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overture A Chance to Though admittedly “Rusty,” the 250 amateur musicians who performed with the BSO last fall played with a surprising degree of pluck and polish.

Shine

A MAGAZINE FOR THE PATRONS OF THE BALTIMORE SYMPHONY ORCHESTRA MARIN ALSOP, MUSIC DIRECTOR JANUARY 14, 2011 - FEBRUARY 27, 2011


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contents

16

12 Though admittedly “Rusty,” the 250 amateur A CHANCE TO SHINE

musicians who performed with the BSO last fall played with a surprising degree of pluck and polish. BY MARIA BLACKBURN

16 Peripatetic conductor Juanjo Mena tells

46

ONE ON ONE

why his ties with the BSO are so strong. INTERVIEW BY MARIA BLACKBURN

6

LETTER FROM THE PRESIDENT AND CEO

8

IN TEMPO

News of note

PROGRAM NOTES 19 JAN 14 & 16 Icarus at the Edge of Time 21 JAN 20 & 23 Robustly Russian 23 JAN 22

Shostakovich’s Fifth Symphony

24 JAN 27-28

Brahms’ Violin Concerto

27 FEB 4-6

Big Band Hit Parade

10

BSO LIVE

18

ORCHESTRA ROSTER

31 FEB 18

Ingrid Fliter Plays Chopin

40

DONORS

34 FEB 19

DRUMLine Live

46

For BSO percussionist John Locke and son John Edgar, bicycling means bonding.

36 FEB 26-27

The Magic Flute

Upcoming events you won’t want to miss!

29 FEB 11 & 13 Rachmaninoff’s Second Piano Concerto

IMPROMPTU


Begin your own tradition.

You never actually own a Patek Philippe. You merely take care of it for the next generation.

Annual Calendar Chronograph Ref. 5960R


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f ro m t h e

president

BSOmusic.org • 410.783.8000

Baltimore Symphony Orchestra 2010-2011 Season Marin Alsop Music Director Michael G. Bronfein Chairman Paul Meecham President and CEO Eileen Andrews Jackson Vice President of Marketing and Communications Janet E. Bedell Program Annotator

Alter Custom Media Sue De Pasquale Editor Cortney Geare Art Director Maria Blackburn Contributing Writer Michael Marlow Proofreader Kristen Cooper Director of Advertising Maggie Moseley-Farley Senior Sales Consultant Karen R. Bark Marcie Jeffers Sales Consultants Jeni Mann Director of Custom Media

Dear Friends, Happy New Year! I hope you had a wonderful holiday season and are ready for a New Year of musical excitement and enrichment from the marvelous musicians of the Baltimore Symphony under the inspirational leadership of Marin Alsop. I would like to draw your attention to two highlights in the coming months conducted by Maestra Alsop: Mozart’s enchanting opera for all ages, The Magic Flute (Feb. 26-27) and John Corigliano’s inventive retelling of the famous legend in his Pied Piper Fantasy (March 31 and April 3). Presented in semi-staged performances, The Magic Flute will feature an international cast, including soloists from the Domingo-Cafritz Young Artist Program, joined by our own Baltimore Choral Arts Society.The Pied Piper is none other than our Principal Flute Emily Skala, followed by Peabody Preparatory students—let’s hope they return! On the same program is the first performance of a specially written work for members of the BSO’s OrchKids, making their subscription debut, to perform with the full orchestral forces of the BSO. In other exciting news, our second annual BSO Academy will return June 12-18, 2011. If you or someone you know would like the opportunity to spend a week with Music Director Marin Alsop and the talented musicians of the BSO, make sure you apply by February 1 through BSOacademy.org. Academy participants will rehearse side-by-side with the BSO, attend sectionals, master classes and lectures, as well as spend time mingling with Maestra Alsop and the musicians.The conclusion of the Academy features the ultimate experience—a public performance with the BSO on the Meyerhoff stage. If you play an instrument, don’t miss out on this great opportunity. And if you do not play an instrument, there are still plenty of ways to enjoy your BSO. See you around the hall!

Heidi Traband Advertising Designer

Design and Advertising Sales Alter Custom Media 1040 Park Ave., Suite 200 Baltimore, MD 21201 443.451.0736

www.altercustommedia.com

Paul Meecham President and CEO, Baltimore Symphony Orchestra Be Green: Recycle Your Program! Please return your gently used program books to the Overture racks in the lobby. Want to keep reading at home? Please do! Just remember to recycle it when you’re through.



Baltimore Symphony Orchestra

Life is Better with Music

The BSO is committed to serving our community in relevant and meaningful ways, including high quality music education and life enrichment programs for more than 55,000 youths each year. Your support makes this important work possible, helping to secure the BSO as a key contributor to the culture and quality of life in Baltimore and throughout Maryland. For more information about supporting your world-class orchestra, please contact our membership office.

410.783.8124 | BSOmusic.org/musicmatters 6

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tempo

BSO Academy Now Accepting Applications

News of note

TRACEY BROWN

in

After a successful inaugural session last summer, the critically acclaimed BSO Academy will return in June 2011.This intensive weeklong study program is designed to help musicians reach new levels of artistic achievement through learning and performance opportunities with the Baltimore Symphony Orchestra and Music Director Marin Alsop. Academy participants will experience firsthand the creative process of a finely synchronized ensemble—right alongside BSO players, many of whom have worked together in this orchestra for more than 25 years.The BSO Academy will convene from Sunday, June 12, through Saturday, June 18. Daily sessions of performance and educational activities will be held at the Joseph Meyerhoff Symphony Hall and the Maryland Institute College of Art (MICA). BSO violinist Ellen Pendleton Troyer coaches a BSO Academy participant. In addition to orchestra rehearsals, sectionals, master classes and personal lessons, there will be chamber music rehearsals and enrichment classes led by BSO musicians, activities with Maestra Alsop and lectures led by local experts. At the conclusion of the week, chamber music groups will perform in an intimate concert at MICA’s Falvey Hall.The combined orchestra of participants and BSO musicians will perform Bernstein’s Overture to Candide, the first movement from Mahler’s Second Symphony, Ravel’s Alborada del gracioso, Rimsky-Korsakov’s Capriccio espagnol and Hindemith’s Symphonic Metamorphosis on themes of Carl Maria von Weber at the Joseph Meyerhoff Symphony Hall. The BSO Academy application deadline is Tuesday, February 1. All applicants must be at least 25 years of age and have moderate instrumental experience.Tuition begins at $1,650, with special discounts available for previous BSO Academy and Rusty Musician participants. To apply or for more information, visit BSOacademy.org or call 410.783.8051.

 BSO to Announce 2011-2012 Season

on March 1 Mark your calendars for the BSO’s most exciting announcement of the year! On March 1, Music Director Marin Alsop and the Baltimore Symphony Orchestra will reveal the Symphony’s 2011-2012 concert season. Details of the upcoming concerts will be posted on BSOmusic.org at noon. Find information about the season lineup, visiting artists, ticket prices, special presentations and events and exclusive subscriber benefits. Browse the subscription brochure and choose from suggested packages or create your own. To guarantee the best seats, be one of the first in line on the phone (410.783.8000), at the box office (1212 Cathedral St.) or online (BSOmusic.org). 8

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cont caree retirement Roland Park Place is a unique continuing community in thee hea Baltim more City heart of northern Baltimore City.

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Hear Jacques Ibert’s Flute Concerto on Tuesday, February 22, at 8:00 pm in Miriam A. Friedberg Concert Hall 17 East Mount Vernon Place Peabody Symphony Orchestra Hajime Teri Murai, Music Director Marina Piccinini, Flute To purchase tickets to Peabody concerts, call 410-234-4800 Visit www.peabody.jhu.edu/events for Audio Program Notes and the complete 2010-2011 Peabody Concert Calendar AUDIO PROGRAM

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January 14, 2011 – February 27, 2011

9


bsolive Rachmaninoff’s Rhapsody Fri, Mar 4, 8 p.m. Sun, Mar 6, 3 p.m. Marin Alsop, conductor Lukáš Vondrácˇek, piano

      

Upcoming key events

appearance leading Latvian violinist Baiba Skride in a performance of Alban Berg’s Violin Concerto, an emotionally charged elegy dedicated “to the memory of an angel,” the 18-year-old polio-stricken daughter of Alma Mahler. LESLIE VAN STELTEN

Receiving its world premiere 76 years ago at the Lyric Opera House in Baltimore, Rachmaninoff ’s famous Rhapsody on a Theme of Paganini is in the inspired hands of Czech wunderkind Lukáš Vondrácˇek, who made a captivating impression in his BSO debut two years ago. Marin Alsop begins a fascinating survey of the great 20th-century symphonist, Sergei Prokofiev, pairing the youthful insouciance of his First Symphony ORION WEISS with his Sixth Symphony, a haunting memorial to World War II.

                           

outside the concert hall in a wide variety of contexts, from films to commercials. Orion Weiss brings this concerto to life returning to the BSO 12 years after stepping in for the renowned André Watts at the age of 17. BSO favorite Yan Pascal Tortelier returns to conduct Valses nobles et sentimentales by his French compatriot Maurice Ravel and a vibrant Concerto for Orchestra full of folk themes by the Polish composer Witold Lutosławski.

The Pied Piper Thu, Mar 31, 8 p.m. Sun, Apr 3, 3 p.m. Marin Alsop, conductor Emily Skala, flute BSO OrchKids Students from Peabody Preparatory

 Marin Alsop leads the BSO in John  Grieg’s Piano Concerto Corigliano’s colorful interpretation of the  Thu, Mar 24, 8 p.m. Pied Piper legend, featuring Principal Flute  Fri, Mar 25, 8 p.m. A Celtic Celebration: Emily Skala performing its tour de force  Yan Pascal Tortelier, conductor Music of the Emerald Isle solo.This imaginative score incorporates  Orion Weiss, piano Fri, Mar 11, 8 p.m. the students from Peabody Preparatory Sat, Mar 12, 8 p.m.  From its unforgettable opening theme flutes and drums as they follow the piper Sun, Mar 13, 3 p.m.  of thundering gravitas to the grand final whimsical journey continues Jack Everly, conductor  chords, Edvard Grieg’s enduringly popular towithsafety.The the Cinderella Suite, one of Prokofiev’s Just in time for St. Patrick’s Day, the  Piano Concerto has achieved immortality most popular and enduring ballet scores, BSO invites patrons to explore the wide    range of Irish and Celtic repertoire  with vocalists, step dancers, a traditional  Sweet Honey in the Rock Irish instrumentalist and an audience  Sat, Mar 26, 8 p.m. sing-along. Highlights include  This internationally renowned a cappella ensemble creates music out of the rich excerpts from An Irish Symphony,  textures of African-American legacy and traditions. With blues, spirituals, gospel Four Scottish Dances, Titanic, Brigadoon  hymns, rap, reggae, African chants, hip-hop, ancient lullabies and jazz improvisation, and Finian’s Rainbow.  Sweet Honey’s soulful harmonies and intricate rhythms inspire and entertain.  Please note: The BSO does not perform on this program. Schubert, Berg and  Beethoven’s Fifth  Fri, Mar 18, 8 p.m.  Sat, Mar 19, 8 p.m.  Mario Venzago, conductor  Baiba Skride, violin  With its iconic opening, Beethoven’s most   famous symphony, the Fifth, is preceded by   an altogether sunnier Fifth written by the   remarkably gifted Schubert at age 19.  Conductor Mario Venzago makes a return    BSO SUPERPOPS

SPECIAL EVENT

SWEET HONEY

DWIGHT CARTER STUDIO

10

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ROSA FRANK

 Songs of the Earth  Fri, May 6, 8 p.m. Thu, Apr 28, 8 p.m.  Sun, May 8, 3 p.m. Fri, Apr 29, 8 p.m.  Marin Alsop, conductor  Theodora Hanslowe, mezzo-soprano Cornelius Meister, conductor Jonathan Carney, violin  Simon O’Neill, tenor Making his BSO debut, German conductor Cornelius  Music Director Marin Alsop emphasizes Meister, chief conductor and artistic director of  the profoundly expressive and personal the Vienna Radio Symphony Orchestra, will lead  nature of Mahler’s music in the the BSO in two classical favorites. Bruch’s  composer’s symphonic song cycle, Das Second Violin Concerto features BSO  Lied von der Erde. Opening the program Concertmaster Jonathan Carney. Brahms’  is Mendelssohn’s well-known and sunlit cheerful Second Symphony was created  “Italian” Symphony, infused with the over a breezy summer holiday and is  composer’s absolute enchantment with in sharp contrast to his somber First  a visit to Italy in 1831. Symphony. The program opens  with Mahler’s arrangement of  Robert Schumann— Smetana’s Overture to  A Romantic Original The Bartered Bride.  Thu, May 12, 8 p.m.  Sun, May 15, 3 p.m. Alsop, conductor  noted for its jubilant melodies.This  connoisseurs as the world’s best McCartney  Marin Marking the 200th anniversary of program opens with a world premiere  Robert Schumann’s  look-alike and sound-alike, delivers birth, the BSO and  and BSO commission of a short work  an authentic concert experience for   Marin Alsop perform an all-Schumann  by David Rimelis, featuring members  Beatles fans of all ages.   program that includes two of his pieces  of the BSO’s OrchKids.   retouched by Mahler and his  A Young Person’s Guide  most well-known orchestralperhaps works, the  to the Orchestra  First and Second symphonies. Paired Prokofiev’s Cinderella Suite   with his Manfred Overture, these two Sat, Apr 2, 7 p.m.  Sat, Apr 9, 11 a.m.  great symphonies reflect Schumann’s Marin Alsop, conductor  Gregory Vadja, conductor  sheer genius melody—romantic and Following the enormous success of  TBD, narrator  colorfully chromatic. Prokofiev’s Romeo and Juliet, the  Benjamin Britten’s A Young Person’s  composer was commissioned by the  Guide to the Orchestra is one of the most  Kirov Ballet to write a score for the   fairytale Cinderella. How was he inspired  influential pieces created for children and  Schumann’s Beautiful Mind  families and has delighted audiences for  Sat, May 14, 7 p.m. by the grandfather of Russian ballet  decades.Watch as your miniature virtuoso  Marin Alsop, conductor composers,Tchaikovsky? Did an illicit  learns about the exciting and varied  Music Director Marin Alsop explores affair color his perspective? Relish this   Robert Schumann’s beautiful mind— classic fable with a musically personified  instruments in the orchestra. Please note:    The BSO Family Fun Zone opens at  one beset by bipolar disorder yet still cast of characters: Cinderella, her timid to produce some of classical music’s  able father, the nagging stepmother, the ardent  10 a.m. in the main lobby.  most original and inspired work. How   does bipolar prince, and, of course, the hilarious disorder affect the brain?  Charlie Chaplin’s  Were manic episodes and heartless stepsisters. responsible for  The Gold Rush  Schumann’s bursts of creative genius that  Sat, Apr 16, 8 p.m.  manifested itself in such profound  Sun, Apr 17, 3 p.m.  Explore these questions and more. music? Live and Let Die: A Tribute  Marin Alsop, conductor to Paul McCartney  The Little Tramp seeks his fortune Fri, Apr 8, 8 p.m.  during the Klondike gold rush in Sat, Apr 9, 8 p.m.  Charlie Chaplin’s 1925 masterpiece Sun, Apr 10, 3 p.m.  featuring the immortal “dance of Michael Krajewski, conductor Tony Kishman, vocalist  the dinner rolls.” Chaplin’s favorite Jim Owen, vocalist  film will be shown in its entirety Enjoy a live performance of the most  with an arrangement of his musical popular McCartney songs, backed by the  score performed by the BSO. BSO.Tony Kishman, regarded by Beatles    Brahms’ Second Symphony

CORNELIUS MEISTER

FAMILY CONCERT

OFF THE CUFF

For children ages 5 and up and their families

OFF THE CUFF

BSO SUPERPOPS

January 14, 2011 – February 27, 2011

11


A Chance to Though admittedly â&#x20AC;&#x153;Rusty,â&#x20AC;? the 250 amateur musicians who performed with the BSO last fall played with a surprising degree of pluck and polish.

By Maria Blackburn Photos by Kristine Buls

12

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Shine


S

heila Meyers was in sixth grade when she first picked up a clarinet. She liked it so much she didn’t want to put the instrument down. So for the next six years, the suburban teen took the train into Manhattan twice a week for lessons and practiced every day. When she performed in the Weill Recital Hall in Carnegie Hall, Meyers remembers gazing at the main stage where the greatest soloists in the world have performed and thinking, “I’m going to play there one day.” She went to Oberlin College, where she graduated from the conservatory. After studying for a music education degree at Columbia University, she got married. She became a music teacher, had three children and moved a few times. Her dream of playing at Carnegie Hall yielded to other dreams. Over the last six decades, she raised a family, taught elementary school for 30-plus years, earned a master’s degree at the University of Illinois, and acted in dozens of community theater productions. And yet in September she found herself at the Joseph Meyerhoff Symphony Hall preparing to take her place onstage and perform with the Baltimore Symphony Orchestra. On the program: Brahms’ Academic Festival Overture and the finale from Stravinsky’s Firebird Suite. One of 250 amateur musicians performing in that night’s Rusty Musicians event with the BSO, the Baltimore County grandmother had been practicing for weeks. Still, she was a bit nervous. “If you’re not a little nervous, something is wrong,” she said, as she prepared her reed and assembled her two clarinets in an offstage practice room before the concert. “But the second that baton goes down, boom. I’m fine. I play because I love it.” Sheila Meyers

The Rusty Musicians project was conceived by BSO Music Director Marin Alsop last year as a way to increase community involvement, engage new audiences and celebrate the BSO’s fifth anniversary at the Music Center at Strathmore.The program was also seen as a complement to the BSO Academy— a one-week, intensive classical music fantasy camp for adult amateurs that the Orchestra rolled out last June. Still it was an unusual concept, and BSO President and CEO Paul Meecham had no idea how it would be received. Then, when 600 amateur musicians signed up to play in the February 2010 event at Strathmore—including 400 who applied on the first day—he knew the orchestra was on to something.“It was incredible,” he says.“We realized that more and more people want to participate in the act of creating something.” After the success of the program at Strathmore, the natural next step was to bring it to the Meyerhoff. Some 450 amateurs applied, and 250 were accepted. There were no auditions. In order to be accepted,“Rustys” had to be at least

25 years old, able to read music and have basic faculty of their instrument. “We are not auditioning for the Orchestra,” explains Lindsay Gomes, BSO Academy Coordinator.“This is really for adult professionals who also happen to be musicians.” For the Baltimore Rustys, the high point came on the evening of Sept. 21, when four different groups successively performed onstage with BSO musicians to a house filled with beaming spouses, proud parents and amazed friends, sons and daughters. This was their night to shine.

B

efore the Concert

Robert Yin stands in the Meyerhoff lobby clutching his violin case and wondering what the next few hours will bring. Scientists, lawyers, government employees, accountants, nurses and grad students—all fellow Rusty musicians—stand in clusters, some chatting excitedly, others all business as they briskly head off to the practice areas. “I’ve always really wanted to do something like this,” says Yin, a Towson

gastroenterologist and father of two who performs with the Greenspring Valley Orchestra.“Just the opportunity to play with professional musicians is so appealing.” Tonight he’s considering the brisk tempo of the Brahms.Yin has spent weeks practicing Academic Festival Overture and playing along to YouTube videos of Leonard Bernstein conducting, all in efforts to get it just right.“I’m expecting Marin Alsop will take it up to speed,” Yin says.“When she does, I’m just going to hang in there and hit the first note of every beat.” The evening would go like this:After an hour warmup, the amateur musicians take their places onstage next to the BSO musicians.Alsop would lead the 150-person orchestra through a 40-minute combined rehearsal and performance.Then one group of amateurs exits the stage and another takes its place. Engineer Anthony DeBella and his wife Jacquelyn, a music teacher who is eight months pregnant, stand in a stairwell leading from the first floor to backstage, waiting for their cue to go on.The scene is one of controlled chaos. But the DeBellas, who like many of the amateurs here play in January 14, 2011 – February 27, 2011

13


I

feel like,

everything I’ve done before in my life musically brought me to this point. To be able to sit on the stage with one of the elite orchestras in the United States is just incredible. This kind of thing just doesn’t happen.” — “Rusty” violinist Robert Yin

14

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community orchestras, don’t seem to mind. After playing in the first Rusty Musicians concert at Strathmore, the Laurel, Md., couple couldn’t wait to return.“It’s always a bit humbling to have to stare down a part that would normally take us weeks of rehearsal, but the BSO is the standard we should be aspiring to,”Anthony says.“These professional players not only hit the right note, it’s the right note at the right dynamic at the right speed. Every note is individually crafted by hand.” Downstairs in the recital hall, tailor and photographer Colleen Schoneveld snaps photos and chats with her fellow musicians. The founder of an ensemble called The Really Terrible Orchestra-Pa. in Bethlehem, Pa., Schoneveld harbors no delusions about her musical prowess.“I’ve never even been silver enough to get rusty,” quips the violinist, who started playing a decade ago at the age of 48.“I just hope my stand partner has a sense of humor.”

P

erformance Time

As the hour strikes, one group takes the stage. All are so similarly dressed in dark suits and skirts that only the Rustys’ nametags distinguish them from the pros. Ivan Stefanovic, the BSO’s Assistant Principal Second Violin, takes his seat up front, stopping to shake hands and greet the amateurs sitting near him. Some are strangers, others he recognizes from last summer’s BSO Academy. He’s glad to be here.“It’s a fantastic experience for us when

an orchestra can connect and bridge the gap between the stage and the audience,” he says later.“I can never get enough of that.” Then all eyes are on Alsop as she takes the podium and addresses the group. “Welcome everyone and nice to see you,” she says.“This is all about having a good time.There is nothing nerve-racking here.” She lifts her baton and they begin. The pace is dizzying. Hearts racing, fingers flying, the Rustys play, all the while keeping up with the BSO musicians. Alsop is encouraging and relaxed, but there is no handholding.“Very lightly, violas,” she instructs,“just ride the wave of the bassoons.” When the music is good, she says so.“I love the way you’re moving,” she tells the violins,“just move a little faster.” And when it’s not, she says so, too.“Whoa, runaway cymbal,” Alsop notes when a Rusty percussionist comes in too early during the Academic Festival Overture.The musician puts her hand over her mouth in embarrassment, then plays it perfectly the second time. All over the stage, the BSO musicians are doing their part to make the Rustys feel welcome. Principal Percussionist Christopher Williams stands behind his Rusty partner at the timpani, offering instruction and words of encouragement. When Assistant Principal Oboist Shea Scruggs’ stand partner, a Rusty, nails an oboe solo, he gives her a thumbs-up. Elsewhere in the orchestra there is a flurry of high fives and whispers of “Good job!” as the concert proceeds.


From left: Colleen Schonevold warms up before her session. Ivan Stefanovic, the BSO’s Assistant Principal Second Violin (on left), chats with a Rusty musician. BSO Principal Percussionist Christopher Williams (on right) with a Rusty musician. Anthony DeBella and his wife Jacquelyn, who teaches music, play together. Both of the DeBellas, who live in Laurel, played in the first Rusty Musicians Concert at Strathmore and couldn’t wait for the opportunity to play again with the BSO.

And then, almost as soon as it started, it seems, the concert is over.The orchestra stands and bows, and the audience applauds wildly. No one seems to be in any hurry to leave the stage. Amid the flashing cameras, musicians linger to exchange words of praise and share huge smiles of satisfaction and sighs of relief. “I can’t believe it was over so fast,” Meyers says, as she picks up her clarinets and moves offstage and downstairs to pack up.“That was great.” “Fabulous,” echoes Erica Mijares, a flutist and attorney from Edgewater, Md., who is beaming as she picks her way across the stage.“I almost chickened out last week because I was so nervous, but I’m so glad I didn’t.” Before the concert, Mijares asked her stand partner, BSO flutist Marcia Kämper, to play her part with her.“After the concert she told me that she thought I was doing fine, so she dropped out to let me play it solo. I can’t believe I really played it myself. She really gave me a gift, making this experience my own.” For a second or two,Yin stands onstage and takes in the scene. He wants to remember the moment.“I feel like everything I’ve done before in my life musically brought me to this point,” he says.“To be able to sit on the stage with one of the elite orchestras in the United States is just incredible.This kind of thing just doesn’t happen.”

A

fterward

There was no encore as part of the program. Not officially anyway. But in the practice rooms and backstage and in the lobby after the show, Rusty musicians like flutist Carolyn Williams of Towson, Md. were plotting their encores with the BSO— either via the BSO Academy in June or next season’s Rusty Musicians concert. Or both. “It’s a drug and I’m addicted,” says Williams, who participated in the first BSO Academy.“I love playing in a group, and this is just the ultimate expression of that.The experience is almost impossible to describe. It’s visceral.” Williams and many of the amateur musicians milling about say one of the reasons they came tonight was because playing with more advanced musicians makes them better musicians. But backstage

after the concert, Associate Concertmaster Madeline Adkins confesses the amateurs aren’t the only musicians benefiting from the experience. “They’re so thrilled to be surrounded by music and it rubs off on us,” says Adkins. “As professionals there are pieces that we perform hundreds of times. Playing with members of the community takes you back to when you were young and playing them for the first time.They are as passionate about the music as we are.Their enthusiasm is catching.” Meyers may have never gotten to play Carnegie Hall, but her gig at the Meyerhoff was so enjoyable she is already considering her return. Friends who participated in the BSO Academy last summer raved about the experience.“Next year you’ll be there,” they told her. “Good,” she says. “I’ll have a year to practice.”



Once-in-a-Lifetime Fantasy Camp Returns

Always wanted to play with the pros? Now you can, when the BSO Academy returns to Baltimore on June 12-18, 2011, for its second year. The intensive weeklong study program features daily performance sessions and educational activities at the Joseph Meyerhoff Symphony Hall. This unique hands-on educational experience puts adult amateur instrumentalists onstage with BSO musicians and under the direction of BSO Music Director Marin Alsop. Billed as a fantasy camp for classical music, the Academy offers the once-in-alifetime opportunity to experience firsthand what it means to learn, collaborate and play with members of a world-class orchestra. For more details or to apply, go to: BSOAcademy.org or call 410-783-8051.

January 14, 2011 – February 27, 2011

15


o n e on o n e

A Peripatetic Conductor Q. Could you describe the first

time you conducted the BSO in 2004? What made the experience memorable?

My unbelievable relationship with Baltimore started in 2004 with the summer concerts. It was very special because it was my debut in North America, and it was wonderful for me. I enjoyed it very much. I must say that one of the reasons I like playing with the BSO is that I am a very good friend with concertmaster Jonathan Carney. Really, to play with him is precious to me. I love conducting the BSO because I have such good friends there. Q. How is leading the BSO different

COURTESY OF BSO

than leading other orchestras?

JUANJO MENA TRAVELS THE WORLD FOR HIS MUSIC. The newly appointed chief conductor of the BBC Philharmonic, Mena has appeared with dozens of orchestras worldwide, ranging from the Boston Symphony Orchestra and the Bucharest Philharmonic to the Prague Symphony and The Philadelphia Orchestra. The principal guest conductor of the Bergen Philharmonic and chief guest conductor at the Teatro Carlo Felice in Genoa, he has also appeared with many of the principal symphony and chamber orchestras of his native Spain. Traveling is such a constant in Mena’s career that he has difficulty recalling exactly how many concerts he conducts per year. “Is it 80?” Mena asks. “100?” He’s not sure. “Usually after two weeks of travel, I like to be able to spend one week home in Spain with my family.” What the dynamic 45-year-old conductor is certain about is his close ties with the Baltimore Symphony Orchestra. Since making his North American debut with the BSO on July 14, 2004, the peripatetic Mena has returned annually to the Meyerhoff to lead the Orchestra. This year he guest conducts the BSO on Jan. 27 and 28 in a program that features Brahms’ Violin Concerto and Haydn’s “La Reine” Symphony, and takes up the baton again on Feb. 11 and 13 for a program that includes Rachmaninoff’s Piano Concerto No. 2 and Bruckner’s Symphony No. 6. Interview by Maria Blackburn 16

Overture

When you have more of a relationship with an orchestra, which is my case with Baltimore, you have a better sense of the possibilities. I know when to take risks. Each year with the BSO I get to conduct different programs and different repertoires. I have the opportunity to do interesting programs and I enjoy the mixture. We make a very good team. Q. You perform with so many

different orchestras worldwide. What remains constant in your work?

I focus on the details of the composer— the era, his style of music—whenever I conduct. I am very, very serious about authenticity, and I think it is one of my successes. At the same time, when I am conducting I recognize that performing music is something that is very in the moment.We are constructing each day a new beauty. And we must prepare to have a reaction to that. I am in contact with the music all of the time. If the music is forceful or strong or if the music is serious or dark, I can feel it in my body, I can feel it in my heart, I feel it in my hands. I believe in living in the moment, to respond to what is happening in the music.


Q. How did you become involved

with music?

My family had no relationship to music. But my mother and father decided not to send me to the school near my home but to one that was one kilometer farther away because this second school had much better focus on the arts. I was 7 years old when a man came into my class and played one note on the flute and I sang it very well. He asked me, “Would you like to sing in the choir?” And I said, “Of course.” One flute, one note.That was the start of my unbelievable music career. And it was really because my mother and father paid a lot of attention to my education. Q. After spending nine years as

artistic director and conductor of the Bilbao Symphony Orchestra, you were named conductor of the BBC Philharmonic in Manchester this past summer. What excites you about your new position?

My new job is an unbelievable opportunity. The orchestra has a new studio and a wonderful new auditorium in the middle of the city, one of the best auditoriums in all of England.The quality and professionalism of the English musicians is just wonderful. I am very happy. Q. How will it feel to perform with the BSO again?

I am happy to conduct, to take risks, to do the best for the music. Never have I forgotten all the confidence and all of the support [the BSO has] given me over the last six years. I am very happy to be back.



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17


Baltimore Symphony Orchestra 2010-2011 Season

Marin Alsop,

Marin Alsop Music Director, Harvey M. and Lyn P. Meyerhoff Chair

Music Director

Jack Everly Principal Pops Conductor Yuri Temirkanov Music Director Emeritus

DEAN ALEXANDER

Ilyich Rivas BSO-Peabody Bruno Walter Assistant Conductor

First Violins

Hailed as one of the world’s leading conductors for her artistic vision and commitment to accessibility in classical music, Marin Alsop made history with her appointment as the 12th music director of the Baltimore Symphony Orchestra. With her inaugural concerts in September 2007, she became the first woman to head a major American orchestra. She also holds the title of conductor emeritus at the Bournemouth Symphony in the United Kingdom, where she served as the principal conductor from 2002 to 2008, and is music director of the Cabrillo Festival of Contemporary Music in California. In 2005, Ms. Alsop was named a MacArthur Fellow, the first conductor ever to receive this prestigious award. In 2007, she was honored with a European Women of Achievement Award; in 2008, she was inducted as a fellow into the American Academy of Arts and Sciences; and in 2009, Musical America named her “Conductor of the Year.” A regular guest conductor with the New York Philharmonic, The Philadelphia Orchestra, London Symphony Orchestra and Los Angeles Philharmonic, Ms. Alsop also appears frequently as a guest conductor with some of the most distinguished orchestras around the world. In addition to her performance activities, she is also an active recording artist with award-winning cycles of Brahms, Barber and Dvorˇák orchestral works. Ms. Alsop attended Yale University and received her master’s degree from The Juilliard School. In 1989, her conducting career was launched when she won the Koussevitzky Conducting Prize at Tanglewood, where she studied with Leonard Bernstein. 18

Overture

Jonathan Carney Concertmaster, Ruth Blaustein Rosenberg Chair Madeline Adkins Associate Concertmaster, Wilhelmina Hahn Waidner Chair Igor Yuzefovich Assistant Concertmaster Yasuoki Tanaka James Boehm Kenneth Goldstein Wonju Kim Gregory Kuperstein Mari Matsumoto John Merrill Gregory Mulligan Rebecca Nichols Ellen Orner E. Craig Richmond Ellen Pendleton Troyer Andrew Wasyluszko

Second Violins Qing Li Principal, E. Kirkbride and Ann H. Miller Chair Ivan Stefanovic Assistant Principal Leonid Berkovich Leonid Briskin Julie Parcells Christina Scroggins Wayne C. Taylor James Umber Charles Underwood Melissa Zaraya

Violas Richard Field Principal, Peggy Meyerhoff Pearlstone Chair Noah Chaves Associate Principal Christian Colberg* Assistant Principal Peter Minkler Karin Brown

Sharon Pineo Myer Genia Slutsky Delmar Stewart Jeffrey Stewart Mary Woehr

Cellos Chang Woo Lee Associate Principal Dariusz Skoraczewski Assistant Principal Bo Li Susan Evans Seth Low Esther Mellon Kristin Ostling* Paula SkolnickChildress

Basses Robert Barney Principal, Willard and Lillian Hackerman Chair Hampton Childress Associate Principal Owen Cummings Arnold Gregorian Mark Huang Jonathan Jensen David Sheets* Eric Stahl

Flutes Emily Skala Principal, Dr. Clyde Alvin Clapp Chair Marcia Kämper

Piccolo Laurie Sokoloff

Oboes Katherine Needleman Principal, Robert H. and Ryda H. Levi Chair Shea Scruggs Assistant Principal Michael Lisicky

English Horn

Clarinets

Bass Trombone

Steven Barta Principal, Anne Adalman Goodwin Chair Christopher Wolfe Assistant Principal William Jenken Edward Palanker

Randall S. Campora

Tuba David T. Fedderly Principal

Timpani

Edward Palanker

Dennis Kain Principal Christopher Williams Assistant Principal

E-flat Clarinet

Percussion

Christopher Wolfe

Christopher Williams Principal, Lucille Schwilck Chair John Locke Brian Prechtl

Bass Clarinet

Bassoons Julie Green Assistant Principal Fei Xie

Contrabassoon David P. Coombs

Horns Philip Munds Principal, USF&G Foundation Chair Gabrielle Finck Associate Principal Beth Graham Assistant Principal Mary C. Bisson Bruce Moore

Trumpets Andrew Balio Principal, Harvey M. and Lyn P. Meyerhoff Chair Rene Hernandez Assistant Principal Jonathan Kretschmer

Trombones Christopher Dudley* Principal, Alex. Brown & Sons Chair Mark Davidson Acting Principal James Olin Co-Principal John Vance

Jane Marvine Kenneth S. Battye and Legg Mason Chair

The musicians who perform for the Baltimore Symphony Orchestra do so under the terms of an agreement between the BSO and Local 40-543, AFM.

Piano Sidney M. and Miriam Friedberg Chair Jonathan Jensen Mary Woehr

Director of Orchestra Personnel Marilyn Rife

Assistant Personnel Manager Christopher Monte

Librarians Mary Carroll Plaine Principal, Constance A. and Ramon F. Getzov Chair Raymond Kreuger Associate

Stage Personnel Ennis Seibert Stage Manager Frank Serruto Stagehand Todd Price Electrician Larry Smith Sound *on leave


p ro g r a m notes Marin Alsop Friday, January 14, 2011 8 p.m.

For Marin Alsop’s bio, please see p. 18.

Sunday, January 16, 2011 3 p.m. Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR

Icarus at the Edge of Time Marin Alsop Scott Simon

Mark-Anthony Turnage John Williams

Conductor Narrator

Ceres, Asteroid for Orchestra Star Wars Suite Main Title Anakin’s Theme Duel of the Fates Across the Stars Imperial March Princess Leia’s Theme Throne Room and End Title

INTERMISSION

Philip Glass

Icarus at the Edge of Time* Scott Simon, narrator

The concert will end at approximately 9:45 p.m. on Friday, and 4:45 p.m. on Sunday.

Support for this program generously provided by:

Support for the Commissioning of Icarus at the Edge of Time is provided by a grant from the Johns Hopkins University School of Medicine Department of Neuroscience, through Dr. Solomon and Elaine Snyder. *Commissioned and produced by World Science Festival (New York) with the Alfred P. Sloan Foundation and Southbank Centre (London) with the Royal Society. Co-commissioned by Associazione Festival della Scienza with the Baltimore Symphony Orchestra and Glasgow’s Concert Halls. Media Sponsor: Baltimore Sun Media Group

Scott Simon Scott Simon is one of America’s most admired writers and broadcasters. He has reported from all 50 states, five continents and 10 wars, from El Salvador to Sarajevo to Afghanistan and Iraq. His books have chronicled character and characters in war and peace, sports and art, tragedy and comedy. His radio show, NPR’s Weekend Edition with Scott Simon, has been called by The Washington Post,“the most literate, witty, moving, and just plain interesting news show on any dial,” and by Brett Martin of TimeOut NewYork “the most eclectic, intelligent two hours of broadcasting on the airwaves.” Simon has won every major award in broadcasting, including the Peabody, the Emmy, the Columbia-DuPont, the Ohio State Award, the Robert F. Kennedy Journalism Award and the Sidney Hillman Award. NOTES ON THE PROGRAM Ceres

Mark-Anthony Turnage Born in Corringham, Essex, England, June 10, 1960

We begin tonight’s journey into outer space with a stop-off at a small neighbor in the solar system, Ceres. Sometimes called a “dwarf planet,” Ceres is the largest of the asteroid belt of small disks and debris that lies between Mars and Jupiter.Astronomers consider these objects to be highly unstable and capable of leaving their present orbits to have close encounters or even collisions with Earth. It is this threat that British composer Mark-Anthony Turnage conjures in his vivid 2004 work written to celebrate the 50th birthday of famed conductor Sir Simon Rattle.The Berlin Philharmonic Orchestra premiered Ceres under Rattle’s baton on March 16, 2006. Rattle was looking for a work that would complement his Berlin performances of Gustav Holst’s The Planets, and not surprisingly, turned to a composer with whom he has enjoyed a long association.Two other “orchestral asteroids,” Juno and The Torino Scale, soon joined Ceres; together, they make January 14, 2011 – February 27, 2011

19


p ro g r a m notes up the three-movement Three Asteroids (premiered by the San Francisco Symphony in June 2008). “The idea of this piece is that different solid blocks of sound (the first two being a melody with a blooming clarinet accompaniment followed by a syncopated trombone idea), one after another in a thick, climactic passage collide, and then separate again,” Turnage writes.“I was fascinated by the apocalyptic aspect of the asteroids and the idea that any day the Earth could be destroyed.” Instrumentation: two flutes, two alto flutes, two piccolos, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, soprano saxophone, four horns, three trumpets, three trombones, euphonium, tuba, percussion, harp, celesta and strings. Star Wars Suite

John Williams Born in Flushing, Queens, New York, February 8, 1932

When George Lucas approached John Williams in the mid-1970s to provide the score for his new sci-fi epic Star Wars, the composer could hardly guess what he was embarking on: not one film, but ultimately six that would span some 30 years in the making and win him undreamed-of accolades.Williams was already a renowned film-score composer with two Oscars for Best Score to his credit (for his adapted score for Fiddler on the Roof and for his original score for Jaws), and he had established a close relationship with Steven Spielberg, for whom he was to score all but two of his movies. It was Spielberg who recommended Williams to his close friend Lucas. The score for the first Star Wars movie won an Oscar, a British Oscar and a Grammy Award, and in 2005 was chosen by the American Film Institute as the greatest American movie score of all time. Its success sparked a renewed interest in creating large symphonic scores for films. An accomplished symphonic conductor himself (he was music director of the Boston Pops Orchestra from 1980 to 1993), Williams has prepared numerous Star Wars concert suites.We’ll hear a sequence of seven of these arrangements: four numbers drawn from the first film; two from the prequel The Phantom Menace; and one from Attack of the Clones. Of course, the “Main Title” music, whose theme is associated 20

Overture

with Luke Skywalker and his thirst for adventure, is the most famous of all. It was used for the opening of all six films. “Anakin’s Theme” from The Phantom Menace is lyrical, yearning music with a sweet innocence yet also hints of the “Imperial March.” “Duel of the Fates” also comes from The Phantom Menace, where it is used for the closing credits. Expressing the conflict between the light and dark sides of the Force, it incorporates a chorus singing words from an old Celtic poem that Williams decided to translate into Sanskrit for the sound-quality of the language. “Across the Stars” is the beautiful love theme for Anakin and Padmé Amidala from the fifth film, Attack of the Clones. Williams conceived of it as a “Romeo and Juliet” theme. Both the “Imperial March” and “Princess Lela’s Theme” are among the most famous of the first film’s musical numbers.They are a study in contrasts with the March representing the Dark Force of the Empire and specifically DarthVader while Lela’s gentle music portrays her feminity and vulnerability. “The Throne Room and End Title” is a concert expansion of the grand ceremonial music for the first film’s closing titles. Instrumentation: three flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, celesta and strings. Icarus at the Edge of Time

Philip Glass Born in Baltimore, Maryland, January 31, 1937; now living in New York City

In Greek mythology, Icarus was the young son of Daedalus. Imprisoned by the King of Crete, Daedalus fashions two sets of wings for Icarus and himself so that they can escape. He instructs his son to be careful not to fly too close to the sun lest its heat melt the wax holding the wings’ feathers together. But drunk with the joy of flying, Icarus soars higher and higher until indeed the wax melts and he plummets down into the sea and dies.The myth comes down through history as a cautionary tale about the high price of human ambition. In his beautiful, haunting board book Icarus at the Edge of Time—intended for children but really appealing to all ages—

physicist and science popularizer Brian Greene imagines an Icarus for our times. “The main difference this time is that the boy doesn’t die,” explained Greene in an interview in The Atlantic Monthly. “He doesn’t fly too close to the sun; instead, he flies near a black hole.And what happens there is that real physics—the real discoveries of Einstein and his general theory of relativity —wind up being the lynch pin of the narrative, and science dictates what happens next.The boy returns from his journey to the black hole and finds that although he spends an hour there, it turns out 1,000 years have passed for everybody else. So there’s a brand new reality for him to cope with.” Early on, Greene, who is a professor of physics and mathematics at Columbia University and a pioneer in the field of superstring theory, saw multimedia potential in his small book. He had already turned his 1999 bestseller, The Elegant Universe, into an Emmy Award-winning three-part program on PBS’s Nova series. Now he approached the renowned minimalist composer Philip Glass, with whom he had been friendly for years, about the idea of creating a film treatment of Icarus at the Edge of Time with an original Glass score. It didn’t take long for Glass to say yes, for he has had a deep interest in science all his life.“I’ve always thought that scientists were really poets,” said Glass in an interview with Gillian Moore in London’s The Guardian. The English experimental filmmakers Al Holmes and Al Taylor signed on to create the film, and Tony Award-winning playwright David Henry Hwang (M. Butterfly) helped Greene create a narrator’s script. Two leading scientific organizations commissioned the work on two continents: the World Science Festival in New York City and London’s Royal Society of Science (for its 350th anniversary) jointly with the Southbank Centre.The world premiere was given at the World Science Festival in New York City in June 2010 (with Hawking in attendance), followed by the European premiere performed by the London Philharmonic under Marin Alsop’s baton at London’s Royal Festival Hall in July. Instrumentation: two flutes, two piccolos, two oboes, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, four trombones, tuba, timpani, percussion, harp, piano, celesta and strings. Notes by Janet E. Bedell, copyright 2010


p ro g r a m notes

Thursday, January 20, 2011 8 p.m. Sunday, January 23, 2011 3 p.m. Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR

Robustly Russian Marin Alsop Kirill Gerstein

Conductor Piano

Sergei Rachmaninoff

Vocalise, Op. 34, No. 14 MIHAELA CESA-GOJE Taki-Concordia Conducting Fellow

Sergei Rachmaninoff

Piano Concerto No. 1 in F-sharp Minor, Op. 1 Vivace Andante Allegro vivace KIRILL GERSTEIN

INTERMISSION

Dmitri Shostakovich

Symphony No. 5 in D Minor, Op. 47 Moderato Allegretto Largo Allegro non troppo

The concert will end at approximately 9:50 p.m. on Thursday and 4:50 p.m. on Sunday.

Media Sponsor: WBAL Radio

Marin Alsop For Marin Alsop’s bio, please see p. 18.

MARCO BORGGREVE

Kirill Gerstein Russian pianist Kirill Gerstein has quickly proven to be one of today’s most intriguing young musicians. His masterful technique, musical

curiosity and probing interpretations have led to explorations of classical music and jazz, advanced degrees by the age of 20, a professorship in piano by the age of 27 and a full performance schedule at the world’s major music centers and festivals. In January 2010, he was named the recipient of the 2010 Gilmore Artist Award; and in April 2010, he was awarded a 2010 Avery Fisher Career Grant. Highlights of Mr. Gerstein’s 2010-2011

season include debuts with the Boston, Cleveland, St. Louis, Milwaukee, Columbus, Pacific and Nashville symphony orchestras; Stockholm Philharmonic; and London’s Philharmonia. He performs recitals at New York’s 92nd St.Y and in Portland, Maine, and tours to Germany and Israel with the Hagen Quartet. His first recording for Myrios Classics of recital works by Schumann, Liszt and Oliver Knussen was released in October 2010, followed by a duo recital disc with Tabea Zimmermann. His recent engagements included performances with the Los Angeles Philharmonic; the Chicago, San Francisco, Atlanta, Detroit, Houston, Dallas, Indianapolis and Vancouver symphony orchestras; and the St. Paul Chamber Orchestra. Past festival appearances included Chicago’s Grant Park, the Mann Music Center and Saratoga with the Philadelphia Orchestra, and Blossom with the Cleveland Orchestra. International appearances included the Munich, Rotterdam and Royal philharmonics; the City of Birmingham Symphony Orchestra; Dresden Staatskappelle; Zurich Tonhalle; the Finnish and Swedish radio orchestras;WDR Symphony Orchestra Cologne; and the Deutsches Symphonie Orchester Berlin. He won First Prize at the 2001 Arthur Rubinstein Piano Competition in Tel Aviv, received a 2002 Gilmore Young Artist Award and was chosen as Carnegie Hall’s “Rising Star” for the 2005-2006 season. NOTES ON THE PROGRAM Vocalise, Op. 34, No. 14

Sergei Rachmaninoff Born in Oneg near Novgorod, Russia, April 1, 1873; died in Beverly Hills, California, March 28, 1943

Though his chosen instrument, the piano, is categorized as a percussion instrument, Sergei Rachmaninoff became one of music’s most inspired melodists. His piano concertos burst with surging, soaring melodies, such as the glorious 18th variation of his Rhapsody on a Theme of Paganini. And alongside his instrumental works, he poured his lyrical gift into some 80 songs, whose popularity is only limited by their being in the Russian language and thus off-limits to many prominent international singers. One that is not hampered by language is the exquisitely beautiful Vocalise that closes January 14, 2011 – February 27, 2011

21


p ro g r a m notes his set of 14 Songs, Op. 34, for it is a wordless composition for soprano, sung mostly on the vowel sound “ah.” It was written in 1915 for the coloratura soprano Antonina Nezhdanova, a star of the Moscow Grand Opera.When she objected to the lack of a poetic text, the composer gallantly replied: “What need is there of words, when you will be able to convey everything better and more expressively than anyone could with words by your voice and interpretation?” After Vocalise was premiered in Moscow by Nezhdanova and Rachmaninoff in January 1916, Nikolai von Struve suggested to the composer that he orchestrate the work. Rachmaninoff promptly responded with arrangements for soprano and orchestra and for orchestra alone, and it is these versions that are most often heard today. But other composers, conductors and instrumentalists have made subsequent arrangements for everything from unaccompanied saxophone to the rather improbable double bass. Written in a minor key, like so many of Rachmaninoff ’s best pieces, Vocalise has a melancholy undertone that reflects the composer’s dark mood at this time, as Russia struggled through World War I and hovered on the brink of revolution. Its opening melodic phrase is an artfully disguised version of the ancient “Dies Irae” (“Day of Judgment”) plainchant theme for the Requiem Mass for the Dead; this grim musical idea was a recurring motive throughout much of Rachmaninoff ’s music. But the effortless, unending flow of melody—unfolding in beautiful, arching phrases—triumphs over the sadness. Instrumentation: two flutes, two oboes, English horn, two clarinets, two bassoons, two horns and strings. Piano Concerto No. 1 in F-sharp Minor

Sergei Rachmaninoff Listening to Rachmaninoff ’s First Piano Concerto, we hear the inspiration of adolescence mingled with the mature craft of a middle-aged man.That’s because the version of this concerto performed today, although first written in 1890–1891 when Rachmaninoff was only a teenager, was extensively revised by the composer in 1917 when he was 44, with his immensely successful Second and Third Piano 22

Overture

Concertos under his belt. Interestingly, Rachmaninoff at 18 was already the spinner of bittersweet melodies and master of big musical gestures that have made him such an audience favorite.When he returned to his score at the height of the Russian Revolution, he didn’t change any of the melodies or the basic form of the work from his student days at the Moscow Conservatory. Instead, he used his vastly more sophisticated skills to refine the orchestration, increase the effectiveness of the piano writing and update harmonies to the more chromatic language he’d adopted after 1900. The dates 1891 and 1917 mark a profound transformation in both the composer’s life and the history of Russia. In 1891, Rachmaninoff was the scion of a well-to-do land-owning family and the star of the Moscow Conservatory, winning first prizes in both piano and composition and a gold medal as outstanding student. The czar still sat on his throne, and the young artist could look forward to a life of privilege and the tranquility he so sorely needed in order to create. By the fall of 1917, however, Nicholas II had been toppled, and Lenin and his Bolsheviks were brutally seizing control. Desperate to flee the bloodshed and chaos, the composer pulled every string to get himself and his family out of Russia.While he waited for an escape route, he holed up in his Moscow apartment with the concerto he’d been meaning to revise for a decade.As the revolution swirled around him, he retreated into his own world: “I sat at the writing table or the piano all day without troubling about the rattle of machine guns and rifle shots.” Shortly after the revision was completed, he received an invitation for a Scandinavian concert tour. Hastily obtaining visas, he, his wife and two daughters left Russia forever on December 23, 1917.The world premiere of the First Piano Concerto took place not in Russia as he’d planned, but in New York City on January 28, 1919. He would mourn his lost country for the rest of his life. Rachmaninoff had a strong predilection for minor keys—all four of his piano concertos are in the minor—and he chose F-sharp minor for his First.The sonata-form first movement begins with a woodwind and brass fanfare and a bravura descent in

double octaves for the piano. It introduces us to Rachmaninoff the bold virtuoso— blessed with enormous hands that matched his imposing height of 6 feet 5 inches. Then the strings introduce the first theme: a true Rachmaninoff melody saturated with nostalgia and regret; the piano takes it up and embroiders it with arpeggios.After a fleet-fingered scherzando passage comes another romantic Rachmaninoff theme, also in the violins, with a yearning halfstep-upward resolution.The development section uses both themes extensively.And in a long, demanding cadenza near the end of the movement, the soloist gives the first theme the full treatment: maestoso (majestic) in rich, dense chords. Movement two is a brief, lovely nocturne in D major.The solo horn and the woodwinds are prominent here, and the horn begins with a four-note rising motive. Dusky orchestral harmonies conjure night. The piano extends the four-note motive and then launches a long, rhapsodic melody. Later, the violins sing a variant of it while the piano shimmers above. The scherzo finale received most of Rachmaninoff ’s retooling in 1917. He gave it a fresh introduction in which the orchestra and the piano battle over whether the meter will be in three beats or four with “the three beat winning.Then the piano scampers away with two fleet, busy melodies. Rachmaninoff gives the pianist no breather—this is truly piano writing that separates the men from the boys. Relief only comes in a highly contrasted trio section: much slower and in the remote key of E-flat major. Here we have the last of this concerto’s great tunes: a lovely, gentle melody in the violins, which the piano accompanies with ingenious developments. After this interlude, the vigorous scherzo returns, and orchestra and piano race each other to the finish line. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, percussion and strings. Symphony No. 5 in D Minor

Dmitri Shostakovich For notes on this program please see p. 23.


p ro g r a m notes

Saturday, January 22, 2011 7 p.m.

Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR

OFF THE CUFF

Shostakovich’s Fifth Symphony Series Presenting Sponsor:

Marin Alsop

Dmitri Shostakovich

Conductor

Symphony No. 5 in D Minor, Op. 47 Moderato Allegretto Largo Allegro non troppo

The concert will end at approximately 8:25 p.m.

The BSO dedicates this “Off the Cuff” concert in memory of Howard A. and Rena S. Sugar in appreciation of their significant generosity.

Marin Alsop For Marin Alsop’s bio, please see p. 18. NOTES ON THE PROGRAM Symphony No. 5 in D Minor

Dmitri Shostakovich Born in St. Petersburg, Russia, September 25, 1906; died in Moscow, August 9, 1975

For most of his career, Shostakovich had “to walk a tightrope blindfolded without a safety net” (in the words of Russian-music scholar Laurel Fay), and this was especially true during the reign of Joseph Stalin. While precariously maintaining his balance, Shostakovich constantly heard the thud of other leading Soviet artists falling to their deaths, among them the great director Vsevolod Meyerhold and the celebrated writer Maxim Gorky. His mission impossible was to remain true to his inner creative voice while paying sufficient

lip service to the regime to stay alive. The years 1934 to 1938 were the era of the great Stalinist purges, during which millions of Soviet citizens, from peasants to generals, lost their lives. Early in 1934, the 27-year-old Shostakovich premiered a daring new opera, Lady Macbeth of the Mtsensk District, whose harsh dissonances mirrored a lurid tale of lust and murder. For two years, Lady Macbeth was a popular hit, until one evening in January 1936 when Stalin paid a visit to the opera house.The opera’s gritty musical and theatrical drama infuriated the Soviet leader, who left the theatre before the curtain fell.A few days later, a lead article in Pravda denounced the opera under the heading “Muddle Instead of Music,” and a second scathing article followed in February. Shostakovich instantly became a non-person. Fellow composers spoke out against him, while acquaintances crossed

the street to avoid him.The composer lived in constant fear of the knock in the night summoning him to his doom; like many Soviet citizens, he kept a suitcase packed in readiness. But the knock never came. And, strangely, in 1937 Shostakovich was given a chance to rehabilitate himself by writing a suitably triumphant symphony for Leningrad’s celebration of the 20th anniversary of the Bolshevik Revolution. As Ian MacDonald explains in his The New Shostakovich, the composer realized that much of the problem caused by Lady Macbeth, aside from its downbeat plot, stemmed from its advanced, modernist musical language, denounced by Pravda as “fidgety, screaming, neurotic music.” For his new symphony, he determined to simplify his language, making it more consonant and tonal, more melodic and more pleasing in its instrumental sonorities. Indeed, the Fifth Symphony is much easier on the ears than many of Shostakovich’s earlier works, and this surely contributed to its success in 1937 and its enduring popularity today. But in the fierce drama of its first movement, the biting sarcasm of its second, the emotionally wrenching sorrow of its third and the complex “triumph” of its finale, it is as uncompromisingly outspoken as any of Shostakovich’s works. In Testimony, the controversial memoirs purportedly dictated to Solomon Volkov, the composer vehemently denied there was any real triumph at all. “I think that it is clear to everyone what happens in the Fifth.The rejoicing is forced, created under threat, as in [Mussorgsky’s opera] Boris Godunov. It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering, ‘Our business is rejoicing, our business is rejoicing.’” Instrumentation: two flutes, piccolo, two oboes, two clarinets, piccolo clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, celesta and strings. Notes by Janet E. Bedell, copyright 2010

January 14, 2011 – February 27, 2011

23


p ro g r a m notes

Thursday, January 27, 2011 8 p.m. Friday, January 28, 2011 8 p.m. Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR

Brahms’ Violin Concerto Presenting Sponsor:

Juanjo Mena Augustin Hadelich

Conductor Violin

Franz Joseph Haydn

Symphony No. 85 in B-flat Major, “La Reine” Adagio—Vivace Romanze: Allegretto Menuetto: Allegretto Presto

Roberto Sierra

Sinfonia No. 4 (Sphinx Consortium Commission) Moderadamente rápido Rápido Tiempo de bolero Muy rápido y rítmico

INTERMISSION

Johannes Brahms

Violin Concerto in D Major, Op. 77 Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace AUGUSTIN HADELICH

The concert will end at approximately 10 p.m.

2004, he has been re-engaged every year since then by the orchestra. Other recent debuts include The Philadelphia Orchestra and the Atlanta, Cincinnati, Colorado, Houston, Indianapolis, Kansas City and Oregon symphony orchestras. With the Bilbao Symphony Orchestra, Mr. Mena has recorded a complete collection of Basque symphonic music (Naxos). A CD of works by Gabriel Pierné with the BBC Philharmonic Orchestra will be released on Chandos in 2011.

Augustin Hadelich With his poetic style and dazzling technique,Augustin Hadelich has established himself as a rising star among the new generation of violinists. In 2010, he made a sensational debut with the New York Philharmonic under Alan Gilbert at the Bravo! Vail Valley Festival. Upcoming highlights include re-engagements with both the Cleveland Orchestra and the Los Angeles Philharmonic, as well as debuts with the symphonies of Atlanta, Baltimore, Cincinnati, Phoenix, Seattle, Utah and Vancouver. Mr. Hadelich has recorded two highly acclaimed CDs for Naxos: Haydn’s complete violin concerti with the Cologne Chamber Orchestra, and Telemann’s complete Fantasies for Solo Violin. A new CD of masterworks for solo violin (including the Bartók solo sonata) was released by AVIE in October 2009, and a second disc will be released in 2011. NOTES ON THE PROGRAM Symphony No. 85 in B-flat Major, “La Reine”

Franz Joseph Haydn Born in Rohrau, Austria, March 31, 1732; died in Vienna, May 31, 1809

SUSSIE AHLBURG

Juanjo Mena Recently appointed chief conductor of the BBC Philharmonic in Manchester, Juanjo Mena is one of the most distinguished conductors of his 24

Overture

generation.Also principal guest conductor of the Bergen (Norway) Philharmonic and chief guest conductor at the Teatro Carlo Felice in Genoa, he has appeared with most of the principal symphony and chamber orchestras of his native Spain. Following his North American debut with the Baltimore Symphony Orchestra in

For the better part of two decades, Joseph Haydn’s genius was devoted solely to the life of Prince Esterházy’s little, if fabulously wealthy, court in eastern Hungary. But in 1779, the prince finally offered him a contract that allowed him to spread his wings: although Esterházy would retain first claims on his time, he would also be able to accept commissions from other patrons.


p ro g r a m notes The timing was ideal. For years, Haydn’s music had been circulating, usually in pirated copies, throughout Europe, and by this time, he was as famous at the courts of France, England, Spain and Italy as he was at Esterházy. However, in a time before copyright protection, he was earning nothing from the many foreign concerts that featured his music. In the mid-1780s, the Comte d’Ogny, organizer of Paris’s leading concert series Le Concert de la Loge Olympique, tendered a genuine commission: a set of six symphonies for his series for which Haydn would be paid handsomely.These became the “Paris” Symphonies, Nos. 82–87; so successful were they that d’Ogny later commissioned three more, Nos. 90–92. This opportunity to write for a new audience re-ignited Haydn’s sometimesflagging inspiration and inspired his best work.The “Paris” Symphonies opened his final and greatest period as a symphonist, to be capped by the “London” Symphonies of the 1790s. Haydn knew he was writing these works for one of Europe’s most spectacular orchestras, made up of Paris’ finest professionals and noble amateurs and far larger than the Esterházy orchestra. Resplendent in sky-blue silk coats with swords at their sides, the musicians of Le Concert de la Loge Olympique (named for the sponsoring Masonic Lodge) attracted the cream of French society to their concerts, including Queen Marie Antoinette, like Haydn an Austrian by birth.Written in 1785, Symphony No. 85 soon won the nickname “The Queen of France” (“La Reine”) because it was believed to be Marie Antoinette’s favorite. She must have had discerning tastes. In the key of B-flat, this work—written for a modest ensemble of flute, pairs of oboes, bassoons, horns and strings—initially seems less spectacular than some of its siblings. However, its effortless inventiveness, perfect craftsmanship and sheer charm rank it among Haydn’s finest. It makes two gracious bows to the French court: the first movement’s slow introduction is in the grand ceremonial style of the French overture; and its second movement is an exquisite set of variations on a traditional French song,“La gentile et jeune Lisette.” Instrumentation: flute, two oboes, two bassoons, two horns and strings.

Sinfonia No. 4

Roberto Sierra Born in Vega Baja, Puerto Rico, October 9, 1953

Puerto Rican-born Roberto Sierra received a thorough academic training in composition in Puerto Rico, the United States and Europe, and has been a professor of composition at Cornell University since 1992.Yet he has never lost contact with his Latino roots and with the vibrant colors of his native island. He calls his music a “tropicalization” of the classical European tradition he absorbed in London,The Netherlands and Hamburg, Germany, where he did advanced study with the formidable György Ligeti. But Sierra ultimately chose a different path from his mentor. “I am not a modernist, and I don’t want to be a minimalist,” he says.“I have no school [of compositional style and technique]. None. It’s wonderful! I just want to be my own musician, whatever that may be.” His decision has enabled him to become an extraordinarily appealing composer, whose music is as openhearted, passionate and accessible as he is.“[Composing] is not a career, a job—it’s a vocation, a passion— I love it!,” he says. In 2003, the American Academy of Arts and Letters gave him its music award, stating,“Roberto Sierra writes brilliant music, mixing fresh and personal melodic lines with sparkling harmonies and striking rhythms.” He has been composerin-residence at The Philadelphia Orchestra, the Milwaukee Symphony and the Puerto Rico Symphony, and these and many other orchestras have commissioned works from him. One of his most striking successes was his choral-orchestral Missa Latina, commissioned and premiered by the National Symphony at the Kennedy Center in 2006. The Sphinx Commissioning Consortium, banding together 12 orchestras, including the Baltimore Symphony Orchestra, embarked on its program to broaden the diversity of composers heard in symphonic concerts by giving an annual commission to a well-known black or Latino composer. Sierra had already written three very well-received sinfonias, and so he used this commission to create a fourth. The Nashville Symphony gave its world premiere in October 2009. Its powerful first movement is built from an upward-arching, undulating theme, which we first hear played quietly and

hauntingly by the violins and horns over an insistent rhythmic ostinato in bongos, harp and low strings. Driven by that rhythm, this music steadily crescendos in volume and nervous activity. Sierra makes brilliant use of his brass and percussion instruments throughout. Despite the increasing intensity, the undulating theme continues to pervade the music, leading to a surprisingly quiet and delicate close. The second movement is a scherzo alternating two very different kinds of music.The first type is the very brittle and spiky music we hear at the beginning, exploiting the clatter of the xylophone and very high, piercing woodwinds.The second, in a slower tempo, is ethereal, shimmering music emphasizing the bell-like sounds of celesta and harp.These two musical strands alternate, but it is the spiky scherzo music that wins in a frenzied Furioso finish. Sierra marks his third movement, the Sinfonia’s slow movement,“Tiempo di Bolero,” referring not to the boléro rhythm that we know so well from Ravel’s famous piece, but to the very slow boléro ballads that were very popular in Latin America during the 1950s.As in movement two, there are two types of music here: a slow, melancholy melody sung in turn by all the woodwind instruments; and the glittering music with very rapid figurations played by the rest of the orchestra, led by a prominent piano part. Sierra combines them magically in orchestration of gorgeous colors. The finale is a dancing Latino festival. In Sierra’s words,“The main idea is the vibrant Latin claves rhythm [the claves being a Cuban clapper instrument] that supports all the melodic and harmonic materials from beginning to end.” In this irresistible music, we feel “tropicalization” in all its visceral excitement.” Instrumentation: two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, piccolo clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, celesta and strings. Violin Concerto in D Major, Op. 77

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

The late 1870s, when Johannes Brahms wrote his only violin concerto, were the high summer of the composer’s artistic life. January 14, 2011 – February 27, 2011

25


p ro g r a m notes In 1876, he had finally won his two-decade struggle to write a symphony and had completed and premiered Symphony No. 1.The next year brought its successor, the relatively conflict-free Symphony No. 2 in D Major. The Violin Concerto, also in D major, followed immediately on its heels: Composed during the summer and fall of 1878, it was premiered in Leipzig on New Year’s Day 1879, with its dedicatee, the great violinist and one of Brahms’ closest friends, Joseph Joachim, as soloist and Brahms himself conducting the Gewandhaus Orchestra. Now in his mid-40s, Brahms had settled into an established routine that met both his creative and personal needs. During most of the year, he lived in Vienna, attending to the editing, publishing and performing of his works. Summers were devoted to composing in mountain or lakeside retreats in rural Austria or Switzerland; like many composers, Brahms needed beautiful scenery to stimulate his creative juices. In 1877 and 1878, he had found a particularly inspiring location at Pörtschach on Lake Worth in southern Austria, where, he claimed,

“melodies are so abundant one must be careful not to step on them.” Here in the shadow of the beautiful snow-capped peaks of the Carinthian Alps, he wrote both the Second Symphony and the Violin Concerto. A confirmed bachelor—but with a soft spot for the ladies, especially if they had beautiful singing voices—Brahms depended on a network of friends to maintain his “frei aber froh” motto: “free but happy.” Chief among them was Joachim, one of the foremost musicians of the 19th century: violin virtuoso, composer of stature (though his works are seldom heard today), conductor, chamber musician and an artist who shared Brahms’ own commitment to music of substance and profundity. Brahms and Joachim had known each other since they were very young men. Inevitably, Brahms would create a concerto for his friend, and, equally inevitably, this concerto would be the product of close collaboration. Not only did Brahms confer with Joachim about what figurations would work most effectively on the violin, but Joachim also influenced the orchestral part,

2010-2011 CONCERT SEASON

F R E E

A D M I S S I O N

All concerts take SUNDAYS AT 3:30 place at the Second F E B R U AR Y 2 7 , 2 0 11 Presbyterian Church Brass Roots Trio 4200 St. Paul St. M AR C H 2 0 , 2 0 11 Baltimore, MD

Monument Piano Trio

T O

A L L

SUNDAYS AT 7:30 CHAMBER MUSIC BY CANDLELIGHT Featuring members of the BSO

AP R I L 17 , 2 0 11 Wonderlic Voice Finals Recital

FEB 20, 2011 MAR 27, 2011 APR 17, 2011

M AY 1, 2 0 11 Towson/McDonogh Choirs

MAY 22, 2011

suggesting where Brahms could thin his often-thick textures to allow a better balance with the violin. But, stubborn in his artistic principles, Brahms always had the last say. The sonata-form first movement paints an epic canvas with vast exposition and development sections. Brahms introduces his first theme immediately in the most austere fashion: just the dark tones of bassoons, horns, violas and cellos in unharmonized octaves.Yet some 15 minutes later, at the beginning of the recapitulation section, we will experience a tremendous sense of homecoming and fulfillment as this theme returns in the full orchestra, now richly harmonized and melodically embellished.The buildup to the soloist’s first entrance is one of the most exciting in the repertoire: a whirling string ostinato topped by a rising, syncopated line in the woodwinds.The soloist lives up to the excitement in an extended rhapsody that shows off his command of the violin’s range, agility and multiple-stop chords. Brahms saves his best tune for later: a mellow, arching waltz melody, launched by the soloist. Finally, notice the dreamlike coda that follows the solo cadenza (composed by Joachim). Here, the violin meditates gently on the first theme over slow-moving harmonies before accelerating to a heroic cadence. Lyrical melody rules the F-major slow movement.The woodwinds, led by the solo oboe singing one of Brahms’ most famously beautiful melodies, are answered by the strings, led by the soloist. Ironically, the violinist never gets to play that wonderful oboe tune but instead rhapsodizes on it in a series of subtle, high-flying variations. After a ruefully passionate episode in the distant key of F-sharp minor, the violin and oboe unite for the movement’s close. Machismo dominates the finale: an exhilarating gypsy-rondo dance. Brahms spent his late teens as accompanist to the flamboyant Hungarian violinist Eduard Rémenyi and developed a lifelong fondness for the fire of gypsy music. Here he combines those early memories and his love of intricate rhythmic cross-play to create a blazing finish for violinist and orchestra. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani and strings.

For more information call 443.759.3309 • www.CommunityConcertsAtSecond.org

26

Overture

Notes by Janet E. Bedell, copyright 2010


p ro g r a m notes Jack Everly Friday, February 4, 2011 8 p.m. Saturday, February 5, 2011 8 p.m. Sunday, February 6, 2011 3 p.m. Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR JACK EVERLY PRINCIPAL POPS CONDUCTOR

BSO SUPERPOPS

Big Band Hit Parade Presenting Sponsor:

Jack Everly Conductor Judy McLane Vocalist Jon Manasse Clarinet Capitol Quartet Saxophones Extraordinaire

Various Arr. Everly and Barker Cole Porter Arr. Basie and Everly Harold Arlen and Johnny Mercer Arr. Holman Richard Rodgers and Lorenz Hart Ziggy Elman and Johnny Mercer Rudolf Friml and Artie Shaw Alberto Dominguez and Artie Shaw Artie Shaw Duke Ellington

Duke Ellington and Gibson

Big Band Dance Hits!

I’ve Got You Under My Skin

That Old Black Magic

Thou Swell And The Angels Sing Indian Love Call Frenesi Clarinet Concerto It Don’t Mean a Thing If It Ain’t Got That Swing Tribute to the Duke

continued on p. 28

Jack Everly is the principal pops conductor of the Baltimore and Indianapolis symphony orchestras, Naples Philharmonic Orchestra and National Arts Centre Orchestra (Ottawa), and the newly named music director of the “National Memorial Day Concert” and “A Capitol Fourth” on PBS. This season, he returns to The Cleveland Orchestra and appears as guest conductor in Pittsburgh, Milwaukee, Toronto, Cincinnati, Edmonton and Detroit. Mr. Everly is the music director of Yuletide Celebration, now a 25-year tradition. These theatrical symphonic holiday concerts are presented annually in December in Indianapolis and are seen by more than 40,000 concert-goers. Originally appointed by Mikhail Baryshnikov, Mr. Everly was conductor of the American Ballet Theatre for 14 years, where he served as music director. In addition to his ABT tenure, he has teamed with Marvin Hamlisch in Broadway shows that Mr. Hamlisch scored, including The Goodbye Girl, They’re Playing Our Song and A Chorus Line. He conducted Carol Channing hundreds of times in Hello, Dolly! in two separate Broadway productions. In 1998, Jack Everly created the Symphonic Pops Consortium, serving as music director. The Consortium, based in Indianapolis, produces a new theatrical pops program each season.

Judy McLane Judy McLane is currently starring on Broadway as Tanya in Mamma Mia! She received critical acclaim for her performance as Vienna in Johnny Guitar off-Broadway (Drama Desk Nomination and a Drama League Award for Distinguished Performance in the Theater). Most recently, she starred as Donna in the feature film Were the World Mine. She has appeared on Broadway in Kiss of the Spider Woman, Aspects of Love and Chess. Her national and international tours January 14, 2011 – February 27, 2011

27


p ro g r a m notes Montana’s Missoula Symphony Orchestra and Oregon’s Rogue Valley Symphony. With pianist Jon Nakamatsu, he continues to tour throughout the United States as half of the acclaimed Manasse/ Nakamatsu Duo.

Big Band Hit Parade continued from p. 27

INTERMISSION

John Williams

Swing, Swing, Swing

Benny Goodman Arr. Norman

Bugle Call Rag

George Gershwin Arr. Niehaus

Fascinating Rhythm

Bud Green, Les Brown and Ben Homer

Sentimental Journey

Jacob Jacobs, Sammy Cahn, Saul Chaplin and Sholom Secunda Vincent Youmans, Gus Kahn, Edward Eliscu and Artie Shaw

Bei mir bist du Schoen

Carioca

Cole Porter Arr. Gray

Begin the Beguine

Cole Porter Arr. Holman

Begin the Beguine

Nikolai Rimsky-Korsakov and Tommy Dorsey Arr. Everly Louis Prima and Benny Goodman

Capitol Quartet

Song of India

Sing, Sing, Sing!

The concert will end at approximately 9:45 p.m. on Friday and Saturday and 4:45 p.m. on Sunday.

28

Overture

Jon Manasse Jon Manasse is principal clarinet of the American Ballet Theater Orchestra and the Mostly Mozart Festival Orchestra. Highlights of his current season include return performances with the Seattle Symphony Orchestra and debuts with the Baltimore Symphony Orchestra, Erie Philharmonic,The Chappaqua Orchestra,

PETER SCHAAF

include the Baker’s Wife in Into the Woods, the narrator in Joseph and the Amazing Technicolor Dreamcoat, Mrs. Baskin in Big, and Side By Side By Sondheim. Her other roles include Phyllis in Follies (Signature Theater, Helen Hayes nomination), Eva Peron in Evita, the title character in Victor/Victoria, Aldonza in Man of La Mancha, Luisa in Nine and Nancy in Oliver! (Paper Mill Playhouse). For more information, visit www.judymclane.com.

Comprised of saxophonists who are teaching faculty at America’s leading music schools and alumni of the premiere U.S. military bands, the Capitol Quartet has captured the imaginations of critics and audiences alike. Since its formation in 1991, the Capitol Quartet has performed regularly at major concert venues throughout the United States, earning wide acclaim for the ensemble’s musical versatility and innovative style. The Quartet’s February 2007 performance of the Philip Glass “Concerto for Saxophone Quartet and Orchestra” with Marin Alsop and the Baltimore Symphony Orchestra was lauded in the Baltimore Sun for “… superb technical control, [and] seamless blend, and exceptional wealth of character in their phrasing”. The Capitol Quartet has been featured with the Cincinnati Pops, Indianapolis Symphony, Guatemala National Symphony, Rochester Philharmonic, Baltimore Symphony, National Arts Centre Orchestra (Ottawa, Canada),Windsor (Ontario) Symphony, the San Antonio Symphony, Long Beach Symphony, Virginia Symphony, Springfield (Mo.) Symphony, Roanoke Symphony, Imperial Symphony (Fla.), Bay-Atlantic Symphony, Grand Rapids Symphony, the U.S.Air Force Heritage of America Band, the U.S. Continental Army Band, and many other symphonies across the country. Famed American composer and entertainer Marvin Hamlisch says of the Capitol Quartet:“I have had the great pleasure of performing with the Capitol Quartet.Their fabulous sound, professionalism and innovative program all combine for a wonderfully entertaining musical experience.”


p ro g r a m notes

Friday, February 11, 2011 8 p.m. Sunday, February 13, 2011 3 p.m. Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR

Rachmaninoff’s Second Piano Concerto Presenting Sponsor:

Juanjo Mena Yuja Wang

Sergei Rachmaninoff

Conductor Piano

Piano Concerto No. 2 in C Minor, Op. 18 Moderato Adagio sostenuto Allegro scherzando YUJA WANG

INTERMISSION

Anton Bruckner

Symphony No. 6 in A Major Maestoso Adagio: Sehr feierlich Scherzo: Ruhig bewegt (etwas gemessen)—Trio Finale: Bewegt, doch nicht zu schnell

The concert will end at approximately 10 p.m. on Friday and 5 p.m. on Sunday.

re-examine whatever assumptions you may have had about how well the piano can actually be played.” She is a 2010 winner of the Avery Fisher Career Grant. Ms.Wang has already performed with many of the world’s leading orchestras including the Baltimore, Philadelphia, Boston, Chicago, Houston, New World and San Francisco symphony orchestras in the United States and abroad with the Tonhalle Orchestra, China Philharmonic, Filarmonica della Scala, London Philharmonic and the NHK Symphony in Tokyo. In 2006, she made her New York Philharmonic debut at the Bravo! Vail Music Festival and performed with the orchestra the following season during the Philharmonic’s Japan and Korea tour. In spring 2008, she toured the U.S. with the Academy of St. Martin in the Fields. She has given recitals in major cities throughout North America and abroad, makes regular appearances at festivals and is a dedicated performer of chamber music. During the 2010-2011 season, she debuts with the Royal Concertgebouw, Orchestre de Paris, RAI Torino, Orquesta Nacional España and Berlin Staatskapelle. She also makes recital debuts in Madrid and Tokyo. She appears at the Shanghai Expo with Filarmonica della Scala and performs with the Cincinnati, Oregon, Pacific, Pittsburgh, San Diego,Toronto and Winnipeg symphonies and the National Arts Centre Orchestra. She is an exclusive recording artist for Deutsche Grammophon. Her debut recording, Sonatas & Etudes, was released in spring 2009 and was followed by Transformation in spring 2010. NOTES ON THE PROGRAM Piano Concerto No. 2 in C Minor

Sergei Rachmaninoff Support for this program generously provided by: Media Sponsor: WBAL Radio

Juanjo Mena Yuja Wang Chinese pianist Yuja Wang, 23, is recognized for playing that combines the fearless imagination of youth with the discipline and precision of a mature artist. The San Francisco

FELIX BROEDE

For Juanjo Mena’s bio, please see p. 24.

Chronicle wrote, “The arrival of Chinese-born pianist Yuja Wang on the musical scene is an exhilarating and unnerving development.To listen to her in action is to

Born in Oneg, Russia, April 1, 1873; died in Beverly Hills, California, March 28, 1943

Composers have dedicated their works to many different sorts of people: royal patrons, family members, soloists and conductors. But, to the best of this writer’s knowledge, only one work has been dedicated to the composer’s psychiatrist: Rachmaninoff ’s Second Piano Concerto was dedicated to Dr. Nikolai Dahl, who, by freeing Rachmaninoff ’s creative block, had made this work possible. January 14, 2011 – February 27, 2011

29


p ro g r a m notes In 1897, Rachmaninoff ’s First Symphony—a work in which he had great faith—was given a dreadfully inept premiere in St. Petersburg. Unable to separate a promising new work from a bad performance, the critics gave the sensitive 23-year-old composer reviews that would devastate even a more seasoned artist. César Cui’s wrote: “If there were a conservatory in Hell, if one of its talented students were instructed to write a program symphony on the Seven Plagues of Egypt and if he were to compose a symphony like Mr. Rachmaninoff ’s, then he would have fulfilled his task brilliantly and would delight the inhabitants of Hell.” Rachmaninoff withdrew the symphony and would never let it be performed again. He sank into a deep depression. Despite a standing commission from the London Philharmonic to write another piano concerto, for several years he created almost nothing. Dr. Nikolai Dahl was an internist who dabbled in the infant practice of psychiatry, including hypnosis. He was also a gifted

amateur viola and cello player. In March 1900, Rachmaninoff ’s relatives brought the composer to Dr. Dahl, who put him into a light trance during which he repeated over and over: “You will begin your concerto.You will work with great facility. The concerto will be excellent.” Over several sessions, this mantra, combined with sympathetic talk with a wise and cultivated man, produced a cure. By summer, Rachmaninoff ’s creative juices were pouring into the new concerto, which was completed the following spring. Premiered by Rachmaninoff with the Moscow Philharmonic on October 24, 1901, its immediate success has never faded. We think of Rachmaninoff ’s concertos as being the ultimate showpieces for virtuoso pianists, yet in fact they are beautifully conceived ensemble pieces in which the many colors of the orchestra are featured as much as the pianist’s brilliance. As you listen to this work, notice how skillfully Rachmaninoff dovetails the orchestra and soloist and how the piano rarely dominates the ensemble for long.

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Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings. Symphony No. 6 in A Major

Anton Bruckner Born in Ansfelden, Austria, September 4, 1824; died in Vienna, October 11, 1896

Anton Bruckner is perhaps the most misunderstood of the great symphonists. In his own day, he confused both his supporters—leading them to undertake extensive editing of his works to make them conform better to contemporary norms—and his detractors, among them the redoubtable Viennese critic Eduard Hanslick, who savaged most of his symphonies at their premieres. In our own day, a significant number of concertgoers react to him with incomprehension and boredom. Although he was labeled by his contemporaries “the Wagner symphonist,” Bruckner’s symphonies are actually the furthest thing from the Romantic/Wagnerian celebration of self. Instead, they are spiritual quests, homages to God in whom he fervently believed and whom he sought to glorify in his music. The man was as unusual as his music. Born in rural Upper Austria to a family of sturdy peasant origins, Bruckner was the latest bloomer of all the major composers. His early life was devoted to teaching and service as organist in a series of local churches, including the great Baroque abbey of St. Florian, and he mesmerized listeners with his inspired improvisations on that instrument.With great reluctance, he left his provincial sanctuary for Vienna in 1868 at the ripe age of 44.There he wrote his last eight symphonies while building a legend at the Vienna Conservatory as a belovedly eccentric teacher of music theory. Naive and socially insecure, he never lost his rural style, dressing in unfashionably baggy suits and speaking with a rustic Upper Austrian accent. So devout a Catholic was Bruckner that students recalled his interrupting classes to kneel in prayer at the sound of the Angelus bell from nearby St. Stefan’s Cathedral. Bruckner wrote his Sixth Symphony between 1879 and 1881. Sadly, he only heard the second and third movements played in concert; the Symphony’s first (continued on p. 39)

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p ro g r a m notes symphony orchestras; and the St. Paul Chamber Orchestra. Over the past decade, he developed a close relationship with the Boston Symphony Orchestra and has appeared regularly with the orchestra during the subscription season and at the Tanglewood Music Festival. In October 2010, Mr. Graf led the Houston Symphony on a tour of the UK, including performances in Birmingham, Edinburgh, Leeds, Manchester and two performances at the Barbican in London.

Friday, February 18, 2011 8 p.m.

Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR

Ingrid Fliter Plays Chopin

Ingrid Fliter

Hans Graf Ingrid Fliter

Gioachino Rossini Frédéric Chopin

Conductor Piano

Overture to William Tell Piano Concerto No. 2 in F Minor, Op. 21 Maestoso Larghetto Allegro vivace INGRID FLITER

INTERMISSION

Piotr Ilyich Tchaikovsky

Symphony No. 2 in C Minor, Op. 17, “Little Russian” Andante sostenuto—Allegro vivo Andantino marziale, quasi moderato Scherzo Finale: Moderato assai

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

Media Sponsor: WYPR 88.1 FM

CHRISTIAN STEINER

Hans Graf The distinguished Austrian conductor Hans Graf is known for his wide range of repertoire and creative programming, making him one of today’s most highly respected musicians. Mr. Graf began his tenure as music director with the Houston Symphony Orchestra in September 2001. Prior to his

appointment in Houston, he was the music director of the Calgary Philharmonic for eight seasons and held the same post with the Orchestre National Bordeaux Aquitaine for six years. He also led the Salzburg Mozarteum Orchestra from 1984 to 1994. Mr. Graf ’s recent and upcoming guest engagements include appearances with the New York and Los Angeles philharmonics; the Cleveland, Philadelphia, San Francisco, St. Louis, Cincinnati, Detroit, Dallas, Baltimore,Vancouver, Atlanta and National

CHRISTIAN STEINER

Presenting Sponsor:

Ingrid Fliter made her American orchestra debut with the Atlanta Symphony in January 2006, just days after she won the Gilmore Award. Since then she has appeared with the Los Angeles Philharmonic; the Cleveland, Minnesota, San Francisco, St. Louis, Toronto, Detroit, National, Cincinnati, Houston and Seattle symphony orchestras; the National Arts Centre Orchestra in Ottawa; and the Los Angeles Chamber Orchestra. Equally busy as a recitalist, Ms. Fliter recently performed in New York at Carnegie Hall and the Metropolitan Museum; at Chicago’s Orchestra Hall; in Boston, San Francisco, Detroit and Baltimore; and for the Van Cliburn Foundation in Fort Worth. In Europe and Asia, Ms. Fliter has performed with orchestra and in recital in Amsterdam, Tokyo, Frankfurt, Salzburg, Cologne, St. Petersburg and Berlin, An exclusive EMI recording artist, Ms. Fliter’s first CD, an all-Chopin disc, was released in April 2008. Her complete Chopin Waltzes was released in Fall 2009, and she recorded an all-Beethoven CD in January 2011. NOTES ON THE PROGRAM William Tell Overture

Gioachino Rossini Born in Pesaro, Italy. February 29, 1792; died in Passy, near Paris, France, November 13, 1868

Although he didn’t know it at the time, William Tell was to be the last of Gioachino Rossini’s many operas. Only 37 years old when it was premiered in Paris on August 3, 1829, Rossini had no plans to retire yet, but January 14, 2011 – February 27, 2011

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p ro g r a m notes somehow his workaholic period between ages 17 and 36 (during which he composed more than 30 operas, most of them smash hits) finally caught up with him. Too wealthy to need to work anymore, he lived on for another 40 years, writing very little music, growing fat (tournedos Rossini was named for him) and wittily presiding over one of Paris’ liveliest salons. Although it contains some of Rossini’s greatest music, William Tell is seldom staged anymore. Weighing in at five epic acts stuffed with ballets and choruses, it is difficult to produce and boasts a demanding lead tenor role that few today can sing. But its overture is a different story. It has been heard so often on recordings, concerts and television commercials that it has become a virtual cliché. A pity, because this miniature tone poem in four sections is one of the finest of all overtures. How it must have thrilled its first audiences who didn’t automatically associate its galloping finale with the Lone Ranger and “Hi-oh, Silver.” Opening with an extraordinary passage for five cellists—setting a brooding atmosphere of Switzerland suffering under Austrian oppression—it is a tour de force for orchestra, reminding us that Rossini revolutionized operatic orchestral writing even more than he did singing. Next comes a thrilling mountain thunderstorm that even Richard Strauss might envy. Minor mode brightens to major as the clouds roll away for a peaceful Swiss landscape, featuring an authentic Swiss ranz de vaches (cattle-calling song) tune for English horn and flute. Finally, the famous trumpet call announces the arrival of the Masked Man. But Rossini actually labeled this music “Victory and Liberty,” as the orchestra foretells Tell’s liberation of the Swiss people from Austrian tyranny. Instrumentation: flute, piccolo, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, percussion and strings. Piano Concerto No. 2 in F Minor

Frédéric Chopin Born in Zelozowa Wola, Poland, March 1, 1810; died in Paris, France, October 17, 1849

Frédéric Chopin was the poet of the piano. For most of his career, he lavished his creative genius on this instrument alone, in the process transforming it—in effect if not in reality—from a percussion instrument into a mellifluous singer. Advances in piano 32

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construction at the beginning of the 19th century aided his quest. The introduction of pedals to sustain the sound, thicker strings and heavier hammers to make it more powerful and thick felting on the hammers to make it softer and sweeter were enhancements he exploited to the fullest. Written in Warsaw in late 1829 and early 1830, the Second Piano Concerto was actually the first of his two concertos to be composed, but the second to be published. Chopin unveiled it at a concert in Warsaw on March 17, 1830, and it was such a tremendous success that he had to repeat the program five days later. It was an equal success at his public debut in Paris—the city in which he finally settled permanently—in February 1832. In attendance, his admiring rival Franz Liszt wrote: “The endlessly renewed applause did not seem sufficient to express our enchantment at the demonstration of this talent, which disclosed a new level in the expression of poetic feeling and such felicitous innovations in artistic form.” But within a few years, Chopin virtually dropped his public performing career. Audience applause meant little to him, and his retiring temperament and frail health were poor matches for the life of a barnstorming virtuoso. Already in his F Minor Concerto, we hear something quite different from the overt showiness of Liszt’s concertos. “His music has an intensity born of introspection,” writes Chopin scholar Jim Samson. In the concerto’s first movement, singing lyricism is always trumping conventional opening-movement drama. Again, unlike Liszt, Chopin showed relatively little interest in the orchestral part. He does grant the orchestra a lengthy exposition—its only major opportunity to shine before the piano pushes it back into a mostly accompanimental role. After a surprisingly reticent beginning, its principal theme is forceful and very rhythmic, energized by dotted rhythms and syncopations. But it is the tender, songful second theme, introduced by the oboe, which will play the larger role in this movement’s emotional character. With ringing octaves, the soloist takes center stage. She gives the principal theme only cursory attention before launching a new theme of Chopinesque lyricism, elegantly ornamented. And she soon devotes

loving attention to the second theme. After the development section, she can hardly wait to get back to this theme and so lavish even more gorgeous embellishments on it. Movement two is a ravishing nocturne and the heart of this concerto. It was inspired by the composer’s frustrated love for a young soprano and fellow student at the Warsaw Conservatory, Konstancia Gladowska. A great aria for piano in the bel canto tradition, its unforgettable melody is ornamented with an inspired expressiveness and delicacy. In its powerful middle section, the pianist passionately articulates Chopin’s yearning for Konstancia over the agitation of tremolo strings. In the aria’s reprise, listen for the solo bassoon’s haunting duet with the piano. Chopin’s passion for his homeland finds expression in the dancing finale, in the buoyant style of a Polish mazurka. Here the pianist demonstrates her prowess with a nonstop flight of airy, but devilishly difficult figurations, sprung from captivating dance melodies. At the end, the tonality brightens to F major, and a horn signal summons forth a torrent of keyboard brilliance, guaranteed to conquer audiences wherever Chopin appeared. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, bass trombone, timpani and strings. Symphony No. 2 in C Minor, “Little Russian”

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

As Russian composers strove to create a distinctive national voice in the second half of the 19th century, two rival camps developed. One was the group of five composers known as the “Mighty Handful” (RimskyKorsakov, Mussorgsky, Borodin, Balakirev and Cui) who believed that Russian concert music could not achieve its own sound unless it were based on native folk music. The other camp really consisted of only one composer—Tchaikovsky—who was convinced that Russian music could freely absorb Western European techniques alongside folk sources and still be authentically Russian. However, in 1872 these opposing visions briefly united. For during a happy summer spent at Kamenka, his sister Sasha’s country estate in the Ukraine, Tchaikovsky


p ro g r a m notes composed his Second Symphony: a delightful work that used three Ukrainian and Russian folksongs, as well as other folksong-inspired melodies of his own, as its central thematic material. When Tchaikovsky played its finale at an evening party at Rimsky-Korsakov’s home at the end of the year, the assembled members of the “Mighty Handful” were ecstatic in their praise. “The whole company almost tore me to pieces with rapture,” he remembered. The Symphony’s first public audience in Moscow on February 7, 1873 was equally enthusiastic, and additional performances were immediately scheduled. In this, the least brooding and most extroverted and joyful of his symphonies, Tchaikovsky achieved virtually all the “Handful’s” objectives, using indigenous folk material to create a rich and satisfying four-movement symphonic structure. A friend quickly dubbed it the “Little Russian” (“Little Russia” was a commonly used nickname for Ukraine). But despite its immediate success, the composer—as was often the case with him—felt a nagging dissatisfaction with the work. At the turn of the year 1879–1880, he undertook a drastic overhaul of the score, recomposing much of the first movement as well as tightening and re-scoring nearly everything else. It is this revised version we hear now. As the first movement opens, solo horn, followed by bassoon, introduces us to the first of the folk melodies: a Ukrainian version of “Down by Mother Volga,” a soulful Slavic tune that will play a large role in this grand sonata-form movement. Tchaikovsky gives this melody an extensive workout before creating his own theme, derived from “Mother Volga” and based on a vigorous five-note idea, for the main Allegro vivo section. Oboes and other woodwinds then offer a contrasting melody, soft and languishing in the style of the composer’s ballet music. But soon the punchy five-note theme storms back to complete the exposition. A tempestuous development section brings back the original version of “Mother Volga,” played hauntingly by clarinets in their dusky low register. As other instruments take up this theme, it contends energetically with the five-note theme. After the recapitulation section, the music returns to where it began: the melancholy sound of

the horn singing the folk tune leading to an unusual quiet close. Tchaikovsky rescued the wedding-march melody from his operatic failure Undine and made it the subject of his Andante marziale second movement. A pungent ensemble of clarinet, bassoon and timpani emphasizes its droll and slightly enigmatic character. Soon strings add a countermelody above, its smooth flow contrasting nicely with the march’s clipped notes. Flutes and oboes introduce the “Little Russian’s” second genuine folk tune: a plangent Slavic melody, “Spin, O My Spinner.” The movement dies away to the halting strains of the march and soft beating of the timpani. A few years before the “Little Russian” was composed, Tchaikovsky met Hector Berlioz in St. Petersburg and was impressed by the fantasy of the Frenchman’s “Queen Mab” scherzo from his Roméo et Juliette. Surely, that work must have inspired the scintillating, high-speed third-movement scherzo here, which flutters like a humming bird in the sunlight. Its middle trio section

sounds as if it was based on folksong, but is the composer’s own invention. The finale is dominated by the melody of the third Ukrainian folksong, “The Crane.” We hear it first in a slow, brassdominated proclamation that many commentators have likened to the sonorous splendor of Mussorgsky’s “Great Gate of Kiev” in his Pictures at an Exhibition. Then the tempo accelerates, and the violins begin a light, scampering treatment of this same tune; constantly shifting instrumental scorings and accompaniments keep the melody fresh. Its only companion is a gently sashaying syncopated theme, also in the violins. Tolling deep brass drive both themes through a whirlwind of keys. Tchaikovsky uses increasing speed and full-orchestra intensity to build an exhilarating, crowd-pleasing finish. Instrumentation: two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion and strings. Notes by Janet E. Bedell, copyright 2010

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Saturday, February 19, 2011 8 p.m.

Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR

This versatile group of musicians and dancers brings an explosive energy and athleticism to an eclectic mix of sounds. Equally at home with the hottest contemporary hip-hop, R&B, classic Motown tunes and the rousing sounds of the great brass tradition, DRUMLine Live is thrilled to share the American marching band experience with a wider audience.

Don Roberts

ACT ONE

Africa The ancient rhythms of the world’s first drummers fly on the wings of time, re-invented in the sound and fury of a new band of musicians. Drum Major/Shout It Out Nobody can sit still when these all-star musicians and dancers strut their stuff. American Soul Some call it Motown. Some call it Soul. Revel in the sweet, smooth sounds that defined an American musical genre with songs made famous by some of the greatest recording artists of all time. The King Be prepared to “Beat It,” as we give you a “Thriller” highlight reel from the King of Pop, featuring our choreographed rendition of “Smooth Criminal” and “Billie Jean.” Midnight Magic These ghostly drummers are hip and magical. Gospel Put on your Sunday-go-to-meetin’ clothes and join this hand-clapping, heart-thumping celebration of America’s southern gospel music. INTERMISSION

Don Roberts received a bachelor’s degree in music education from Florida Agricultural and Mechanical University (FAMU) in Tallahassee, Florida. While at FAMU, he served as drum major, student conductor and student arranger in what is considered one of the finest band programs in America. He received a master’s degree in music education from Jacksonville State University. Presently, he is pursuing a doctoral degree in administration (EDE) from Sarasota University. He was the executive band consultant for the hit movie Drumline (2003). He was responsible for training the actors, writing the precision drills and rehearsing the band. In 2005, he worked as the executive band consultant on Missy Elliot’s hit song “Bad Man” from her album The Cookbook. He currently serves as the CEO and president for Halftime Live, which provided the official drumline for the Atlanta Falcons in 2006 and for the Atlanta Hawks in 2007 and 2008. He has served as the instrumental music coordinator of the DeKalb County School System since 1996. He served as the chairman of the music department and director of bands at Southwest DeKalb High School in Decatur, Georgia, from 1990 to 1996. From 1998 to 2003 he served the dual role of DeKalb County instrumental music coordinator and Southwest DeKalb High School co-director of bands.

continued on p. 35

DRUMLine Live Roster DRUMLine Live SEAN COKES

DRUMLine Live kicks off its second U.S. tour in the 2010-2011 season following its 34

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extremely successful 70-performance international tour in the 2008-2009 season. DRUMLine Live’s energetic cast has honed its precision and energy with years of training in marching band programs across the southern United States.

EUPHONIUM Clifton Robinson Anthony Charles PERCUSSION Jason Price Isaiah Ellis Ralph Nader


p ro g r a m notes

continued from p. 34

ACT TWO

Street Beat This team of drummers is fast with their sticks and just as fast on their feet. Swingin’ If you dig the sounds of the big bands, you’ve come to the right place! Welcome to Swing Town. Halftime The sound and style of the Historical Black College and University marching bands is legendary. Enjoy this tribute to the iconic halftime extravaganza made famous by HBCU bands from across America. Ultimate Drum Battle This battle begins three versus three, and then two versus two and finally one versus one. There can be only one champion. We’ll let the audience decide. HBCU Drumline The bass drums sound like thunder, the flash of the cymbals is like lighting. The HBCU Drumline is an explosion of power and precision. Funky Footwork Nothing can prepare you for the dazzling choreography of the HBCU dance routine and musical selections that highlight the best of the 80’s and 90’s hip-hop.

TRUMPETS Donla Willis III Preston Kendall Aheisha Duke Anton Dominique Landers Yamin Mustafa Eddy Falcon Larry Allen Charles Madison Anthony Scott SAXOPHONES Larry J. Smith II Jaques Bell DANCERS Vera Musgrove Shimri Israel-McBee Cormesha Johnson Alicia Dixon Nia Lancelin DRUM MAJOR Brian Snell HOST Slater Thorpe TOUR STAFF Reggie Brayon, Company Manager Keith Bernard, Tech Director KD Morley, Sound Engineer Toi Whitaker, Costume Manager Queen Aftan Williams, Administrative Assistant CREATIVE TEAM Don Roberts, Creator/Director/ Musical Director Brian Snell, Assistant Musical Director

Program subject to change. The concert will end at approximately 10 p.m.

PERCUSSION (continued) Alex Blake Anthony Pasquini LeJuan Mckee Tovah Lovely Jeremy George FRENCH HORNS Darrell Johnson Herb Little

BASSES Umar Taqqee Michael Jones Trenton Wright Brandon Kinsey

Jacques Bell, Assistant Show Director/Choreographer Demetrius Hubert, Percussion Director Tovah “TJ” Lovely, Assistant Percussion Director/Choreographer Xavier Pierce, Lighting Designer Harlan Penn, Scenic Designer Glenda Morton, Costume Designer Trudy Jones, Assistant Costume Designer

TROMBONES Antoinie Swain Edwin Blakely Aaron Davis Dunwoody Mirvil Christina”Tina Rose” Anderson Trevard Rolle

Raymond Rolle II, Lindsey Sarjeant, Keven Shepherd, Nicholas Thomas and Terry Jones, Arrangers

January 14, 2011 – February 27, 2011

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Saturday, February 26, 2011 8 p.m. Sunday, February 27, 2011 3 p.m. Joseph Meyerhoff Symphony Hall

B ALTIMORE S YMPHONY O RCHESTRA MARIN ALSOP MUSIC DIRECTOR • HARVEY M. AND LYN P. MEYERHOFF CHAIR

The Magic Flute Marin Alsop Michael Ehrman Emily Albrink Mari Moriya Jonathan Boyd Nathaniel Webster Morris Robinson Peter Burroughs Elizabeth Andrews Roberts Sarah Mesko Cynthia Hanna Jegyung Yang Aleksey Bogdanov Jeffrey Gwaltney TBA Tony Tsendeas Baltimore Choral Arts Society Tom Hall

Conductor Director Pamina* Queen of the Night Tamino Papageno Sarastro (Special Guest Artist) Monostatos First Lady* Second Lady* Third Lady* Papagena* Speaker and Second Armed Man* First Armed Man* Three spirits Narrator Music Director

*Indicates Domingo-Cafritz Young Artist Program participants or alumni Score by Wolfgang Amadeus Mozart Libretto by Emanual Schikaneder and Carl Ludwig Geisecke Sung in German with English narration by Michael Ehrman

The concert will end at approximately 10 p.m. on Saturday and 5 p.m. on Sunday.

Support for this program generously provided by: Media Sponsor: WBAL Radio

Marin Alsop For Marin Alsop’s bio, please see p. 18.

Michael Ehrman Michael Ehrman has directed more than 150 opera productions for companies including Houston Grand Opera, Greater 36

Overture

Miami Opera, Minnesota Opera and Wolf Trap Opera. He has also been a frequent guest director and teacher at universities and singer training programs. Recent projects include Little Women (his eighth production for Indiana University) and Don Quichotte at Tulsa Opera. He staged the acclaimed

Susannah (2008) and the 50th anniversary The Ballad of Baby Doe (2006) at Central City Opera. He is co-founder and artistic director of The Opera Training Institute of Chicago, a new training program for singers.

Emily Albrink Hailed by The New York Times as “delightful and vocally strong and versatile,” Emily Albrink is an alumna of the Domingo-Cafritz Young Artist Program at the Washington National Opera, where she sang Frasquita in Carmen, Second Niece in Peter Grimes, Echo in Ariadne auf Naxos and Barbarina and Susanna in Le nozze di Figaro. Past seasons include her Carnegie Hall debut singing Nuria in Ainadamar with Dawn Upshaw and the Orchestra of St. Luke’s and Despina in Cosi fan tutte conducted by James Levine at the Tanglewood Music Center.

Mari Moriya Mari Moriya made her debut at the Metropolitan Opera as Queen of the Night in the acclaimed Julie Taymor production of Die Zauberflöte conducted by James Levine. She also performed this role for Glyndeboune on tour, Opera Leipzig, Palm Beach Opera, Pittsburgh Opera and Portland Opera. She won the Veronica Dunne International Singing Competition in Dublin and the Hans Gabor Prize at the Belvedere Singing Competition. Her current engagements include the title role in Lakmé at the Landestheater Linz and Queen of the Night in Die Zauberflöte for Seattle Opera.

Jonathan Boyd Recent engagements included Don Ottavio in Don Giovanni at the Dallas Opera, Opera Cleveland and Arizona Opera; Roméo in Roméo et Juliette at the Michigan Opera Theater; debuts at Opéra de Nice and Opéra de Toulon as Lysander in A Midsummer Night’s Dream;Teatro Colón in a live television broadcast as Werther; and Opera Royal de Wallonie in Belgium as Don Ottavio in Don Giovanni.

Nathaniel Webster Nathaniel Webster is a graduate of the Eastman School of Music and Royal Scottish Academy of Music in Glasgow. He has worked with the Paris Opera,


p ro g r a m notes New York City Opera, Frankfurt Opera, Theatre de La Monnaie (Brussels) and Nationale Reisopera (Amsterdam). He has performed with the Dallas, Atlanta, Nashville, Bavarian Radio and National symphony orchestras and the Brooklyn Philharmonic.

Morris Robinson Morris Robinson is a graduate of the Metropolitan Opera Lindemann Young Artist Development Program. He debuted at the Metropolitan Opera in 2002 in its production of Fidelio. He has since appeared there as Sarastro in Die Zauberflöte, the King in Aida and in roles in Nabucco, Tannhäuser, Les Troyens and Salome. He has also appeared at the Aix-en-Provence Festival, Los Angeles Opera, and the Opera Theater of St. Louis.

Peter Burroughs A highly engaging performer, Peter Joshua Burroughs has been praised for his versatility. This season, he returned to sing with the Washington National Opera, where he has performed in numerous productions. Other appearances include Washington Concert Opera, Signature Theatre, Shakespeare Theatre, First Stage Milwaukee, Florentine Opera, Studio Lirico, Cortona Italy and Spanish Dance Theatre in London.

Elizabeth Andrews Roberts Elizabeth Andrews Roberts is a recent graduate of Washington National Opera’s Domingo-Cafritz Young Artist Program. This season she returns to Lake George Opera as the Prima Donna in Donizetti’s Viva la Mamma, joins Opera in the Heights as Antonia, Giulietta and Olympia in Les contes d’Hoffmann and as Rosalinde in Die Fledermaus, and debuts as Anna in The King and I at the Ashlawn Opera Festival.

Sarah Mesko Sarah Mesko is in her first season with the Domingo-Cafritz Young Artist Program. This season she will sing Suzuki in the Young Artist performance of Madama Butterfly. In 2009, she was a Metropolitan Opera National Council Auditions finalist and was a recipient of the Richard F. Gold Career Grant.

Cynthia Hanna In the 2010-2011 season, Cynthia Hanna sings the Page in Salome (Washington National Opera), Maddalena in Rigoletto (Beijing’s Reignwood Theater), Spohr’s Die letzten Dinge and Fanny Mendelssohn’s Musik für die Toten der Cholera-Epidemie (American Symphony Orchestra) and Brahms’ Zwei Gesänge (National Symphony Orchestra Chamber Players).

Jegyung Yang Jegyung Yang is in her first season with the Domingo-Cafritz Young Artist Program. She has appeared with Washington National Opera as the Slave in Salome and will sing First Priestess in Iphigénie en Tauride later this season. She was awarded first prize overall and three special prizes at the 2007 International Osaka Music Competition (Japan) and was a 2008 finalist in the 12th International Competition of Singing (Bilbao, Spain).

Aleksey Bogdanov Aleksey Bogdanov is in his second year with the Domingo-Cafritz Young Artist Program. This season he appeared with the Washington National Opera (WNO) as Silvano in Un Ballo in Maschera, the Cappadocian in Salome and Sharpless in the Young Artist performance of Madama Butterfly. He has also appeared with the Washington Concert Opera, Baltimore Symphony Orchestra and the Opera Theatre of St. Louis.

Chorus, Full Chorus, Orchestra and Chamber Chorus perform throughout the East Coast and in Europe. The group’s singers have appeared with the National Symphony and Baltimore Symphony Orchestra and collaborated with acclaimed artists like Dave Brubeck, the King’s Singers, Peter Schickele, Sweet Honey in the Rock and Anonymous 4. The Choral Arts Society’s latest album, Christmas at America’s First Cathedral, was released on Gothic Records in September 2010. A recording with Dave Brubeck, featuring Brubeck’s oratorio, The Gates of Justice, was released internationally on the Naxos label in 2004.

Tom Hall Appointed Music Director in 1982, Tom Hall has added more than 100 new works to the Baltimore Choral Arts Society (BCAS) repertoire. In addition to his position with BCAS, he is an active guest conductor in the U.S. and Europe, including appearances with the Handel and Haydn Society in Boston, the Choral Arts Society of Philadelphia, the Berkshire Choral Festival, Musica Sacra in New York, and Britten Sinfonia in Canterbury, England. He has prepared choruses for Leonard Bernstein, Robert Shaw and Helmuth Rilling, and he served for 10 years as the chorus master of the Baltimore Opera Company. NOTES ON THE PROGRAM

Jeffrey Gwaltney

Die Zauberflöte (The Magic Flute)

Jeff Gwaltney, Florida tenor, is in his first season with the Domingo-Cafritz Young Artist Program. His recent performances include Rodolfo in La Bohème and Don José in Carmen (Opera North), Turiddu in Cavalleria Rusticana (Lancaster Opera), Hoffmann in Les Contes d’Hoffmann, and Benvolio in Roméo et Juliette and the Jailor in Dialogues des Carmélites (Indiana University Opera Theater). In 2010 he was a finalist in the Gerda Lissner Foundation International Vocal Competition.

Wolfgang Amadeus Mozart

Baltimore Choral Arts Society Baltimore Choral Arts Society, now in its 45th season, is one of Maryland’s premier cultural institutions. The Symphonic

Born in Salzburg, Austria, January 27, 1756; died in Vienna, December 5, 1791

The Magic Flute was the greatest operatic success of Mozart’s career. As he lay dying on the night of December 4, 1791, he had the consolation of knowing that an enthusiastic audience composed of all strata of Viennese society was filling Emanuel Schikaneder’s popular Theater auf der Wieden to laugh at the bird catcher Papageno’s slapstick antics and marvel at the Queen of the Night’s sky-scraping coloratura. It is reported that in his final delirium the composer believed he was actually at the performance, as he hummed Papageno’s opening song “Der Vögelfänger January 14, 2011 – February 27, 2011

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p ro g r a m notes bin ich ja” to himself. Almost his last words to his wife were: “Listen! Hofer is taking her top F. Now, how strongly she takes and holds the B-flat.” Die Zauberflöte represented a totally new direction for a composer who usually wrote formal opera seria like Idomeneo or stylish comedies such as Così fan tutte and Le nozze di Figaro for the court theaters. However, by 1791 Mozart’s entrée to Vienna’s Imperial Court Theater was essentially barred. His supporter Emperor Joseph II had died the previous year, and the new Emperor, Leopold II, had no use for him. And to make matters worse, Mozart’s brilliant librettist Lorenzo da Ponte—his collaborator for Così, Figaro and Don Giovanni—had been kicked out of the court for alleged unscrupulous doings and would soon be on his way to America. Mozart’s fellow Freemason Emanuel Schikaneder came to the rescue. Since 1789, this versatile actor/singer/playwright/ impresario had been running the Theater auf der Wieden as a home for popular Singspiel operas—or operas with extensive spoken dialogue, the Viennese 18th-century equivalent of today’s Broadway musicals. One of Schikaneder’s specialties was the then-popular genre of Zauberoper or operas with magical fairytale plots using many eye-popping stage effects. And it was for just this kind of light, mass-audience work that he commissioned Die Zauberflöte. Mozart was no snob: He had a robust and often ribald sense of humor, and this offer was very attractive to him: an opportunity to write for a new, much broader audience. He began composing the score in the spring, working away in a little wooden garden house in the Theater’s courtyard. But in July, the opportunity to write a conventional opera seria, La clemenza di Tito, for the new emperor’s coronation festivities in Prague (this was not commissioned by Leopold II and was a speculative effort to get himself back in royal favor) forced him to break off. Returning from Prague to Vienna in September, he rushed to complete the opera in time for its Sept. 30 premiere. The marvelous Overture and the March of the Priests that opens Act II were finished just two days before. Schikaneder concocted his libretto from a variety of disparate sources. Most of the fairytale elements including the magic 38

Overture

flute itself came from “Lulu, oder die Zauberflöte” in Christoph Martin Wieland’s recent fairytale collection Dschinnistan. More ideas came from the opera Oberon (not the one by Weber). The ancient Egyptian setting and the trials for admission into Sarastro’s fraternity came from two books popular in Masonic circles: Tobias Phillip von Gebler’s Thamos, King of Egypt (Mozart had earlier written extensive incidental music for a dramatization) and Abbé Jean Terrasson’s Sethos. The role of the Everyman Papageno—who isn’t destined for success in any trials of courage and self-denial—was written for Schikaneder’s own comic gifts; Mozart gave him simpler music suitable to his modest vocal means. The mixture of low comic elements and ethical seriousness was bizarre indeed, and only Mozart’s genius could unify it into a masterpiece. Led by Mozart at the fortepiano, the premiere on Sept. 30 was warmly received, and the opera began a steady run of several performances a week drawing full houses. “I have just returned from the opera, which was as full as ever,” he wrote his wife in October. What always gives me most pleasure is the silent approval.You can tell that this opera is becoming more and more esteemed.” He often brought family members and colleagues with him, and was delighted that his nemesis Antonio Salieri attended and praised the opera. Both Mozart and Schikaneder were Freemasons, and Masonic lore and ceremony play a central if covert role in this opera. In the latter half of the 18th century, the Masons reached the apogee of their prominence in Europe. Many of the leading men in European intellectual and artistic life became members. Despite the mysticism of some of its beliefs and ceremonies, 18th-century Freemasonry was essentially a society for promoting the ideas and ideals of the Enlightenment. But after the eruption of the French Revolution in 1789, conservative royals began to see the Masons as instigators of revolution and tried to suppress the movement; Emperor Leopold II was particularly hostile and by 1794 succeeded in shutting down the lodges in Austria. Schikaneder and Mozart filled their opera with Masonic references. The number three holds mystical significance in Masonry, and it plays a prominent part in The Magic

Flute too. The opera’s central key is E-flat major—the key of three flats; this is the key of the famous Overture. As the Overture begins, we hear three dramatic fanfare chords, which return later in the piece and at significant moments in the opera itself. There are trios of guides who help Tamino and Papageno along their path: the Three Ladies associated with the Queen of the Night and the Three Boys associated with Sarastro, head of a Masonic-style brotherhood. When Tamino seeks to gain entry into Sarastro’s palace, he is turned back at three doors. The ceremonies and trials Tamino undergoes are based on Masonic ritual. And Sarastro’s realm embodies the Masonic ideals of universal brotherhood, mercy and self-knowledge. Listening to the Music

Low comedy, fairytale fantasy and Masonic idealism—all these disparate elements— somehow coexist in a work that in other hands could easily have become a forgettable mess. Mozart’s challenge was to find suitable musical styles to express them all and trace a journey from the darkness represented by the Queen of the Night to the brilliant day of Sarastro’s realm. It is a journey of surprises and sudden reversals, for the people we trust at the beginning— the Queen of the Night and her seemingly helpful Three Ladies, who present Tamino with his magic flute and Papageno his enchanted bells—are later revealed to be villains, while the ostensible villain, Sarastro, turns out to be the good guy. Indeed, sublime simplicity is Mozart’s approach for most of his music here, the Queen of the Night’s two show-stopping arias aside. Static arias are generally not very long, and they are outnumbered by the various ensemble pieces that serve to move the plot along. The noble grandeur of the choruses and ceremonial orchestral music is achieved through modest means. Many of the most appealing numbers resemble folksongs: Papageno’s two “arias” and the charming duet for Pamina and Papageno, “Bei Männern.” Yet with this stripped-down musical style, Mozart achieved a warm humanity and a spiritual depth unequaled in his other operatic masterpieces. A few words about some of Flute’s most remarkable numbers, beginning with the


p ro g r a m notes Overture, arguably Mozart’s greatest. In the Masonic key of E-flat major, it begins with three imposing fanfare chords that immediately command our attention; these chords probably represent the three opening knocks of a Masonic rite. A merry fugue follows in which a sparkling little tune makes many entrances in the various instruments. With this music, Mozart immediately captures both the comedy and the high ethical themes of his hybrid work. This opera contains two of Mozart’s most beautiful aria creations, which are remarkable for how concisely they express heartfelt emotion. The first of them is “Dies Bildnis” (“This Picture”) that Tamino sings early in Act I after the Three Ladies have presented him with Pamina’s portrait. Gazing at it, he falls instantly in love, a love strong enough to set him on his quest to free her from Sarastro. This is a song of idealized love, rather than raw passion, suited to Tamino’s very serious and sincere personality, and it has the intimacy of a German Lied. The second aria is Pamina’s “Ach, ich fühl’s” (“Ah! I Feel It”) from Act II. Convinced that Tamino has rejected her, Pamina in downward-drooping phrases expresses a mood of utter despair. Colored by plaintive woodwinds, this magnificent lament ends with a superbly touching orchestral postlude. If these two arias are very restrained, the Queen of the Night’s two arias are spectacularly over-the-top. The Queen is not what she first appears to be. Her first aria, “O zittre nicht” (“Oh, tremble not”), is a skillful act of seduction to win Tamino to her service: She presents herself as a wronged mother and begs him in the most heartrending and flattering terms to rescue her daughter Pamina from the “evil” Sarastro. This is a grand operatic scena with an opening recitative, a slow aria and a fast aria. In her famous second-act aria, “Der Hölle Rache” (“Hell’s Revenge”), she takes the gloves off to reveal the claws beneath as she demands that Pamina murder Sarastro or be cast off forever. Here, her famous coloratura passages, soaring to vertiginous high Fs, glitter like icy fire. Mozart custom-wrote this role for his wife’s sister Josefa Hofer, who was renowned for her huge range and her remarkable vocal

agility. But the extremes of the vocal writing also match the extreme nature of this character. The two lovers, Tamino and Pamina, never have a love duet. But Pamina sings an unusual “brother-sister” duet with Papageno in Act I, “Bei Männern” (“Among Humans”), and it is one of Zauberflöte’s most heartwarming moments. As Papageno despairs of ever finding a mate, the two sing that the greatest happiness for humankind is the love between a man and a woman. This duet’s extreme simplicity adds to, rather than subtracts from, its sublime humanity. No wonder the first audiences always demanded an encore. Early in the Finale of Act II comes one of the opera’s most magnificent inspirations: the duet of the Two Armored Men who guard the entrance to Tamino’s trial by fire and water. An ardent lover and student of Bach, Mozart here pays tribute to him with a chorale prelude in which the two men sing an old Lutheran chorale, “Ach, Gott von Himmel sieh darein,” over elaborate imitative counterpoint in the orchestra. One could say that here Mozart set himself a musical trial to match Tamino’s moral one. Although this opera is full of misogynistic pronouncements about the weakness of women, ultimately Pamina insists on joining Tamino in his trials and guides him to use his magic flute to surmount them. An exquisite solemn march for solo flute over a hushed military drum accompanies Tamino and Pamina’s successful passage through fire and water. After Papageno has flunked his trials but won his Papagena anyway in one of the most endearingly comical duets of all time, the opera closes with a choral dance of triumph back in the Masonic key of E-flat major. Among the chorus’s words, we hear “Stärke,” “Schönheit” and “Weisheit” (“Strength,” “Beauty” and “Wisdom”)— the motto of Mozart and Schikaneder’s Masonic lodge. Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, percussion and strings. Notes by Janet E. Bedell, copyright 2010

Rachmaninoff’s Second Piano Concerto (continued from p. 30) complete performance did not come until 1901, nearly five years after his death. Contemporary conductors were reluctant to tackle his works, and Bruckner was neither a forceful enough personality nor an accomplished enough conductor to organize his own performances. Listening to Bruckner

To enter fully into the world of a Bruckner symphony, listeners must readjust their 21stcentury internal clocks. Inspired by Wagner’s tremendous expansion of the operatic form in his music dramas, Bruckner conceived his symphonic movements on a very broad scale. Even when his tempos are not actually slow, his music still seems leisurely. Bruckner themes are very long, built cumulatively from many elements. If Beethoven’s themes can often be likened to pithy sentence fragments, Bruckner’s are fully developed paragraphs. His harmonic strategies are even more protracted: Harmonies often change slowly, and the home key becomes a distant goal approached by a very circuitous route. Fortunately, the composer had the habit of taking pauses before beginning new themes or sections of his movements—” But look, if I have something important to say, I must first take a deep breath,” he explained—and these pauses are godsends to listeners trying to find their way. Listening to a Bruckner symphony has been likened to wandering in a great cathedral, leisurely taking in its many and varied splendors. Just as we allow our pulse to slow when we enter a cathedral, so must we turn off our beepers and surrender ourselves to a world beyond time as we listen to this composer. In the words of Bruckner commentator Robert Simpson, Bruckner’s art has “a special appeal in our time to our urgent need for calm and sanity, for a deep stability in the world, whatever our beliefs, religious or other.” Instrumentation: two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani and strings. Notes by Janet E. Bedell, copyright 2010

January 14, 2011 – February 27, 2011

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SYMPHONY FUND HONOR ROLL T

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October 1, 2009 – December 1, 2010 WE ARE PROUD to recognize the BSO’s Symphony Fund Members whose generous gifts to the Annual Fund between October 1, 2009 – December 1, 2010 helped the Baltimore Symphony Orchestra further its mission: “To make music of the highest quality, to enhance Baltimore and Maryland as a cultural center of interest, vitality and importance and to become a model of institutional strength.”

From left: BSO President Paul Meecham, Maestra Marin Alsop, Robert Meyerhoff and Rheda Becker at the Gala Celebration.

The Century Club Mayor and City Council of Baltimore City Baltimore County Executive & County Council Joseph and Jean Carando* Adalman-Goodwin Foundation Hilda Perl and Douglas* Goodwin, Trustees Hecht-Levi Foundation Ryda H. Levi* and Sandra Levi Gerstung Maryland Department of Business and Economic Development Maryland State Arts Council

The Andrew W. Mellon Foundation Joseph & Harvey Meyerhoff Family Charitable Funds Robert E. Meyerhoff and Rheda Becker Mr. and Mrs. Arthur B. Modell Montgomery County Arts and Humanities Council PNC Henry and Ruth Blaustein Rosenberg Foundation and Ruth Marder The Whiting-Turner Contracting Company Mr. and Mrs. Willard Hackerman

$50,000 or more

$25,000 or more

The Charles T. Bauer Foundation Jessica and Michael Bronfein Mr. and Mrs. George L. Bunting, Jr. Frances Goelet Charitable Trust Dr. and Mrs. Philip Goelet Dr. and Mrs. Thomas Pozefsky Rifkin, Livingston, Levitan and Silver, LLC Mr. and Mrs. Alan M. Rifkin Esther and Ben Rosenbloom Foundation Michelle G. and Howard Rosenbloom Dr. and Mrs. Solomon H. Snyder

Herbert Bearman Foundation, Inc. Dr. Sheldon and Arlene Bearman Caswell J. Caplan Charitable Income Trusts Constance R. Caplan Dr. Perry A. Eagle,* Ryan M. Eagle, and Bradley S. Eagle Deborah and Philip English Mr. and Mrs. Kingdon Gould Mr. and Mrs. Benjamin H. Griswold, IV Mr. and Mrs. H. Thomas Howell

The Huether-McClelland Foundation George and Catherine McClelland Mr. and Mrs. David Modell Margaret Powell Payne* Bruce and Lori Laitman Rosenblum Mr. and Mrs. Richard Rudman The Honorable Steven R. Schuh Dorothy McIlvain Scott Ida & Joseph Shapiro Foundation Diane and Albert* Shapiro Jane and David Smith Ellen W.P. Wasserman

The Baltimore Symphony Orchestra is deeply grateful to the individual, corporate, foundation and governmental donors whose cumulative annual giving of $100,000 or more plays a vital role in sustaining the Orchestra’s magnificent tradition of musical excellence.

Marin Alsop The Baltimore Orioles Georgia and Peter Angelos The Baltimore Symphony Associates Winnie Flattery, President

Individuals Founder’s Circle

Maestra’s Circle $15,000 or more Anonymous (1) Donna and Paul Amico Richard Burns Mr. and Mrs. Robert Coutts The Dopkin-Singer-Dannenberg Foundation, Inc. Mrs. Margery Dannenberg Mr. Kenneth W. DeFontes, Jr. George and Katherine Drastal Carol and Alan Edelman Ms. Susan Esserman and Mr. Andrew Marks Anne B. and Robert M. Evans Judi and Steven B. Fader Family Foundation Venable Foundation Mr. and Mrs. Jan K. Guben

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Mr. and Mrs. Douglas Hamilton Mr. and Mrs. Richard E. Hug Beth J. Kaplan and Bruce P. Sholk Sarellen and Marshall Levine Jon and Susan Levinson Susan and Jeffrey* Liss Ruth R. Marder Mr. and Mrs. Michael P. Pinto Gar and Migsie Richlin Dr. Scott and Frances Rifkin Mr. George A. Roche Rona and Arthur Rosenbaum Lainy LeBow-Sachs and Leonard R. Sachs Mr. and Mrs. Stephen D. Shawe Shepard Family Foundation Donald J. and Rose Shepard Joanne Gold and Andrew A. Stern

$10,000 or more Anonymous (1) Mr. and Mrs. Edward J. Adkins Jean and John Bartlett Kenneth S. Battye* The Legg & Co. Foundation Mr. and Mrs. Douglas Becker Eric and Jill Becker Mr. and Mrs. Ed Bernard Mr. and Mrs. A.G.W. Biddle, III Robert L. Bogomolny and Janice Toran Ellyn Brown and Carl J. Schramm Ms. Kathleen A. Chagnon and Mr. Larry Nathans Chesapeake Partners Judith and Mark Coplin


The Baltimore Symphony Orchestra is funded by an operating grant from the Maryland State Arts Council, an agency dedicated to cultivating a vibrant cultural community where the arts thrive. From left: Kathy Corcoran, Jack Hollerbach, and Dick Hug at the Gala Celebration.

Lainy LeBow-Sachs and Leonard Sachs at the Gala Celebreation.

Individuals Maestra’s Circle (continued) $10,000 or more The Cordish Family Fund Suzi and David Cordish Mr. and Mrs. H. Chase Davis, Jr. Chapin Davis Investments Rosalee C. and Richard Davison Foundation Mr. L. Patrick Deering, Mr. and Mrs. Albert R. Counselman, The RCM&D Foundation and RCM&D, Inc. Mr. Steve Dollase and Ms. Shari Wakiyama Mr. Mark Fetting Sara and Nelson Fishman

Individuals (continued) Governing Members Platinum $7,500 or more Deborah and Howard M. Berman Mr. Robert H. Boublitz Mr. Andrew Buerger Mr. and Mrs. Bill Nerenberg Dr. and Mrs. Anthony Perlman Alison and Arnold Richman Mr. and Mrs. W. Danforth Walker David and Chris Wallace Governing Members Gold $5,000 or more Anonymous (1) Barry D. and Linda F. Berman John and Bonnie Boland The Bozzuto Family Charitable Fund Ms. Mary Catherine Bunting Mr. and Mrs. Robert Butler Nathan and Suzanne Cohen Foundation Dr. and Mrs. Stephen P. Cohen Mr. and Mrs. William H. Cowie, Jr. Mr. and Mrs. William F. Dausch Faith and Marvin Dean Ronald E. Dencker Mr. and Mrs. James L. Dunbar Drs. Sonia and Myrna Estruch Ms. Margaret Ann Fallon Andrea and Samuel Fine John Gidwitz Sandra and Barry Glass Betty E. and Leonard H. Golombek Mr. and Mrs. Stewart Greenebaum Mrs. Anne Hahn Mrs. Catharine S. Hecht* Miss Frances A. Kleeman* Dr. and Mrs. Yuan C. Lee Eileen A. and Joseph H. Mason Dan and Agnes Mazur Norfolk Southern Foundation Mrs. Kenneth A. McCord Mr. and Mrs. Gerald V. McDonald Drs. William and Deborah McGuire Paul Meecham and Laura Leach Dr. and Mrs. John O. Meyerhoff Mr. and Mrs. Neil Meyerhoff Mr. Hilary B. Miller Margot and Cleaveland Miller Mr. and Mrs. John O. Mitchell, III

The Sandra and Fred Hittman Philanthropic Fund John P. Hollerbach Riva and Marc Kahn Dr. and Mrs. Murray Kappelman Mrs. Barbara Kines Therese* and Richard Lansburgh Mr. and Mrs. Samuel G. Macfarlane Louise D. and Morton J. Macks Family Foundation, Inc. / Genine Macks Fidler and Josh Fidler Mr. and Mrs. Howard R. Majev Sally S. and Decatur H. Miller Mr. and Mrs. Charles O. Monk, II Number Ten Foundation

Drs. Virginia and Mark Myerson Dr. A. Harry Oleynick David and Marla Oros Dr. and Mrs. David Paige Linda and Stanley Panitz Mrs. Margaret Penhallegon Dr. Todd Phillips and Ms. Denise Hargrove Helene and Bill Pittler Jane S. Baum Rodbell and James R. Shapiro Mr. and Mrs. William Rogers Mike and Janet Rowan Ms. Tara Santmire and Mr. Ben Turner Mr. and Mrs. J. Mark Schapiro Mr. Greg Scudder Ronald and Cathi Shapiro Francesca Siciliano and Mark Green Mr. and Mrs. Harris J. Silverstone Ms. Patricia Stephens Ms. Loretta Taymans* Dr. and Mrs. Carvel Tiekert Mr. and Mrs. Peter Van Dyke Mr. and Mrs. Loren Western Mr. and Mrs. LeRoy A. Wilbur, Jr. Wolman Family Foundation Laurie S. Zabin

Governing Members Silver $2,500 or more “In memory of Reverend Howard G. Norton” Anonymous (3) Diane and Martin* Abeloff Dr. Marilyn Albert Julianne and George Alderman Dr. and Mrs. Thomas E. Allen Mr.* and Mrs. Alexander Armstrong Jackie and Eugene Azzam Mr. and Mrs. Thomas H.G. Bailliere, Jr. Dr. and Mrs. Wilmot C. Ball, Jr. Donald L. Bartling Hank Bauer Dr. and Mrs. Theodore M. Bayless Dr. Neil W. Beach and Mr. Michael Spillane Mr. and Mrs. John W. Beckley Lynda and Kenneth Behnke Dr. and Mrs. Emile A. Bendit Ms. Arlene S. Berkis

Max Berndorff and Annette Merz Alan and Bunny Bernstein Randy and Rochelle Blaustein Mr. Gilbert Bloom Dr. and Mrs. Paul Z. Bodnar Carolyn and John Boitnott Mr. and Mrs. John M. Bond, Jr. Mr. and Mrs. Charles R. Booth Dr. and Mrs. Stuart H. Brager Dr. Rudiger and Robin Breitenecker Mr. and Mrs. Leland Brendsel Mrs. Elizabeth A. Bryan Dr. Robert P. Burchard Loretta Cain Mr. and Mrs. S. Winfield Cain James N. Campbell M.D. and Regina Anderson M.D. Michael and Kathy Carducci Mr. and Mrs. Arthur Chomas Ms. Susan Chouinard Corckran Family Charitable Foundation Mr. and Mrs. John C. Corckran, Jr. Mr. and Mrs. David S. Cohen Mr. Harvey L. Cohen and Ms. Martha Krach Mrs. Miriam M. Cohen Joan Piven-Cohen and Samuel T. Cohen Mr. and Mrs. Elbert Cole Mr. and Mrs. Kerby Confer Mr. and Mrs. John W. Conrad, Jr. Dr. and Mrs. David Cooper Jane C. Corrigan Mr. and Mrs. Charles C. Counselman, Jr. Mrs. Rebecca M. Cowen-Hirsch Alan and Pamela Cressman Dr. and Mrs. George Curlin Mr. and Mrs. Edward A. Dahlka, Jr. Richard A. Davis and Edith Wolpoff-Davis James H. DeGraffenreidt and Mychelle Y. Farmer Kari Peterson, Benito R. and Ben DeLeon Arthur F. and Isadora Dellheim Foundation, Inc. Mr. and Mrs. Mathias J. DeVito Drs. Susan G. Dorsey and Cynthia L. Renn in honor of Doris A. and Paul J. Renn, III

Mrs. Violet G. Raum Terry M. and James Rubenstein Dr. and Mrs. John H. Sadler M. Sigmund and Barbara K. Shapiro Philanthropic Fund Dr. and Mrs. Charles I. Shubin Mr. and Mrs. Gideon N. Stieff, Jr. The Louis B. Thalheimer and Juliet A. Eurich Philanthropic Fund Mark and Mary Vail Walsh Mr. and Mrs. William Yeakel The Zamoiski-Barber-Segal Family Foundation * Deceased

Mr. and Mrs. A. Eric Dott Dr. and Mrs. Daniel Drachman Mr. and Mrs. Larry D. Droppa Bill and Louise Duncan Dr. and Mrs. Donald O. Fedder Dr. and Mrs. Arnold S. Feldman Dr. and Mrs. Bruce Feldman Mr. and Mrs. Maurice R. Feldman Mr. Stephen W. Fisher Winnie and Bill Flattery Dr. and Mrs. Giraud Foster Mr. and Mrs. John C. Frederick Mr. and Mrs. Kenneth Freed Jo Ann and Jack Fruchtman, Jr. Mr. and Mrs. Frank Gallagher John Galleazzi and Elizabeth Hennessey Ms. Ethel W. Galvin Dr. Joel and Rhoda Ganz Michael Gasch Mr. Ralph A. Gaston Mr. and Mrs. Ramon* F. Getzov Mrs. Ellen Bruce Gibbs Mr. and Mrs. Joseph S. Gillespie, Jr. Mr. Robert Gillison and Ms. Laura L. Gamble Mr. Mark Goldstein, Paley Rothman Brian and Gina Gracie Mr. and Mrs. Leonard L. Greif, Jr. Mrs. LaVerne Grove Ms. Mary Therese Gyi Ms. Louise A. Hager Carole B. Hamlin and C. Fraser Smith Melanie and Donald Heacock Dale C. Hedding Mr. and Mrs. Edward Heine Sandra and Thomas Hess Mr. Thomas Hicks Betty Jean and Martin S. Himeles, Sr. Mr. and Mrs. Samuel Himmelrich Ms. Marilyn J. Hoffman Betsy and Len Homer Mr. and Mrs. Jack* Hook Mr. and Mrs. J. Woodford Howard, Jr. Mr. and Mrs. A.C. Hubbard, Jr. Mr. and Mrs. William Hughes Elayne and Benno Hurwitz Susan and David Hutton Susan and Stephen Immelt Dr. Richard Johns

Richard and Brenda Johnson Nelson and Brigitte Kandel Mary Ellen and Leon Kaplan Barbara and Jay Katz Susan B. Katzenberg Louise and Richard Kemper Mr. and Mrs. E. Robert Kent, Jr. Ms. Suzan Kiepper Mr. and Mrs. Young Kim Dr. and Mrs. Richard A. Kline Kohn Foundation Mr. and Mrs. Steven S. Koren Barbara and David Kornblatt Ms. Patricia Krenzke and Mr. Michael Hall Miss Dorothy B. Krug Mr. William La Cholter Marc E. Lackritz and Mary B. DeOreo Sandy and Mark Laken Dr. and Mrs. Donald Langenberg Mr. and Mrs. Luigi Lavagnino Dr. David Leckrone and Marlene Berlin Mr. and Mrs. Howard Lehrer Claus Leitherer and Irina Fedorova Ruth and Jay Lenrow Dr. and Mrs. Harry Letaw, Jr. C. Tilghman Levering Mr. and Mrs. Vernon L. Lidtke Dr. Frances and Mr. Edward Lieberman Darielle and Earl Linehan Mrs. June Linowitz and Dr. Howard Eisner Dr. James and Jill Lipton Dr. Diana Locke and Mr. Robert E. Toense John A. MacColl Steven and Susan Manekin Dr. Frank C. Marino Foundation Diane and Jerome Markman Mr. and Mrs. Abbott Martin Donald and Lenore Martin Maryland Charity Campaign Mr. Thomas Mayer Dr. Marilyn Maze and Dr. Holland Ford Mrs. Marie McCormack Ellen and Tom Mendelsohn Sandra L. Michocki Mrs. Mildred S. Miller

January 14, 2011 – February 27, 2011

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Baltimore Symphony Orchestra Membership Benefits 2010-2011 Season To learn more about becoming a member, please email membership@BSOmusic.org or call 443.783.8124. A contribution to the Baltimore Symphony Orchestra entitles you to special events and exclusive opportunities to enhance your BSO experience throughout the season.

$75 BACH LEVEL MEMBERS • Two complimentary tickets to a Donor Appreciation Concert or event (R) • BSO Membership Card • Opportunity to purchase tickets prior to public sale* • 10% discount on music, books and gifts at the Symphony Store and An Die Musik • Invitation to one Open Rehearsal (R)

$150 BEETHOVEN LEVEL MEMBERS All benefits listed above, plus … • Invitation to an additional Open Rehearsal (R) • Two complimentary drink vouchers

$250 BRAHMS LEVEL MEMBERS All benefits listed above, plus … • 10% discount on tickets to BSO performances* • Two additional complimentary tickets to a Donor Appreciation Concert or event (R)

$500 BRITTEN LEVEL MEMBERS All benefits listed above, plus … • Invitation to the Premium Evening Open Rehearsal (R) • Donor recognition in one issue of Overture magazine • Two additional complimentary drink vouchers • Four complimentary dessert vouchers • Invitation to the Opening Night Celebration Cast Party

$1,000 SYMPHONY SOCIETY All benefits listed above, plus … • Invitations to additional Cast Parties, featuring BSO musicians and guest artists (R) • Year-long donor recognition in Overture magazine • Two complimentary passes to the Baltimore Symphony Associates’ Decorators’ Show House • Two one-time passes to the Georgia and Peter G. Angelos Governing Members Lounge • Invitation to Season Opening Gala (R/$) • Invitation for two to a Musicians’ Appreciation event • Opportunity to attend one Governing Members Candlelight Conversation per year • Reduced rates for select BSO events

$2,500 GOVERNING MEMBERS All benefits listed above, plus … • Invitation to exclusive On-Stage Rehearsals (R) • Governing Member Allegretto Dinners (R/$) • Complimentary parking upon request through the Ticket Office • Season-long access to the Georgia and Peter G. Angelos Governing Members Lounge • Invitation to the BSO’s Annual Electoral Meeting • VIP Ticket Concierge service including complimentary ticket exchange • Opportunity to participate in exclusive Governing Member trips and upcoming domestic tours (R/$) • Invitation to all Candlelight Conversations (R/$) • Priority Box Seating at the Annual Donor Appreciation Concert

$5,000 GOVERNING MEMBERS GOLD All benefits listed above, plus … • Complimentary copy of upcoming BSO recording signed by Music Director Marin Alsop (one per season) • Exclusive events including meet-and-greet opportunities with BSO musicians and guest artists

$10,000 MAESTRA’S CIRCLE All benefits listed above, plus … • Exclusive and intimate events catered to this special group including post-concert receptions with some of the top artists in the world who are performing with the BSO • One complimentary use of the Georgia and Peter G. Angelos Governing Members Lounge facilities for hosting personal or business hospitality events ($) (R) Reservation required and limited to a first-come basis. ($) Admission fee *Some seating and concerts excluded.

LEGATO CIRCLE Legato Circle recognizes those patrons who have included the BSO in their Estate Plans. If you have questions or wish to explore these arrangements, please call 410.783.8010.

Support your BSO and make a donation today!

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2010 Gala Celebration

Individuals (continued) Judy and Martin Mintz Northern Pharmacy and Medical Equipment Jacqueline and Sidney W. Mintz Mr. and Mrs. Humayun Mirza Ms. Patricia J. Mitchell Drs. Dalia and Alan Mitnick Dr. and Mrs. C.L. Moravec Mr. and Mrs. Peter Muncie Mrs. Joy Munster Mr. John and Dr. Lyn Murphy Louise* and Alvin Myerberg Mr. and Mrs. H. Hudson Myers, Jr. Mr. and Mrs. Rex E. Myers Drs. Roy A. and Gillian Myers Howard Needleman Phyllis Neuman, Ricka Neuman and Ted Niederman David Nickels and Gerri Hall Mr. and Mrs. Kevin O’Connor Mrs. Bodil Ottesen Olive L. Page Charitable Trust Dr. and Mrs. Lawrence C. Pakula Ellen and Stephen* Pattin Beverly and Sam Penn Jan S. Peterson and Alison E. Cole Peter E. Quint Reverend and Mrs. Johnny Ramsey Nancy E. Randa and Michael G. Hansen Mr. and Mrs. Frederick Rheinhardt Nathan and Michelle Robertson Mr. and Mrs. Richard Roca Stephen L. Root and Nancy A. Greene Mr. and Mrs. Charles Rowins Robert and Leila Russell T. Edgie Russell Mr. and Mrs. Neil J. Ruther Dr. John Rybock and Ms. Lee Kappelman Dr. and Mrs. Marvin M. Sager Dr. Henry Sanborn Ms. Doris Sanders Dr. Jeannine L. Saunders Mr. and Mrs. David Scheffenacker Lois Schenck and Tod Myers Marilyn and Herb* Scher Dr. and Mrs. Horst K.A. Schirmer Mrs. Roy O. Scholz Alena and David M. Schwaber Mr. Jack Schwebel Carol and James Scott Cynthia Scott Ida & Joseph Shapiro Foundation and Diane and Albert* Shapiro Mr. Stephen Shepard Dr. and Mrs. Ronald F. Sher Mrs. Suzanne R. Sherwood Francine and Richard Shure Dr. and Mrs. Frederick Sieber The Sidney Silber Family Foundation Mr. and Mrs. Daniel Silver Drs. Ruth and John Singer Mr. and Mrs. David Punshon-Smith Ms. Leslie J. Smith Ms. Nancy E. Smith Ms. Patricia Smith Mr. Turner B. Smith Mr. and Mrs. Lee M. Snyder Dr. and Mrs. Charles S. Specht Joan and Thomas Spence Melissa and Philip Spevak Anita and Mickey Steinberg Mr. Edward Steinhouse Mr. and Mrs. Dale Strait Mr. Alan Strasser and Ms. Patricia Hartge Susan and Brian Sullam Mrs. Janis Swan Mr. and Mrs. Robert Taubman

OrchKids Director Cheryl Goodman with BSO Gala patrons. Dr. Bruce T. Taylor and Dr. Ellen Taylor Dr. Ronald J. Taylor Mr. and Mrs. Terence Taylor Sonia Tendler Ms. Susan B. Thomas Paul and Karen Tolzman Dr. Jean Townsend and Mr. Larry Townsend Donna Triptow and Michael Salsbury In Memory of Jeffrey F. Liss, Dr. and Mrs. Henry Tyrangiel John and Susan Warshawsky Martha and Stanley Weiman Peter Weinberg Mr. and Mrs. Christopher West Mr. Edward Wiese Dr. and Mrs. Donald E. Wilson Mrs. Phyllis Brill Wingrat and Dr. Seymour Wingrat* Mr. and Mrs. T. Winstead, Jr. Laura and Thomas Witt Mr. and Mrs. Richard Wolven Charles and Shirley Wunder Drs. Yaster and Zeitlin Chris and Carol Yoder Mr. and Mrs. Michael Young Paul A. and Peggy L. Young NOVA Research Company Dr. and Mrs. Robert E. Zadek

Symphony Society Gold $1,500 or more Anonymous (1) Mr. and Mrs. Robert R. Bair The Becker Family Fund Mr. Edward Bersbach Mr. and Mrs. Albert Biondo Steven Brooks and Ann Loar Brooks Dr. and Mrs. Donald D. Brown Mr. Charles Cahn, II Donna and Joseph Camp Mr. and Mrs. Claiborn Carr Mr. Robert M. Cheston Mr. and Mrs. Howard Cohen Dr. and Mrs. Cornelius Darcy Dr. and Mrs. Thomas DeKornfeld Dr. and Mrs. Jerome L. Fleg Ms. Lois Flowers Mr. and Mrs. Stanford Gann, Sr. Ms. Jean Goldsmith Mr. Ronald Griffin and Mr. Shaun Carrick Mrs. Ellen Halle Ms. Gloria Hamilton Dr. Mary Harbeitner Mr. Gary C. Harn Mr.* and Mrs. E. Phillips Hathaway Mr. and Mrs. George B. Hess, Jr. Donald W. and Yvonne M. Hughes Betty W. Jensen Mr. Henry Kahwaty Gail and Lenny Kaplan Mr. Harry Kaplan Gloria B. and Herbert M. Katzenberg Fund Harriet* and Philip Klein Andrew Lapayowker and Sarah McCafferty Mr. and Mrs. Jeffrey Legum Ms. Susan Levine Dr. and Mrs. Michael O. Magan Mr. and Mrs. Luke Marbury Howard and Linda Martin Mr. and Mrs. Jordan Max Carol and George McGowan Bebe McMeekin Alvin Meltzer Ms. Patricia Normile Mr. and Mrs. Thomas Parr Mrs. J. Stevenson Peck The Pennyghael Foundation, Inc. Mr. and Mrs. John Brentnall Powell Mr. Larry Prall Mr. Joseph L. Press

Dr. and Mrs. Richard Radmer Mr. and Mrs. Michael Renbaum Margaret and Lee Rome Martha and Saul Roseman Mr. and Mrs. William Saxon, Jr. The Honorable William Donald Schaefer Ms. Phyllis Seidelson Mr. Jeffrey Sharkey Mr. Thom Shipley and Mr. Christopher Taylor Marshall and Deborah Sluyter Mr. and Mrs. Edgar Smith Mr. and Mrs. Richard D. Spero Mrs. Ann Stein Mr. James Storey Harriet Stulman Mr. and Mrs. Albert Sun Ms. Sandra Sundeen Dr. Martin Taubenfeld Dr. Robert E. Trattner Dr. John K. Troyer and Ms. Ellen Pendleton Troyer Ms. Elyse Vinitsky Ms. Joan Wah and Ms. Katherine Wah Ms. Janna P. Wehrle Dr. Edward Whitman Dr. Richard Worsham and Ms. Deborah Geisenkotter Ms. Anne Worthington Ms. Jean Wyman Dr. Mildred Zinder

Symphony Society Silver $1,000 or more Dr. John Boronow and Ms. Adrienne Kols “In memory of John R.H. and Charlotte Boronow” Mrs. Frank A. Bosworth Jr. “In honor of Marin Alsop” Mr. Kevin F. Reed “In honor of Steven R. Schuh” Anonymous (11) Mrs. Rachael Abraham Mr. and Mrs. Ronald Abrams Dr. and Mrs. Robert J. Adams Virginia K. Adams and Neal M. Friedlander, M.D. Mr. and Mrs. Carter Adkinson Charles T. and Louise B. Albert George and Frances Alderson Mr. Owen Applequist Mr. Paul Araujo Dr. Juan I. Arvelo Leonard and Phyllis Attman Mr. William Baer and Ms. Nancy Hendry Mrs. Jean Baker Mr. George Ball Mr. and Mrs. L. John Barnes Dr. and Mrs. Bruce Barnett Mr. and Mrs. Edward Barta Monsignor Arthur W. Bastress Eric* and Claire Beissinger Mr. and Mrs. Charles Berry, Jr. David and Sherry Berz Mr. and Mrs. Edwin and Catherine Blacka Dr. and Mrs. Mordecai P. Blaustein Nancy Patz Blaustein Mr. James D. Blum Nina and Tony Borwick Mr. and Mrs. David E. Brainerd Drs. Joanna and Harry Brandt Dr. Helene Breazeale Dr. and Mrs. Mark J. Brenner The Broadus Family Ivy E. Broder and John F. Morrall, III Barbara and Ed Brody Dr. Galen Brooks Mr. Gordon Brown Ms. Jean B. Brown Ms. Elizabeth J. Bruen Ms. Jeanne Brush Mr. Walter Budko Ms. Ronnie Buerger Bohdan and Constance Bulawka Mrs. Edward D. Burger Ms. Jennifer Burgy


Corporations $100,000 or more

Janice and Robert Davis at the Gala Celebration.

Laura Burrows-Jackson Mrs. Mary Jo Campbell Russ and Beverly Carlson Jonathan and Ruthie Carney Mr. Richard Cerpa Mr. David P. Chadwick Mr. Mark Chambers Bradley Christmas and Tara Flynn Dr. Mark Cinnamon and Ms. Doreen Kelly Jane E. Cohen Mr. and Mrs. Jonas M.L. Cohen Mrs. Wandaleen Cole Mr. and Mrs. Alan Colegrove Ms. Patricia Collins Ms. Kathleen Costlow Mr. Michael R. Crider Mr. and Mrs. Jeffrey Crooks Mr. and Mrs. R. Gregory Cukor John and Kate D’Amore Mr. and Mrs. Thomas Darr Joan de Pontet Mr. and Mrs. Anthony Deering Ms. Priscilla Diacont Mr. Duane Calvin DeVance Jackson and Jean H. Diehl Ms. Maribeth Diemer Nicholas F. Diliello Mrs. Marcia K. Dorst Mr. and Mrs. Robert Duchesne Ms. Lynne Durbin Mr. Laurence Dusold Donna Z. Eden and Henry Goldberg Mr. Terence Ellen and Ms. Amy Boscov Mr. and Mrs. Stuart Elsberg and the Elsberg Family Foundation Sharon and Jerry Farber Dr. and Mrs. Marvin J. Feldman Mr. and Mrs. Edward Feltham, Jr. Mrs. Sandra Ferriter Joe and Laura Fitzgibbon Dr. Charles W. Flexner and Dr. Carol Trapnell Dr. and Mrs. Nicholas J. Fortuin Dr. and Mrs. William Fox Dr. Neal M. Friedlander Mr. and Mrs. R. Friedlander Mr. and Mrs. Roberto B. Friedman William and Carol Fuentevilla Dr. and Mrs. Donald S. Gann Mr. Ron Gerstley and Ms. Amy Blank Mr. and Mrs. Frank A. Giargiana, Jr. Mr. Peter Gil Mr. Louis Gitomer Dr. and Mrs. Sanford Glazer Mr. Jonathan Goldblith William R. and Alice Goodman Barry E. and Barbara Gordon Drs. Ronald and Barbara Gots Dr. and Mrs. Sheldon Gottlieb Mr. Alexander Graboski Larry D. Grant and Mary S. Grant Erwin and Stephanie Greenberg Mr. Robert Greenfield Dr. and Mrs. Geoffrey Greif Mr. Charles H. Griesacker Dr. Diana Griffiths Mark and Lynne Groban Mary and Joel Grossman Mr. and Mrs. Stuart Grossman Mr. and Mrs. Donald Gundlach Mr. and Mrs. Norman M. Gurevich Mr. and Mrs. J.M. Dryden Hall, Jr. Dr. Jane Halpern and Mr. James B. Pettit Ms. Lana Halpern Ms. Carole Finn Halverstadt Mr. Joseph P. Hamper, Jr. Mr. and Mrs. John Hanson Mr. and Mrs. James A. Harris Dr. and Mrs. S. Elliott Harris Mr. and Mrs. Robert Helm Ms. Doris T. Hendricks Mrs. Ellen Herscowitz David A. and Barbara L. Heywood Nancy H. Hirsche Mrs. Joan M. Hoblitzell Edward Hoffman

Trumpet Rene Hernandez and BSO patrons.

Mr. and Mrs. John Hornady, III Mr. Herbert H. Hubbard Mrs. Madeleine Jacobs Carol Jantsch and David Murray Mrs. Janet Jeffein Dr. Helmut Jenkner and Ms. Rhea I. Arnot Mrs. Kathy Johnson Mr. R. Tenney Johnson Dr. Richard T. Johnson Mr. and Mrs. Gilbert Jones Mr. J. Lee Jones Mrs. Helen Jordahl Mr. Max Jordan Dr. Robert Lee Justice and Marie Fujimura-Justice Ann and Sam Kahan Mrs. Harry E. Karr Mr. and Mrs. William E. Kavanaugh Dr. and Mrs. Haiq Kazazian, Jr. Mr. Frank Keegan Mr. John P. Keyser Mr. Andrew Klein George and Catherine Klein Paul and Susan Konka Mr. and Mrs. Lawrence Koppelman Dr. and Mrs. Jeffrey Kremen Mr. Charles Kuning Richard and Eileen Kwolek Mr. and Mrs. Charles Lamb Susan and Stephen Langley John and Diane Laughlin Melvyn and Fluryanne Leach Colonel William R. Lee Mr. and Mrs. Charles F. Legters Mr. and Mrs. Jeffrey Lemieux Mr. Ronald P. Lesser Sara and Elliot* Levi Dr. and Mrs. Bernard Levy Mr. Leon B. Levy Mr. Richard Ley Mrs. E.J. Libertini Ms. Joanne Linder Mr. Dennis Linnell George and Julie Littrell Carol Brody Luchs and Kenneth Luchs Dr. and Mrs. Peter C. Luchsinger Ms. Louise E. Lynch Michael and Judy Mael Ms. Joan Martin Jane Marvine Mr. Joseph S. Massey Dr. and Mrs. Robert D. Mathieson Dr. and Mrs. Donald E. McBrien Mrs. Linda M. McCabe Mr. Thomas B. McGee Ms. Kathleen McGuire Mr. Richard C. McShane Mr. and Mrs. Scott A. McWilliams Mr. and Mrs. David Meese Mr. Timothy Meredith Mr. and Mrs. Abel Merrill Daniel and Anne Messina Ms. Shelia Meyers Drs. Alan and Marilyn Miller Mrs. Anne Miller Mr. Charles Miller Mr. and Mrs. Charles R. Miller Mr. and Mrs. Gary Miller Mr. and Mrs. J. Jefferson Miller, II Mr. and Mrs. James D. Miller Mr. Lee Miller Mr. Louis Mills Dr. and Mrs. Stanley R. Milstein Ms. Adrianne Mitchell Lloyd E. Mitchell Foundation Mr. Nathan Mook Mr. Edwyn Moot Dr. and Mrs. Hugo W. Moser Mr. and Mrs. M. Peter Moser Mr. Howard Moy Ms. Marguerite Mugge Dr. and Mrs. Donald Mullikin Mr. and Mrs. Gregory Murray Ms. Marita Murray

Mr. Harish Neelakandan and Ms. Sunita Govind Mr. and Mrs. Robert C. Neiman Mr. Irving Neuman Mr. and Mrs. Roger F. Nordquist Ms. Irene E. Norton and Dr. Heather T. Miller Carol C. O’Connell Anne M. O’Hare Drs. Erol and Julianne Oktay Mr. Garrick Ohlsson Ms. Margaret O’Rourke and Mr. Rudy Apodaca Mrs. S. Kaufman Ottenheimer Mr. and Ms. Ralph Ottey Ms. Judith Pachino Mr. and Mrs. Richard Parsons Mr. and Mrs. William Pence Jerry and Marie Perlet Mr. and Mrs. Stephen Petrucci Dr. and Mrs. Karl Pick Mr. and Mrs. James Piper Ms. Mary Carroll Plaine Mr. and Mrs. Morton B. Plant Robert E. and Anne L. Prince Captain and Mrs. Carl Quanstrom Ted and Stephanie Ranft Dr. Tedine Ranich and Dr. Christian Pavlovich Dr. and Mrs. Jonas R. Rappeport Mr. and Mrs. William E. Ray Mr. Charles B. Reeves, Jr. Mr. Arend Ried Mr. Thomas Rhodes Mr. and Mrs. Thomas P. Rice Mr. and Mrs. Carl Richards David and Mary Jane Roberts Drs. Helena and David Rodbard Dr. and Mrs. Gerald Rogell Joellen and Mark Roseman Ann and Frank Rosenberg Mr. and Mrs. Robert Rosenberg Joanne and Abraham Rosenthal Mr. and Mrs. Randolph* S. Rothschild Mr.* and Mrs. Nathan G. Rubin Mr. and Mrs. John Sacci Beryl and Philip Sachs Ms. Andi Sacks Mr. Norm St. Landau Peggy and David Salazar Ilene and Michael Salcman Ms. Carolyn Samuels Ms. Vera Sanacore Mr. and Mrs. Gilbert Sandler Mr. and Mrs. Nathaniel Sandler Mr. and Mrs. Ace J. Sarich Mr. Thomas Scalea Mrs. Barbara K. Scherlis Mr. and Mrs. Eugene H. Schreiber Estelle D. Schwalb Ken and Nancy Schwartz Mr. Bernard Segerman Mr. and Mrs. Norman A. Sensinger, Jr. Mr. Sanford Shapiro Mr. and Mrs. Brian T. Sheffer Reverend Richard Wise Shreffler Mr. Richard Silbert Mr. Donald M. Simonds Mr. Richard Sipes Mr. and Mrs. Robert Smelkinson Richard and Gayle Smith Mr. and Mrs. Scott Smith Mr. and Mrs. William J. Sneeringer, Jr. Laurie M. Sokoloff Ms. Diane Sondheimer Dr. and Mrs. John Sorkin Ms. Jennifer Stern Dr. and Mrs. F. Dylan Stewart Dr. John F. Strahan Ms. Jean M. Suda and Mr. Kim Z. Golden Ms. Dianne Summers Mr. and Mrs. Richard Swerdlow Ms. Margaret Taliaferro Mr. Tim Teeter Mr. Harry Telegadas Mr. Marc J. Teller

$50,000 or more

$25,000 or more

January 14, 2011 – February 27, 2011

43


BSO Board of Directors 2010-2011 Season OFFICERS Michael G. Bronfein* Chairman Kathleen A. Chagnon, Esq.* Secretary

Ann L. Rosenberg Bruce E. Rosenblum* The Honorable Steven R. Schuh Stephen D. Shawe, Esq.

Lainy LeBow-Sachs* Vice Chair

Solomon H. Snyder, M.D.*

Paul Meecham* President & CEO

LIFE DIRECTORS Peter G. Angelos, Esq.

Richard E. Rudman* Vice Chair

Willard Hackerman

Andrew A. Stern* Vice Chair & Treasurer

Yo-Yo Ma

H. Thomas Howell, Esq. Harvey M. Meyerhoff

BOARD MEMBERS A.G.W. Biddle III

Decatur H. Miller, Esq.

Robert L. Bogomolny

Linda Hambleton Panitz

Andrew A. Buerger

The Honorable William Donald Schaefer

Richard T. Burns Constance R. Caplan

Patricia B. Modell

Dorothy McIlvain Scott

Robert B. Coutts Kenneth W. DeFontes, Jr*. Susan Dorsey, Ph.D., Governing Members Chair George A. Drastal*

DIRECTORS EMERITI Barry D. Berman, Esq. L. Patrick Deering Richard E. Hug M. Sigmund Shapiro

Alan S. Edelman Ambassador Susan G. Esserman* Winnie Flattery ^ President, Baltimore Symphony Associates John P. Hollerbach Beth J. Kaplan Murray M. Kappelman, M.D. Sandra Levi-Gerstung Richard Levine, Esq. Jon H. Levinson Ava Lias-Booker, Esq. Susan M. Liss, Esq.* Howard Majev, Esq. Davis Oros

CHAIRMAN LAUREATE Calman J. Zamoiski, Jr. BOARD OF TRUSTEES BALTIMORE SYMPHONY ENDOWMENT TRUST Benjamin H. Griswold IV Chairman Terry Meyerhoff Rubenstein Secretary Michael G. Bronfein Mark R. Fetting Paul Meecham W. Gar Richlin Andrew A. Stern Calman J. Zamoiski, Jr.

Michael P. Pinto Margery Pozefsky Scott Rifkin, M.D.

*Board Executive Committee ^ex-officio

Upcoming Member-Only Event! > Allegretto Dinner Join us for cocktails and dinner before the BSO’s performance of Rachmaninoff’s Piano Concert No. 2 featuring soloist Yuja Wang and conductor Juanjo Mena. Friday, February 11, 2011. Cocktails in the Meyerhoff Lounge at 6 p.m. Dinner in the Park Avenue Lounge at 6:30 p.m. Governing Members ($2,500+)

> Open Rehearsal Maestra Marin Alsop leads the BSO in works by Prokofiev and Rachmaninoff with soloist Lukas Vondracek. Friday, March 4, 2011, Light refreshments in the Meyerhoff Lobby at 9:15 a.m. Rehearsal at 10 a.m. Bach Level Members ($75+)

> Cast Party Join us as after the Pops concert for a special reception with the cast of A Tribute to Paul McCartney and members of the Orchestra. Saturday, April 9, 2011, Symphony Society Members ($1,000+)

Robin & Rudy Breitenecker with violinist Ivan Stefanovic at a Cast Party. Individuals (continued) Patricia Thompson and Edward Sledge Mr. Peter Threadgill Mr. and Mrs. David Traub Mr. and Mrs. Israel S. Ungar Ms. Mary Frances Wagley Mr. and Mrs. Guy T. Warfield Mr. and Mrs. Jay Weinstein Dr. and Mrs. Matthew Weir Mr. and Mrs. David Weisenfreund Drs. Susan and James Weiss Ms. Lisa Welchman David Wellman and Marjorie Coombs Wellman Ms. Beverly Wendland and Mr. Michael McCaffery Mr. and Mrs. Sean Wharry Ms. Camille B. Wheeler and Mr. William B. Marshall Dr. Barbara White Mr. and Mrs. Stephen Wilcoxson Mr. Barry Williams Mrs. Gerald H. Williams Mr. and Mrs. Peter Winik Mr. and Mrs. David K. Wise Mr. Orin Wise Marc and Amy Wish Dr. and Mrs. Frank R. Witter Mr. John W. Wood Mr. Alexander Yaffe Ms. Norma Yess H. Alan Young and Sharon Bob Young, Ph.D. Andrew Zaruba

Corporations $10,000 or more

To enjoy these events or to receive more information, please call Jennifer Barton at 410.783.8122 or email jbarton@BSOmusic.org.

44

Overture

$25,000 or more Jacob and Hilda Blaustein Foundation The Buck Family Foundation Ann and Gordon Getty Foundation The Goldsmith Family Foundation, Inc. Peggy & Yale Gordon Trust Young Artist Sponsor Ensign C. Markland Kelly, Jr. Memorial Foundation Zanvyl & Isabelle Krieger Fund

$10,000 or more Anonymous (1) Clayton Baker Trust Bunting Family Foundation The Morris and Gwendolyn Cafritz Foundation Degenstein Foundation Hoffberger Foundation Harley W. Howell Charitable Foundation The Abraham and Ruth Krieger Family Foundation League of American Orchestras John J. Leidy Foundation, Inc. The Letaw Family Foundation Macht Philanthropic Fund of the AJC The Rouse Company Foundation The Salmon Foundation Bruno Walter Memorial Foundation

$5,000 or more

American Trading & Production Corporation Beltway Fine Wines IWIF Ritz-Carlton Residences, Inner Harbor, Baltimore Saul Ewing LLP Stanley Black & Decker Travelers Foundation Venable LLP

Anonymous (1) The Arts Federation Margaret O. Cromwell Family Fund The Charles Delmar Foundation Betty Huse MD Charitable Trust Foundation Edith and Herbert Lehman Foundation, Inc. The John Ben Snow Memorial Trust Cecilia Young Willard Helping Fund Wright Family Foundation

$5,000 or more

$2,500 or more

Corporate Office Properties Trust D.F. Dent & Company Kramon & Graham, P.A. Lockheed Martin MS2 Valley Motors Zuckerman Spaeder LLP

$2,500 or more Cavanaugh Financial Group Charitable Foundation Downtown Piano Works Eagle Coffee Company, Inc. Federal Parking, Inc. S. Kann Sons Company Foundation Macy’s P&G Fund of the Greater Cincinnati Foundation

$1,000 or more Ellin & Tucker, Chartered Eyre Bus, Tour & Travel The Harford Mutual Insurance Company Independent Can Company J.G. Martin Company, Inc. Nina McLemore, Inc. Rosenberg Martin Greenberg, LLP Semmes, Bowen & Semmes Target Von Paris Moving & Storage Wachovia Wells Fargo Foundation

Foundations All Events subject to change.

Joseph & Harvey Meyerhoff Family Charitable Funds Henry and Ruth Blaustein Rosenberg Foundation and Ruth Marder

$50,000 or more William G. Baker, Jr. Memorial Fund The Hearst Foundation, Inc. Hecht-Levi Foundation Ryda H. Levi* and Sandra Levi Gerstung The Andrew W. Mellon Foundation

The Campbell Foundation, Inc. The Harry L. Gladding Foundation Israel and Mollie Myers Foundation Judith and Herschel Langenthal Jonathan and Beverly Myers The Jim and Patty Rouse Charitable Foundation, Inc. Sigma Alpha Iota

$1,000 or more ALH Foundation, Inc. Balder Foundation Baltimore Community Foundation Ethel M. Looram Foundation, Inc. Rathmann Family Foundation

Government Grants Anne Arundel County Mayor and City Council of Baltimore and the Baltimore Office of Promotion and the Arts Baltimore County Executive, County Council, and the Commission for the Arts and Sciences Carroll County Government & the Carroll County Arts Council The Family League of Baltimore City, Inc. Howard County Government & the Howard County Arts Council The Maryland Emergency Management Agency Maryland State Arts Council Maryland State Department of Education Arts and Humanities Council of Montgomery County National Endowment for the Arts

John and Lyn Murphy with violinist Ellen Pendleton Troyer at a Cast Party. Endowment The BSO gratefully acknowledges the generosity of the following donors who have given Endowment Gifts to the Sustaining Greatness and/or the Heart of the Community campaigns. * Deceased Anonymous (6) Diane and Martin* Abeloff AEGON USA Alex. Brown & Sons Charitable Foundation Dr. and Mrs. Thomas E. Allen Eva and Andy Anderson Anne Arundel County Recreation and Parks Department William G. Baker, Jr. Memorial Fund Mr. H. Furlong Baldwin Baltimore Community Foundation Baltimore County Executive, County Council and the Commission on Arts and Baltimore Office of Promotion and the Arts The Baltimore Orioles / Georgia and Peter Angelos The Baltimore Symphony Associates, Winnie Flattery, President Patricia and Michael J. Batza, Jr. Henry and Ruth Blaustein Rosenberg Foundation The Jacob and Hilda Blaustein Foundation Mr. and Mrs. Bruce I. Blum Dr. and Mrs. John E. Bordley* Jessica and Michael Bronfein Mr. and Mrs. George L. Bunting, Jr. Dr. and Mrs. Oscar B. Camp Carefirst BlueCross BlueShield CitiFinancial Constellation Energy Mr. and Mrs. William H. Cowie, Jr. Richard A. Davis and Edith Wolpoff-Davis Rosalee C. and Richard Davison Foundation Mr. L. Patrick Deering, Mr. and Mrs. Albert R. Counselman, The RCM&D Foundation and RCM&D, Inc. DLA Piper Rudnick Gray Cary US LLP Carol and Alan Edelman Dr. and Mrs. Robert Elkins Deborah and Philip English Esther and Ben Rosenbloom Foundation France-Merrick Foundation Sandra Levi Gerstung Ramon F.* and Constance A. Getzov John Gidwitz The Goldsmith Family Foundation, Inc. Joanne Gold and Andrew A. Stern Jody and Martin Grass Louise and Bert Grunwald H&S Bakery / Mr. John Paterakis Harford County Hecht-Levi Foundation Ryda H. Levi* and Sandra Levi Gerstung Betty Jean and Martin S. Himeles, Sr. Hoffberger Foundation Howard County Arts Council Harley W. Howell Charitable Foundation The Huether-McClelland Foundation Mr. and Mrs. Richard E. Hug Independent Can Company Laura Burrows-Jackson Beth J. Kaplan and Bruce P. Sholk Dr. and Mrs. Murray M. Kappelman Susan B. Katzenberg Marion I. and Henry J. Knott Scholarship Fund The Zanvyl and Isabelle Krieger Fund Anne and Paul Lambdin Therese* and Richard Lansburgh Sara and Elliot* Levi Levi-Gerstung Family


Baltimore Symphony Staff Paul Meecham President and CEO Barbara Kirk Executive Assistant Terry A. Armacost Vice President and CFO

Governing Members Suh & Young Kim and Sonia & Myrna Estruch enjoy cocktails with principal trumpet Andy Balio. Bernice and Donald S. Levinson Darielle and Earl Linehan Susan and Jeffrey* Liss Lockheed Martin E. J. Logan Foundation M&T Bank Macht Philanthropic Fund of the AJC Mrs. Clyde T. Marshall Maryland Department of Business and Economic Development The Maryland State Arts Council MD State Department of Education McCarthy Family Foundation McCormick & Company, Inc. Mr. Wilbur McGill, Jr. MIE Properties, Inc. / Mr. Edward St. John Mercantile-Safe Deposit & Trust Joseph & Harvey Meyerhoff Family Charitable Funds Sally and Decatur Miller Ms. Michelle Moga Louise* and Alvin Myerberg / Wendy and Howard Jachman National Endowment for the Arts Mr. and Mrs. Bill Nerenberg Mrs. Daniel M. O’Connell Mr. and Mrs. James P. O’Conor Stanley and Linda Hambleton Panitz Cecile Pickford and John MacColl Dr. Thomas and Mrs. Margery Pozefsky Mr. and Mrs. T. Michael Preston Alison and Arnold Richman The James G. Robinson Family

Governing Members enjoy an Allegretto Dinner.

Mr. and Mrs. Theo C. Rodgers Mr. and Mrs. Randolph* S. Rothschild The Rouse Company Foundation Nathan G.* and Edna J. Rubin The Rymland Foundation S. Kann Sons Company Foundation, Inc. / B. Bernei Burgunder, Jr. Dr. Henry Sanborn Saul Ewing LLP Mrs. Alexander J. Schaffer Mr. and Mrs. J. Mark Schapiro Eugene Scheffres and Richard E. Hartt* Mrs. Muriel Schiller Dorothy McIlvain Scott Mrs. Clair Zamoiski Segal and Mr. Thomas Segal Ida & Joseph Shapiro Foundation and Diane and Albert Shapiro Mr. and Mrs. Earle K. Shawe The Sheridan Foundation Richard H. Shindell and Family Dr. and Mrs. Solomon H. Snyder The St. Paul Companies Barbara and Julian Stanley T. Rowe Price Associates Foundation, Inc. The Alvin and Fanny Blaustein Thalheimer Guest Artist Fund Alvin and Fanny B. Thalheimer Foundation, Inc. TravelersGroup The Aber and Louise Unger Fund Venable LLP

Wachovia Robert A. Waidner Foundation The Whiting-Turner Contracting Company / Mr. and Mrs. Willard Hackerman Mr. and Mrs. Jay M. Wilson / Mr. and Mrs. Bruce P. Wilson The Zamoiski-Barber-Segal Family Foundation

Baltimore Symphony Associates Executive Committee Winnie Flattery, President Marge Penhallegon, President-Elect Linda Kacur, Recording Secretary Vivian Kastendike, Corresponding Secretary Barbara Kelly, Treasurer Jim Doran, Vice President, Communications Larry Townsend, Vice President, Education Estelle Harris, Vice President, Meetings and Programs Sandy Feldman, Vice President, Recruitment and Membership Deborah Stetson, Vice President, Special Services and Events Larry Albrecht, Vice President, Symphony Store LaVerne M. Grove, Parliamentarian Barbara C. Booth, Past President

Bequests and planned gifts are the greatest source of security for the BSO’s future! The Symphony depends on lasting gifts such as these to help fund our diverse musical programs and activities. Members of The Legato Circle play a vital and permanent role in the Symphony’s future. If you have named the BSO in your estate plans, please contact Joanne Rosenthal at 410-783-8010 or jrosenthal@bsomusic.org to join the Legato Circle. We gratefully acknowledge the following Donors who have included the Baltimore Symphony Orchestra in their Estate Plans. (F) Founding Member (N) New Member * Deceased Anonymous (5) Donna B. and Paul J. Amico Hellmut D.W. “Hank” Bauer Deborah R. Berman Mrs. Alma T. Martien Bond* Mrs. Phyllis B. Brotman (F) W. George Bowles* Dr. Robert P. Burchard Mrs. Frances H. Burman* Joseph and Jean Carando* Mrs. Selma Carton Clarence B. Coleman* Mr. and Mrs. William H. Cowie, Jr. James Davis Roberta L.* and Richard A. Davis L. Patrick Deering (F) Ronald E. Dencker Freda (Gordon) Dunn Dr. Perry A. Eagle* (F)

H. Lawrence Eiring, CRM Carol and Alan Edelman Anne “Shiny” and Robert M. Evans Mr. and Mrs. Maurice R. Feldman Winnie and Bill Flattery Haswell M. and Madeline S. Franklin Mr. Kenneth J. Freed Douglas Goodwin* Samuel G*. and Margaret A. Gorn (F) Robert E. Greenfield Sue and Jan K. Guben Carole B. Hamlin Miss M. Eulalia Harbaugh Ms. Denise Hargrove Gwynne and Leonard Horwits Mr. and Mrs. H. Thomas Howell Mr. and Mrs. Richard E. Hug Judith C. Johnson* Dr. and Mrs. Murray M. Kappelman

Dale Hedding Vice President of Development

Suzan Kiepper (N) Miss Dorothy B. Krug Ruth and Jay Lenrow Joyce and Dr. Harry Letaw, Jr. Robert and Ryda H. Levi* Bernice S. Levinson Estate of Ruby Loflin-Flaccoe* Mrs. Jean M. Malkmus Ruth R. Marder Mrs. George R. McClelland Mr. Roy E.* and Mrs. M. Moon Robert and Marion Neiman Mrs. Daniel M. O’Connell Stanley and Linda Hambleton Panitz Margaret Powell Payne* Beverly and Sam Penn (F) Mrs. Margery Pozefsky G. Edward Reahl, Jr. M.D. Mr. William G. Robertson, Jr.* Randolph S.* and Amalie R.* Rothschild Dr. Henry Sanborn Eugene Scheffres* and Richard E. Hartt* Mrs. Muriel Schiller (F) Dr. Albert Shapiro* Dr. and Mrs. Harry S. Stevens Howard A. and Rena S. Sugar* Roy and Carol Thomas Fund for the Arts Dr. and Mrs. Carvel Tiekert Leonard Topper Ingeborg B. Weinberger W. Owen and Nancy J. Williams Charles and Shirley Wunder Mr. and Mrs. Calman J. Zamoiski, Jr.

Bertha Jones Senior Housekeeper Curtis Jones Building Services Manager Ivory Miller Maintenance Facilities

Eileen Andrews Jackson Vice President of Marketing and Communications

FINANCE AND INFORMATION TECHNOLOGY Jim Herberson Manager of Information Systems

Matthew Spivey Vice President of Artistic Operations

Sophia Jacobs Senior Accountant

ARTISTIC OPERATIONS Toby Blumenthal Manager of Facility Sales

Evinz Leigh Administration Associate

Tiffany Bryan Manager of Front of House Erik Finley Assistant to the Music Director Alicia Lin Director of Operations and Facilities Chris Monte Assistant Personnel Manager Steven Parker Food and Beverage Operations Manager

Janice Johnson Senior Accountant

Sandra Michocki Controller and Senior Director of Business Analytics Carol Rhodes Payroll and Benefits Administrator MARKETING AND PUBLIC RELATIONS Rika Dixon Marketing Manager Laura Farmer Public Relations Manager

Marilyn Rife Director of Orchestra Personnel and Human Resources

Derek A. Johnson Marketing Coordinator, Advertising and Media

Meg Sippey Artistic Coordinator

Theresa Kopasek Marketing and PR Associate

EDUCATION Lindsay Gomes Academy Coordinator

The Legato Circle In 1986, the Board of Directors of the Baltimore Symphony Orchestra established The Legato Circle in recognition of those individuals who have notified the BSO of a planned gift, including gifts through estate plans or life-income arrangements.

Deborah Broder Vice President of BSO at Strathmore

FACILITIES OPERATIONS Shirley Caudle Housekeeper

Samanatha Manganaro Direct Marketing Coordinator Kristen Pohl Group Sales Manager

Cheryl Goodman OrchKids Director of Fundraising and Administration

Jamie Schneider Marketing Manager, E-Commerce and Digital

Lisa A. Sheppley Associate Director of Education

Elisa Watson Graphic Designer

Nick Skinner OrchKids Site Manager Larry Townsend Education Assistant Dan Trahey OrchKids Director of Artistic Program Development DEVELOPMENT Jennifer Barton Development Program Assistant

TICKET SERVICES Amy Bruce Manager of Special Events and VIP Ticketing Gabriel Garcia Ticket Services Agent Adrian Hilliard Senior Ticket Services Agent, Strathmore

Margaret Blake Development Office Manager

Timothy Lidard Assistant Ticket Services Manager

Allison Burr-Livingstone Grants Program Manager

Kathy Marciano Director of Ticket Services

Sarah Chrzanowski Annual Fund Coordinator

Peter Murphy Ticket Services Manager

Alana Morrall Director of Individual and Institutional Giving

Michael Suit Ticket Services Agent

Rebecca Potter Corporate Relations Coordinator

BALTIMORE SYMPHONY ASSOCIATES Larry Albrecht Symphony Store Volunteer Manager

Joanne M. Rosenthal Director of Major Gifts, Planned Giving and Government Relations Elspeth Shaw Individual Giving Coordinator

Louise Reiner Office Manager

Richard Spero Community Liaison for BSO at Strathmore Emily Wise Donor Relations Manager, BSO at Strathmore

January 14, 2011 – February 27, 2011

45


KIRSTEN BECKERMAN

impromptu

AS A CHILD GROWING UP in Somerville, N.J., John Locke each year looked forward to the international “Tour de Somerville”—one of the oldest continuously running bicycle races in the United States. “I watched as my heroes competed for the winning position and dreamed of someday competing in the race,” he says today. By high school, Locke was regularly riding 60 miles roundtrip from his home in Somerville to New Hope, Pa., just for the sport of it. The teen, who aspired to ride professionally, strengthened his legs by biking up hills with a friend perched on his handlebars. Locke was a good cyclist. But he was a great musician. And in the end, music won. The BSO percussionist’s love for cycling never ceased, and he rode whenever he could. When his son John Edgar was born 14 years ago, Locke hoped the boy would share his passion for the sport. John Edgar got his first two-wheeler for Christmas when he was 5. “He was a natural,” Locke says. Six months later, the little boy was riding without training wheels. First the duo rode in their neighborhood.

46

Overture

Before long they were biking together on the North Central Trail in Baltimore County. These days, on Sunday afternoons when Locke doesn’t have a concert, you might find the pair biking near Loch Raven Reservoir or cycling to New Freedom, Pa., stopping for pizza or ice cream before they turn around to come home. Sometimes they talk as they ride, but not always. “It’s just nice to be together and to have that kind of quality time you don’t have with your kid when there’s a video game around,” says Locke. Over time their roles have reversed. “I used to beg him to go,” Locke says. “Now he’s always suggesting it to me.” And when they race against one another, which they sometimes do, Locke finds himself digging deeper and deeper to keep up. “As I get older, he’s getting better and better.” Locke, 50, doesn’t mind the competition. In fact, he loves it, he says. “It’s pure joy to be with him.” — Maria Blackburn


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Overture January-February 2011