full of sophisticated musical techniques and the kind of subtle craftsmanship that disappears behind his ebullient originality.

Samuel Barber

Concerto for Violin and Orchestra, Op. 14

Samuel Barber was born in West Chester, Pennsylvania in 1910 and died in New York City in 1981. He completed his Violin Concerto in 1940, and the first public performance was given the following year by Albert Spalding, violin, with the Philadelphia Orchestra under the direction of Eugene Ormandy.

Barber revised the work in 1948. The concerto calls for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, snare drum, piano, and strings.

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Controversy attended the history of Barber’s Violin Concerto even before the composer finished the work. A Philadelphia businessman had commissioned the Concerto on behalf of his protégé, the brilliant young violinist Iso Briselli. After Barber wrote the lush and romanticsounding first two movements, Briselli is said to have wished for something a bit more showy. He got his wish and then some. When Barber delivered the first part of his moto-perpetuo Finale, Briselli found it not to his taste at all. The dramatic shift in mood from the first two movements was far too abrupt for the young violinist’s liking—a complaint, it must be said, that has been echoed by many critics over the years. Briselli asked Barber to revise the movement, but the composer refused. The commission was dissolved, and Barber lost half his fee.

This version of events is at variance with the long-accepted account given by Barber biographer Nathan Broder. Broder wrote that the commission was abrogated because Briselli called the Finale “too difficult,” but this is illogical on its face.

By all accounts, Briselli was a brilliant technician who counted the concertos of Paganini, Mendelssohn, and Beethoven among his repertory. There seems little doubt that Barber’s Finale was well within his capabilities.

Yet several witnesses recall that, prior to defending his work to the businessman, Barber had a student violinist read through the Finale to ensure its “playability”—an odd thing to do if Briselli’s objections were purely musical. The matter remains

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unresolved, though since 1994 (more than 50 years after the event) Briselli has had his lawyer threaten to sue anyone who repeats Broder’s account as definitive!

It turns out that the music was well worth the soap opera. The violin jumps right in with the subject of a long-lined, lyrical, and romantic first movement. In Barber’s hands the violin and orchestra are conversationalists rather than adversaries, with lyricism their common purpose.

Note how Barber is able to slip seamlessly between intensity and calm.

The second movement opens like a hymn, with an introspective oboe melody over rich harmonies. The soloist enters with something brighter, leads the orchestra through a central section of increasing musical and emotional fervor, then returns to the mood of the opening.

The Finale is angular, fleet-footed, and frequently off-kilter. Yet, as always with Barber, it is essentially melodic. Such is the movement’s economy and precision that it is over before you know it.

Is the Finale so different from the first two movements that it doesn’t fit? Some have thought so, particularly upon its premiere in 1941. Since most of us have by now heard abruptness of a much higher order our jaded ears find it less so. Barber himself saw it as the logical resolution of the tension raised by the first two movements.

Today the Concerto is performed more than ever, giving listeners ample opportunities to decide for themselves.

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Modest Mussorgsky

Pictures at an Exhibition Orchestrated by Maurice Ravel

Modest Mussorgsky was born in Karevo, Russia in 1839 and died in St. Petersburg in 1881. He composed Pictures at an Exhibition for solo piano in 1874. Ravel orchestrated the work in 1922, and this version was first performed in Paris the following year with Serge Koussevitzky conducting.

The work is scored for 3 flutes, piccolo, 3 oboes, English Horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, alto saxophone, timpani, percussion, 2 harps, celeste, and strings.

One of Modest Mussorgsky’s closest friends was Victor Hartmann, an architect, designer, and artist of great talent and even more promising potential. When Hartmann died suddenly of a heart attack at age 39, Mussorgsky was devastated.

A retrospective of the artist’s works was organized shortly after his death, and Mussorgsky was deeply moved by what he saw there. A few weeks later he began his own tribute to Hartmann, Pictures at an Exhibition.

Mussorgsky composed a piano work of colossal proportions, so immensely difficult that performances are still quite rare. The piece is a collection of short movements, each representing one of Hartmann’s works, with a recurring “Promenade” that represents Mussorgsky strolling through the “gallery.” Many assume that all of the pictures described by the music had been on display at the Hartmann retrospective,

but this is not so. Three of the pictures did hang there, but the rest Mussorgsky knew from having seen them at Hartmann’s home. Unfortunately, most of Hartmann’s art has been lost over the years; by the time Ravel’s 1922 orchestration revived interest in his work, it was too late.

The piece unfolds as follows: Promenade: A trumpet leads as we enter the exhibition. Mussorgsky said that the uneven eleven-beat phrase in this music represented his own “unusual physiognomy.”

Gnomus: This is Hartmann’s design for a wooden nutcracker in the shape of a gnome.

Il Vecchio Castello: A painting of an unknown Italian castle, with a lute-playing troubadour included to provide a sense of scale. One of Ravel’s many brilliant strokes was assigning the troubadour’s lugubrious song to the alto saxophone.

Tuileries: A watercolor showing children at play in a corner of the famous Parisian garden.

Bydlo: “Bydlo” is the Polish word for “cattle.” The painting was a watercolor of oxen pulling a peasant cart with enormous wooden wheels.

Ballet of the Chicks in Their Shells: A sketch of a child’s ballet costume in the shape of an egg, with the wearer’s head and limbs poking out through holes.

“Samuel” Goldenberg and “Schmuyle”: These portraits of two Polish men—one rich, one poor—were drawings owned by Mussorgsky himself. The quotation marks around the Yiddish name “Schmuyle” and its Germanized derivative “Samuel” seem to indicate that two different sides of the

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same personality were being described, neither of which was particularly pleasant.

The Marketplace at Limoges: This was Hartmann’s drawing of the cathedral at Limoges, but Mussorgsky depicted the banter of the market women in the picture’s foreground.

Catacombae, Sepulchrum Romanum: “Roman Burial Place.” This drawing showed Hartmann himself studying a pile of skulls in the catacomb by the light of a lantern.

Con Mortuis in Lingua Mortua: “With the Dead in a Dead Language.” This is a continuation of the previous piece.

Mussorgsky wrote in the score: “The creative spirit of the departed Hartmann leads me to the skulls, calls out to them, and the skulls begin to glow dimly from within.”

The Hut on Fowl’s Legs: Hartmann’s drawing was a design for a clock in the shape of Baba Yaga’s hut, which stood on chicken feet. Baba Yaga was a cannibalistic witch of Russian folklore; Mussorgsky depicts her wild ride through the sky in the giant mortar she used to grind up the bones of her victims.

The Great Gate of Kiev: Hartmann once entered a design competition for a commemorative gate. A drawing that survives shows that Hartmann’s entry was a weighty structure with a cupola in the shape of a Slavonic helmet and enormous columns that appeared as if they had sunk deeply into the ground. The gate was never built.

Pictures at an Exhibition has been orchestrated more than a half-dozen times—the piano score fairly cries out for it—but by far the most popular version has

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been Ravel’s. When Serge Koussevitzky commissioned the project, Ravel was pleased, for he had been suffering the composer’s equivalent of “writer’s block,” and he hoped that the job would free his creative logjam. That was not to be, but Ravel’s brilliant work here has performed a great service to posterity: Pictures at an Exhibition has gone from a rarity to a concert hall staple. Russian composers always seem to have had a flair for colorful orchestration, and Mussorgsky surely did.

To his credit, Ravel’s work does not make Pictures sound like a piece by Ravel, but instead is a superb recreation of how it might have been realized by Mussorgsky himself.

—Mark Rohr Questions or comments? markrohrprogramnotes@gmail.com

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Mozart & brahms Saturday, November 3, 2018, 7:30 p.m.

Saenger Theatre Pensacola Peter Rubardt, Conductor Alon Goldstein, Piano Johann Strauss Jr. (1825 – 1899)

Kaiser-Walzer (Emperor Waltzes), Op. 437

Wolfgang Amadè Mozart Concerto for Piano and Orchestra No. 21 (1756 – 1791) in C Major, K. 467

I. Allegro maestoso

II. Andante

III. Allegro vivace assai

Featuring Alon Goldstein, Piano

INTERMISSION Johannes Brahms (1833 – 1897)

Serenade No. 1 in D Major, Op. 11 I. Allegro molto II. Scherzo. (Allegro non troppo – Trio. Poco più moto) III. Adagio non troppo IV. Minuetto I – Minuetto II V. Scherzo. (Allegro – Trio) VI. Rondo. (Allegro)

Guest Artist Sponsor:

Piano Provided By: Blues Angel Music Media Sponsors: WEAR ABC 3, WFGX My TV 35, Cox Media, Cat Country 98.7, NewsRadio 92.3 FM and 1620 AM, Pensacola Magazine, Pensacola News Journal, InWeekly, WUWF 88.1 FM Official Automobile Sponsor: Centennial Imports Official Hotel Sponsor: Solé Inn and Suites Official Catering Sponsor: Culinary Productions Official Décor Sponsor: Fioré of Pensacola Guest Artist Accommodations Provided By: Hilton Garden Inn

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Alon Goldstein is one of the most original and sensitive artists of his generation, admired for his musical intelligence and dynamic personality.

Goldstein’s artistic vision and innovative programming have made him a favorite with audiences and critics alike throughout the United States, Europe, and Israel. He made his orchestral debut at the age of 18 with the Israel Philharmonic under the baton of Zubin Mehta, and returned a few seasons ago with Maestro Herbert Blomstedt. In recent seasons, Goldstein has performed with the Los Angeles Philharmonic, Philadelphia Orchestra, and the San Francisco, Baltimore, St. Louis, Houston, Vancouver, Kansas City and North Carolina Symphonies, and orchestras on tour in Paris, Russia, Romania, and Bulgaria.

Goldstein has appeared at the Gilmore, Santa Fe, Tanglewood, Ravinia, Marlboro, Seattle, and Steamboat festivals in the United States as well as Prussia Cove, the Verbier Festival, and Klavier Festival in RĂźhr. He performed at the Hollywood Bowl with the Los Angeles Philharmonic and Millennium Park in Chicago with the Grant Park Symphony Orchestra. During the past several years he has also taught and played at the Tel-Hai international piano master classes held in Israel.

Photo by Jiyang Chen

Featured artist Alon goldstein

Goldstein serves as the Artistic Director for The Distinguished Artists Concert and Lecture Series in Santa Cruz, California and was recently named the Artistic Director for the Mt. Angel Abbey Bach Festival in Oregon, starting in 2019. He also created the Emerald Coast Music Alliance, whose annual festival in Niceville, Florida is devoted to sharing the beauty of classical music to underserved communities, free of charge.

He is the winner of numerous competitions, among them the Arianne Katcz Piano Competition, Nena Wideman Competition, and the Francois Shapira Competition. He is also the recipient of the 2004 Salon di Virtuosi Career Grant and the America Israel Cultural Foundation Scholarships.

Goldstein graduated from the Peabody Conservatory, where he studied with Leon Fleisher.

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Mozart & brahms Johann Strauss, Jr.

Waltzes,” for then each man might think they were written about him!

Johann Strauss Jr., was born in Vienna in 1825 and died there in 1899. He composed this work in 1889, and it was first performed in Berlin the same year.

The score calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion, harp, and strings.

Emperor Waltzes begins with a stately—even regal—little march. A lovely cello solo brings us to the first waltz, whose melody is a variant on the march’s tune. You’ll hear it again in the brasses in the big central tune, and in other places as well. The parade of waltz tunes is opulent, and don’t miss the quiet interlude near the end—a splendid touch.

Kaiser Waltzer (Emperor Waltzes), Op. 437

We often categorize any lilting, mediumtempo 3/4-time music we hear as a “waltz.”

To the mid-nineteenth century Viennese public, however, the waltzes offered to them by composers like Johann Strauss, Sr. and Joseph Lanner were confections both intricate and magical.

The form of the Viennese ballroom waltz may be traced back to Weber’s Invitation to the Dance of 1819: a slow introduction, a series of waltzes, and a coda containing reminiscences of what went before. Johann Strauss Jr.’s great contribution was to give the waltz a symphonic cohesion. The introduction set the mood for what followed; the waltzes themselves had musical interrelationships and a degree of development; and the coda gathered the themes in a symphonic way.

All of which make Strauss’ waltzes as satisfying in the concert hall as they had been in the ballroom. Works like Tales from the Vienna Woods and the Emperor Waltzes demonstrate why Johann Jr. was known as the Waltz King.

Strauss composed this set of waltzes for the occasion of Austrian Emperor Franz Joseph’s visit to the German Emperor Wilhelm II; it was Strauss’ publisher—a man obviously skilled in diplomacy—who suggested the title “Emperor

Wolfgang Amadè Mozart

Concerto for Piano and Orchestra No. 21 in C Major, K. 467

Wolfgang Amadè Mozart—he never used “Amadeus” except when making a joke— was born in Salzburg, Austria in 1756 and died in Vienna in 1791. He composed his Piano Concerto in C Major K. 467 in February 1785 but did not enter it into his thematic catalog until the 9th of March.

He performed it the next day at the Burgtheater in Vienna. The work calls for solo piano, flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

When Leopold Mozart visited his son in Vienna in 1785 he was astonished at the near-chaos of his household: “We never get to bed at night before one o’clock,” he wrote. “Every day there are concerts, and the whole time is given up to studying, teaching, composing, etc.

It is impossible to describe all the bustle and confusion.” The day of his arrival he heard Wolfgang perform his Piano Concerto in D Minor, K. 466; the next day it was quartets with Haydn, and the day after that it was a concert before the emperor. The younger Mozart was at the height of his popularity and prosperity in Vienna.

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Mozart composed the present work for one of the subscription concerts he gave during his father’s visit. The first movement begins— quietly at first—with a march tune that will be the pedestal upon which the artwork rests.

With Mozart there’s always a bit of mystery about when and how the piano will enter; here it sounds as if the soloist has been listening all along and has just now decided to join in. The beguiling second subject is reserved for the piano alone, and as ever there is a wonderous profusion of themes to develop.

The sublime Andante is a true aria for the soloist, a moonlit piece that masks its sophistication with apparent simplicity. The Finale is a brilliant rondo that, like the rest of the work, is filled with subtleties. Its energy and exuberance must have sounded as clear and bright to Leopold as the future he might have imagined for his son.

Johannes Brahms

Serenade No. 1 in D Major, Op. 11

Johannes Brahms was born in Hamburg in 1833 and died in Vienna in 1897.

He composed the first version of his Serenade No. 1 in 1858, expanding it for full orchestra the following year. This version was first performed in Hamburg in 1860 under the direction of Joseph Joachim. The Serenade is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings.

By 1858 Brahms had at last gotten over the death of his mentor and dear friend Robert Schumann. He had also just endured the sturm und drang of his recent D-Minor Piano Concerto, a huge work that had no end of growing pains and was received poorly to boot. To Brahms it seemed time to compose gentle music once more: “I’m going to write love songs again,” he wrote, “to music itself.”

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up the pen where Mozart had laid it down.

Brahms first wrote this serenade for octet and heard it performed that way with a group of friends that included Clara Schumann. She advised him to score the work for full orchestra, but Brahms wasn’t sure. When the great violinist Joachim heard the work he suggested that Brahms increase the forces to chamber-orchestra size. This he did, adding two new movements in the bargain. Ultimately he concluded that Clara had been right all along and recast the work for a full, classical-sized orchestra. The two earlier versions have since been lost.

You can tell from the first notes of the opening movement that Brahms’ “love song to music” is going to be anything but heavy mental. A peasantstyle drone leads us to an equally simple melody full of joyous exuberance. The second theme is suavely affectionate, and Brahms keeps his development on the lighter side of neutral, too.

The second movement is the first of two scherzos.

Brahms defies expectations—as he does regularly in this piece—by making it smooth and quiet rather than chunky and loud.

The Adagio is expansive, serene, lovely and loving.

Note how the winds carry on most of the music’s discourse, with the strings in support.

Brahms must have grinned to himself when he titled the next movement Menuetto I & II. The dance form is strictly adhered to, but these are not your standard powdered-wig-and-frilly-collar minuets.

The second scherzo is the very antithesis of the first, with horns ablaze, while the Rondo’s jaunty main theme and delightfully contrasting episodes have just the right amount of weight. In all, those who have succumbed to the notion that Brahms is altogether too gloomy to bear will find a most powerful antidote in this splendid music.

The serenade, of course, began as a love song.

By Mozart’s time it had become a form of light —Mark Rohr instrumental music for evening performance Questions or comments? in the open air. Mozart had given the form symphonic length and breadth, and Brahms took markrohrprogramnotes@gmail.com

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Sing in the Season Join us as we sing in the 29th season of the Pensacola Children’s Chorus.

Christmas on the Coast December 7, 8 & 9, 2018

One World, Many Voices February 17, 2019

Showtime

May 3, 4 & 5, 2019

8 5 0 . 4 3 4 . 7 7 6 0 W W W. P ENS A C OL A CHILD R ENS CHORU S.C OM

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Celebrate the new year!

Monday, December 31, 2018, 7:00 p.m.

Saenger Theatre Pensacola Peter Rubardt, Conductor Tony DeSare, Vocals and Piano Ed Decker, Guitar Dylan Shamat, Bass Michael Klopp, Drums

Selections To Be Announced from the Stage

Guest Artist Sponsor:

Piano Provided By: Blues Angel Music Media Sponsors: WEAR ABC 3, WFGX My TV 35, Cox Media, Cat Country 98.7, NewsRadio 92.3 FM and 1620 AM, Pensacola Magazine, Pensacola News Journal, InWeekly, WUWF 88.1 FM Official Automobile Sponsor: Centennial Imports Official Hotel Sponsor: Solé Inn and Suites Official Catering Sponsor: Culinary Productions Official Décor Sponsor: Fioré of Pensacola Guest Artist Accommodations Provided By: Hilton Garden Inn

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Tony DeSare performs with infectious joy, wry playfulness, and robust musicality. Named a “Rising Star Male Vocalist” by Downbeat magazine, DeSare has lived up to this distinction by winning critical and popular acclaim for his concert performances throughout North America and abroad. From jazz clubs to Carnegie Hall to headlining with Don Rickles and major symphony orchestras, DeSare has brought his fresh take on old-school class around the globe. He has three top-ten Billboard jazz albums under his belt and has been featured on The CBS Early Show, NPR, A Prairie Home Companion, and The Today Show. His music has even been posted by social media celebrity juggernaut George Takei. DeSare has also collaborated with YouTube icons Postmodern Jukebox.

Notwithstanding his critically acclaimed turns as a singer and pianist, DeSare is also an accomplished, award-winning composer. He not only won first place in the USA Songwriting Contest, but also has written the theme song for the motion picture My Date With Drew, several broadcast commercials, and has composed the full soundtracks for the Hallmark Channel’s Love Always, Santa and Lifetime’s Nanny Nightmare.

His sound is romantic, swinging, and sensual, but what sets DeSare apart is his ability to write original material that

Photo by Bill Westmoreland

Featured artist tony desare

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sounds fresh and contemporary while paying homage to the Great American Songbook. His compositions include a wide range of romantic, funny, and soulful sounds that can be found on his top-selling recordings.

DeSare releases new recordings and videos of standards and originals every few weeks on his YouTube channel, iTunes, and Spotify. Follow him on Facebook, Twitter, and subscribe on YouTube to stay connected. DeSare is a Yamaha Artist.

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beethoven & blue jeans Saturday, January 19, 2019, 7:30 p.m.

Saenger Theatre Pensacola Peter Rubardt, Conductor Robert Sheena, English Horn Ludwig van Beethoven Symphony No. 8 in F Major, Op. 93 (1770 – 1827) I. Allegro vivace e con brio II. Allegretto scherzando III. Tempo di Menuetto IV. Allegro vivace INTERMISSION Johann Sebastian Bach (1685 – 1750)

Fantasia and Fugue in C Minor, Transcribed by Edward Elgar (1857 – 1934)

George Tsontakis Sonnets After Shakespeare (b. 1951)

I. “When to the sessions of sweet silent thought”

(Sonnet 30)

IV. “So you are to my thoughts as food to life” (Sonnet 75)

Featuring Robert Sheena, English Horn

Michael Daugherty (b. 1954)

Spaghetti Western for English Horn and Orchestra III. Mezzogiorno di Fuoco (Noon of Fire)

Featuring Robert Sheena, English Horn

Peter Ilyich Tchaikovsky (1840 – 1893)

1812, Ouverture solennelle, Op. 49

Concert Sponsors:

Piano Provided By: Blues Angel Music Media Sponsors: WEAR ABC 3, WFGX My TV 35, Cox Media, Cat Country 98.7, NewsRadio 92.3 FM and 1620 AM, Pensacola Magazine, Pensacola News Journal, InWeekly, WUWF 88.1 FM Official Automobile Sponsor: Centennial Imports Official Hotel Sponsor: Solé Inn and Suites Official Catering Sponsor: Culinary Productions Official Décor Sponsor: Fioré of Pensacola Guest Artist Accommodations Provided By: Hilton Garden Inn

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Robert Sheena has been the English Horn player of the Boston Symphony Orchestra and the Boston Pops Orchestra since 1994, during which time his uniquely vocal style of playing has garnered accolades from audience members and the media alike. In his more than twenty years as a member of the BSO, Sheena has performed as a soloist with the orchestra on several occasions, most notably in the worldpremiere performances of George Tsontakis’ Sonnets, a BSO commission composed specifically for him, at Symphony Hall in February 2016 followed by a Tanglewood performance that August. He has also been featured in BSO performances of André Previn’s Reflections and Aaron Copland’s Quiet City at Tanglewood. With the Boston Pops Orchestra, he has been featured at Symphony Hall in Quiet City and Michael Daugherty’s Spaghetti Western.

Prior to his time at the BSO, Sheena was the assistant principal oboe and English Horn with the San Antonio Symphony and the Hong Kong Philharmonic.

Since then, he has performed numerous times in Asia, not only with the BSO, but also as a guest English Hornist with the Super World Orchestra, Affinis Music Festival, and Seiji Ozawa’s Saito Kinen Orchestra. From 1984 to 1987 he was a freelance oboist in the Chicago area, playing in the Civic Orchestra of Chicago and frequently as a substitute

Photo by Marco Borggreve

Featured artist robert sheena

oboist with the Chicago Symphony Orchestra.

Sheena is an instructor of both the oboe and the English Horn at Boston University’s School of Music and Tanglewood Institute, at the Boston Conservatory at Berklee, and at the Longy School of Music of Bard College.

An alumnus of the Tanglewood Music Center, he works with the fellowship oboists there every summer as a faculty member, coaching them in chamber music and giving English horn master classes.

Sheena received his Bachelor of Music degree from the University of California at Berkeley and his Master of Music degree from Northwestern University School of Music.

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beethoven & blue jeans Ludwig van Beethoven

Symphony No. 8 in F Major, Op. 93

Ludwig van Beethoven was born in Bonn in 1770 and died in Vienna in 1827. He composed this symphony in 1811–12 and led the first performance in Vienna in 1814. The score calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

It is powerfully tempting to associate “happiness” or “sadness” in music with the emotional state of the composer, or even to specific events in a composer’s life. Beethoven’s Eighth Symphony is a great example of why we should avoid the temptation.

The period just preceding the Eighth Symphony was one of the darkest and most painful in Beethoven’s life. It was a time of nearly complete deafness and growing ill health. His family troubles caused him daily irritation and, at times, despair. And he had an intense, failed love affair that led him to question his very ability to love.

Beethoven frequently sabotaged his own emotional life by pursuing relationships that were doomed to failure; whether deliberately or unconsciously, he sought out women who were likely to spurn his advances or who were already married to other men. This time he had met and fallen hopelessly in love with a woman named Antonie Bretano. True to form, Antonie was already married and had children. What Beethoven was unprepared for was that she fell in love with him, too.

Eventually she offered to leave her husband and children to join him. To his everlasting torment, Beethoven could not bring himself to allow her to do so.

Given all this heartache in Beethoven’s life it would not be unreasonable to expect music filled with drama and pathos. Yet in the Eighth Symphony the atmosphere is light-hearted, bright, and witty: the byword here is humor, not gloom. The work breathes with the unexpected, the insistence upon the “wrong” note, the lost downbeat, the deceptive harmony.

The first movement dispenses with the usual slow-and-serious introduction, and it ends with unexpected quietness. The second movement was inspired in part by Johann Mälzel, an inventor who was one of Beethoven’s best friends. The constant “ticking” heard is a reproduction of the sound of the musical chronometer, an invention of Mälzel’s that was the precursor of the metronome. In lieu of a scherzo, Beethoven reverts to the older minuet for this symphony, lacing it with a few comically misplaced downbeats: dancers, beware! The fourth movement is a romp from beginning to end, with a coda as long as the sonata itself, leaving the listener in doubt as to just where the music is going to end.

It is clear that the abortive romance with Antonie had a profound effect on Beethoven: he would never again become so close to a woman. He might have used the Eighth Symphony to vent his mighty frustrations, but instead he seems to have brewed it up as a tonic. After all, sometimes things get so bad that all you can do is laugh. Out of the darkness Beethoven gives us light—and a warning to armchair psychologists.

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Johann Sebastian Bach

Fantasia and Fugue in C Minor,

Transcribed by Edward Elgar J.S. Bach was born in Eisenach, Germany in 1685 and died in Leipzig in 1750. He composed this work for organ, likely at the end of his tenure as court organist at Weimar, though it’s possible he composed it later (ca. 1723) while he was Kapellmeister at Köthen. Edward Elgar made his transcription of the work in 1921-22, and it was first performed at the Three Choirs Festival in Gloucester, England in 1922. The score of Elgar’s arrangement calls for 2 flutes, piccolo, 2 oboes, English Horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings.

Edward Elgar and Richard Strauss had known each other since 1901, when Strauss heard the German premiere of Elgar’s Dream of Gerontius in Düsseldorf; after the concert, Strauss proclaimed Elgar to be “the first English progressivist.” Their friendship was interrupted by World War I, with each man’s country on different sides. When they met after the war, in 1920, Elgar suggested that by way of reconciliation they might jointly arrange this Fantasia and Fugue by Bach; Elgar would transcribe the fugue and Strauss the fantasia. It was a nice idea, but although Elgar transcribed the fugue in 1921, Strauss never came through with his part of the bargain, so Elgar went ahead and transcribed the fantasia as well.

Elgar arranged the fantasia in a fairly traditional way, and a rather somber way at that. However, when he arranged the fugue he simply went nuts. His harp glissandos, tambourines, glockenspiels, and generally crazy passages for the more traditional instruments make Stokowski’s big-orchestra

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Bach transcriptions sound like the work of an ascetic original-instrument specialist. Not to worry: one will tell if it finds you grinning from ear to ear.

George Tsontakis

Sonnets After Shakespeare

George Tsontakis was born in Astoria, Queens, New York in 1951. He composed his Sonnets, Tone Poems for English Horn & Orchestra in 2015 on a commission from the Boston Symphony Orchestra for BSO’s English Horn player Robert Sheena, with support from Catherine and Paul Buttenweiser and from the New Works Fund of the Massachusetts Cultural Council. Robert Sheena and the BSO premiered the work in 2016. The score calls for solo English Horn, 2 flutes, piccolo, alto flute, oboe, 2 clarinets, bass clarinet, bassoon, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, celeste, and strings.

George Tsontakis was born to a Greek family in Queens, New York and grew up hearing traditional and popular Greek music. He played violin as a youngster and later studied composition with Hugo Weisgall at Queens College, later earning his doctorate at Julliard, where he studied with Roger Sessions. He also studied with Franco Donatoni in Rome through a Fulbright-Lusk Award. Tsontakis is also a talented conductor and educator; he is on the faculty of the Aspen Music School and the founder of the Aspen Contemporary Ensemble, and since 1975 he has been the Distinguished Composer in Residence at Bard College.

Tsontakis’ honors include the Grawemeyer Award for his Violin Concerto No. 2, two Kennedy Center Friedheim Awards for both chamber and orchestral music, the Berlin Prize from the American Academy in Berlin,

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and the Charles Ives Living award from the American Academy of Arts and Letters. He has had commissions and performances from orchestras and ensembles all across America and Europe.

While it has been common for composers to write music inspired by Shakespeare’s plays, it is much rarer for composers to bring their perspective to the sonnets as Tsontakis did.

He wasn’t intending to “set” the poems to music, but rather to give his musical response to the imagery they evoked. This concert features two of Tsontakis’ four Sonnets.

The first of Tsontakis’ sonnets is number 30, “When to the sessions of sweet silent thought.” The composer writes, “This sonnet is about a lost friend whose memory evokes sadness, but more so, a self-confidence. After I chose this I thought of my teacher, Roger Sessions, as ‘the friend’ whose memory has always lifted my spirits, and only later realized that his name is evoked in the first line!”

Sonnet 30

In the fourth and final sonnet of the piece, Tsontakis illuminates sonnet number 75, “So are you to my thoughts as food to life.”

He writes, “It must all end romantically, of course, and this is the only movement where the English Horn ‘sings’ the sonnet, line for line—as if intoning the enamored words.

In this final movement, the poet’s love is represented as an intimate half-step ending each initial melodic phrase. But when the power of that same love twists grotesquely into the rage of human jealousy, that formerly caressing minor second is inverted to its wider, tension-filled, and explosive major seventh.

The poet’s initial intimate love returns in the calming, concluding couplet.”

Sonnet 75 So are you to my thoughts as food to life, Or as sweet-season’d showers are to the ground; And for the peace of you I hold such strife As ’twixt a miser and his wealth is found; Now proud as an enjoyer and anon

When to the sessions of sweet silent thought

Doubting the filching age will steal his treasure,

I summon up remembrance of things past,

Now counting best to be with you alone,

I sigh the lack of many a thing I sought,

Then better’d that the world may see my pleasure;

And with old woes new wail my dear time’s waste:

Sometime all full with feasting on your sight

Then can I drown an eye, unus’d to flow,

And by and by clean starved for a look;

For precious friends hid in death’s dateless night,

Possessing or pursuing no delight,

And weep afresh love’s long since cancell’d woe,

Save what is had or must from you be took.

And moan the expense of many a vanish’d sight:

Thus do I pine and surfeit day by day,

Then can I grieve at grievances foregone,

Or gluttoning on all, or all away.

And heavily from woe to woe tell o’er The sad account of fore-bemoaned moan, Which I new pay as if not paid before.

But if the while I think on thee, dear friend, All losses are restor’d and sorrows end.

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Michael Daugherty

Spaghetti Western for English Horn and Orchestra Michael Daugherty was born in Cedar Rapids, Iowa in 1954. He composed this work in 1998 on a commission from the Pittsburgh Symphony Orchestra for Harold Smoliar, who was the soloist for the premiere performance the same year, with the Pittsburgh Symphony Orchestra under the direction of Mariss Jansons.

The score calls for solo English Horn, 2 flutes, piccolo, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, piano, celeste, harp, and strings.

Michael Daugherty has distinguished himself—and delighted his audiences—by creating serious music inspired by pop culture icons. A mere perusal of his titles (Route 66, Desi, Dead Elvis, La tombeau de Liberace, Jackie O, Elvis Everywhere) lets us know that something unique and wonderfully wacky is afoot.

Daugherty was born to a musical family and grew up playing keyboards in jazz, rock, and funk bands. He studied at North Texas State University, the Manhattan School of Music, and at Yale University, where his composition teachers included Earle Brown, Jacob Druckman, and Roger Reynolds; he later studied with György Ligeti in Hamburg.

After teaching at the Oberlin Conservatory he became professor of composition at the University of Michigan in 1992.

Daugherty’s music has earned numerous awards, including the Stoeger Prize from the Chamber Music Society of Lincoln Center, recognition from the American Academy and Institute of Arts and Letters, as well as fellowships from the Guggenheim Foundation and the National Endowment for the Arts.

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Daugherty writes the following about this work: “My concerto is inspired by the so-called ‘Spaghetti Western’ films of the sixties, such as For a Few Dollars More (1966), The Good, The Bad, and the Ugly (1967), and Once Upon a Time in the West (1969), directed

by Sergio Leone with music by Ennio Morricone. Leone takes the conventions of the Hollywood Western—gunfights, bank robberies, saloon brawls, train heists, rope hangings, ghostly stagecoaches, quests for gold, revenge and retribution, the final showdown between good and evil—and through his innovative use of the camera in panning and close-ups makes us see the Western film genre in a new light. Morricone’s strange orchestrations musically enhance the surreal atmosphere of these films.

“Just as Leone’s films redefined the Western genre from an Italian perspective, I redefine the European concerto by placing it within an American context. In my Spaghetti Western, the English Horn soloist is the ‘Man With No Name’ moving though a series of musical landscapes. I create imaginary scenarios that evoke the sundrenched panoramas, the barren deserts and desolate towns of the wild West, as well as the gun-slinging characters who haunt this landscape. The three movements of the concerto are my own original music compositions, without alluding to particular film scenes or following their plot.”

Daugherty writes the following about the third movement of the concerto, Mezzogiorno di Fuoco (Noon of Fire): “Along with a trembling marimba, four mariachi trumpets set the stage for a big showdown. The English Horn solo twists and turns through the orchestra, punctuated by brassy polyrhythms and pizzicato bullets in the strings. A celeste ostinato signals the clock slowly ticking

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toward high noon when the final gunfight will begin between the ‘Man With No Name’ and the villainous gunslingers.”

Peter Ilyich Tchaikovsky

1812, Ouverture solennelle, Op. 49

Peter Ilyich Tchaikovsky was born in Votkinsk, Russia in 1840 and died in St. Petersburg in 1893. He composed this work in 1880 on a commission from Nicolai Rubinstein, and it was first performed at a musical celebration of the consecration of the New Moscow Cathedral in 1882. The score calls for 3 flutes, piccolo, 3 oboes, English Horn, 2 clarinets, 2 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, and strings.

“Warhorse,” they call it. A “pot-boiler” and a “chestnut,” too. Excessive popularity has long been a crime to some critics, especially if the music in question wears its heart on its sleeve, is stirring, perhaps even patriotic—in short, music that just isn’t subtle enough. At the head of this list must be Tchaikovsky’s 1812 Overture.

The 1812 Overture is not subtle. Neither is it the hodge-podge of mindless patriotic piffle the critics take it for. It is, actually, a finelycrafted, tightly-argued work full of brilliant color and high excitement. And for the residents of Moscow who heard the premiere, it commemorated an event that gave them their country back.

The Battle of Borodino left 80,000 dead on the battlefield and Moscow in cinders. The Russians had burned their own city: when the French invaders entered Moscow they found nothing to sustain them and no city left to occupy. Napoleon was forced to begin the long, costly retreat into the Russian winter that was the beginning of his end.

The Overture begins with some of the most achingly beautiful music ever written, a setting of the Russian hymn “God Preserve Thy People” for divided violas and cellos.

The peace of this opening gradually yields to the horror, devastation, and chaos of war. Musical themes come into conflict, too, including the French Marseillaise, several Russian folk songs, an unforgettable horn tattoo, and finally, in triumph, the Russian hymn “God Preserve the Czar,” amid church bells and artillery.

A pot-boiler? Well, yes—and why not?

Careful pacing and attention to detail— elements not always achieved in July Fourth performances—reveal a work of great drama, spirit, and breathtaking excitement.

And, in defiance of the critics, no end of musical fun.

—Mark Rohr Questions or comments? markrohrprogramnotes@gmail.com

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A Timeless Tradition of Inspiring Art Since 1973

*Quayside Art Gallery is the largest co-op gallery in the southeast, and features the work of local artists from Pensacola and surrounding areas.

850-438 2363 17 E. Zaragoza Street Pensacola, Fl. 32502 www.quaysidegallery.com

Monday - Saturday: 10 AM - 5 PM Sunday: 1 - 5 PM

Hours: Mon-Sat 10am-5pm Sun 1pm-5pm.

QuaysideGallery.com Quayside Art Gallery is the oldest and largest artist-owned and operated art gallery in southeast Florida offering:

Voted VIP Best Art Gallery

• Three floors of works by more than 100 artists • Workshops with well-known artists • Regular art shows with affordable art • New and emerging artist membership

17 E Zaragoza St, Pensacola • 850.438.2363 • QuaysideArts@gmail.com

Great Music Deserves To Be Heard!

Don’t Miss A Note!

Great Music Deserves To Be Heard!

Don’t Miss A Note!

HEARINGLife is proud to support The Pensacola Symphony Orchestra HEARINGLife is proud to patients supportas they take action to and our The Pensacola Symphony Orchestra and ourthey patients savor the music love. Enjoy the composers as they take action to savorgreat the music theywith love.better hearing!

Enjoy the great composers with better hearing!

5147 North 9th Ave., Hearing Associates of Pensacola a Company

Suite 315 Pensacola, FL Located on The Campus of Sacred Heart Hospital Enjoy Hearing.

Enjoy Life.

5147 North 9th Ave., Suite 315 • Pensacola, FL 32504 For Premier Audiology Located on The Campus of Sacred Heart Hospital

and Hearing Aid Services

Find us on:

hearinglife.com

850.473.0112

For Premier Audiology and Hearing Aid Services

850-473-0112 hearinglife.com

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2018/2019 SEASON Opening Night!

October 13

Mozart & Brahms November 3

Celebrate the New Year!

December 31

Beethoven & Blue Jeans January 19

The Envelope, Please February 2

Mahler: Symphony No. 6 March 9

Russian Spectacular April 6

Concerto for Orchestra April 27