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As the BSO kicks off a concert season that celebrates “revolutionary women,” meet three women who have taken bold leaps of faith to pursue their passion for music.

Your technique is impeccable. Your phrasing, sensational. Your talent, undeniable. But when noise-induced hearing loss damages your pitch


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Submit your favorite sounds to The Baltimore Soundscape Project. Find out more at



8 Meet three women of the BSO who have DEFYING CONVENTION

taken bold leaps of faith to pursue their passions for music. BY CHRISTINE GRILLO

12 Guest cellist Alisa Weilerstein, whose first ONE ON ONE

“instrument” was a cereal box, talks about the female artists who inspire her. INTERVIEW BY MARIA BLACKBURN







News of note. Upcoming events you won’t want to miss!






Down on the farm, with concertmaster Jonathan Carney.


Gala Concert with Hilary Hahn

19 SEPT 15-16

Mahler’s “Resurrection” Symphony

23 SEPT 23 & 25 Tchaikovsky’s “Pathétique” 26 OCT 1-2

Gutiérrez Plays Mozart

29 OCT 8

Kings of Salsa

30 OCT 14-16

The Music of Elton John and More

31 OCT 21-22

Debussy’s La mer

34 OCT 28 & 30 Rachmaninoff’s Third Symphony




president • 410.783.8000

Baltimore Symphony Orchestra 2011-2012 Season Marin Alsop Music Director Michael G. Bronfein Chairman

Dear Friends,

Paul Meecham President and CEO Eileen Andrews Vice President of Marketing & Communications Claire Berlin PR & Publications Coordinator Janet E. Bedell Program Annotator

Alter Custom Media Sue De Pasquale Editor Cortney Geare Art Director Jamie Conway Designer Maria Blackburn & Christine Grillo Contributing Writer Michael Marlow Proofreader Kristen Cooper Director of Sales & Marketing Karen R. Bark Jenifer Harrington Marcie Jeffers Andrea Medved Jill Whitty Kim Copenspire Zetlmeisl Sales Consultants Jeni Mann Director of Custom Media Heidi Traband Advertising Designer Design and Advertising Sales Alter Custom Media 1040 Park Ave., Suite 200 Baltimore, MD 21201 443.451.0736

Welcome back to the Meyerhoff for what promises to be another great year with the Baltimore Symphony Orchestra.This year, we are celebrating our year-long theme of revolutionary women as well as Music Director Marin Alsop’s fifth season with the Orchestra. As in her previous years here in Baltimore, Maestra Alsop has had a significant impact in creating unique partnerships between the Orchestra and our audiences, both local and national.This season the BSO will make its first tour under Marin Alsop and first domestic tour since 2000 (excluding previous Carnegie Hall and Kennedy Center engagements) in March 2012.The Orchestra will travel to the West Coast to perform at the Segerstrom Center for the Arts in Costa Mesa, California, and the Silva Concert Hall of the Hult Center for the Performing Arts in Eugene, Oregon.The BSO will also give a three-day education and performance residency at Zellerbach Hall, presented by CalPerformances of the University of California, Berkeley. This season will also mark the fourth Carnegie Hall performance under the direction of Marin Alsop.The BSO will present a semi-staged performance of Arthur Honegger’s Jeanne d’Arc au Bûcher (“Joan of Arc at the Stake”) at Carnegie Hall (November 19), which marks this work’s first Carnegie Hall performance since 1984. I hope you will enjoy the special season we have planned for you as much as we have enjoyed planning it. See you around the Hall!

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 | 4






The BSO Bolts on Oct. 15



Bolt participants gathered at Oregon Ridge to kick off their training and enjoy a BSO concert.

BSO Violinist Ivan Stefanovic trains not only for concerts and rehearsals, but for the half-marathon run.

After making its debut at last year’s Baltimore Running Festival, Bolt for the BSO is back—bigger and better than ever. The running team, which will represent the Baltimore Symphony Orchestra at the Baltimore Running Festival on October 15, consists of 100 runners, including Music Director Marin Alsop, 15 musicians and eight BSO staff members.The team will raise awareness and money to support the orchestra’s education and community outreach programs that touch the lives of more than 55,000 students each year. Last year, BSO Governing Member Cindy Renn and her friends from the orchestra, violinists Ellen Pendleton Troyer and Ivan Stefanovic, gathered 10 runners to form the first Bolt for the BSO team, and they raised $15,000. This year, the team hopes to raise $50,000. Support your BSO friends by cheering them on at Race Day or by making a donation to a runner. Donations can be made until October 31. To make a donation, visit and click the search button at the top to view a list of links to the runners’ individualized pages.

OrchKids Expansion Mary Ann Winterling Elementary, located just two blocks from the Lockerman OrchKids Site in West Baltimore, has been in partnership with the BSO for over a year. Mary Ann Winterling students have attended OrchKids concerts in the past, joined the students for guest artist workshops and performances and the school served as the site for the OrchKids Year End Concert in June.


At the start of the 2011–2012 academic year, Orchkids will expand to four sites throughout Baltimore City. Adding to the existing sites of Lockerman Bundy Elementary School and New Song Academy, both in West Baltimore, are Mary Ann Winterling Elementary School, also in West Baltimore, and a new school yet to be determined in East Baltimore. OrchKids received a $70,000 grant from the Anne E. Casey Foundation in June to expand into East Baltimore. The first East Baltimore location will be a Hub Site, with satellite schools identified in the coming years. The new site will officially launch in January 2012 with approximately 50–65 pre-K and kindergarten students. In the initial months, the students will be introduced to music via daytime musicianship classes, fields trips to BSO youth concerts and exposure to the OrchKids students currently studying instruments and participating in choir in Baltimore City.

September 10, 2011 – October 30, 2011



Essentially American

Joan of Arc at the Stake

Thu, Nov 10, 8 p.m. Sun, Nov 13, 3 p.m.

Thu, Nov 17, 8 p.m. Fri, Nov 18, 8 p.m.

Marin Alsop, conductor William Sharp, baritone

Marin Alsop, conductor James Robinson, stage director Morgan State University Choir Peabody Hopkins Chorus Peabody Children’s Chorus Concert Artists of Baltimore Symphonic Chorale

Copland’s distinctive and highly appealing “American” sound emerges every time we hear the simple melodies of Appalachian Spring and the Old American Songs. A leading champion of American music, Marin Alsop introduces the romantic sounds of early 20th-century composer Edward Collins before the infectious jazz rhythms of George Gershwin’s signature orchestral showpiece An American in Paris ends the program in sassy style. OFF THE CUFF

Copland’s America: Appalachian Spring Sat, Nov 12, 7 p.m. Marin Alsop, conductor William Sharp, baritone

How did Aaron Copland earn the title “Dean of American Composers”? He masterfully wove folk tunes and inspiring hymns into his scores, creating a sound that was unmistakably American. Join Maestra Alsop as she uncovers the Shaker melodies, Copland’s colorful instrumental effects, and the stories behind this Pulitzer Prize-winning music, which, after nearly 70 years, endures as an American treasure.

January 2012 marks the 600th anniversary of the birth of heroine, soldier and martyr Joan of Arc. Among the many theatrical, musical and film depictions of her remarkable life story, none is more powerful than the 1935 masterpiece by the Swiss composer Arthur Honegger. Exploring her final moments as she enters into a dialogue with her confessor, this sweeping oratorio examines her life in flashbacks, including the heresy trials, before she achieves peace with God at the stake.This exciting concert features the combined forces of actors, vocalists, chorus and orchestra. An event not to be missed! Catch this special program before the BSO takes it to Carnegie Hall immediately after these performances. Program will be performed in French with English surtitles.


Fri, Dec 2, 7:30 p.m. Edward Polochick, conductor and harpsichord Karen Clift, soprano Krisztina Szabó, mezzo-soprano Nicholas Phan, tenor Stephen Powell, baritone Concert Artists of Baltimore Symphonic Chorale

It wouldn’t be the holiday season without Handel’s inspiring Messiah.The BSO continues its tradition of ushering in the Christmas season with an all-star performance of Handel’s glorious oratorio featuring the “Hallelujah” Chorus. CINDERELLA

Michael Feinstein Sings Sinatra Fri, Nov 25, 8 p.m. Sat, Nov 26, 8 p.m. Sun, Nov 27, 3 p.m.



Handel’s Messiah


Michael Feinstein, vocalist


“I’ve Got a Crush on You,” “At Last Love” and “Exactly Like You.” A wonderful addition to your Thanksgiving celebration! Please note:The BSO does not perform on this program.




Hailed by The New York Times as “an essential national resource,” Michael Feinstein returns to the BSO for a special concert based on his acclaimed album “The Sinatra Project.” This timeless tribute to the cherished music of “Ol’ Blue Eyes” focuses on songs written for Sinatra that were never recorded during his golden years at Capitol Records and features favorites such as “Fools Rush In,”


Cinderella Fun for ages 5 and up

Sat, Dec 3, 11 a.m. Bob Brown Puppets Rheda Becker, narrator

When the clock strikes midnight in this incredible fairytale, make sure you’re at the Meyerhoff! Help us cheer for Cinderella in her pursuit to live happily ever after with the handsome prince. Rheda Becker and the Bob Brown Puppets will capture your heart as this enchanting story unfolds through Sergei Prokofiev’s captivating score.


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By Christine Grillo

Nearly 600 years ago, Joan of Arc showed tremendous courage in the face of oppression and in doing so became an icon of the “revolutionary woman.” In that tradition, meet three women of the BSO who have taken bold leaps of faith to pursue their passion for music.



1431, as the Middle Ages drew to a close, a 19-year-old French peasant girl was burned alive at the stake. Illiterate, a frequent cross-dresser and claiming to have had visions from God, Joan of Arc had led the French army to victory against the English in several battles during the Hundred Years’War. Her crime? An English court condemned her for heresy: By claiming to have interactions with God, she had flouted Church dogma. This season, commemorating the 600th anniversary of Joan of Arc’s birth, Music Director Marin Alsop will celebrate revolutionary women, featuring works both honoring them and created by them. Intrigued by the complexity of the legend of Joan of Arc,Alsop says,“I’m fascinated by

The BSO will perform Richard Einhorn’s “Voices of Light,” paired with the 1928 silent film The Passion of Joan of Arc.



the sense of threat that still seems to be with us today when a woman defies convention.” In 2005,Alsop herself revolutionized the world of symphony orchestras in America when she was named the BSO’s Music Director—the first woman to lead a major American orchestra.“As a woman in a position that’s unusual for women to hold,” she says,“I feel that [Joan of Arc] is the perfect vehicle for creating discussions.All of my programs try in some way to connect to themes related to her, such as oppression, spirituality and outstanding women.” •••••••••••

in 1942, English conductor Sir Thomas Beecham said,“I do not like, and never will, the association of men and women in orchestras….As a member of the orchestra once said to me,‘If she is attractive I can’t play with her, and if she is not then I won’t.’” In 1970, Zubin Mehta said,“I just don’t think women should be in an orchestra.They become men.” When first violinist Ellen Pendleton Troyer was accepted at the Juilliard School of Music, her grandfather was horrified. She suspects that he thought she should be taking typing lessons. In the first half of the 20th century, women working alongside men in a symphony orchestra was not accepted.


Li arrived at New York’s JFK airport with two suitcases, one violin and speaking no English.“Playing the violin was like a survival instinct for me,” says Li. And the world seems to be on its way to appreciating women— whether from central “I’m fascinated by the sense of Florida or from Mao’s threat that still seems to be China—in an orchestra. with us today when a woman “People are realizing it defies convention.” doesn’t take an arm like Schwarzenegger’s. It’s tech—Marin Alsop, Music Director nique.You can weigh 100 pounds and still make the sound,” says Troyer. Li concurs:“The change is inevitable.” But as people have warmed to the idea of women with instruments, a woman at the podium is another matter, and change has been slower. Alsop believes that it is not an issue of prejudice but rather of comfort.“It feels strange to a lot of Qing Li, principal second violin people to see a woman conductor,” she says. One of the ways she tackles this discomfort is by going to great lengths to make her audiences feel comfortable with her. Another of her strategies is helping more women advance into positions of authority. While Alsop is the first female conductor of a major American symphony orchestra, she has no interest in being the only one. Through the Taki Concordia Conducting Fellowship, which she CHRISTIAN COLBERG

Some felt that a woman would never be able to get as big a sound as a man.“Also,” says Troyer,“there was the idea that women couldn’t First violinist Ellen Pendleton Troyer handle the stress.” Perhaps she defied convention. Or maybe she was fortunate—born in a place and at a time when women began to join orchestras and perform as soloists in unprecedented numbers.Troyer says,“Now it’s half and half, if not more women [in an orchestra].” For Qing Li, principal second violin, however, the notions of convention and revolution have a very different meaning. Born at the beginning of China’s cultural revolution, she grew up in a country that rejected Western classical music—under Chairman Mao’s direction, orchestras were shut down and concerts became a thing of the past.“It was a horrific and sad period of Chinese history,” she says. As a classically trained violinist, Li’s father found himself out of work. But his misfortune worked to Li’s benefit; he devoted himself to her practice.“When I was little I didn’t know, but now I realize what my parents went through,” she says.“My career is a result of that unfortunate period because my father had so much time for me.” Boldly, both women took leaps of faith in order to pursue their music.Troyer found herself at Juilliard, while Li landed at Peabody Institute with a tenuous visa. Both experienced culture shock. Migrating from central Florida,Troyer showed up in New York with what she calls a Southern mentality.“I’ve got big hair and I wear makeup.At Juilliard nobody took me seriously.They’d say,‘Who’d you study with, Mickey Mouse?’ Eventually I learned that I could relax and be myself,” says Troyer.

September 10, 2011 – October 30, 2011


founded in 2002, she hopes to bring more women into the fold.“It’s not enough to have one woman conductor,” she says. But perhaps Alsop’s most revolutionary acts involve how she sees her role in the community. Instead of spending time and energy thinking about how her style might compare to a man’s style or analyzing the differences between men and women in her role, she focuses on what her responsibilities are—to other women, to her musicians, to Baltimore and the world—and how she can meet them.The trend of the future, she believes, is community engagement. Redefining her role as one of service, she is constantly on the go. She produces concerts for families, and she spearheads music education initiatives throughout Baltimore, providing instruments and mentorship to students from all backgrounds.“Every member of the community should feel connection to and ownership in their symphony orchestra,” she says.“Otherwise, the orchestra is an elitist endeavor.” Her approach, she likes to believe, is genderless, but it is also fluid and organic. “I try to react and respond to the needs of my musicians, my orchestra and also my community,” she says.“So as I get to know the community I do different things. I don’t always know what’s next.” One of the things Troyer most appreciates about having Alsop as music director is the context it provides for her 7-year-old daughter, Carly.“Growing

••••••••••••••• upcoming


BSO Music Director, Marin Alsop

up in Baltimore,” says Troyer,“she goes to concerts and there at the podium is Ms. Marin. Her symphony conductor is a woman. Her pediatrician is a woman. It’s a different world for her.” •••••••••••


Joan of Arc was a convicted heretic, 25 years after her death Pope Callixtus III cleared her of that crime. Since then, she has become renowned as the beloved Maid of Orléans, an inspiration, a leader, a victor. Perhaps conductor Leopold Stokowski put it best in 1916: “When I think of women as I see them in the musical world, what they are capable of doing, their fine spirit, excellent technique, I realize what … poor economy it is to take it for granted that women are not ready to enter the world of art, are not capable of becoming fluent channels for the expression of genius …We are sacrificing accomplishment to tradition.”

concerts •••••••••••••••••••••••••••••••••••••••••••••••••••••••

Joan of Arc at the Stake

Voices of Light - The Passion of Joan of Arc

NOVEMBER 17-18, 2011

MARCH 2-4, 2012

Arthur Honegger’s Jeanne d’Arc au bûcher

Marin Alsop leads the BSO and the Baltimore

(“Joan of Arc at the Stake”) will be

Choral Arts Society in a multimedia performance

performed at the Meyerhoff. This dramatic

of Richard Einhorn’s Voices of Light at the

1935 French oratorio tells the story of Joan

Meyerhoff and at Strathmore, accompanied by

of Arc. James Robinson will direct the BSO’s

the work’s original inspiration, the 1928 silent

semi-staged version (with English surtitles).

film The Passion of Joan of Arc by Carl Theodor

Guest choirs will include the Morgan State

Dreyer. Einhorn’s work is an opera/oratorio for

University Choir, Peabody-Hopkins Chorus

voices and instrumental ensemble.

and the Peabody Children’s Choir.



“It’s not enough to have one woman conductor,” says Music Director Marin Alsop, who founded the Taki Concordia Conducting Fellowship in 2002.


Tom Hallâ&#x20AC;&#x2122;s 30th Anniversary with Choral Arts!

Sweet Honey in the RockÂŽ

4BUVSEBZ /PWFNCFS   BU  QN t ,SBVTIBBS "VEJUPSJVN BU (PVDIFS $PMMFHF Sweet Honey in the RockÂŽ joins Tom Hall and the Chorus in an unforgettable evening featuring their soulful harmonies, from spirituals to blues and jazz improvisations.

Christmas with Choral Arts

5VFTEBZ /PWFNCFS   BU  QN t Ä&#x2021;F #BMUJNPSF #BTJMJDB Tom Hall leads the Chorus and Orchestra in this festive holiday program in the beautiful Baltimore Basilica.

Sing-Along Messiah

'SJEBZ %FDFNCFS   BU  QN t ,SBVTIBBS "VEJUPSJVN BU (PVDIFS $PMMFHF Tom Hall leads the Chorus, Orchestra, and the audience in the magnificent choruses of Handelâ&#x20AC;&#x2122;s Messiah.

Christmas For Kids

4BUVSEBZ %FDFNCFS   BU  BN t ,SBVTIBBS "VEJUPSJVN BU (PVDIFS $PMMFHF Featuring Pepito the Clown, Ronnie the Reindeer and a visit from Santa!

Mendelssohnâ&#x20AC;&#x2122;s Elijah

4VOEBZ .BZ   BU  QN t ,SBVTIBBS "VEJUPSJVN BU (PVDIFS $PMMFHF Tom Hall leads the Chorus, Orchestra, and vocal soloists in this choral masterwork.

Call 410-523-7070 or visit

Tom Hall Hall, Music Director

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Baritone William Sharp and violist Maria Lambros join the Peabody Trio on Tuesday, October 25, at 8:00 pm to perform works by Mahler and Ravel The Peabody Trio

Natasha Brofsky

Seth Knopp

Violaine Melançon

For tickets to this concert, in Miriam A. Friedberg Concert Hall, 17 East Mount Vernon Place, call 410-234-4800 Visit for Audio Program Notes and the complete 2011-2012 Peabody Concert Calendar


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September 10, 2011 â&#x20AC;&#x201C; October 30, 2011



on ONE

Music of Discovery Q. The first cello you played didn’t


make a sound and yet you fell in love with the instrument anyway. Can you explain?

ALISA WEILERSTEIN WAS JUST 14 when she first performed Dvorˇ ák’s Cello Concerto in concert. The richly romantic, lyrical composition is an impressive piece, so memorable in fact that upon hearing it for the first time, the composer’s mentor Johannes Brahms remarked, “If I had known that it was possible to compose such a concerto for the cello, I would have tried it myself.” Over the last 15 years, Weilerstein has performed the concerto so

My parents are professional classical musicians. My father [Donald Weilerstein] was touring with the Cleveland Quartet, and my mother [Vivian Hornik Weilerstein] was about to leave on tour when I came down with chicken pox. I was about 2 ½ and my grandmother, who was taking care of me, fashioned a string quartet for me out of cereal boxes.The cello was the one I had to have. It was a Rice Krispies box, and she drew the F holes on and made a fingerboard.The funniest thing was the endpin was an old green toothbrush. I just fell in love with this instrument, and when my parents returned home they would put out a stool for me in the living room where they practiced so I could “play,” which I loved to do, that is until I got frustrated with the instrument because it made no sound. When I was 4 I told my mother,“I want a cello and a cello teacher.” She told me I was too young. I was persistent and then when I was about 4 ½, I was given a cello. After that, I didn’t play the cereal box cello any more.

many times in concert that she’s lost count. “Is it in the triple digits?” she wonders. “Or quadruple?” It doesn’t matter. Regardless of how many times the 29-year-old world-renowned cellist plays it, she always discovers something new. “The concerto is so full of ideas, so full of colors, that it’s impossible to ever get tired of it,” says Weilerstein, who returns to the Meyerhoff September 23 and 25 to perform Dvorˇ ák’s Cello Concerto with the BSO. “It’s the most popular cello concerto for a reason. It has everything— it’s epic, it has every possible emotion that you could imagine, and it’s orchestrated so beautifully. Really, it’s just a heartbreaking work of staggering genius.” Interview by Maria Blackburn



Q. One of the BSO themes this

season is revolutionary women. Would you tell us about two female musicians who inspire you?

Marin Alsop is a huge inspiration. She is just incredible, a force of nature. I’ve been working with her since I was 18, and I’ll always be grateful to her for many things, but especially for making me learn the Barber Concerto. It’s a very hard piece, and when I was 21, I was not particularly interested in the piece without her insistence that I learn it. I performed it for the first time with the Bournemouth Symphony with Marin conducting, and I totally fell in love with it. It was a very, very rewarding project for me, and I am forever grateful to her for that.The second female musician who inspires me is Jacqueline Du Pré. I’ve listened to many cellists, and she is probably my favorite. She

transcended all boundaries, musically and personally. She was a light in the world. Q. You’ve performed regularly with your parents as The Weilerstein Trio since you were 6, and you’ve also performed a few times with your younger brother Joshua, who in 2009 won the international Malko Competition for Young Conductors. What is it like to have familial relationships that are also professional?

It’s a very unique situation, and I feel very lucky. My parents and I don’t play together that much anymore, only a few concerts a year now, just because everyone’s schedule is so hectic. I did 140 concerts last year, and I’m doing close to that amount this year, and my parents are teaching like crazy at New England Conservatory and Juilliard. And Josh, who is 23, is just starting out this incredible conducting career.We’ve worked together twice, once in Venezuela with the Simón Bolívar Symphony Orchestra led by Gustavo Dudamel, and we also worked together in Sweden.We have many other things in the works, and I’m happy about that because it’s a lot of fun. Q. What are you working on now?

I just signed an exclusive recording contract with Decca, and I have several wonderful projects in the works. One that I’m very excited about is a recording of the Elgar Cello Concerto with Daniel Barenboim conducting, which will be paired with Elliott Carter’s Cello Concerto. It will be out in late 2012 or early 2013, and I am beyond thrilled about it.

FA S H I O N • H O M E • G A R D E N • F O O D • T R A V E L • P E O P L E • E N T E R TA I N I N G


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The cello has created a very, very exciting life for me. I love what I do. I think music is the highest form of communication that we have with other people. It transcends boundaries and has the capability of touching souls in a way that I don’t think really exists anywhere else. In terms of pure communication of ideas, I can’t think of an art form that I would rather be involved in that reaches people in such a direct way.

As a fan of the Baltimore Symphony Orchestra,

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Q. How has playing the cello shaped your life?

September 10, 2011 – October 30, 2011



2011-2012 Season

Marin Alsop Music Director, Harvey M. and Lyn P. Meyerhoff Chair / Jack Everly Principal Pops Conductor Yuri Temirkanov Music Director Emeritus / Lee Mills BSO-Peabody Bruno Walter Assistant Conductor

First Violins 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 Rui Du**

Violas Richard Field Principal, Peggy Meyerhoff Pearlstone Chair Noah Chaves Associate Principal Karin Brown Acting Assistant Principal Peter Minkler Sharon Pineo Myer Delmar Stewart Jeffrey Stewart Mary Woehr

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


Music Director

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







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

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

Andrew Balio Principal, Harvey M. and Lyn P. Meyerhoff Chair Rene Hernandez Assistant Principal Ryan Darke**

Sidney M. and Miriam Friedberg Chair Jonathan Jensen Mary Woehr

Bass Clarinet

Christopher Dudley Principal, Alex. Brown & Sons Chair James Olin Co-Principal John Vance


Edward Palanker

E-flat Clarinet Christopher Wolfe


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

Julie Green Gregorian Acting Principal Fei Xie



Laurie Sokoloff

David P. Coombs

David T. Fedderly Principal



Katherine Needleman Principal, Robert H. and Ryda H. Levi Chair Michael Lisicky


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

Dennis Kain Principal Christopher Williams Assistant Principal

English Horn Jane Marvine Kenneth S. Battye and Legg Mason Chair


the principal conductor from 2002 to 2008, and is music director of the Cabrillo Festival of Contemporary Music in California. In 2005, Ms. Alsop was named a MacArthur Fellow, the first conductor ever to receive this prestigious award. In 2007, she was honored with a European Women of Achievement Award, in 2008 she was inducted as a fellow into the American Academy of Arts and Sciences, and in 2009 Musical America named her “Conductor of the Year.” In November 2010, she was inducted into the Classical Music Hall of Fame. In February 2011, Ms. Alsop was named the Music Director of the Orquestra Sinfônica do Estado de São Paulo (OSESP), or the São Paulo State Symphony Orchestra, effective in the 2012-13 season. Ms. Alsop was named to The Guardian’s Top 100

Bass Trombone Randall S. Campora


Percussion Christopher Williams Principal, Lucille Schwilck Chair John Locke Brian Prechtl

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 **guest musician 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.

Women list in March 2011. Last spring, she was named an Artist-in-Residence at the Southbank Centre in London. A regular guest conductor with the New York Philharmonic, The Philadelphia Orchestra, London Symphony Orchestra and Los Angeles Philharmonic, Ms. Alsop appears frequently as a guest conductor with the most distinguished orchestras around the world. In addition to her performance activities, she is also an active recording artist with award-winning cycles of Brahms, Barber and Dvorˇák. 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.




Gala Concert Marin Alsop Conductor Hilary Hahn Violin BSO Gala Chorus Leslie Stifelman Artistic Advisor

Aaron Copland Joan Tower David T. Little Mendelssohn

Fanfare for the Common Man Fanfare for the Uncommon Woman Charm* Violin Concerto in E minor, opus 64 Allegro molto appassionato Andante Allegretto non troppo - Allegro molto vivace HILARY HAHN

Special appearance by BSO OrchKids Dan Trahey, Director of Artistic Program Development

Bob Christiansen and Gary Anderson Conceived by Marin Alsop

“Hallelujah Chorus” from Too Hot to Handel BSO GALA CHORUS LESLIE STIFELMAN, Artistic Advisor CHOIRS FROM: Baltimore City College, Morgan State University, Baltimore School for the Arts, BSO OrchKids

*Commissioned by the Baltimore Symphony Orchestra, Marin Alsop, Music Director

The concert will end at approximately 10 p.m.

Marin Alsop

Hilary Hahn

For Marin Alsop’s bio, please see p. 14.

Familiar with fame at a very young age, Hilary Hahn is a two-time Grammy


Saturday, September 10, 2011 8:30 p.m.


Award-winning soloist celebrated for her probing interpretations, technical brilliance, and spellbinding stage presence. She is one of the most sought-after artists on the international concert circuit and appears regularly with the world’s elite orchestras and on the most prestigious recital series in Europe,Asia,Australia, and North and South America. Ms. Hahn has released 11 feature albums on the Deutsche Grammophon and Sony labels, in addition to three DVDs, an Oscar-nominated movie soundtrack, an award-winning recording for children and various compilations. Her recordings have received every critical prize in the international press and have met with equal popular success.All have spent weeks on Billboard’s Classical Top Ten list. Ms. Hahn has received numerous international distinctions including multiple Diapason “d’Or of the Year” and “Preis der deutschen Schallplattenkritik” (German Record Critics’Award) prizes, the 2008 Classical FM/Gramophone Artist of the Year, the Cannes Classical Award, and the ECHO Klassik Artist of the Year and other ECHO awards. Ms. Hahn was born in Lexington,Va. in 1979.At age 3, she moved to Baltimore, where she began playing the violin one month before her fourth birthday in the Suzuki program of the Peabody Conservatory. From the age of 5 Ms. Hahn studied in Baltimore with Klara Berkovich, a native of Odessa who taught for 25 years at the Leningrad School for the Musically Gifted. From 10 to 17, she studied at The Curtis Institute of Music with the legendary Jascha Brodsky. She completed her university degree requirements at 16 but deferred graduation and remained at Curtis for several more years, taking additional elective courses. She graduated from Curtis at age 19 with a Bachelor of Music degree. Ms. Hahn’s major orchestral debut came with the Baltimore Symphony in 1991, the year after she entered Curtis. Her international debut followed at age 14 in Hungary, when she played Bernstein with Ivan Fischer and the Budapest Festival Orchestra. In March 1995 at age 15, she made her September 10, 2011 – October 30, 2011




German debut, playing the Beethoven concerto with Lorin Maazel and the Bavarian Radio Symphony Orchestra in a concert broadcast on radio and television throughout Europe.Two months later, she received the Avery Fisher Career Grant in New York. An enthusiastic writer, Hahn posts journal entries and information for young musicians on her website (

Celebrating the Baltimore community, Maestra Marin Alsop has created this diverse and dynamic choir to represent some of the city’s finest arts organizations and educational institutions.This choir not only includes the BSO’s long-standing friends and partners, but also now engages new members of the orchestra’s community—parents and students from the Baltimore City public schools.With artistic direction provided by Leslie Stifelman, who recently collaborated with Maestra Alsop and the BSO on the Bernstein MASS concert and recording, the chorus is comprised of singers from the following ensembles: Baltimore City College Choir (Linda Hall, choral director); Baltimore School for the Arts Choir (Mark Hardy, coordinator of vocal music); Morgan State University Choir (Eric Conway, director); and Parents of the BSO OrchKids (Molly Peterson, OrchKids choral director). The BSO thanks these organizations for their participation and hopes that this tradition will flourish in years to come.

Virgil Thomson—to open each of the orchestra’s 1942–43 season concerts. Upon receiving the score, Goossens wrote Copland:“Its title is as original as its music.” The composer had considered a number of possibilities, among them Fanfare for the Spirit of Democracy and Fanfare for the Rebirth of Lidice (a Czech town that had been destroyed by the Nazis). Finally, he settled on Fanfare for the Common Man. He said,“It was the common man, after all, who was doing all the dirty work in the war and the army.” The music—scored for four horns, three trumpets, three trombones, tuba, timpani and percussion—combined full-throated splendor with a sturdy, unvarnished pride that seemed an ideal tonal personification of the average G.I. Joe. Its brass writing emphasized big, rangy intervals, and its powerful, equally prominent part for timpani expressed virile force. Perhaps hoping that this inspiring music would not be forgotten after one performance in Cincinnati, Copland also made it the focal point of the finale of his Third Symphony, composed between 1944 and 1946 as the Allies swept to victory. He needn’t have worried. Fanfare for the Common Man quickly became a favorite of brass players everywhere.The young television industry adopted it for sporting events, political conventions and the achievements of the space program.The Rolling Stones appropriated it for their tour entrance music.And even now, when we have heard it so many times, it never fails to raise the adrenaline.

Notes on the Program

Fanfare for the Uncommon Woman No. 1

BSO Gala Choir

Joan Tower Fanfare for the Common Man

Aaron Copland Born in Brooklyn, New York, November 14, 1900; died in North Tarrytown, New York, December 2, 1990

When Aaron Copland submitted a threeminute fanfare to the Cincinnati Symphony in late 1942, he had no idea it would become one of his most famous pieces. World War II had been raging for months, and in 1942 there was little to celebrate on the Allied side.As a morale booster, Eugene Goossens, Cincinnati’s music director, decided to commission a series of 18 fanfares from America’s most prominent composers—including Morton Gould, Howard Hanson,William Grant Still and 16


Born in New Rochelle, New York, September 6, 1938

A quiet revolution has taken place in classical music over the past few decades:At long last, women have successfully begun to infiltrate the male-dominated fields of conducting and composing. Joan Tower is both, but it is her creative work that has won her a prominent place in the American contemporary music scene. Her vibrant, energetic and often highly dramatic music has been performed by major orchestras worldwide. “Creating ‘high-energy’ music is one of my special talents,”Tower says.“I like to see just how high I can push a work’s energy level without making it chaotic or incoherent.” Certainly this is true of her Fanfare for

the Uncommon Woman No. 1, which has become her most frequently performed piece (played by more than 500 ensembles since its premiere by the Houston Symphony in 1987). Its title is a play on Copland’s Fanfare. And it even shares the same instrumentation: three trumpets, four horns, three trombones, tuba, timpani and percussion playing a very loud battery including tamtams (gongs).Tower has long been a fan of Copland’s music, and so when she received a commission to write a short work for the Houston Symphony’s Fanfare Project, she originally wanted to create a tribute to him. But ultimately her fanfare adopted a feminist message; it celebrates, in Tower’s words,“women who take risks and are adventurous.”And it is dedicated to just such a woman: the BSO’s music director Marin Alsop. It also launches Maestra Alsop’s chosen theme for the 2011–12 season, as we meet through music a fascinating gallery of adventurous women from Joan of Arc to Harriet Tubman. Charm

David T. Little Born in New Jersey, 1978; lives in Weehawken, New Jersey

David T. Little is one of a new breed of classical composers. Having just completed his Ph.D. in music at Princeton, he finds time to play percussion regularly at New York’s hip club Le Poisson Rouge with his ensemble Newspeak and to teach music through Carnegie Hall’s Musical Connections program. He served as’s digital composer-in-residence—beating hundreds of composers from 23 countries for the honor—and recently took the helm of the Philip Glass-founded MATA Festival in New York, serving as its executive director. Growing up as a drummer in marching bands and heavy-metal groups, Little didn’t connect at all with classical music until he was in his teens. He started with Stravinsky’s The Rite of Spring, listening to it every day until he could follow it with the score. He then enrolled as a classical percussion performance major at Susquehanna University and subsequently earned a master’s degree at the University of Michigan, where he studied with two composers who never forget the entertainment element in their music: Michael Daugherty and William


Bolcom.The renowned composer Osvaldo Golijov has also become Little’s mentor and says of him:“I think the kind of pieces he’s doing are much more real than what most young composers are doing. He’s not an ivory-tower kind of guy.” In March 2010, Little’s antic Screamer! was one of the hits of Marin Alsop and the BSO’s “Under the Big Top” festival.While he was in town,Alsop asked him to write a new piece for this season’s Gala. Little recalls that the idea for this work came to him immediately:“I had time to walk around and explore the city and I really loved it. So I decided to write a piece about Baltimore and the unseen energies that make it so special. Formally, it’s very cinematic.We start with a view of the city itself and then pan down, seeing a cross section of what’s underneath: the electrical grid, the foundations of the city, the bedrock underneath. Then we come back up. “Even though I was conscious that I was writing for a gala concert, I didn’t want to oversimplify reality. Cities are complex.They are a mixture of good things and less good things—so much like people, and this complexity is part of their charm. “So there are high moments—the high energy opening, and low moments—the darker, more dissonant middle section. But the work ends peacefully. It says:We’ve been through a journey together, and sometimes it was difficult. But we have come out the other side into a sense of peace and reconciliation, both with the city and with ourselves as people. Since we are our cities, Charm is about all of us.”

fulfilled his obligations. But the early 1840s were particularly trying times for him. Already in demand all over Europe as both a composer and a performer, he was summoned to Berlin in 1841 by King Friedrich Wilhelm IV of Prussia to be his court musician and establish a new conservatory. For three years the composer dutifully served the king’s constantly changing whims while longing to return to Leipzig.The enchanting incidental music to A Midsummer Night’s Dream was about the only good thing to come out of this frustrating period.As soon as he could gracefully extricate himself, Mendelssohn turned to the concerto and completed it in September 1844. It was premiered by David on March 13, 1845. Generations of violinists and audiences can attest that the concerto was worth the wait.As Brahms would later do with his Violin Concerto for Joseph Joachim, Mendelssohn constantly sought David’s advice and tailored his concerto to the violinist’s skills and musical personality. Mendelssohn is usually regarded as a conservative composer who, despite his


allegiance to Romanticism, followed the classical forms and feeling of Mozart and Haydn more closely than did his contemporaries. But Mendelssohn was also a true Romantic who felt free to break the rules of the classical concerto. First Movement:The breaking of old rules begins immediately as the violinist launches the buoyant principal theme in the second measure, dispensing with the customary orchestral exposition.The key of E minor adds a touch of poignancy to this expansive, openhearted melody. The most magical moment of this sonata-form movement comes at the end of the development section when in a hushed passage the soloist begins searching for the home key. Just as he seems to have found it, Mendelssohn pulls a surprise: launching the soloist’s cadenza, which is customarily placed after the recapitulation just before the movement ends. It concludes with chains of rapid arpeggios that continue as the orchestra reprises the principal theme, thus binding cadenza seamlessly to recapitulation. At movement’s end, we hear a lone

Violin Concerto

Felix Mendelssohn Born in Hamburg, Germany, February 3, 1809; died in Leipzig, Germany, November 4, 1847

During the years he served as director of the Leipzig Gewandhaus Orchestra, Felix Mendelssohn was blessed with an outstanding concertmaster, Ferdinand David, one of the 19th century’s most versatile violinists. As early as 1835 the composer promised David a concerto to show off his remarkable abilities. But the promised concerto did not appear for nearly a decade, despite the violinist’s frequent reminders, preserved in some charmingly wheedling letters. This delay was uncharacteristic of Mendelssohn, usually a man who promptly





bassoon holding onto the pitch B.That note then rises a half step for the new key of C major for the second-movement Andante, which the soloist begins after a brief orchestral bridge passage.This movement is in three-part song form—most appropriate here because Mendelssohn has given the soloist one of his “songs without words.” The middle section interjects passionate agitation amid the lyricism. Another bridge provides harmonic and

tempo transition to the E major finale. Here we have one of Mendelssohn’s celebrated scherzos: a scampering romp for the soloist. Conjuring up the world of A Midsummer Night’s Dream, the woodwinds are agile companions to the violin’s gambols. “Hallelujah” from Too Hot to Handel

George Frideric Handel Bob Christianson and Gary Anderson

Handel’s inspired oratorio Messiah played to

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its first audience on April 13, 1742 in Dublin, Ireland in a hall packed so full that the gentlemen were requested to leave their swords at home and ladies to forgo their crinolines so more could be crowded in. And that audience responded to the work with an enthusiasm that has not dimmed since its premiere. Almost exactly 250 years later in 1991, Marin Alsop wondered if this great sacred icon might “lend itself to a 20th-century remake—I could clearly imagine the ‘Hallelujah’ Chorus becoming a gospel number. ... Handel himself was receptive to singers and instrumentalists adding their own ornamentation and improvisation, and Mozart offered his own updated version of Messiah, so this concept didn’t seem completely off the wall to me.” To realize her vision,Alsop turned to two composer-friends with backgrounds in jazz and popular music whom she had met during her days as a freelance studio violinist in New York: Bob Christianson and Gary Anderson.“We went through every number to determine the new ‘feel.’ I wanted to keep the ‘bones’ intact.The melodies, lyrics, and form of each number would remain the same.That left the harmonization, the instrumentation, and the groove up for grabs ...We went from the original instrumentation of strings and a handful of winds to a rocking jazz rhythm section consisting of Hammond B3 organ, gospel piano, drums, electric guitar, Fender bass and acoustic bass, five saxophones, full brass, strings, timpani, and percussion.” Christianson and Anderson’s gospel-jazz-rock adaptation, Too Hot to Handel:The Gospel Messiah, made its debut on December 18, 1993 in New York City with Marin Alsop leading the Concordia Orchestra, the Morgan State University Choir and vocal soloists. It, too, was an instant hit and has now been performed by orchestras and choruses around the world, including several performances in recent years with the BSO and Morgan at the Meyerhoff. Tonight’s program will close with the immortal “Hallelujah” chorus from Too Hot to Handel, featuring a choir drawn from the Baltimore community.And the audience is invited to get on its feet, sing along, clap along, and feel the spirit! Notes by Janet E. Bedell, copyright 2011


Thursday, September 15, 2011 8 p.m. Friday, September 16, 2011 8 p.m. JOSEPH MEYERHOFF SYMPHONY HALL


Mahler’s “Resurrection” Symphony


Francisco Symphony’s New Year’s Eve Masquerade Ball. In the same season she headed to France to attend the Académie d’Aix-en-Provence, where she was awarded the Prix des amis d’Aix-en-Provence for best Mozart performance. She recently became the first recipient of the Hildegard Behrens Foundation Award. In 2008, she received the Mozart Prize at the Wilhelm Stenhammar International Music Competition and was a Queen Elisabeth Competition Laureate. Originally from Penticton, British Columbia, Canada, Ms. Claire studied voice at l’Université de Montréal before attending the Curtis Institute of Music. She resides in New York City.

Presenting Sponsor:

Susan Platts Marin Alsop Conductor Layla Claire Soprano Susan Platts Mezzo Soprano Baltimore Choral Arts Society Tom Hall, Music Director

Gustav Mahler

Symphony No. 2 in C Minor, “Resurrection” Allegro maestoso Andante moderato In ruhig fliessender Bewegung Urlicht. Sehr feierlich, aber schlicht Im Tempo des Scherzo LAYLA CLAIRE SUSAN PLATTS BALTIMORE CHORAL ARTS SOCIETY

The concert will end at approximately 9:30 p.m.

Marin Alsop For Marin Alsop’s bio, please see p. 14.


BSO Debut

Soprano Layla Claire’s “penetrating purity” (The New York Times) combined with “emotive force and a poised sensitivity” (Palm Beach Daily News) has quickly made her a soughtafter artist on the opera and concert stage. In July 2010, Ms. Claire made her Boston Symphony Orchestra debut on the opening

night of the Tanglewood Music Festival under the baton of Michael Tilson Thomas with Mahler’s Symphony No. 2, a performance she reprised to begin the 2010-11 season with Boston and James Levine. Praised for her thoughtful characterizations and musicality, her interpretations of Mozart’s heroines have garnered accolades throughout North America and Europe. The 2009-10 season marked the beginning of Ms. Claire’s participation in the Lindemann Young Artist Development Program at the Metropolitan Opera. In December, she performed at L’Opéra de Montréal’s 30th Anniversary Gala and San

British-born Canadian mezzosoprano Susan Platts brings a uniquely rich and wide-ranging voice to the concert and recital repertoire for alto and mezzo-soprano. In May 2004 as part of the Rolex Mentor and Protégé Arts Initiative, worldrenowned soprano Jessye Norman chose Ms. Platts from 26 candidates worldwide to be her protégée. During past seasons, Ms. Platts has performed at Teatro alla Scala,Teatro di San Carlo, Carnegie Hall and the Lincoln Center, as well as with the Philadelphia Orchestra, CBC Radio Orchestra, L’Orchestre de Paris, National Arts Centre Orchestra, Orchestre Symphonique de Montréal, Orchestre Symphonique de Québec and Toronto Symphony Orchestra. She has recorded Mahler’s Das Lied von der Erde for Fontec Records with Gary Bertini conducting the Tokyo Metropolitan Orchestra; a CD of dramatic sacred art songs with pianist Dalton Baldwin; Gustav Mahler’s Lieder eines fahrenden Gesellen with the Smithsonian Chamber Players and Santa Fe Pro Musica for Dorian Records; and Brahms’ Zwei Gesänge with Steven Dann and Lambert Orkis on the ATMA label. Ms. Platts recently recorded her first solo disc of Robert Schumann, Clara Schumann and Johannes Brahms, also on the ATMA label. Susan Platts most recently appeared with the BSO on March 5-8, 2009, with conductor Jun Märkl, performing Mozart’s Requiem. September 10, 2011 – October 30, 2011



notes Baltimore Choral Arts Society

The Baltimore Choral Arts Society, is one of Maryland’s premier cultural institutions.The Symphonic Chorus, Full Chorus, Orchestra and Chamber Chorus perform throughout the mid-Atlantic region, as well as in Washington, D.C., New York and in Europe. Choral Arts has appeared with the National Symphony and has made regular appearances with the Baltimore Symphony Orchestra.Acclaimed artists collaborating with Choral Arts have included Chanticleer, Dave Brubeck,The King’s Singers, Peter Schickele, Sweet Honey in the Rock and Anonymous 4. For the past 15 years WMAR Television has featured Choral Arts in an hour-long special, Christmas with Choral Arts, which won an Emmy Award in 2006. Baltimore Choral Arts’ latest CD is Christmas at America’s First Cathedral, released on Gothic Records in September 2010. Tom Hall is one of the most highly regarded performers in choral music today. Appointed music director in 1982, Mr. Hall has added more than 100 new works to the BCAS repertoire. He also has prepared choruses for Leonard Bernstein, Robert Shaw, Helmuth Rilling and others; and he served for 10 years as the chorus master of the Baltimore Opera Company. Mr. Hall is the host of Choral Arts Classics, a monthly program on WYPR, and he is the Culture Editor on WYPR’s Maryland Morning with Sheilah Kast. The Baltimore Choral Arts Society most recently appeared with the BSO on February 24-27, 2011, with Music Director Marin Alsop, performing Mozart’s Magic Flute.

Notes on the Program Symphony No. 2, “Resurrection”

Gustav Mahler Born in Kalischt, Bohemia, July 7, 1860; died in Vienna, May 18, 1911

“Never again will I attain such depths and heights. One can create only once or twice in a lifetime works on such a grand subject.” Thus commented Gustav Mahler to a friend about his Second Symphony some six years 20


after its premiere. By 1900, he had already produced two sequels in his Symphonies 3 and 4, but he still believed deeply in the uniqueness of this work.At its premiere in Berlin on December 13, 1894, it had been his first great popular success. He would choose it for his farewell concert in Vienna in 1907 before leaving for America and for his first concert with the New York Symphony in 1908. Nicknamed “Resurrection” because its finale incorporates words from the “Resurrection Ode” by the 18th-century German poet Friedrich Klopstock, this work was the first in which Mahler tried to answer the big questions that tormented him throughout his life. Conductor Bruno Walter, a close friend of the composer, remembered Mahler’s musing over them in his presence:“From where do we come? To where does our road take us? What is the object of toil and sorrow? How am I to understand the cruelty and malice in the creations of a kind God? Will the meaning of life be finally revealed by death?” In each of his symphonies from the Second on, Mahler wrestled with these questions, arriving at different answers. In the Second, he embraced the promise of resurrection. The Second began its slow gestation in 1888 when Mahler was completing his First Symphony.At that time he composed a large work called Todtenfeier (“Funeral Rites”), originally intended to be an independent symphonic poem.When the First Symphony was poorly received, he set aside orchestral composing for several years, instead concentrating on his burgeoning career as one of Europe’s most gifted operatic conductors. But by 1893 when he had become principal conductor of the Hamburg Opera, his creative juices were flowing again. For that summer he found an idyllic retreat: the village of Steinbach-amAttersee in Austria’s glorious Salzkammergut district of mountain-girt lakes. In such beautiful surroundings, Mahler experienced one of his most productive summers: composing the second and third movements of the Symphony, for which the revised Todtenfeier would be the first movement. He also turned one of his previously composed songs, Urlicht (“Primal Light”), based on poetry from the German folk anthology Des Knaben Wunderhorn (“The Youth’s Magic Horn”), into the fourth movement.

At summer’s end as he returned to his duties in Hamburg, Mahler knew he wanted to cap his Symphony with a choral finale in the manner of Beethoven’s Ninth.The composer ransacked books of poetry and philosophy that winter. On March 29, 1894 he attended the funeral in Vienna of the renowned conductor and pianist Hans von Bülow, who had championed Mahler’s conducting career. During the service the composer had an epiphany.As he recalled, “All of a sudden the choir ... intoned Klopstock’s ‘Auferstehn’ [‘Resurrection Ode’]. It was as if I had been struck by lightning; everything suddenly rose before me clearly!” When Mahler returned to Steinbach, he had already sketched some of the enormous finale—at 35 minutes it is longer than most complete symphonies—that closes with Klopstock’s radiant words sung by chorus with soprano and alto soloists.The Second’s finale was swiftly finished. Mahler chose only to use the first two stanzas of Klopstock’s Ode, adding several stanzas of his own, beginning with “O glaube”—“O believe, my heart!”—which make Klopstock’s universal statement of faith into something much more personal and passionate. Listening to the Music The 1890s was the age of the giant orchestra, epitomized by Richard Strauss’ brilliant tone poems.The “Resurrection” Symphony calls for even more instruments than was Mahler’s generous norm: 10 horns and 10 trumpets (some positioned offstage), an enormous percussion arsenal staffed by two timpanists and five other players, two harps, an organ for the final moments, plus a very large mixed chorus and two soloists. For this is the most dramatic of Mahler’s symphonies, showing the composer’s experience in the world of opera at every turn. It begins with the death of the protagonist—Mahler identified him as the hero of the First Symphony, but he is also Everyman who faces the certainty of extinction—and closes with what Mahler scholar Henry de La Grange calls “a huge apocalyptic fresco of doomsday.” Yet amid the sonic onslaughts—including several of the most pulverizing passages in the symphonic literature—there are far more moments of great subtlety, using just a handful of players. After the fact, Mahler devised several programs to explain the extra-musical ideas


and events inspiring the music. Mahler’s programs are often illuminating, and excerpts will be quoted along with the movement descriptions. In C minor of movement one is the first of the great funeral marches that reappear throughout Mahler’s symphonies. Faster in tempo, however, than a conventional dirge, this one is full of youthful energy and audacity: Mahler’s fierce protest against death’s apparent finality. Under a ferocious string tremolo, a growling principal theme is proclaimed by unison cellos and basses; it will haunt this entire movement, often as a rumbling accompaniment. Oboes and English horn reverse this down trend into an ascending fanfare idea that sets the march’s tone of resistance. Countering the grimness, the violins offer a message of hope, a lovely melody that yearns upward to the light:This is the movement’s other important theme.Also listen for an optimistic brass chorale: It is the first hint of the finale’s Resurrection theme. This march music builds to a big climax, then subsides into a massive two-part development section.A new pastoral theme led by oboes appears here, a remembrance of life’s sweetness.The reality of death returns with crushing force, as the second phase of the development opens with an explosion of sound from the battery of drums and the gong. Ultimately, this section ends in catastrophe: an ear-splitting scream of dissonant chords ending in two shattering thunderclaps.After the recapitulation of the opening music, the closing coda is quiet and fragmented. But Mahler adds a last theatrical gesture of destruction, a huge, chromatically descending scale by the full orchestra. So utterly different is the secondmovement Andante that Mahler asked for a considerable pause to be taken after the first movement. He explains,“The second and third movements are conceived as an interlude.The second is a memory—a shaft of sunlight from out of the life of this hero. It has surely happened to you, that you have followed a loved one to the grave, and there suddenly arose the image of a long-dead hour of happiness ... you could almost forget what has just happened.” This happy memory takes the form of a graceful Austrian ländler dance. The third movement is a more disturbing interlude: the first of Mahler’s

diabolical scherzos. It begins innocently enough with the music of a comical Wunderhorn song,“St.Anthony Preaching to the Fishes,” that Mahler composed simultaneously in 1893. But in Mahler humor and tragedy were close companions. The aggressive trio section, led by brass, undermines the humor, and when the whirling scherzo returns, it has become fiercer and altogether unhinged.The trio’s second appearance pushes matters over the edge, culminating in a shattering “cry of despair,” in Mahler’s words.“To someone who has lost himself and his happiness, the world seems crazy and confused, as if deformed by a concave mirror.The scherzo ends with the fearful scream of a soul that has experienced this torture.” Over the shuddering gong that closes this nightmare emerges, without pause, Mahler’s purest, most untroubled vision: the song “Urlicht,” sung by the alto soloist. Mahler asks the singer to use “the tone and vocal expression of a child who thinks he is in heaven.” The music and the message of trusting faith are as sincere and


uncomplicated as the scherzo’s was cynical and despairing. But such serenity is premature, and the finale opens with a reprise of the “cry of despair” from the third movement.This music returns us to the drama of the first movement and its implicit questions:What is the meaning of life, of death? It unfolds in a series of vivid musical-dramatic tableaux. We hear distant horn calls from another world.The brass chorale theme from the first movement returns, now clearly based on the old Gregorian “Dies irae” chant that obsessed so many composers. But here it is most apt, for the Day of Judgment is truly upon us.A solo trombone, then trumpet sound the Resurrection theme. Flutes and English horn introduce an anguished, fearful theme that will also reappear. In one of the most stunning moments in any Mahler score, a great crescendo of drums depicts the earth cracking open to yield its dead. A huge and surprisingly jaunty march now begins. Mahler:“The dead arise and march forth in endless procession.The great and the small of the earth, the kings and the



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beggars, the just and the godless, all press forward.The cry for mercy and forgiveness sounds fearful in our ears.â&#x20AC;? In a strange passage, Mahler juxtaposes the anguished theme against a distant band playing incongruously upbeat music. A distant series of brass fanfares, which Mahler called the â&#x20AC;&#x153;Grosser Appelâ&#x20AC;? or the Last Trump, sounds across the empty planet. In another spine-tingling moment we hear the â&#x20AC;&#x153;Bird of Deathâ&#x20AC;? (flute and picccolo)


crying out: the last sound of Earth. The next sound issues from another world. It is the softest, most haunting of all choral entrances, as the choir intones the Resurrection theme and Klopstockâ&#x20AC;&#x2122;s words: â&#x20AC;&#x153;Rise again, yea, thou shalt rise again.â&#x20AC;? Now with Mahlerâ&#x20AC;&#x2122;s own words, the alto soloist, then the soprano, transform the anguished theme into joy:â&#x20AC;&#x153;Oh believe, my heart ... Thou were not born in vain.â&#x20AC;?With bells and organ pealing, all the assembled forces


proclaim Mahlerâ&#x20AC;&#x2122;s triumphant if provisional answer to lifeâ&#x20AC;&#x2122;s riddle:â&#x20AC;&#x153;With wings, which I have won me, I shall soar upwards, I shall die, to live!â&#x20AC;? The BSO most recently performed Mahlerâ&#x20AC;&#x2122;s Symphony No. 2 on June 8-11, 2006, with Music Director Yuri Temirkanov and guest artists Janice Chandler-Eteme, Nancy Maltsby, Baltimore Choral Arts Society, Morgan State University Choir and Choral Arts Society of Washington. Notes by Janet E. Bedell, copyright 2011

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7SLHZL JHSS PU HK]HUJL [V YLNPZ[LY  Tuesday, October 11th

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Friday, September 23, 2011 8 p.m. Sunday, September 25, 2011 3 p.m. JOSEPH MEYERHOFF SYMPHONY HALL


Tchaikovsky’s “Pathétique” Marin Alsop Conductor Alisa Weilerstein Cello

James Lee III Antonín Dvorˇák

Chuphshah! Harriet’s Drive to Canaan* Cello Concerto in B Minor, opus 104 Allegro Adagio ma non troppo Finale: Allegro moderato ALISA WEILERSTEIN


performing with the Deutsches Symphonie Orchester led by Matthias Pintscher in Berlin; playing Pintscher’s Reflections on Narcissus with the Tonhalle Orchestra and Mr. Pintscher in Zurich; and making her debuts with the National Orchestra of Spain, the Danish Radio Symphony Orchestra and the Royal Stockholm Philharmonic Orchestra performing Osvaldo Golijov’s Azul. Ms.Weilerstein has been continually engaged as a soloist by orchestras across the U.S. and in Europe. Ms.Weilerstein is a graduate of the Young Artist Program at the Cleveland Institute of Music, and she has been appointed artist-in-residence at the Institute. In May 2004 she graduated from Columbia University in New York with a degree in Russian history. Alisa Weilerstein most recently appeared with the BSO on June 7-10, 2007, with Music Director Marin Alsop, performing Elgar’s Cello Concerto.

Notes on the Program Chuphshah! Harriet’s Drive to Canaan


Piotr Ilyich Tchaikovsky

Symphony No. 6 in B Minor, opus 74, “Pathétique” Adagio - Allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso

*Commissioned by the Baltimore Symphony Orchestra, Marin Alsop, Music Director The concert will end at approximately 10:10 p.m. on Friday and 5:10 p.m. on Sunday.

Marin Alsop For Marin Alsop’s bio, please see p. 14.


Alisa Weilerstein American cellist Alisa Weilerstein has attracted widespread attention for playing that combines a natural virtuosic command and technical precision with impassioned musicianship.

A major highlight of Ms.Weilerstein’s 2009-10 season was performing Elgar’s Cello Concerto with the Berliner Philharmoniker and Daniel Barenboim in Oxford, England, for the orchestra’s 2010 European Concert.This concert was televised live worldwide, broadcast on the BBC and was released on DVD. Highlights of Ms.Weilerstein’s 2010-11 season included: recitals with pianist Inon Barnatan at London’s Wigmore Hall and in Philadelphia at the Kimmel Center;

Born in Benton Harbor, Michigan, November 26, 1975; lives in Baltimore

Tonight’s program brings the world premiere of a work with an arresting title: Chuphshah! Harriet’s Drive to Canaan. “Harriet,” of course, is Harriet Tubman, the great abolitionist born in Maryland who personally led hundreds of slaves to freedom before the Civil War as well as powerfully advocated for African-American rights before and after emancipation. She is the first of the strong women whom we will be meeting in music this season. Mr. Lee recalls that, in offering the BSO commission, Marin Alsop specifically asked him for a piece about Tubman.The 35-yearold Lee juggles a busy schedule of creative work alongside serving as associate professor of composition and theory at Morgan State University. Raised in Benton Harbor, Mich., he began composing at age 16, and after studies in piano at Andrews University, he went on to earn three degrees in music at the University of Michigan. Two highly eclectic composers directed his graduate studies there:William Bolcom for his master’s and Michael Daugherty for his doctorate. Mr. Lee also studied at the Boston September 10, 2011 – October 30, 2011



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SUNDAYS AT 3:30 SEP 18 • 2011 String Orchestra of New York City OCT 36 • 2011 Di Wu, piano

NOV 13 • 2011 Boris Andrianov, cello JAN 15 • 2012 Goldstein-PeledFiterstein Trio



SUNDAYS AT 7:30 CHAMBER MUSIC BY CANDLELIGHT Featuring members of the Baltimore Symphony Orchestra

SEP 25 • 2011 OCT 23 • 2011


DEC 4 • 2011


JAN 22 • 2012

NOVEMBER 5, 2011 Ticketed Event: Contact us for details.

For more information call 443.759.3309 • All concerts take place at the Second Presbyterian Church 4200 St. Paul St. Baltimore, MD



Symphony’s Tanglewood Institute and in 2003 received the Charles Ives Prize for music composition from the American Academy of Arts and Letters. Mr. Lee’s doctoral dissertation was a large-scale work for orchestra, Beyond Rivers of Vision, which was chosen by Leonard Slatkin for performances with the National Symphony in 2006. The composer has provided this detailed introduction to Chuphshah: “Chuphshah! Harriet’s Drive to Canaan is a 12-minute work based on various aspects of the life of Harriet Tubman. “Chuphshah” is the biblical Hebrew word for freedom; specifically, it is freedom from slavery. Canaan refers to the northern free states of America or even as far north as Canada, which would have been the “promised land” for the slaves. As Chuphshah begins, it appears that one is witnessing a scene of action already in progress.The brass and strings open with an ascending pattern accented by percussion instruments.This is immediately followed by the sound of a marimba representing an escape to freedom by night. Identifying Harriet with the English horn, I have tried to capture some of the emotions she may have felt after she first escaped from slavery. The sadness and longing she felt for her family prompted her to return several times to dangerous slave territory in Maryland and the Deep South in pursuit of family members and other slaves. Throughout the work, there are various quotes of Negro spiritual melodies. Harriet Tubman used to announce her presence among slaves by singing ‘Go Down Moses.’ Another common tune they would have sung was ‘Follow the Drinkin’ Gourd.’ Other songs that are partially quoted are ‘I Wish I Was in Dixie’s Land’ and the ‘Battle Hymn of the Republic’; these tunes appear as opposing melodies that are harmonized in various ways as they reappear. As the Civil War continues to be bitterly fought, these melodies continue to struggle against each other as the music portrays a battle in the war and, more specifically, Harriet Tubman’s experience in Troy, New York, where she helps a man named Charles Nalle escape to freedom. Much of the orchestra is involved in the battle, which ends with the death of the ‘Dixie’ tune and bitingly dissonant chords in the orchestra.


As the work nears its end, violins and oboe sing the last part of the ‘Battle Hymn of the Republic’:‘His truth is marching on.’ This is followed by a quasi brass fanfare with the entire orchestra, which suggests the full military funeral ceremony that was given for Harriet Tubman at her death.” Concerto for Cello and Orchestra in B Minor, opus 104

Antonín Dvorˇák Born in Nelahozeves, Bohemia (now Czech Republic), September 8, 1841; died in Prague, May 1, 1904

Dvorˇák’s two most popular orchestral works—the “New World” Symphony and the Cello Concerto—were both “made in America” during the three years the composer spent as director of the National Conservatory in New York City from 1892 to 1895. But while the symphony partly draws its inspiration “from the New World,” the concerto is definitely “from the Old World.” In fact, many commentators hear in this work an expression of Dvorˇák’s homesickness for his beloved Bohemia. By late 1894 Dvorˇák was longing to return home.The Czech cellist Hanus Wihan had been begging Dvorˇák for a concerto, and when the composer heard Victor Herbert—a prominent cellist before he became the toast of Broadway—play his new Second Cello Concerto with the New York Philharmonic, inspiration struck. In November 1894 he began his Cello Concerto, and by February 9, 1895 the score was largely completed. One of his masterpieces, it remains today perhaps the greatest of all cello concertos. The first movement opens mysteriously and with barely suppressed excitement as clarinets and other woodwinds murmur the principal theme; this quickly builds to a fortissimo declaration by the violins.The second major theme, a marvelous, flowing melody with a touch of sentimentality, is introduced a few moments later by the solo horn.After the orchestra’s exposition, the soloist enters with a very grand statement of the principal theme underscored by bold triple-stopped chords. The slow movement stresses the cello’s ability to sing with the pathos and feeling of the human voice. Its heart is a poignant central section for the soloist and woodwind companions, introduced by four stormy orchestral measures. Here we are listening to

a paraphrase of Dvorˇák’s song “Leave Me Alone” of 1887.The composer had just learned of the serious illness of his wife’s elder sister, Josefina Kaunitzová, and this quote from a favorite song of hers pays tribute to an old love. In the 1860s Josefina, a beautiful young actress, had come with her sister Anna for piano lessons with Dvorˇák. The composer fell hopelessly in love with her, but as there was no reciprocation, he married the younger sister. Shortly after Dvorˇák returned to Bohemia in the spring of 1895, Josefina died.The composer returned to his nearly completed concerto and appended a remarkable grieving epilogue to its finale. The BSO most recently performed Dvorˇák’s Cello Concerto on February 26-28, 2009, with Peter Oundjian, conductor, and cellist Daniel Mueller-Schott. Symphony No. 6 in B Minor, “Pathétique”

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

Tchaikovsky’s last and greatest symphony, the “Pathétique,” with its dark and deathhaunted first and last movements and its extraordinary highs and lows, epitomizes its creator.And Tchaikovsky seemed to know this as he completed it in August 1893. “I definitely think it is by far the best and in particular … the most sincere of all my pieces. I love it as I have never loved any other of my musical children,” he wrote to his nephew and the piece’s dedicatee, Vladimir “Bob” Davydov. With its dying finale—unprecedented for a symphony at this time, though it would be much copied afterward—the Symphony mostly bewildered the St. Petersburg audience at its premiere under the composer’s baton on October 28, 1893. But eight days later,Tchaikovsky suddenly died of cholera and this eerie coincidence with a work that seemed to foretell his own death vaulted the “Pathétique” into a fame it has never lost. However, as the composer began this work in February 1893, he was probably thinking of death only as a fearful abstraction.The last year of his life was a good one. He was enjoying his international fame—earning an honorary doctorate from Cambridge University.And his Sixth Symphony came to him in an uncharacteristic flood of inspiration.The first movement was sketched in just four days.


First movement: Out of the sepulchral tones of low strings emerges a lone bassoon, like the voice of death, which tries languidly to launch the first theme but cannot.As the tempo finally increases to Allegro, the divided violas deliver the full theme in the home key of B minor; it is aggressive yet nervous and rich in developmental possibilities. More memorable is the second theme, introduced by muted violins and cellos; it is one of Tchaikovsky’s most famous melodies, full of Romantic yearning. Suddenly the dramatic development bursts on us fortissimo.The frenzy subsides briefly for a brass chorale and closes with a passionately tragic passage for the brass. Tchaikovsky adored the ballet; it was his ideal escape from dark thoughts.And that’s exactly how the second movement’s waltz intermezzo acts here: It is an oasis of peace and beauty in the midst of suffering. But it is a strange limping waltz in 5/4 time instead of the usual 3/4.And its middle trio section features a rather intense violin theme that unsettles the waltz’s gaiety. Third movement: If death can’t be beaten back with a waltz,Tchaikovsky next tries a boisterous march. However, first we hear nervously flickering scherzo music, with the oboe and brass peeping through with the march theme.This edgy scherzo continues to undercut the confident sound of the march. Exposing the falsity of the march’s triumph, the opening of the finale provides one of the most jarring emotional contrasts in all symphonic music. In a slow tempo, the strings cry out a theme of utter despair. They are joined by the deathly partner from the first movement, the bassoon.A second theme for the violins seems initially gentler and more consoling, but it too rises to a shout of anguish.The first theme returns, its bitter cry now underscored by the harsh, ugly sound of stopped horns—a musical representation of what Tchaikovsky called “the snub-nose reptile” of death.The last moments of the symphony graphically portray the process of dying, as the orchestra drops to cellos and basses, then fades into silence. The BSO most recently performed Tchaikovsky’s Symphony No. 6 on November 21-23, 2008, with Marin Alsop, conductor. Notes by Janet E. Bedell, copyright 2011

September 10, 2011 – October 30, 2011



notes Mr.Tortelier has been given the title of Conductor Emeritus and continues to work with the orchestra regularly. He also holds the position of Principal Guest Conductor at the Royal Academy of Music in London. Mr.Tortelier has collaborated with major orchestras and enjoyed a long association with Chandos Records, resulting in an extensive catalogue of recordings, notably with the BBC Philharmonic and Ulster orchestras.

Saturday, October 1, 2011 8 p.m. Sunday, October 2, 2011 3 p.m. JOSEPH MEYERHOFF SYMPHONY HALL


Yan Pascal Tortelier most recently appeared with the BSO on March 24-26, 2011, conducting Ravel’s Valse nobles et sentimentales, Grieg’s Piano Concerto with soloist Orion Weiss, and Lutoslawski’s Concerto for Orchestra.

Gutiérrez Plays Mozart Yan Pascal Tortelier Conductor Horacio Gutiérrez Piano

Symphony No. 5 in E-Flat Major, opus 82 Tempo molto moderato Allegro moderato - Presto Andante mosso, quasi allegretto Allegro molto - Misterioso


Wolfgang Amadeus Mozart

Edward Elgar

Piano Concerto No. 19 in F Major, K. 459 Allegro Allegretto Allegro assai HORACIO GUTIÉRREZ In the South, opus 50, “Alassio”

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

Yan Pascal Tortelier Yan Pascal Tortelier began his musical career as a violinist, and at 14 he won first prize for violin at the Paris Conservatoire and also made his debut as a soloist with the London Philharmonic Orchestra. Following general musical studies with Nadia Boulanger, Mr.Tortelier studied conducting with Franco Ferrara at the Accademia Chigiana in Siena, and from 26


1974 to 1983 he was Associate Conductor of the Orchestre National du Capitole de Toulouse. Other positions have included Principal Conductor and Artistic Director of the Ulster Orchestra (1989-1992) and Principal Guest Conductor of the Pittsburgh Symphony Orchestra (20052008). Following his outstanding work as Chief Conductor of the BBC Philharmonic between 1992 and 2003, including annual appearances at the BBC Proms and a very successful tour of the U.S. to celebrate the orchestra’s 60th anniversary season,


Jean Sibelius

Horacio Gutiérrez Considered one of the great pianists of our time, Horacio Gutiérrez is consistently praised by critics and audiences alike for the poetic insight and technical mastery he brings to a diverse repertoire. Since his professional debut in 1970 with Zubin Mehta and the Los Angeles Philharmonic, Mr. Gutiérrez has appeared regularly with the world’s greatest orchestras and on major recital series. Mr. Gutiérrez is a strong advocate of contemporary American composers. Of special importance: his performance of William Schuman’s Piano Concerto in honor of the composer’s 75th birthday at New York’s 92nd Street Y; and of Andre Previn’s Piano Concerto with the New York Philharmonic with Mr. Previn conducting. He frequently includes George Perle’s Phantasyplay on his recital programs, and Mr. Perle wrote a set of nine bagatelles dedicated to Mr. Gutiérrez. Mr. Gutierrez’s Telarc recordings include Rachmaninoff ’s Piano Concertos Nos. 2 and 3 with Lorin Maazel and the Pittsburgh Symphony, nominated for a Grammy Award. His television performances in Great Britain, the United States and France have been widely acclaimed and won him an Emmy Award for his fourth appearance with the Chamber Music Society of Lincoln Center. Born in Havana, Cuba, Mr. Gutiérrez appeared at the age of 11 as guest soloist with the Havana Symphony. He became an


American citizen in 1967.A graduate of The Juilliard School, he is married to pianist Patricia Asher and resides in New York City. Horacio Gutiérrez most recently appeared with the BSO on April 12-15, 2007, with conductor Yan Pascal Tortelier, performing Beethoven’s Piano Concerto No. 5, the “Emperor.”

Notes on the Program Symphony No. 5 in E-flat Major

Jean Sibelius Born in Hämeenlina, Finland December 8, 1865; died in Järvenpää, Finland, September 20, 1957

In September 1914 Sibelius began the most difficult creative journey of his career: the Fifth Symphony.The journey took five years and three different versions until it would be ready for its first public hearing on November 24, 1919 in Helsinki under the composer’s baton. During those years, Europe was convulsed by World War I, the Russian Revolution spread to Finland, and Sibelius found himself for a time a political prisoner in his own home. World War I cut the composer off from the outside world and made him a virtual recluse at his rustic villa,Ainola, north of Helsinki. Money was tight, food scarce. When Russia was swept by revolution, Finland seized her opportunity and declared independence on December 6, 1917. But Finland also became embroiled in the power struggle between the Red Bolsheviks and the White monarchists/democrats, and the Bolsheviks briefly placed Sibelius under house arrest and tore his possessions apart looking for a nonexistent arms cache. It was the composer’s passionate, virtually religious attachment to nature that saved his sanity and animated his new symphony. Ainola, overlooking Lake Tuusula and surrounded by Finland’s deep, mysterious woods, was an ideal place for nature worship.The wheeling patterns and wild cries of the migratory swans, geese and cranes over the lake filled him with profound wonder and joy. On April 21, 1915 he wrote in his diary:“Today at ten to eleven I saw 16 swans. One of my greatest experiences! Lord God, that beauty! They circled over me for a long time. Disappeared into the solar haze like a gleaming silver ribbon. Their call the same woodwind type as that of cranes, but without tremolo.The swancall closer to the trumpet. … The Fifth

Symphony’s finale-theme: Legato in the trumpets!!” From that mystical experience came the great swinging theme, the Swan Hymn that dominates the Fifth’s finale. It is clear from Sibelius’ diary entries that these cries of nature and Finland’s brooding Nordic landscapes inspired the composer’s unique orchestral sound.At its heart are the woodwinds—not singing sweet birdcalls as in Beethoven’s “Pastoral” Symphony, but evoking the wild voices of untamed nature. Even the symphony grows like life itself by natural evolutionary processes rather than by being squeezed into traditional symphonic molds like sonata forms and rondos.We hear this at the beginning of the first movement. Out of a mysterious horn chord, a little upward flip of a motive emerges in the high woodwinds.At each reiteration, it grows a bit, soon acquiring a trilling tail, which in turn spawns a shimmering, exotic flight of woodwinds. Slow to make their entrance, the strings finally arrive with a sharp initial sting and a whirring, buzzing sound that opens a new musical phase of passionate struggle.The string


buzzing becomes faster, wilder and more menacing; only a majestic brass climax can tame it. But then another cycle begins: the woodwind upward flourishes now joined by strings; the angry buzzing growing more ferociously dissonant. Movement two is much gentler; commentator Michael Steinberg aptly calls it “variations on a rhythm.”Almost immediately we hear a little five-note phrase played by plucked strings and flutes. Sibelius builds a number of melodic themes from it, some warmly Romantic, others faintly disturbing. But under the grace and lightness of this music there are latent powers barely in check.Though we can’t hear it yet, the finale’s Swan Hymn is striving to be born. The finale begins with agitated, whirring strings.Then the horns begin the mighty, tolling Swan Hymn; above it rides a yearning melody sung by high woodwinds. It is the goal toward which the whole symphony has been striving, its great swings implied in the earlier movements. Late in the movement, the Hymn struggles to return to the home key of E-flat, and it

September 10, 2011 – October 30, 2011




finally achieves it with a splendid pealing of brass. But Sibelius will not permit us to wallow in this grandeur. In one of the most startling endings, he suddenly wraps matters up with six loud, sharp chords separated by oddly spaced pauses.Their blunt power reflects the tough, idiosyncratic Nordic genius who created them. The BSO most recently performed Sibelius’ Symphony No. 5 on February 13-15, 2004, with Mark Wigglesworth, conductor. Piano Concerto No. 19 in F Major, K. 459

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

“Mozart essentially invented the classical piano concerto and then elaborated the concerto’s potentialities of form and expression in a series of highly individual masterpieces. He unveiled a universe and then devoted himself to populating it with the most diverse creations.” —Maynard Solomon in Mozart: A Life Mozart and Beethoven scholar Maynard Solomon here eloquently sums up Mozart’s extraordinary contribution to the development of the piano concerto, epitomized by the 12 keyboard masterpieces he wrote in quick succession between 1784 and 1786.The impetus for such an outpouring of genius in a specific musical genre was the composer’s huge popularity as a keyboard soloist in Vienna during the middle of the 1780s. But with these works, he went far beyond creating vehicles simply to display his own virtuosity. Instead, he used them to explore different sides of his temperament and his world outlook.And he was as much concerned with the orchestra’s role in a concerto as the pianist’s, relishing the interplay between tutti and solo in the musical argument. Especially, he loved to exploit the sonorities of the woodwind instruments. The Piano Concerto No. 19 in F Major is one of the most effervescent and untroubled of the series, and listening to it, one feels the sheer joy Mozart must have experienced in simultaneously exercising his creative and performing skills.The spirit of play pervades all three movements, and the finale is one of the greatest he ever created— giving a foretaste of the contrapuntal splendors of the finale of his “Jupiter” Symphony. The first movement opens with a 28


pert military-march theme, a style Mozart used in many of his concertos at this time. But never before or after did he have such fun with this formula, which comes to dominate the whole movement, its crisp dotted-rhythm opening ambushing the music at every turn.The piano is almost as obsessive with its rolling triplet figures, which eventually infect the woodwinds as well. Rather than being a true slow movement, the second movement is a buoyant Allegretto in a pastoral 6/8 meter.Although it moves into the minor mode twice, these excursions add a little spice rather than any real sorrow or pathos. The finale is a spectacular fusion of sonata-rondo form with fugal episodes. Again, a rhythmic figure threatens a complete takeout. But it receives heavy competition from the lusty orchestral fugato that immediately succeeds it and returns later to form an exciting development episode. The BSO most recently performed Mozart Piano Concerto No. 19 on February 26-27, 1998, with Music Director David Zinman and pianist Mitsuko Uchida. In the South (Alassio)

Sir Edward Elgar Born in Broadheath, Worcestershire, England, June 2, 1857; died in Worcester, England, February 23, 1934

Since at least the time of Shelley and Keats, English creators—and ordinary folk, too— have flocked to Italy for its warm sunshine and hedonistic lifestyle: a corrective to their own rain clouds and reserve.William Walton took this one step further by moving permanently to the island of Ischia in the Bay of Naples. But when Edward Elgar tried for an Italian cure in the winter of 1903–04, his experience only partly lived up to the travel brochures. First, when he and his wife arrived in Bordighera on the Italian Riviera, he found his countrymen were already there in droves:“The whole place is English ... and the roads are full of English nurserymaids & old English women & children.” Moving on to Alassio, a resort near Genoa, they found a more authentically Italian atmosphere, but no Italian sun. By January, he was writing to his publisher and friend August Jaeger:“I have never regretted anything more than [this] horribly

disappointing journey: wasting time, money & temper.” But in the end, the journey was not wasted. Elgar had hoped to write a symphony for a festival of his works scheduled that March at Covent Garden; instead, he wrote one of his most dashing works, the concert overture or tone poem In the South (Alassio).The countryside began to work its magic on his imagination despite the uncooperative weather. On an afternoon walk, he strolled among “streams, flowers, hills: the distant snow mountains in one direction and the blue Mediterranean in the other. I was by the side of an old Roman way.A peasant shepherd stood by an old ruin, and in a flash, it all came to me—the conflict of armies in that very spot long ago where now I stood—the contrast of the ruin and the shepherd—and then all of a sudden, I came back to reality. In that time, I had ‘composed’ the overture—the rest was merely writing it down.” By February 21, the work was finished, and its premiere under the composer’s baton in London on March 16, 1904 was a triumph. In the South begins with an explosion of energy and an upward hurtle of horns reminiscent of Richard Strauss’ tone poem Don Juan, and indeed, there are plenty of echoes of Strauss in this work. Elgar named this bounding opening theme:“joy of living” (“wine and macaroni”). In the development section comes his vision of ancient Roman warriors: a ponderous march driven by timpani rolls and heavy blows from the bass drum. In utmost contrast is the development’s other episode: a lovely viola solo set in a delicate pastel wash of solo strings and harp. Elgar teased that this Italianate “canto populare” might be a folk song he had heard, then admitted he had written it himself.As the viola song dies away, the exuberant opening music recapitulates. Elgar cannily builds the excitement, often by strategic relaxations, to a brilliant climax with one last shout by the violins of the “joy of living.” The BSO most recently performed Elgar’s In the South on May 25 and 26, 2005, with Andrew Constantine, conductor, on Thank You concerts, and May 1-3, 1997, with Music Director David Zinman on subscription concerts. Notes by Janet E. Bedell, copyright 2011

Saturday, October 8, 2011 8 p.m. JOSEPH MEYERHOFF SYMPHONY HALL



Kings of Salsa Program will be announced from the stage. The concert will end at approximately 9:50 p.m. Note:The BSO does not perform on this program.

Kings of Salsa â&#x20AC;&#x153;Salsa, rumba, mambo, cha cha cha and reggaeâ&#x20AC;&#x201D;the dancers of the Kings of Salsa exercise their mastery of them all to perfection, as if dancing were as essential to life as breathing and the beating of the heart.The sheer exuberance, whistles and thunderous applause would indicate that the showâ&#x20AC;&#x2122;s sizzling eroticism and feverish euphoria bring even the coolest Hamburgers out in a sweat!â&#x20AC;? â&#x20AC;&#x201D;Hamburger Abendsplatt, Hamburg, Germany Choreographed by Roclan Gonzalez Chavez, this stunning new show pays homage to the great Cuban performers and the dance styles from this intoxicating island, with a cool contemporary modern twist showing young Cuba today.

Regarded as one of the best young choreographers in Cuba, Mr. Chavez has created this show to feature the unique talents of some of the Islandâ&#x20AC;&#x2122;s best dancers, picked from the cream of Cubaâ&#x20AC;&#x2122;s top dance companies. The electrifying mix of performers and choreographic styles makes this a show not to be missed. Featuring the very best of Havanaâ&#x20AC;&#x2122;s cool street salsa and hip-hop scene, Kings of Salsa seamlessly mixes traditional Afro-Caribbean moves, world-class contemporary dance and the Cuban classics: mambo, rumba, and cha cha cha. Backed by the spectacular nine-piece band Cuba Ashire, which unleashes Latin rhythms and stratospheric brass arrangements, Kings of Salsa showcases a slice of cool contemporary Cuba never seen before on stage.


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Friday, October 14, 2011 8 p.m. Saturday, October 15, 2011 8 p.m. Sunday, October 16, 2011 3 p.m. JOSEPH MEYERHOFF SYMPHONY HALL



The Music Of Elton John And More Presenting Sponsor:

Michael Cavanaugh Vocalist David Amado Conductor

Program will be announced from the stage. The concert will end at approximately 10 p.m. on Friday and Saturday and 5 p.m. on Sunday.

Michael Cavanaugh Michael Cavanaugh is the new voice of the American Rock & Roll Songbook. A charismatic performer, musician and actor, he became famous for his piano/lead vocals in the Broadway musical Movin’ Out. Mr. Cavanaugh was handpicked by Billy Joel to star in the title role, and he appeared in the show for three years, with more than 1,200 performances. He received accolade after accolade, which culminated in 2003 with both Grammy and Tony Award nominations. With the close of Movin’ Out at the end of 2005, he began touring in his own 30


right, creating a show that reinterprets the modern pop/rock songbook. He soon became one of the hottest artists in the corporate/events market. He accepted his first orchestral booking, “Michael Cavanaugh—The Songs of Billy Joel and More,” which debuted in April 2008 with the Indianapolis Symphony. In October 2008 he signed with Warner/ADA to distribute his first CD titled In Color. In June 2010 Mr. Cavanaugh debuted his second symphony show in the “Generations of Rock” series entitled “Michael Cavanaugh:The Songs of Elton John & More,” and he continues to tour both symphony productions.



David Amado Philadelphia native David Amado has been praised by the media, audiences and fellow musicians for his deep insight and visceral energy.These qualities have allowed Maestro Amado to reinvigorate the Delaware Symphony Orchestra, turning it into a premier regional orchestra during his short tenure. Descended from a long line of fine musicians, Maestro Amado became dedicated to a musical career during his high school years, while studying in the PreCollege Division of Juilliard. He continued his college years at Juilliard, studying piano with Herbert Stessin while exploring other facets of music, including the world of the orchestra. He received his Master’s in Instrumental Conducting at Indiana University, and after graduating he returned to New York to study again at Juilliard but this time as a conductor with Otto-Werner Mueller. His first job was an apprenticeship with the Oregon Symphony, followed by a sixyear tenure with the Saint Louis Symphony in Missouri.While in St. Louis, he was both the Music Director of the Saint Louis Symphony Youth Orchestra and staff conductor for the Saint Louis Symphony. Maestro Amado is a prominent leader of the Delaware arts community and he continues to be an enduringly popular figure in St. Louis, where he was the Associate Conductor of the Saint Louis Symphony Orchestra from 2001–2004. Recent highlights of his career include engagements with the Philadelphia Orchestra, the Los Angeles Philharmonic, the Saint Louis Symphony, the Royal Stockholm Philharmonic, the Houston Symphony, the New World Symphony, the Milwaukee Symphony, the Rochester Philharmonic and the Detroit Symphony. In addition to his concert schedule, David can be heard regularly on NPR affiliate WHYY and WVUD radio. He has also been heard nationally on NPR’s Performance Today and Dial-a-musician. Maestro Amado lives in Wilmington with his wife, violinist Meredith Amado, and their three children.


Orchestre de Paris, Orchestre de la Suisse Romande, Netherlands Radio Philharmonic,Tokyo Philharmonic, Deutsche Kammerphilharmonie Bremen and Scottish Chamber Orchestra. He also regularly conducts period instrument orchestras such as the Freiburg Baroque, Orchestra of the Age of Enlightenment and Le Concert d’Astrée. Mr. Langrée was Music Director of Opéra National de Lyon (1998-2000) and Glyndebourne Touring Opera (1998-2003) and has worked regularly at the Metropolitan Opera in New York and Glyndebourne Festival Opera. His discography includes recordings for Virgin Classics, Universal and Naïve. Many of these have won awards, including Victoire de la Musique, Diapason d’Or and Gramophone. In 2006, he was appointed Chevalier des Arts et des Lettres by the French Ministry of Culture.

Friday, October 21, 2011 8 p.m. Saturday, October 22, 2011 8 p.m. JOSEPH MEYERHOFF SYMPHONY HALL


Debussy’s La mer Presenting Sponsor:

Louis Langrée Conductor James Ehnes Violin

Symphony No. 31, “Paris” Allegro assai Andantino Allegro

Wolfgang Amadeus Mozart

Violin Concerto No. 3 in G Major, K. 216 Allegro Adagio Rondo: Allegro JAMES EHNES


Claude Debussy

Prelude to the Afternoon of a Faun

Claude Debussy

La mer From Dawn to Noon on the Sea Play of the Waves Dialogue of the Wind and the Sea

The concert will end at approximately 9:45 p.m.


Louis Langrée The French musician Louis Langrée has been Music Director of the Mostly Mozart Festival in New York since December 2002. During the 2010-11 season, he made his debut conducting theVienna Philharmoniker

at the Mozartwoche in Salzburg. In addition, he conducted Pelléas et Mélisande in Paris and London with the Orchestre de Paris and returned to the Aix-en-Provence Festival for La Traviata with the London Symphony Orchestra. Mr. Langrée has worked with many other orchestras in North America, Europe and farther afield, including those in Pittsburgh, Detroit and Dallas, as well as the

Louis Langree most recently appeared with the BSO on October 22-25, 2009. Haydn’s Symphony No. 44, “Trauersinfonie,” Mozart’s Piano Concerto No. 23 with soloist Simone Dinnerstein, and Beethoven’s Symphony No. 4.


Wolfgang Amadeus Mozart


Violinist James Ehnes is widely considered one of the most dynamic and exciting performers in classical music. He has performed in more than 30 countries on five continents, appearing regularly with many of the world's most well-known orchestras and conductors. Mr. Ehnes’s extensive discography of more than 25 recordings has garnered numerous awards, including a Grammy, a Gramophone, and six Juno Awards. His latest addition is a disc of Bartók’s two Violin Concertos and the Viola Concerto with the BBC Philharmonic and Gianandrea Noseda (Chandos) and Tchaikovsky’s Violin Concerto with the Sydney Symphony and Vladimir Ashkenazy (Onyx). Mr. Ehnes was born in 1976 in Brandon, Manitoba, Canada. He began violin studies at the age of 4; at age 9 he became a protégé of the noted Canadian violinist Francis Chaplin. He studied with Sally Thomas at the Meadowmount School of Music and from 1993 to 1997 at September 10, 2011 – October 30, 2011




The Juilliard School, winning the Peter Mennin Prize for Outstanding Achievement and Leadership in Music upon his graduation. Mr. Ehnes first gained national recognition in 1987 as winner of the Grand Prize in Strings at the Canadian Music Competition.The following year he won the First Prize in Strings at the Canadian Music Festival, the youngest musician ever to do so. At age 13, he made his orchestral solo debut with the Orchestre symphonique de Montréal. He has won numerous awards and prizes, including the first ever Ivan Galamian Memorial Award, the Canada Council for the Arts’ prestigious Virginia Parker Prize, and a 2005 Avery Fisher Career Grant. In October 2005, James was honored by Brandon University with a Doctor of Music degree (honoris causa), and in July 2007, he became the youngest person ever elected as a Fellow to the Royal Society of Canada. In July 2010, he received the honor of being named a Member of the Order of Canada. Mr. Ehnes plays the “Marsick” Stradivarius of 1715 and gratefully acknowledges its extended loan from the Fulton Collection. James Ehnes most recently appeared with the BSO on October 1-4, 2009. Music Director Marin Alsop.Tchaikovsky Violin Concerto.

Notes on the Program Symphony No. 31 in D Major, K. 297, “Paris”

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

On March 23, 1778, Mozart, 22, chaperoned by his mother, arrived in Paris to try to win the kind of lucrative appointment his genius deserved. But just as his similar efforts in the German city of Mannheim had failed, this stay in the French capital ultimately came to naught.Worse yet, his mother fell ill with a fever and on July 3 she died, hundreds of miles from the family home in Salzburg. In September, young Wolfgang finally slunk home again to the boring routine of the Archbishop of Salzburg’s court. The timing of Mozart’s arrival in Paris had been disastrously bad.The city was 32


embroiled in an operatic controversy between the followers of Christoph von Gluck and those of Niccolò Piccinni and hardly had time to notice the young genius in its midst. Moreover, Mozart once again showed little ability to play the courtly games of modesty and flattery. Mozart did, however, impress Joseph Legros, the leader of the city’s celebrated orchestral series known as the “Concert Spirituel.” Paris was perhaps the symphonic center of Europe at that time and boasted a number of fine orchestras, larger and better staffed than the ones Mozart was used to in Austria. Legros commissioned the young Salzburger to write a new symphony for the Concert Spirituel, and Mozart responded with his Symphony No. 31, which ever after bore the name “Paris.”A work deliberately calculated to appeal to French tastes and to exploit the power, drama, and timbral possibilities of a big orchestra, it seems to have been quite a hit at its premiere on June 18, 1778. In three movements rather than the usual four, this is a symphony full of loud full-orchestra passages, grand gestures and brilliant scales, set off against gracious, softer passages for violins and woodwinds. In the first movement, we hear this contrast immediately: four big D major chords followed by a Mannheim skyrocket scale (a trick Mozart had picked up from his previous stay in that city) and then a soft, rather feminine response from the violins. Opening with a kitten’s-paw phrase for the violins, the second thematic group seduces us with a family of charming melodies, the last one being the one the Paris audience loved the most. Mozart actually wrote two different Andante movements for this Symphony’s second movement, but we’ll hear the one more commonly used today, which is in G major and a simplified rondo form.With the trumpets and drums temporarily silenced, this music continues the style of the first movement’s softer passages. Its opening refrain theme is all languishing sighs and feminine grace.This refrain alternates with an episode that contrasts lovely, airy music emphasizing violins and flutes with a darkly assertive idea for all the strings in unison. Back in D major, the finale opens with a surprising passage: the first violins sighing off the beat over the scampering of the

second violins.The movement’s second theme, rising slowly before whirling away, is introduced in canon between the first and second violins.The Symphony closes with the full orchestra blazing away in a way guaranteed to thrill the Parisians. The BSO most recently performed Mozart’s Symphony No. 31 on April 18, 2006, with Andrew Constantine, conductor, in Frederick, and July 28, 1994, with Music Director David Zinman on a Summerfest program. Violin Concerto No. 3 in G Major, K. 216

Wolfgang Amadeus Mozart Throughout his career, Mozart would apparently fall in love with a particular musical genre and then explore its possibilities in a series of masterpieces created within a short period of time.An early explosion of such focused creativity produced his five violin concertos, composed between April and December 1775 when the composer was only 19.The external inspiration was his position as concertmaster of the Archbishop of Salzburg’s court orchestra.Although he always considered the piano to be his primary instrument, Mozart was also a virtuoso violinist who, at this period in his life, amazed listeners with the beauty and purity of his tone. So these five concertos were written for himself to play, as well as the accomplished Antonio Brunetti who succeeded him as concertmaster in 1776.Although the first two are hampered by their courtly conventionality, with the Third Concerto (September 1775) Mozart soared to a level of inspiration and craft that proclaimed the child prodigy had become a mature artist. Here, orchestra and soloist are beautifully melded, and the composer’s imagination and inventiveness never flag from one marvelous movement to the next. But the jewel of this concerto is the heart-piercingly beautiful Adagio middle movement, which taps a vein of yearning and sadness we encounter often in his later works. By nature Mozart was high-spirited and extroverted, but he was also subject to deep bouts of melancholy, which he seldom discussed but transmuted into some of his greatest and most moving music. In this exquisitely scored slow movement (muted strings, pizzicato bass and two flutes replacing the two oboes of the outer movements for


gentler color), Mozart creates a nocturnal mood that mingles beauty with pain. The sonata-form opening movement features a bold principal theme taken from Mozart’s opera Il re pastore (completed earlier that year) and a development section of exceptional length and imagination for so young a composer. The rondo finale is less carefree than many Mozart rondos, tinged with a shadow of the slow movement’s sadness. It contains a pair of extraordinary central episodes: the first, a lover’s serenade in G minor over a plucked mandolin-like accompaniment; the second, a faster Allegretto with a sturdy, rustic tune based on a folksong of either Hungarian or Alsatian origins. The BSO most recently performed Mozart’s Violin Concerto No. 3 on April 8, 2008, with Carolyn Kuan, conductor, and Qing Li, violin, and July 20-21, 2006, with Edwin Outwater, conductor and Soovin Kim, violin. Prelude to the Afternoon of a Faun

Claude Debussy Born in St. Germain-en-laye, France, August 22, 1862; died in Paris, March 25, 1918

In late 19th-century Europe, fusion of the various arts became a hot topic in creative circles.Wagner had suggested one approach with his music dramas, but there music was clearly the dominant partner. In Paris, a more collaborative movement emerged in which writers, painters and musicians met regularly to share ideas. Debussy, who much preferred the company of poets and painters to fellow musicians, began attending the Tuesday evening gatherings at the apartment of Stephane Mallarmé, leader of the Symbolist poets.Aspiring to a kind of verbal music, Mallarmé and his fellow Symbolists emphasized highly colored suggestions of mood and atmosphere in their verse rather than concrete descriptions or action. Written in 1865 but not published until 1876, Mallarmé’s pastoral poem L’Après-midi d’un faune (“The Afternoon of a Faun”) epitomized the Symbolist aesthetic. Its subject is the amorous adventures of a faun—the cloven-hoofed demigod of Greek mythology also known as a satyr—on a sultry summer afternoon. However, the poem leaves purposefully vague whether the faun’s pursuit and capture of two nymphs is real or only a languid dream. Both the sensual imagery and the vagueness meshed with Debussy’s own ideals, and

his musical paraphrase of the poem, composed between 1892 and 1894, became his first orchestral masterpiece. He described it as “a series of scenes against which the desires and dreams of the faun are seen to stir in the afternoon heat.” Premiered on December 22, 1894 in Paris, it drew demands for an encore from an audience who immediately embraced its radical new sound world. To appreciate how novel Debussy’s soundscape was, compare this work with two almost contemporary pieces, Dvorˇák’s “New World” Symphony and Tchaikovsky’s “Pathétique” Symphony. In both, strings dominate the orchestra, brass peal out, and the timpani crashes in fortissimo climaxes. But in his Afternoon of a Faun, Debussy banished both brass and timpani and de-emphasized the strings. Instead, the plangent tones of woodwinds dominate his moderate-sized orchestra, led by the solo flute as the faun’s instrument. His most luxurious addition is two harps, providing a shimmering accompaniment to the wind solos, and his most exotic, the delicate, bell-like antique cymbals that ring softly at the end.The sounds of these instruments are deployed with the utmost subtlety, and no big climaxes are permitted. The BSO most recently performed Debussy’s Prelude to the Afternoon of a Faun on February 7-8, 2008, with Music Director Marin Alsop, and also on February 9-10, 2008, at Carnegie Hall and the Tilles Center at CW Post on Long Island, NY. La mer (“The Sea”)

Claude Debussy On September 12, 1903, Debussy wrote from his in-laws’ home in landlocked Burgundy to his friend André Messager to tell him that he had begun a new piece, La mer.“You may not know that I was destined for a sailor’s life and that it was only quite by chance that fate led me in another direction. But I have always retained a passionate love for her [the sea].You will say that the Ocean does not exactly wash the Burgundian hillsides … but I have an endless store of memories and, to my mind, they are worth more than the reality, whose beauty often deadens thought.” By the time La mer was finished in March 1905, Debussy’s whole life had been turned upside down. In July 1904, he left his wife Lilly for the alluring and wealthy


Emma Bardac, herself another man’s wife; the two eloped to the Channel island of Jersey.Although Emma and Debussy eventually contracted a happy remarriage, Debussy’s marital mess made him briefly the scandal of Paris. Lilly attempted suicide, both she and Bardac brought court actions against the composer, and many of his friends shunned him.Thus, La mer—perhaps Debussy’s most passionate and personal work—can be heard as not only a musical portrait of the sea, but also an expression of a turbulent period in the composer’s life. When the work was premiered in Paris on October 15, 1905, many of the critics and even Debussy’s friends did not like it. After the delicate colors and veiled emotions of his recent opera Pelléas et Mélisande, they found La mer’s bold drama and loud, blazing climaxes to be unworthy of the composer. But Debussy had aimed for something new in this work. If he had already shown the sea as gentle and mysterious in Sirènes, the last movement of his Nocturnes, now he was going to describe its raw elemental power, corresponding to the deepest turmoil in the human soul. Neither symphony nor tone poem (Debussy hated Richard Strauss’ graphic musical descriptions), La mer was subtitled “Three Symphonic Sketches.”The first, “From Dawn to Noon on the Sea,” begins with a slow, misty introduction out of which important motives rise as the day breaks. Gradually the roll of the sea emerges: a fair-weather sea of sparkling waves and steady breezes.A brass chorale appears at the end, portraying the midday sun blazing overhead. “Play of the Waves” is lighter in mood and orchestration: the work’s scherzo section in which the waves frolic “in a capricious sport of wind and spray” (Oscar Thompson). The finale,“Dialogue of the Wind and the Sea,” begins ominously with the rumble of timpani and gong and a stormy cello/bass motive.A passionate melody, introduced by woodwinds and eventually treated in grand Romantic fashion by the strings, seems as much inspired by Debussy’s tumultuous love affair as by the stormtossed waters. The BSO most recently performed Debussy’s La mer on February 15-16, 2007, with conductor Jur Maerkl. Notes by Janet E. Bedell, copyright 2011 September 10, 2011 – October 30, 2011




Friday, October 28, 2011 8 p.m. Sunday, October 30, 2011 3 p.m. JOSEPH MEYERHOFF SYMPHONY HALL


Rachmaninoff’s Third Symphony Presenting Sponsor:

Vasily Petrenko Conductor Barry Douglas Piano

Nikolai Rimsky-Korsakov

Franz Liszt

Capriccio espagnol, opus 34 Alborada Variazioni Alborada Scena e canto gitano Fandango asturiano Piano Concerto No. 1 in E-Flat Major Allegro maestoso Quasi adagio - Allegretto vivace Allegro animato Allegro marziale animato BARRY DOUGLAS


Sergei Rachmaninoff

Symphony No. 3 in A Minor, opus 44 Lento - Piu vivo Adagio ma non troppo Allegro vivace Allegro

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


Vasily Petrenko Vasily Petrenko was born in 1976 and started his music education at the St. Petersburg Capella Boys Music School. He then studied at the 34


St. Petersburg Conservatoire and has also participated in master classes with such major figures as Ilya Musin, Mariss Jansons, Yuri Temirkanov and Esa-Pekka Salonen. Between 1994 and 1997 Mr. Petrenko was Resident Conductor at the St. Petersburg State Opera and Ballet Theatre in the Mussorgsky Memorial Theatre.

Following considerable success in a number of international conducting competitions, including the Fourth Prokofiev Conducting Competition in St. Petersburg (2003), first prize in the Shostakovich Choral Conducting Competition in St. Petersburg (1997), and first prize in the Sixth Cadaques International Conducting Competition in Spain, he was appointed Chief Conductor of the State Academy Orchestra of St. Petersburg from 2004 to 2007. During recent seasons, Mr. Petrenko has conducted many key orchestras in Russia, including the St. Petersburg Philharmonic and the Moscow Philharmonic. He commenced his position as Principal Conductor of the Royal Liverpool Philharmonic Orchestra in September 2006, and six months into his first season this contract was extended to 2012. In 2009, the contract was again extended to 2015, and he also assumed the title of Chief Conductor. Also in 2009, following his tremendous debut with the National Youth Orchestra of Great Britain, he was appointed its Principal Conductor to work with the orchestra each season. In recent seasons, Mr. Petrenko has made numerous critically acclaimed debuts with major orchestras. Equally at home in the opera house, and with more than 30 operas in his repertoire, Mr. Petrenko made a debut at Glyndebourne Festival Opera in 2010 with Verdi’s Macbeth, and he has conducted three productions in recent seasons at the Netherlands Reisopera. Recordings with the Royal Liverpool Philharmonic Orchestra include a rare double bill of Fleishman’s Rothschild’s Violin and Shostakovich’s The Gamblers; Rachmaninov’s Symphonic Dances and Isle of the Dead; and a critically acclaimed series of recordings for Naxos. In October 2007, Mr. Petrenko was named Young Artist of the Year at the annual Gramophone Awards, and in 2010, he won the Male Artist of the Year at the Classical Brit Awards. In 2009, he was awarded honorary doctorates by both the University of Liverpool and Liverpool Hope University in recognition of the immense impact he has had on the Royal Liverpool Philharmonic and the city’s cultural scene. Vasily Petrenko most recently appeared with the BSO on January 29-31, 2009. Program


included Liadov’s Kikimora,Tchaikovsky’s Piano Concerto No. 1 with soloist Stephen Hough, and Shostakovich’s Symphony No. 8.


Barry Douglas Barry Douglas is one of the most versatile and brilliant pianists of today.Active as an orchestral soloist, recitalist, chamber musician, conductor and festival director, he has been acclaimed by critics and audiences worldwide Mr. Douglas has established a major international career since winning the Gold Medal at the 1986 Tchaikovsky International Piano Competition, Moscow. He has since appeared as soloist with many of the world’s foremost orchestras. In 1999, he formed Camerata Ireland, an all-Irish chamber orchestra with players from both Northern and Southern Ireland, to celebrate “the wealth of Irish musical talent.” He remains its Artistic Director. He is also the Artistic Director of the International Piano Festival held at Bridgewater Hall in Manchester, the Clandeboye International Festival and the Camerata Ireland at Castletown Series Festival in Ireland. As a soloist, highlights of the 2010-11 season included his return to the London Symphony Orchestra, City of Birmingham Symphony Orchestra, Cincinnati Symphony, Singapore Symphony, Duisburg Philharmonic, RSB Berlin and Ulster Orchestra, among others. Best known for his performances of the large-scale Romantic works Mr. Douglas is also a champion of 20th- and 21st-century composers, such as Reger, Britten, Corigliano and Penderecki. Works premiered by Mr. Douglas include Penderecki’s Piano Concerto, “Resurrection,” which he first performed in Warsaw in 2002 at the behest of the composer. In 2009, he performed with the Warsaw Philharmonic Orchestra in honor of Penderecki’s 75th birthday. Sought after as a chamber musician, he has shared the stage with numerous acclaimed artists, such as Cho-Liang Lin, Lynn Harrell, Gary Hoffmann,Andres Diaz and the Tokyo,Ysaye and Guarneri String Quartets. Mr. Douglas has recorded extensively throughout his career and has recorded

all the Beethoven Concertos with Camerata Ireland. Mr. Douglas received the Order of the British Empire (OBE) in the 2002 New Year’s Honours List for services to music. He is also the recipient of an Emmy and a Fellow of the Royal College of Music, where he is Prince Consort Professor of Piano. He received honorary doctorates from Queens University in Belfast, the National University of Ireland in Maynooth outside Dublin and the University of Wyoming A native of Ireland, Mr. Douglas studied at the Belfast School of Music and began conducting at an early age. At the age of 16, he began piano lessons with Felicitas LeWinter, who inspired him to become a pianist. He was awarded a scholarship to the Royal College of Music in London, where he studied with John Barstow, and later studied privately with Maria Curcio and Yvegeny Malinin. Barry Douglas most recently appeared with the BSO on June 12-15, 2008.Thomas Dausgaard, conductor. Rachmaninoff ’s Piano Concerto No. 3.

Notes on the Program Capriccio espagnol

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

In his autobiography, Nikolai RimskyKorsakov recalled with pleasure the first rehearsal in St. Petersburg for the premiere of his Capriccio espagnol.“The first movement ... had hardly been finished when the whole orchestra began to applaud. Similar applause followed all the other parts wherever the pauses permitted. I asked the orchestra for the privilege of dedicating the composition to them. General delight was the answer.” Now orchestral musicians rarely greet a new work with applause—more often they’re silently cursing its difficulties. But here they recognized a work that, despite its considerable challenges, was a joy to play and, moreover, made them, singly and collectively, sound like kings.Today it is still considered one of the symphony orchestra’s great showpieces. Rimsky stressed, however, that his concept here went far beyond attractive scoring.“The opinion formed by both critics and the public that the Capriccio is


a magnificently orchestrated piece is wrong. The Capriccio is a brilliant composition for the orchestra.The change of timbres, the felicitous choice of melodic designs and figuration patterns exactly suiting each kind of instrument, brief virtuoso cadenzas for solo instruments, the rhythm of the percussion instruments, etc. constitute here the very essence of the composition and not its clothing or orchestration.The Spanish themes of dance character furnished me with rich material for ... multiform orchestral effects.” Capriccio espagnol is in five brief, interlinked movements. Since it was originally conceived as a violin/orchestral fantasy on Spanish themes for Rimsky’s colleague at the Russian Imperial Chapel, P. S. Krasnokusky, the violin plays the leading role among the many soloists. But the clarinet is first into the spotlight in the opening “Alborada.” Between the Alborada’s appearances comes a slow, songful interlude reveling in the orchestra’s richest colors and led by four horns.The fourth-place “Canto gitano” or “Gypsy Song” is introduced by a brass fanfare; under its impassioned melody, the whole orchestra vibrates like a giant guitar.This flows directly into the final “Fandango”—a blazing gypsy dance with castanets and drums. The BSO most recently performed RimskyKorsakov’s Capriccio espagnol on June 18, 2011, with Music Director for the BSO Summer Academy, and on January 3-5, 1997, with Bobby McFerrin, conductor. Piano Concerto No. 1 in E-flat Major

Franz Liszt Born in Raiding, Hungary, October 22, 1811; died in Bayreuth, Germany, July 31, 1886

Though born to poor parents on one of the rural Esterházy (the princely family that employed Haydn) estates on the AustroHungarian border, Liszt became the most cosmopolitan of all 19th-century musicians. The greatest pianist of his—and perhaps any—time, he was also an accomplished conductor and a daring composer who pushed the technique of piano playing and the elements of musical construction beyond anything imagined before. It seemed that he knew and frequently aided virtually every important European composer active during his long lifespan, and Wagner was one of his closest colleagues and beneficiaries. In fact, when Wagner was banished from September 10, 2011 – October 30, 2011




the German states after his participation in the 1849 revolution in Dresden, Liszt not only helped him settle in Switzerland, but also meticulously undertook the premiere performance of Wagnerâ&#x20AC;&#x2122;s Lohengrin at the Weimar court theater in 1850. Eventually, Wagner even became his son-in-law, marrying Cosima Liszt von BĂźlow. Surprisingly, Liszt did not create his concerto works until after he had retired from his dazzling career as a touring virtuoso. Settling in Weimar from 1848 to 1860, he devoted much of his time there to prolific composition.The First Piano Concerto dates from between 1848 and 1853 and was premiered in Weimar by Liszt in February 1855, with his famous colleague Hector Berlioz on the podium. The First Piano Concerto demonstrates Lisztâ&#x20AC;&#x2122;s ceaseless exploration of new sound colors both for the piano and the orchestra, with an emphasis on the heroic abilities of the pianist as technician and dramatist. In layout, it is four compact movementsâ&#x20AC;&#x201D; dramatic opening, singing slow movement, pert scherzo, and energetic finaleâ&#x20AC;&#x201D;stitched

together without pause.The finale thriftily transforms the slow movementâ&#x20AC;&#x2122;s delicate themes into a forceful conclusion. The BSO most recently performed Lisztâ&#x20AC;&#x2122;s Piano Concerto No. 1 on July 21-22, 2005, with conductor Hugh Wolff and pianist Yuja Wang. Symphony No. 3 in A Minor

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

When Rachmaninoff fled the Russian Revolution in December 1917, his life was turned upside down. He would mourn his lost native land for the rest of his life, and in his successive homes in Switzerland and America, he tried to recreate a little Russia with icons, samovars, and Russian-speaking servants. Having left all his wealth behind, he took up a grueling schedule of touring as a virtuoso pianist to support his wife and two daughters, in the process becoming one of this centuryâ&#x20AC;&#x2122;s keyboard legends. But his composing, so prolific until 1917, languished. Rachmaninoff was acutely aware of his creative problems and of their probable


    Broadmead Resident 77 years young


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causes.â&#x20AC;&#x153;Perhaps the incessant practice and eternal rush inseparable from life as a concert artist takes too much toll on my strength; perhaps I feel that the kind of music I care to write is not acceptable today,â&#x20AC;? he wrote. But creativity gradually reasserted itself, and in 1933â&#x20AC;&#x201C;34 he wrote his first great post-Russian success: the incandescent Rhapsody on a Theme of Paganini. Buoyed by its enthusiastic reception, he turned to something more ambitious: a Third Symphony to follow his immensely popular Second written nearly 30 years earlier. Composed at his Swiss lakeside villa during breaks in his concert schedule, the Third demonstrated that his musical voice had altered and matured over his long hiatus. It was premiered by his beloved Philadelphia Orchestra under Leopold Stokowski on November 6, 1936. Like the Second Symphony, the first movement opens with a motto theme that permeates the entire work. Barely audible in the veiled tones of muted solo cello, clarinets, and horns, it suggests Russian Orthodox chant in its restrained stepwise motion.After the orchestra explodes into life, the plaintive tones of oboes and bassoons sing the principal theme: a lovely expansion of the motto, over a gently rocking violin accompaniment. Embedded within the C-sharp minor slow movement is a sardonic little scherzo. In a haunting opening, the solo horn mournfully sings the motto motif over strummed harp chords and is answered by a weeping violin solo.The tempo accelerates to the scherzo, featuring a cheeky, crisply articulated march tune whose tone grows increasingly macabre and unhinged. Buzzing strings return to the slow-tempo music, which dies away with the motto idea. The finale jolts us with its sudden shift to noisy bustle and from the minor mode to A major. Its mood of frantic, slightly meaningless activity, culminating in a ferocious little fugue, suggests Rachmaninoff â&#x20AC;&#x2122;s own whirlwind schedule as globetrotting virtuoso. The BSO most recently performed Rachmaninoffâ&#x20AC;&#x2122;s Symphony No. 3 on May 12-13, 2005 with conductor Junichi Hirokami. Notes by Janet E. Bedell, copyright 2011


 13801 York Rd. Cockeysville, MD 21030 | TTY/Voice: Maryland Relay Service 1.800.201.7165 36































May 20, 2010 – July 20, 2011 WE ARE PROUD to recognize the BSO’s Symphony Fund Members whose generous gifts to the Annual Fund between May 20, 2010 – July 20, 2011 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.”

Barbara Bozzuto, Judy Witt, Ruth Lenrow and Sophie Dagenais enjoy cocktails at the Maestra Circle Dinner.

The Century Club Mayor and City Council of Baltimore City Baltimore County Executive & County Council Joseph and Jean Carando* CareFirst BlueCross BlueShield 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 National Endowment for the Arts PNC Henry and Ruth Blaustein Rosenberg Foundation and Ruth Marder* Howard A. and Rena S. Sugar* The Whiting-Turner Contracting Company Mr. and Mrs. Willard Hackerman Charles* and Shirley Wunder

$50,000 or more

$25,000 or more

The Charles T. Bauer Foundation Jessica and Michael Bronfein Mr. and Mrs. George L. Bunting, Jr. 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 The Cordish Family Fund Suzi and David Cordish Mr. Kenneth W. DeFontes, Jr. Dr. Perry A. Eagle,* Ryan M. Eagle, and Bradley S. Eagle Frances Goelet Charitable Trust Dr. and Mrs. Philip Goelet Mr. and Mrs. Kingdon Gould Mr. and Mrs. Benjamin H. Griswold, IV

Mr. Joseph P. Hamper, Jr.* Mr. and Mrs. H. Thomas Howell The Huether-McClelland Foundation George and Catherine McClelland David and Marla Oros Margaret Powell Payne* Bruce and Lori Laitman Rosenblum Mr. and Mrs. Richard Rudman The Honorable Steven R. Schuh Dorothy McIlvain Scott Mr. and Mrs. Stephen D. Shawe Jane and David Smith Ellen W.P. Wasserman

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 Marge Penhallegon, President

Individuals Founder’s Circle

Maestra’s Circle $15,000 or more Anonymous (2) Donna and Paul Amico The Bozzuto Family Charitable Fund Mr. and Mrs. Robert Coutts The Dopkin-Singer-Dannenberg Foundation, Inc. Mrs. Margery Dannenberg 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

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 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 Joanne Gold and Andrew A. Stern David and Chris Wallace

$10,000 or more Liddy Manson “In memory of James Gavin Manson” Anonymous (1) 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 Mr. Robert H. Boublitz Ellyn Brown and Carl J. Schramm Ms. Kathleen A. Chagnon and Mr. Larry Nathans

September 10, 2011 – October 30, 2011


Special Thanks to

for its generous support! David Smith welcomes special guest Emanuel Ax into his home for the Maestra Circle Dinner.

Douglas and Tsognie Hamilton, and Rosalee and Richard Davison help celebrate major musician milestones at a 25th anniversary celebration.

Individuals Maestra’s Circle (continued) $10,000 or more Chesapeake Partners Judith and Mark Coplin Mr. and Mrs. H. Chase Davis, Jr. Chapin Davis Investments Rosalee C. and Richard Davison Foundation Mr. and Mrs. Anthony Deering Mr. 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. and Mrs. James L. Dunbar Deborah and Philip English Mr. Mark Fetting Individuals (continued) Governing Members Platinum $7,500 or more Deborah and Howard M. Berman Mr. Andrew Buerger Drs. Sonia and Myrna Estruch Mr. and Mrs. Neil Meyerhoff Mr. and Mrs. Bill Nerenberg Dr. and Mrs. Anthony Perlman Mr. and Mrs. W. Danforth Walker

Governing Members Gold $5,000 or more Mr. and Mrs. Arthur Chomas “In memory of Mrs. Gloria Chomas” Dr. and Mrs. Wilmot C. Ball, Jr. Mr. and Mrs. John W. Beckley Ms. Arlene S. Berkis Barry D. and Linda F. Berman John and Bonnie Boland The Bozzuto Family Charitable Fund Ms. Mary Catherine Bunting Mrs. Frances H. Burman* Mr. and Mrs. Robert Butler Nathan and Suzanne Cohen Foundation Dr. and Mrs. Stephen P. Cohen Mr. and Mrs. William H. Cowie, Jr. Faith and Marvin Dean Ronald E. Dencker 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 Venable Foundation Mr. and Mrs. Jan Guben Mrs. Anne Hahn Mrs. Catharine S. Hecht* Mr. and Mrs. J. Woodford Howard, Jr. Susan and Steven Immelt Miss Frances A. Kleeman* Kohn Foundation Mr. and Mrs. Stephen M. Lans Dr. David Leckrone and Marlene Berlin Diane and Jerome Markman Eileen A. and Joseph H. Mason Dan and Agnes Mazur Norfolk Southern Foundation McCarthy Family Foundation Mrs. Kenneth A. McCord



Sara and Nelson Fishman Sandra Levi Gerstung 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 Dr. and Mrs. Yuan C. Lee Mr. Richard E. Levine and Mrs. Lori Balter Mr. and Mrs. Samuel G. Macfarlane Mr. and Mrs. Howard R. Majev Sally S. and Decatur H. Miller Mr. and Mrs. David Modell Mr. and Mrs. Charles O. Monk, II

Drs. William and Deborah McGuire Mr. Hilary B. Miller Margot and Cleaveland Miller Jolie and John Mitchell Mr. and Mrs. Peter Muncie Drs. Virginia and Mark Myerson Dr. A. Harry Oleynick Dr. and Mrs. David Paige Linda and Stanley Panitz Mrs. Margaret Penhallegon Dr. Todd Phillips and Ms. Denise Hargrove The Ross & Grace Pierpont Charitable Trust Helene and Bill Pittler 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. Richard Vogt 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 and Charles O. Norton” Anonymous (8) Diane and Martin* Abeloff Dr. and Mrs. Robert J. Adams Mr. and Mrs. Edward J. Adkins 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. Susan and David Balderson Donald L. Bartling Dr. and Mrs. Theodore M. Bayless

Dr. Neil W. Beach and Mr. Michael Spillane Lynda and Kenneth Behnke Dr. and Mrs. Emile A. Bendit Max Berndorff and Annette Merz Alan and Bunny Bernstein Dr. and Mrs. Mordecai P. Blaustein Randy and Rochelle Blaustein Mr. Gilbert Bloom Dr. and Mrs. Paul Z. Bodnar Carolyn and John Boitnott Mr. and Mrs. John M. Bond, Jr. Mr. and Mrs. Charles R. Booth Dr. and Mrs. Stuart H. Brager Dr. Rudiger and Robin Breitenecker Mr. and Mrs. Leland Brendsel Dr. and Mrs. Donald D. Brown Mrs. Elizabeth A. Bryan Dr. Robert P. Burchard Laura Burrons-Jackson Loretta Cain Mr. and Mrs. S. Winfield Cain James N. Campbell M.D. and Regina Anderson M.D. Cape Foundation Turner and Judy Smith Michael and Kathy Carducci Ms. Susan Chouinard Corckran Family Charitable Foundation Mr. and Mrs. John C. Corckran, Jr. Mr. and Mrs. David S. Cohen Mr. Harvey L. Cohen and Ms. Martha Krach Mrs. Miriam M. Cohen and Dr. Martin Taubenfeld Joan Piven-Cohen and Samuel T. Cohen Mr. and Mrs. Elbert Cole Mr. and Mrs. Kerby Confer Mr. and Mrs. John W. Conrad, Jr. Dr. and Mrs. David Cooper Jane C. Corrigan Mrs. Rebecca M. Cowen-Hirsch Alan and Pamela Cressman Dr. and Mrs. George Curlin Mr. and Mrs. Edward A. Dahlka, Jr. Dr. and Mrs. Cornelius Darcy Mr. and Mrs. William F. Dausch Richard A. Davis and Edith Wolpoff-Davis James H. DeGraffenreidt and Mychelle Y. Farmer Kari Peterson, Benito R. and Ben DeLeon

Mrs. Violet G. Raum Alison and Arnold Richman 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 Judy M. Witt Mr. and Mrs. William Yeakel The Zamoiski-Barber-Segal Family Foundation * Deceased

Arthur F. and Isadora Dellheim Foundation, Inc. Drs. Susan G. Dorsey and Cynthia L. Renn in honor of Doris A. and Paul J. Renn, III Mr. and Mrs. A. Eric Dott Dr. and Mrs. Daniel Drachman Mr. and Mrs. Larry D. Droppa Bill and Louise Duncan Dr. and Mrs. Donald O. Fedder Dr. and Mrs. Arnold S. Feldman Mr. and Mrs. Maurice R. Feldman Sherry and Bruce Feldman Mr. Stephen W. Fisher Winnie and Bill Flattery Ms. Lois Flowers Dr. and Mrs. Giraud Foster Mr. and Mrs. John C. Frederick Mr. and Mrs. Kenneth Freed Ms. Lois Fussell Mr. and Mrs. Denis C. Gagnon Mr. and Mrs. Frank Gallagher John Galleazzi and Elizabeth Hennessey Ms. Ethel W. Galvin Dr. Joel and Rhoda Ganz Mr. Ralph A. Gaston Mr. and Mrs. Ramon* F. Getzov Mrs. Ellen Bruce Gibbs Mr. and Mrs. Joseph S. Gillespie, Jr. Mr. Robert Gillison and Ms. Laura L. Gamble Ms. Jean Goldsmith Evee and Bertram Goldstein Mr. Mark Goldstein, Paley Rothman Brian and Gina Gracie Mrs. Ann Greif Mrs. LaVerne Grove Ms. Mary Therese Gyi Ms. Louise A. Hager Carole 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. A.C. Hubbard, Jr. Mr. and Mrs. William Hughes Elayne and Benno Hurwitz Susan and David Hutton

Dr. Richard Johns Dr. Richard T. Johnson Richard and Brenda Johnson Mr. and Mrs. Harry Kaplan Mary Ellen and Leon Kaplan Barbara Katz Gloria B. and Herbert M. Katzenberg Fund Susan B. Katzenberg Louise and Richard Kemper Mr. and Mrs. E. Robert Kent, Jr. Suzan Russell Kiepper Mr. and Mrs. Young Kim Dr. and Mrs. Richard A. Kline Paul and Susan Konka Mr. and Mrs. Steven S. Koren Barbara and David Kornblatt Ms. Patricia Krenzke and Mr. Michael Hall Miss Dorothy B. Krug 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. George T. Lazar Mr. Kevin Lee Mr. and Mrs. Burt and Karen Leete Mr. and Mrs. Howard Lehrer Claus Leitherer and Irina Fedorova Ruth and Jay Lenrow Dr. and Mrs. Harry Letaw, Jr. C. Tilghman Levering Mr. and Mrs. Vernon L. Lidtke Dr. Frances and Mr. Edward Lieberman 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 Louise D. and Morton J. Macks Family Foundation, Inc. Genine Macks Fidler and Josh Fidler Steven and Susan Manekin Dr. Frank C. Marino Foundation 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 Mr. and Mrs. Gerald V. McDonald

Baltimore Symphony Orchestra Membership Benefits 2011-2012 Season To learn more about becoming a member, please email or call 410.783.8124. A contribution to the Baltimore Symphony Orchestra entitles you to special events and exclusive opportunities to enhance your BSO experience throughout the season.

$75 BACH LEVEL MEMBERS John and Bonnie Boland join John Vance and wife Anne Schulte as they celebrate Mr. Vance's 25 years with the BSO. Paul Meecham and Laura Leach Ellen and Tom Mendelsohn Dr. and Mrs. John O. Meyerhoff Sandra L. Michocki Mrs. Mildred S. Miller 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 Dr. Mellasenah Y. Morris Mrs. Joy Munster Mr. John and Dr. Lyn Murphy Louise* and Alvin Myerberg 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. Roger F. Nordquist Number Ten Foundation Mr. and Mrs. Kevin O’Connor Drs. Erol and Julianne Oktay Mrs. Bodil Ottesen Olive L. Page Charitable Trust Dr. and Mrs. Lawrence C. Pakula Ellen and Stephen* Pattin Drs. Hans Pawlisch and Takayo Hatakeyama Michael Love Peace Beverly and Sam Penn Jan S. Peterson and Alison E. Cole Peter E. Quint Reverend and Mrs. Johnny Ramsey Nancy E. Randa and Michael G. Hansen Dr. Jonas Rappeport and Alma Smith Mr. and Mrs. Frederick Rheinhardt Mrs. Nancy Rice Nathan and Michelle Robertson Mr. and Mrs. Richard Roca Stephen L. Root and Nancy A. Greene Mr. and Mrs. John Rounsaville Mr. and Mrs. Charles Rowins Robert and Leila Russell T. Edgie Russell Neil J. and JoAnn N. Ruther Dr. John Rybock and Ms. Lee Kappelman Dr. and Mrs. Marvin M. Sager* Mr. Norm St. Landau 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 Mr. Thom Shipley and Mr. Christopher Taylor 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 The Honorable and Mrs. James T. Smith, Jr. Ms. Leslie J. Smith Ms. Nancy E. Smith Ms. Patricia Smith Mr. and Mrs. Lee M. Snyder

Laurie Zabin,Tod Meyers and Lois Schenk wine and dine at a GM Allegretto Dinner.

Diane L. Sondheimer and Peter E. Novick Dr. and Mrs. Charles S. Specht Joan and Thomas Spence Melissa and Philip Spevak Mr. George H. Steele* Anita and Mickey Steinberg Mr. Edward Steinhouse Mr. James Storey Mr. and Mrs. Dale Strait Mr. Alan Strasser and Ms. Patricia Hartge Susan and Brian Sullam Mrs. Janis Swan Mr. and Mrs. Robert Taubman Dr. Bruce T. Taylor and Dr. Ellen Taylor Dr. Ronald J. Taylor Mr. and Mrs. Terence Taylor Sonia Tendler Ms. Susan B. Thomas Paul and Karen Tolzman Dr. Jean Townsend and Mr. Larry Townsend Donna Triptow and Michael Salsbury In Memory of Jeffrey F. Liss, Dr. and Mrs. Henry Tyrangiel John and Susan Warshawsky Martha and Stanley Weiman Peter Weinberg Mr. and Mrs. 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 Ms. Ellen Yankellow 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) Monsignor Arthur W. Bastress The Becker Family Fund Mr. and Mrs. Stanley Ber Mr. Edward Bersbach Mr. and Mrs. Albert Biondo Mr. Joseph G. Block Venable Foundation, Inc. Steven Brooks and Ann Loar Brooks Mr. Charles Cahn, II Donna and Joseph Camp Mr. Mark Chambers Mr. Robert M. Cheston Mr. and Mrs. Howard Cohen Mr. Michael R. Crider Dr. and Mrs. Thomas DeKornfeld Donna Z. Eden and Henry Goldberg Dr. and Mrs. Jerome L. Fleg Mr. Kenneth R. Feinberg Mr. Ken French Jo Ann and Jack Fruchtman, Jr. Mr. and Mrs. Stanford Gann, Sr. Mr. Louis Gitomer Drs. Ronald and Barbara Gots Mr. Jonathan Gottlieb Mr. Ronald Griffin and Mr. Shaun Carrick Mrs. Ellen Halle Ms. Gloria Shaw Hamilton Dr. Mary Harbeitner Mr. Gary C. Harn Mr.* and Mrs. E. Phillips Hathaway Mr. and Mrs. George B. Hess, Jr. Nancy H. Hirsche Donald W. and Yvonne M. Hughes Madeleine and Joseph Jacobs Betty W. Jensen Mr. and Mrs. James G. Jones Mr. Max Jordan Dr. Robert Lee Justice and Marie Fujimura-Justice Gail and Lenny Kaplan Ms. Margaret F. Keane Mr. Richard Kitson Harriet* and Philip Klein

Andrew Lapayowker and Sarah McCafferty Mrs. Elaine Lebar Colonel William R. Lee Mr. and Mrs. Jeffrey Legum Ms. Susan Levine Dr. and Mrs. Michael O. Magan Mr. and Mrs. Luke Marbury Howard and Linda Martin Mr. Winton Matthews Mr. and Mrs. Jordan Max Carol and George McGowan Bebe McMeekin Alvin Meltzer Mr. Charles Miller Mr. and Mrs. M. Peter Moser Mr. and Mrs. Robert C. Neiman Ms. Patricia Normile Mrs. J. Stevenson Peck The Pennyghael Foundation, Inc. Mr. and Mrs. James Piper Mr. and Mrs. John Brentnall Powell Mr. Larry Prall Mr. Joseph L. Press Ms. Margaret K. Quigg Dr. and Mrs. Richard Radmer Dr. Tedine Ranich and Dr. Christian Pavlovich Mr. and Mrs. Michael Renbaum Margaret and Lee Rome Martha and Saul Roseman Ilene and Michael Salcman Mr. and Mrs. William Saxon, Jr. The Honorable William Donald Schaefer* Mrs. Barbara K. Scherlis Ms. Phyllis Seidelson Mr. Jeffrey Sharkey Mrs. Barbara Skillman Marshall and Deborah Sluyter Mr. and Mrs. Edgar Smith Mr. and Mrs. Richard D. Spero Mrs. Ann Stein Dr. John F. Strahan Harriet Stulman Mr. and Mrs. Albert Sun Ms. Sandra Sundeen Mr. and Mrs. Richard Swerdlow Dr. Martin Taubenfeld Dr. Robert E. Trattner Dr. John K. Troyer and Ms. Ellen Pendleton-Troyer Mr. Robert Tung Ms. Elyse Vinitsky Ms. Joan Wah and Ms. Katherine Wah Ms. Beverly Wendland and Mr. Michael McCaffery Janna Wehrle Mr. and Mrs. Sean Wharry Dr. Edward Whitman Dr. Richard Worsham and Ms. Deborah Geisenkotter Ms. Anne Worthington Ms. Jean Wyman

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” David and Ursula Unnewehr “In memory of Laurel Jean Unnewehr” Anonymous (17) Mr. Anthony Abell Mrs. Rachael Abraham Mr. and Mrs. Ronald Abrams Dr. and Mrs. Marshall Ackerman Virginia K. Adams and Neal M. Friedlander, M.D. Mr. and Mrs. Carter Adkinson Charles T. and Louise B. Albert Dr. Marilyn Albert George and Frances Alderson Mr. Owen Applequist Mr. Paul Araujo Dr. Juan I. Arvelo Mr. Thomas Atkins Leonard and Phyllis Attman Mr. William Baer and Ms. Nancy Hendry Mr. and Mrs. Robert R. Bair Mrs. Jean Baker Mr. George Ball Ms. Penny Bank Mr. and Mrs. L. John Barnes Dr. and Mrs. Bruce Barnett Mr. and Mrs. Edward Barta

• 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!

September 10, 2011 – October 30, 2011



$100,000 or more

Governing Member Shirley Ramsey performs with world-class musician Andy Balio at a special GM event. Individuals (continued)

$50,000 or more

$25,000 or more



Eric* and Claire Beissinger Ms. Elaine Belman Mr. and Mrs. Charles Berry, Jr. David and Sherry Berz Mr. and Mrs. Edwin and Catherine Blacka Reverend James Blackburn Nancy Patz Blaustein Ms. Dorothy Bloomfield Mr. and Mrs. Bruce I. Blum Mr. James D. Blum Nina and Tony Borwick David E. and Alice R. Brainerd M. Susan Brand and John Brand 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 Gordon F. 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 Ms. Judy Campbell Mrs. Mary Jo Campbell Mr. and Mrs. John Carey Russ and Beverly Carlson Jonathan and Ruthie Carney Mr. and Mrs. Claiborn Carr Mr. James T. Cavanaugh, III Mr. Richard Cerpa Mr. David P. Chadwick and Ms. Rosalie Lijinsky Bradley Christmas and Tara Flynn Dr. Mark Cinnamon and Ms. Doreen Kelly Ms. Dawna Cobb and Mr. Paul Hulleberg Jane E. Cohen Mr. and Mrs. Jonas M.L. Cohen Mrs. Wandaleen Cole Mr. and Mrs. Alan Colegrove Ms. Patricia Collins Ms. Kathleen Costlow Mr. and Mrs. Charles C. Counselman, Jr. Mr. and Mrs. Jeffrey Crooks Mr. and Mrs. R. Gregory Cukor John and Kate D’Amore Mr. David O. Dardis Mr. and Mrs. Thomas Darr Mr. John Day and Mr. Peter Brehm Joan de Pontet Mr. and Mrs. William C. Dee Mr. Duane Calvin DeVance Mr. and Mrs. Mathias J. DeVito Ms. Priscilla Diacont Jackson and Jean H. Diehl Marcia Diehl and Julie Kurland Ms. Maribeth Diemer Nicholas F. Diliello Mr. and Mrs. Robert Duchesne Ms. Lynne Durbin Mr. and Mrs. Laurence Dusold Mr. Terence Ellen and Ms. Amy Boscov Mr. and Mrs. Stuart Elsberg and the Elsberg Family Foundation Mrs. Nancy S. Elson Sharon and Jerry Farber Mr. and Mrs. Charles Fax Dr. and Mrs. Marvin J. Feldman Mrs. Sandra Ferriter Joe and Laura Fitzgibbon Mr. and Mrs. Anthony Fitzpatrick Wojciech and Alicja Fizyta Dr. Charles W. Flexner and Dr. Carol Trapnell Dr. and Mrs. Nicholas J. Fortuin Dr. and Mrs. William Fox Dr. Neal M. Friedlander Mr. and Mrs. R. Friedlander Mr. and Mrs. Roberto B. Friedman William and Carol Fuentevilla Mr. and Mrs. Leland Gallup Dr. and Mrs. Donald S. Gann Mr. Ron Gerstley and Ms. Amy Blank Dr. and Mrs. Frank A. Giargiana, Jr. Mr. and Mrs. William Gibb Mr. Peter Gil Lori and Gene Gillespie Dr. and Mrs. Sanford Glazer Mr. Harvey Gold Mr. Jonathan Goldblith William R. and Alice Goodman Dr. and Mrs. Joseph Gootenberg Barry E. and Barbara Gordon

Families enjoy sneak peeks of BSO performances at an Open Rehearsal.

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 Sandra and Edward J. Gutman Mr. and Mrs. J.M. Dryden Hall, Jr. Dr. Jane Halpern and Mr. James B. Pettit Ms. Lana Halpern Ms. Carole Finn Halverstadt Mr. and Mrs. John Hanson Sara and James A. Harris, Jr. Dr. and Mrs. S. Elliott Harris Mr. Fred Hart and Ms. Elizabeth Knight Mr. John Healy Mr. David Heckman Mr. and Mrs. Robert Helm Ms. Doris T. Hendricks Mrs. Ellen Herscowitz David A. and Barbara L. Heywood Dr. Stephen L. Hibert Edward Hoffman Dr. R. Gary Hollenbeck Mr. William Holmes Mr. and Mrs. John Hornady, III Ms. Irene Hornick Mr. Herbert H. Hubbard Carol Jantsch and David Murray Mrs. Janet Jeffein Dr. Helmut Jenkner and Ms. Rhea I. Arnot Mrs. Kathy Johnson Mr. R. Tenney Johnson Mr. J. Lee Jones Mrs. Helen Jordahl Mrs. Amri Joyner Ann and Sam Kahan Dr. Henry Kahwaty Mrs. Harry E. Karr Richard M. Kastendieck and Sally J. Miles Mr. and Mrs. William E. Kavanaugh Dr. and Mrs. Haiq Kazazian, Jr. Mr. Frank Keegan Mr. John P. Keyser Virginia and Dale Kiesewetter Mr. Andrew Klein George and Catherine Klein Mr. William Klemer 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 Ms. Rebecca Lawson Melvyn and Fluryanne Leach Mr. Peter Leffman Mr. and Mrs. Charles F. Legters Mr. and Mrs. Jeffrey Lemieux Mr. Ronald P. Lesser Mr. and Mrs. Leonard M. Levering, III Sara and Elliot* Levi Dr. and Mrs. Bernard Levy Mr. Leon B. Levy Mr. Richard Ley Mrs. E.J. Libertini Ms. Joanne Linder Mr. Dennis Linnell George and Julie Littrell Mr. and Mrs. K. Wayne Lockard Carol Brody Luchs and Kenneth Luchs Dr. and Mrs. Peter C. Luchsinger Mr. and Mrs. Arthur Lynch Ms. Louise E. Lynch Michael and Judy Mael Ms. Gail G. and F. Landis Markley 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 Mr. and Mrs. James McGill Ms. Kathleen McGuire Mr. George McKinney Mr. Richard C. McShane Mr. and Mrs. Scott A. McWilliams Mr. and Mrs. David Meese Mr. Timothy Meredith Mr. and Mrs. Abel Merrill Daniel and Anne Messina Ms. Shelia Meyers

Drs. Alan and Marilyn Miller Mrs. Anne Miller Mr. and Mrs. Charles R. Miller Mr. and Mrs. Gary Miller Mr. and Mrs. J. Jefferson Miller, II Mr. and Mrs. James D. Miller Mr. Lee Miller Mr. Louis Mills Dr. and Mrs. Stanley R. Milstein Noah and Carol C. O’Connell Minkin Ms. Adrianne Mitchell Lloyd E. Mitchell Foundation Mr. Nathan Mook Mr. Edwyn Moot Lester and Sue Morss Dr. and Mrs. Hugo W. Moser Mr. Howard Moy Ms. Marguerite Mugge Dr. and Mrs. Donald Mullikin Mr. and Mrs. Gregory Murray Ms. Marita Murray Mr. Harish Neelakandan and Ms. Sunita Govind Mr. Irving Neuman Douglas and Barbara Norland Ms. Irene E. Norton and Dr. Heather T. Miller Anne M. O’Hare Mr. Garrick Ohlsson Mr. James O'Meara and Ms. Marianne O'Meara Ms. Margaret O’Rourke and Mr. Rudy Apodaca Mr. and Mrs. William Osborne Mrs. S. Kaufman Ottenheimer Mr. and Ms. Ralph Ottey Ms. Judith Pachino Mr. and Mrs. Frank Palulis Mr. and Mrs. Thomas Parr Mr. and Mrs. Richard Parsons Dr. and Mrs. Arnall Patz Mr. and Mrs. William Pence Jerry and Marie Perlet Mr. and Mrs. Stephen Petrucci Dr. and Mrs. Karl Pick 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 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 Dr. Steven R. Rosenthal Dr. and Mrs. Saul D. Roskes Mr. and Mrs. Randolph* S. Rothschild Mr.* and Mrs. Nathan G. Rubin Mr. J. Kelly Russell Mr. and Mrs. John Sacci Beryl and Philip Sachs Mr. Lee Sachs Ms. Andi Sacks Peggy and David Salazar Ms. Carolyn Samuels Ms. Vera Sanacore Mr. and Mrs. Gilbert Sandler Mr. and Mrs. Nathaniel Sandler Mr. and Mrs. Ace J. Sarich Mr. Thomas Scalea Mr. and Mrs. Benjamin Schapiro Mr. and Mrs. Albert S. Schlachtmeyer Mr. and Mrs. Eugene H. Schreiber Estelle D. Schwalb Ken and Nancy Schwartz Bernard and Rita Segerman Mr. and Mrs. Norman A. Sensinger, Jr. Mr. Sanford Shapiro Mr. and Mrs. Brian T. Sheffer Reverend Richard Wise Shreffler Mr. and Mrs. Daniel Shykind Mr. Richard Silbert Ronnie and Rachelle Silverstein Mr. Donald M. Simonds Ellwood and Thelma Sinsky Mr. Richard Sipes Mr. and Mrs. Robert Smelkinson Mr. and Mrs. Norman Smith Richard and Gayle Smith Mr. and Mrs. Scott Smith Mr. and Mrs. William J. Sneeringer, Jr. Laurie M. Sokoloff Dr. and Mrs. John Sorkin

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

Special guests attend an exclusive BSO Open Rehearsal. Mr. Don Spero and Ms. Nancy Chasen Jennifer Kosh Stern Dr. and Mrs. F. Dylan Stewart Ms.Barbara Stricklin Ms. Mary K. Sturtevant Ms. Jean M. Suda and Mr. Kim Z. Golden Ms. Dianne Summers Mr. Phil Sunshine Ms. Margaret Taliaferro Mr. Tim Teeter Mr. Harry Telegadas Mr. Marc J. Teller Patricia Thompson and Edward Sledge Mr. and Mrs. William Thompson Mr. Peter Threadgill Mr. and Mrs. David Traub Mr. and Mrs. Israel S. Ungar Mr. and Mrs. Robert Vogel Ms. Mary Frances Wagley Mr. Robert Walker Mr. and Mrs. Guy T. Warfield Mr. and Mrs. Jay Weinstein Dr. and Mrs. Matthew Weir Mr. and Mrs. David Weisenfreund Anne Weiss and Joseph Schwartz Drs. Susan and James Weiss Ms. Lisa Welchman David Wellman and Marjorie Coombs Wellman Ms. Camille B. Wheeler and Mr. William B. Marshall Mrs. Margaret Wheeler Dr. Barbara White Jill and Douglas White Mr. and Mrs. Stephen Wilcoxson Mr. Barry Williams Mrs. Gerald H. Williams Sylvia and Peter Winik Robert and Jean Wirth Mr. and Mrs. David K. Wise Mr. Orin Wise Marc and Amy Wish Dr. and Mrs. Frank R. Witter Mr. John W. Wood Mr. Alexander Yaffe Ms. Norma Yess H. Alan Young and Sharon Bob Young, Ph.D. Christine Zaharka Andrew Zaruba Dr. Mildred Zindler

Corporations $10,000 or more

Governing Members enjoy breakfast before sitting next to their favorite BSO musicians at an On-Stage Rehearsal. Target Von Paris Moving & Storage Wachovia Wells Fargo Foundation

Foundations $50,000 or more William G. Baker, Jr. Memorial Fund Creator of the Baker Artist Award The Hearst Foundation, Inc. Hecht-Levi Foundation Ryda H. Levi* and Sandra Levi Gerstung The Andrew W. Mellon Foundation Joseph & Harvey Meyerhoff Family Charitable Funds Henry and Ruth Blaustein Rosenberg Foundation and Ruth Marder* The Rouse Company Foundation

$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 Middendorf Foundation The Salmon Foundation Zanvyl & Isabelle Krieger Fund

$10,000 or more Anonymous (1) Baltimore Women's Giving Circle Clayton Baker Trust Bunting Family Foundation The Morris and Gwendolyn Cafritz Foundation Degenstein Foundation Hoffberger Foundation Harley W. Howell Charitable Foundation Betty Huse MD Charitable Trust 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 Bruno Walter Memorial Foundation

$5,000 or more

American Trading & Production Corporation Beltway Fine Wines Hughes Network Systems, LLC IWIF Mid-Atlantic Federal Credit Union Music and Arts RBC Wealth Management Ritz-Carlton Residences, Inner Harbor, Baltimore Saul Ewing LLP

The Arts Federation Edward Collins Fund for American Music The Charles Delmar Foundation Helen P. Denit Charitable Trust Edith and Herbert Lehman Foundation, Inc. Ronald McDonald House The John Ben Snow Memorial Trust Cecilia Young Willard Helping Fund Wright Family Foundation

$5,000 or more

ALH Foundation, Inc. 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

$2,500 or more Arts Consulting Group, Inc. Classical Movements, Inc. Corporate Office Properties Trust D.F. Dent & Company Georgetown Paper Stock of Rockville Lockheed Martin MS2 P&G Fund of the Greater Cincinnati Foundation Zuckerman Spaeder LLP

$1,000 or more $2,500 or more Downtown Piano Works Eagle Coffee Company, Inc. Federal Parking, Inc. S. Kann Sons Company Foundation

$1,000 or more Ellin & Tucker, Chartered Eyre Bus, Tour & Travel Harford Mutual Insurance Companies Independent Can Company J.G. Martin Company, Inc. McGuireWoods LLP Mercer R&H Motor Cars Rosenberg Martin Greenberg, LLP Semmes, Bowen & Semmes Taco Bell

Anonymous (1) Cameron and Jane Baird Foundation Balder Foundation Baltimore Community Foundation Margaret O. Cromwell Family Fund Robert Wood Johnson Foundation Ethel M. Looram Foundation, Inc. Mangione Family Enterprises Mercer Human Resource Consulting Rathmann Family Foundation

Government Grants Mayor and City Council of Baltimore and the Baltimore Office of Promotion and the Arts Baltimore County Executive, County Council, and the Commission for the Arts and Sciences

Carroll County Government & the Carroll County Arts Council The Family League of Baltimore City, Inc. Howard County Government & the Howard County Arts Council The Maryland Emergency Management Agency Maryland State Arts Council Maryland State Department of Education Arts and Humanities Council of Montgomery County National Endowment for the Arts

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

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

Paul Meecham* President & CEO

The Honorable James T. Smith, Jr.

Richard E. Rudman* Vice Chair

Solomon H. Snyder, M.D.*

Andrew A. Stern* Vice Chair & Treasurer BOARD MEMBERS A.G.W. Biddle, III Robert L. Bogomolny Barbara M. Bozzuto Andrew A. Buerger Richard T. Burns


Scott Rifkin, M.D.

Constance R. Caplan Robert B. Coutts

William R. Wagner LIFE DIRECTORS Peter G. Angelos, Esq. Willard Hackerman H. Thomas Howell, Esq. Yo-Yo Ma Harvey M. Meyerhoff Decatur H. Miller, Esq. Patricia B. Modell Linda Hambleton Panitz Dorothy McIlvain Scott

Kenneth W. DeFontes, Jr.* Susan Dorsey, Ph.D. ^ Governing Members Chair George A. Drastal* Alan S. Edelman* Ambassador Susan G. Esserman* John P. Hollerbach Beth J. Kaplan Murray M. Kappelman, M.D. Sandra Levi Gerstung Richard Levine, Esq. Jon H. Levinson

DIRECTORS EMERITI Barry D. Berman, Esq. L. Patrick Deering Richard E. Hug M. Sigmund Shapiro CHAIRMAN LAUREATE Calman J. Zamoiski, Jr. BOARD OF TRUSTEES BALTIMORE SYMPHONY ENDOWMENT TRUST Benjamin H. Griswold, IV Chairman

Ava Lias-Booker, Esq.

Terry Meyerhoff Rubenstein Secretary

Susan M. Liss, Esq.*

Michael G. Bronfein

Howard Majev, Esq.

Mark R. Fetting

Liddy Manson

Paul Meecham

David Oros

W. Gar Richlin

Marge Penhallegon ^ President, Baltimore Symphony Associates

Andrew A. Stern

Michael P. Pinto

*Board Executive Committee ^ex-officio

Margery Pozefsky

Calman J. Zamoiski, Jr.

Upcoming Member-Only Event! > Opening Night with the BSO Come celebrate the start of another season at a post-concert reception following the performance of Mahler’s “Resurrection” with Maestra Marin Alsop, soloists Layla Claire and Susan Platts, and the Orchestra. September 15, 2011. For Britten Level Members and higher ($500+)

> On-Stage Rehearsal Sit beside your favorite BSO musicians as James Ehnes returns to Baltimore to perform Mozart’s 3rd Violin Concerto. Conductor Louis Langree also makes his return to lead works by Mozart and Debussy. October 19, 2011. 12:45 p.m. Light refreshments; 1:30pm Rehearsal. For Governing Members and higher ($2,500+)

> GM Allegretto Dinner Join us for cocktails and dinner before the BSO’s performance of Mozart’s 3rd Violin Concerto. October 22, 2011. 6 p.m. Cocktails, 6:30pm Dinner. For Governing Members and higher ($2,500+) All Events subject to change. To enjoy these events or to receive more information, please call the BSO’s Events hotline for Members at 410.783.8074 or email

September 10, 2011 – October 30, 2011


Baltimore Symphony Staff Paul Meecham President and CEO Beth Buck Vice President and CFO Deborah Broder Vice President of BSO at Strathmore Dale Hedding Vice President of Development Eileen Andrews Vice President of Marketing and Communications Matthew Spivey Vice President of Artistic Operations

FACILITIES OPERATIONS Shirley Caudle Housekeeper Bertha Jones Senior Housekeeper Curtis Jones Building Services Manager Ivory Miller Maintenance Facilities

FINANCE AND INFORMATION TECHNOLOGY Chris Vallette, Database and Web Administrator Sophia Jacobs Senior Accountant

ARTISTIC OPERATIONS Toby Blumenthal Manager of Facility Sales Tiffany Bryan Manager of Front of House Erik Finley Artistic Planning Manager and Assistant to the Music Director Alicia Lin Director of Operations and Facilities Chris Monte Assistant Personnel Manager Marilyn Rife Director of Orchestra Personnel and Human Resources Meg Sippey Artistic Coordinator

Janice Johnson Senior Accountant Evinz Leigh Administration Associate Sandra Michocki Controller and Senior Director of Business Analytics Sybil Johnson Payroll and Benefits Administrator

MARKETING AND PUBLIC RELATIONS Claire Berlin PR and Publications Coordinator Rika Dixon Director of Marketing and Sales Laura Farmer Public Relations Manager

EDUCATION Sara Nichols Academy Coordinator Cheryl Goodman OrchKids Director of Fundraising and Administration Lisa A. Sheppley Associate Director of Education Nick Skinner OrchKids Site Manager Larry Townsend Education Assistant Dan Trahey OrchKids Director of Artistic Program Development DEVELOPMENT Jennifer Barton Development Program Assistant Margaret Blake Development Office Manager Allison Burr-Livingstone Director of Institutional Giving Becky McMillen Donor Stewardship Coordinator Rebecca Potter Corporate Relations Coordinator Joanne M. Rosenthal Director of Major Gifts, Planned Giving and Government Relations Elspeth Shaw Annual Fund Manager Richard Spero Community Liaison for BSO at Strathmore Emily Wise Donor Relations Manager, BSO at Strathmore



Derek A. Johnson Manager of Single Ticket Sales Theresa Kopasek Marketing and PR Associate Samanatha Manganaro Direct Marketing Coordinator Brendan Cooke Group Sales Manager Elisa Watson Graphic Designer


Governing Member Michael Auerbach brings his son and daughter to a BSO post-concert reception to meet Emanuel Ax. Endowment (continued) Therese* and Richard Lansburgh Sara and Elliot* Levi Bernice and Donald S. Levinson Darielle and Earl Linehan Susan and Jeffrey* Liss Lockheed Martin E. J. Logan Foundation M&T Bank Macht Philanthropic Fund of the AJC Mrs. Clyde T. Marshall Maryland Department of Business and Economic Development The Maryland State Arts Council MD State Department of Education McCarthy Family Foundation McCormick & Company, Inc. Mr. Wilbur McGill, Jr. MIE Properties, Inc. Mr. Edward St. John Mercantile-Safe Deposit & Trust Joseph & Harvey Meyerhoff Family Charitable Funds Sally and Decatur Miller Ms. Michelle Moga Louise* and Alvin Myerberg / Wendy and Howard Jachman National Endowment for the Arts Mr. and Mrs. Bill Nerenberg Mrs. Daniel M. O’Connell Mr. and Mrs. James P. O’Conor Stanley and Linda Hambleton Panitz Cecile Pickford and John MacColl Dr. Thomas and Mrs. Margery Pozefsky Mr. and Mrs. T. Michael Preston Alison and Arnold Richman

In memory of the late Joan Sadler, at a BSO party with her husband John.

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

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. 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 to join the Legato Circle.

Gabriel Garcia Ticket Services Agent

We gratefully acknowledge the following Donors who have included the Baltimore Symphony Orchestra in their Estate Plans.

Adrian Hilliard Senior Ticket Services Agent, Strathmore

(F) Founding Member (N) New Member

Kathy Marciano Director of Ticket Services Peter Murphy Ticket Services Manager Michael Suit Ticket Services Agent

BALTIMORE SYMPHONY ASSOCIATES Larry Albrecht Symphony Store Volunteer Manager Louise Reiner Office Manager

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

The Legato Circle

Amy Bruce Manager of Special Events and VIP Ticketing

Timothy Lidard Assistant Ticket Services Manager

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

* 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 Harvey A. Cohen, Ph.D. Clarence B. Coleman* Mark D. and Judith L. Coplin (N) 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 Mr. Joseph P. Hamper, Jr.* (N) 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 Suzan Russell 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. Ms. Nancy Rice 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* Mr. Michael R. Tardif 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.



WHEN HE TAKES THE STAGE in his black tuxedo, BSO concertmaster Jonathan Carney looks the part of the urbane gent: elegant, sophisticated and refined. But if you should encounter him at home during the summer and early fall, he paints a different sort of picture. There on his 50-acre Carroll County horse farm, you’re likely to find Carney dressed in jeans and work boots mowing the fields with his red Massey Ferguson tractor, playing baseball—his favorite sport—with family and friends on the diamond he groomed, or sitting on the screened porch watching a baseball game on television. “I’m not a farmer, but I really like the outdoors,” says Carney, who grew up as a city kid in the Northeast. In 2002, he moved to Maryland from London with his wife Ruthie and their three children. “This is the only place I know of outside of England where you see so many different shades of green.”

Although only 37 miles from the Meyerhoff, his 1830s farmhouse and the fields surrounding it provide a much-needed respite from the bustle and noise of the city. On the farm there’s no cell-phone service and only dial-up Internet, which means there are few interruptions. Carney’s favorite way to pass the time is to wake up at 5:30 a.m. and spend all morning practicing on the porch. “My violin loves the weather and the peacefulness here, the tranquility, and it is really crucial to me to get my work done.” In the afternoon, he heads outdoors to mow, his only company a few rescue horses and some goats grazing nearby. Methodically and in neat, straight rows, he cuts the grass. The only noise he hears is the hum of the tractor’s 35-horsepower engine. “I guess it’s kind of primordial in a way,” he says. “Out there on the tractor, all I do is look and enjoy the view.” —Maria Blackburn September 10, 2011 – October 30, 2011


fascinating house tours yuletide garden tram tours special exhibitions ever-changing blooms enchanted woods children’s garden family fun shopping & dining


american treasure Enjoy a unique blend of history and year-round beauty at this world-class museum, garden, and former du Pont estate. Garden images: Jeannette Lindvig

Winterthur is nestled in Delaware’s beautiful Brandywine Valley on Route 52. Take I-95 north to Exit 7 in Delaware. 800.448.3883 • 302.888.4600 •

Overture September-October 2011  

Program book for the Baltimore Symphony Orchestra at the Joseph Meyerhoff Symphony Hall.

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