CSO Pablo + Igor - program 03-10-23

March 10 & 11

Knight Theater

DIGITAL PROGRAM BOOK

Paolo Bortolameolli conductor

A special collaboration with The Mint Museum

Welcome to your CSO!

March heralds the arrival of Spring, and for the CSO it’s a time to celebrate cross-pollination and connections across neighborhoods, as we cultivate meaningful and long-lasting bonds throughout our community. At the CSO, we take great pride in being an active and integral part of city life; and much of that work grows out of the partnerships we form with the civic leaders and institutions that have also planted deep roots in our communities.

We begin the month with Pablo + Igor, a concert presented in partnership with The Mint Museum’s exhibit, Picasso Landscapes: Out of Bounds. With returning guest conductor Paolo Bortolameolli on the podium, we’ll explore the intersection of music and art with works by composers whom Picasso worked with and greatly admired: Satie and Stravinsky.

Later this month, in collaboration with Charlotte-Mecklenburg Schools, we’ll welcome 12,000 CMS fifth graders to Belk Theater for six performances of our One Musical Family concert, which introduces students to the various musical families that make up the Charlotte Symphony; later that same week, our friends at the 501st Carolina Garrison will bring the characters of Star Wars to the concert hall for our presentation with live music of the final installment of the original Star Wars trilogy, Return of the Jedi

We also join forces on March 21st with Johnson C. Smith University for an uplifting program on campus showcasing the music programs of JCSU side by side with the Charlotte Symphony. And we’ll end the month with a performance of Mendelssohn’s expansive “Hymn of Praise,” led by returning guest conductor Jessica Cottis and featuring our frequent collaborators, the Charlotte Master Chorale.

We’re so grateful to be a part of Charlotte’s thriving and diverse arts scene. Thank you for your continued support. I hope to see you at many of our exciting collaborations this season.

David Fisk President & CEO

The CSO is…

MORE THAN WHAT’S ONSTAGE.

Did you know that the Charlotte Symphony is much more than what you see on the Belk and Knight Theater stages? Beyond the Classical, Pops, Family, and Movie Series in the theaters, we work to uplift, entertain, and educate our community through inclusive education programs and community performances.

• The CSO has three programs for young musicians: the Youth Orchestra, the Youth Philharmonic, and the Youth Ensemble. CSO musicians participate in coaching throughout the year, and even perform with the young musicians!

• Reaching approximately 15,000 students each season, we also have extensive school programs, including Project Harmony, “Music and the Holocaust,” and “One Musical Family” Education Concerts.

• We perform throughout the region, from community parks and schools to breweries, senior care centers, and places of worship all season long.

The CSO is…FOR EVERYONE .

To learn more, visit charlottesymphony.org

Friday, March 10, 2023 at 7:30pm

Saturday, March 11, 2023 at 7:30pm Knight Theater at Levine Center for the Arts

Paolo Bortolameolli, conductor

ERIK SATIE (1866-1925)

Parade

I. Choral

II. Prelude du Rideau Rouge

III. Prestidigitateur Chinois

IV. Petite Fille Americaine

V. Rag-Time du Paquebot

VI. Acrobates

VII. Suite au Prelude du Rideau Rouge

IGOR STRAVINSKY (1882-1971)

Suite from Pulcinella (1949 revision)

I. Sinfonia

II. Serenata

III. Scherzino

IV. Tarantella

V. Toccata

IV. Gavotta

VII. Vivo

VIII. Minuetto - Finale

INTERMISSION

LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 2 in D Major, Op. 36

I. Adagio molto—Allegro con brio

II. Larghetto

III. Scherzo: Allegro

IV Allegro molto

concert duration: Approximately 1 hour, 40 minutes. There will be one 20-minute intermission.

Paolo Bortolameolli

guest conductor

Paolo Bortolameolli is Music Director of the Orquesta Sinfónica Nacional Juvenil (Chile), Sinfónica Azteca (México), Principal Guest Conductor of Filarmónica de Santiago (Opera Nacional de Chile), and Associate Conductor of the Los Angeles Philharmonic.

In addition to these regular conducting relationships, he has led ensembles across the Western Hemisphere including engagements with the Orquesta Sinfónica Simón Bolivar (Caracas), Orquesta Filarmónica de Buenos Aires, Kansas City, Charlotte, Houston, and San Francisco symphonies, and the LA Philharmonic. In Europe, he is a regular and return guest to the Polish National Radio Symphony Orchestra, Orchestra Haydn (Bolzano), Helsinki Philharmonic, and the Orchestra della Toscana (Florence).

His insatiable artistic curiosity brings him in equal measure to the opera stage with recent and upcoming projects including the Opéra de Paris (Tosca), the Gran Teatre del Liceu (Die Zauberflöte), as well as Ópera Nacional de Chile for concerts with the Filarmónica of Mahler’s Symphony No. 2, and Symphony 8 “Symphony of a Thousand” with Orquesta Sinfónica Nacional Juvenil. He will also make his debut at the Michigan Opera Theater in Golijov’s Ainadamar later in 2023.

Paolo’s long relationship with the LA Philharmonic continues through 2023, where he will conduct concerts at the Hollywood Bowl and Walt Disney Concert Hall. Alongside subscription and summer performances, notable past performances include a landmark new production of Meredith Monk’s inventive opera, ATLAS, performed at Walt Disney Concert Hall in Los Angeles in 2019.

Paolo is passionately committed to new music including the work of Miguel Farías, Gabriela Ortiz, and Jorge Peña Hen, to mention a few. In 2022, his commission of Miguel Farías’s Estallido was premiered with the Los Angeles Philharmonic.

(continued next page)

As Artistic Director of the Sinfónica Azteca, he leads an educational residency run by the Fundación Azteca from Grupo Salinas in Mexico every year. He has developed several new media initiatives with the Esperanza Azteca in Mexico, and his now-legendary Ponle Pausa, a project that seeks to rethink the concept of music education through the implementation of short videos and concerts targeting social network users, has received wide acclaim.

In 2018, he was a guest-lecturer for a TED Talk in New York and in 2020, he released his first book: RUBATO Procesos musicales y una playlist personal.

Paolo holds a Master of Music degree (Yale School of Music, 2013), a Graduate Performance Diploma (Peabody Institute, 2015), a Piano Performance Diploma (Universidad Católica de Chile, 2006), and a Conducting Diploma (Universidad de Chile, 2011).

YOUR CHARLOTTE SYMPHONY

Christopher Warren-Green, Conductor Laureate & Music Adviser

Christopher James Lees, Resident Conductor

FIRST VIOLINS

Calin Ovidiu Lupanu, Concertmaster

The Catherine & Wilton Connor Chair

Joseph Meyer, Associate Concertmaster

Kari Giles, Assistant Concertmaster

Ernest Pereira°*

Susan Blumberg°°

Jane Hart Brendle

Emily Chatham°°

Ayako Gamo

Jenny Topilow°°

Dustin Wilkes-Kim

Hanna Zhdan

SECOND VIOLINS

Oliver Kot, Principal

The Wolfgang Roth Chair

Kathleen Jarrell, Assistant Principal

The Pepsi-Cola Foundation of Charlotte Chair

Carlos Tarazona°

Monica Boboc

Tatiana Karpova

Ellyn Stuart

Martha Geissler

Sakira Harley

VIOLAS

Benjamin Geller, Principal

The Zoe Bunten Merrill Principal Viola Chair

Alaina Rea, Assistant Principal *

Chihiro Tanaka, Acting Asst. Principal

Ellen Ferdon

Cynthia Frank

Viara Stefanova

Ning Zhao

Matthew Darsey †

CELLOS

Jonathan Lewis, Principal

The Kate Whitner McKay Principal Cello Chair

Allison Drenkow, Assistant Principal

Alan Black, Principal Emeritus

Marlene Ballena

Jeremy Lamb

Sarah Markle

DOUBLE BASSES

Kurt Riecken, Principal

Judson Baines, Assistant Principal

Jeffrey Ferdon

Jason McNeel

FLUTES

Victor Wang, Principal

The Blumenthal Foundation Chair

Amy Orsinger Whitehead

Erinn Frechette

PICCOLO

Erinn Frechette

OBOES

Hollis Ulaky, Principal

The Leo B. Driehuys Chair‡

Erica Cice

Terry Maskin

ENGLISH HORN

Terry Maskin

CLARINETS

Taylor Marino, Principal

The Gary H. & Carolyn M. Bechtel Chair

Samuel Sparrow

Allan Rosenfeld

E♭ CLARINET

Samuel Sparrow

BASS CLARINET

Allan Rosenfeld

BASSOONS

Joseph Merchant, Principal

Joshua Hood

Naho Zhu†

CONTRABASSOON

Naho Zhu†

HORNS

Byron Johns, Principal

The Mr. & Mrs. William H. Van Every Chair

Andrew Fierova

Robert Rydel

Richard Goldfaden

Philip Brindise†

TRUMPETS

Alex Wilborn, Principal

The Betty J. Livingstone Chair

Jonathan Kaplan

Gabriel Slesinger, Associate Principal*

The Marcus T. Hickman Chair

TROMBONES

John Bartlett, Principal

Thomas Burge

BASS TROMBONE

Scott Hartman, Principal

TUBA

Colin Benton, Principal

The Governor James G. Martin Chair

TIMPANI

Jacob Lipham, Principal

The Robert Haywood Morrison Chair

PERCUSSION

Brice Burton, Principal

HARP

Andrea Mumm Trammell, Principal

The Dr. Billy Graham Chair

This roster lists the full-time members of the Charlotte Symphony. The number and seating of musicians onstage varies depending on the piece being performed.

° Non-revolving position

°° Alternates between first and second violins

† Acting member of the Charlotte Symphony

‡ Funded by The Symphony Guild of Charlotte, Inc.

* On leave

ARTISTIC OPERATIONS

Michael Reichman, VP of Artistic Operations & General Manager

Carrie Graham, Director of Artistic Planning

Tim Pappas, Acting Director of Operations

Nixon Bustos, Principal Music Librarian

Bradley Geneser, Assistant Librarian

Erin Eady, Acting Personnel Manager

John Jarrell, Stage Manager

The Charlotte Symphony is a proud member of the League of American Ochestras.

JON LEWIS

Principal Cello

Member of CSO since 2012 hometown: Georgetown, KY

FUN FACTS

• I started cello at the age of four and now I am Principal Cello of the CSO.

• In 2012, I earned a Doctor of Musical Arts in Cello Performance with a minor in Music Theory from the New England Conservatory of Music in Boston.

• I frequently record cello tracks for TV and film producers as well as for pop music tracks.

For more information about Charlotte Symphony musicians, visit charlottesymphony.org

One of the premier music organizations in the Southeastern United States and the oldest operating symphony orchestra in the Carolinas, the Charlotte Symphony Orchestra (CSO) connects with more than 100,000 music lovers each year through its lively season of concerts, broadcasts, community events, and robust educational programs. The CSO is committed to its mission of uplifting, entertaining, and educating the diverse communities of Charlotte-Mecklenburg and beyond through exceptional music experiences.

The Charlotte Symphony upholds the highest artistic integrity and takes bold steps to engage with its community through music. Its 62 professional, full-time musicians perform throughout the region — from community parks and breweries, to places of worship and senior care centers — and offer significant educational support, aimed at serving the underresourced areas of our community.

The Charlotte Symphony is deeply committed to the notion that music, accessible to all and experienced in its many forms, enriches and unifies our community. The CSO believes in equity and inclusion and strives to be an industry leader in imaginative, relevant programming by intentionally seeking out women conductors, underrepresented in our industry, and conductors, composers, and guest artists of color.

Founded in 1932, the Charlotte Symphony plays a leading cultural role in the Charlotte area and aims to serve the community as a civic leader, reflecting and uniting our region through the transformative power of live music.

OUR MISSION

The Charlotte Symphony uplifts, entertains, and educates the diverse communities of Charlotte-Mecklenburg and beyond through exceptional musical experiences.

OUR VISION

Reaching out through the transformative power of live music, the Charlotte Symphony will be a civic leader, reflecting and uniting our region.

For more information, visit us online at charlottesymphony.org

The Symphony Guild of Charlotte’s Heart of the Home Tour

A Tradition Returns to Charlotte

In February 1950, The Charlotte Observer reported that a new Charlotte Symphony Women’s Association would soon be incorporated with the aim of building and developing cultural activities in the Charlotte area through music. Mrs. Joseph A. Elliott Jr., who was temporary chairman of the association, called for “housewives, civic workers, businesswomen, and representatives from all facets of the city’s population to join and help build a love of music.”

Seventy-three years later, the renamed Symphony Guild of Charlotte is continuing that mission. With over 100 active members, The Guild has provided substantial financial and volunteer support over the years with an emphasis on supporting the CSO’s Youth Orchestra and Education programs.

At a recent get-together over coffee, some of The Guild’s longest-serving members — many of them past Presidents — shared fond memories of how they came to be involved with The Guild, and the many members they met who soon became friends. Much of the conversation, and laughter, centered on The Guild’s most successful – and laborious – fundraising venture: The Designer Show House.

Started in 1972 to raise funds for the Symphony’s school concerts and Youth Orchestra, the first Designer Show House took place in a stately home on Park Road, now part of Forest Hill Church.

Members of the Guild partnered with the Carolinas Chapter of the American Institute of Interior Designers to refurbish the home and make it available to the public for 3 weeks. Music was provided by Charlotte Symphony musicians and a shuttle bus took visitors to the house from SouthPark. The Charlotte Observer reported that it was the first fundraiser of its kind in Charlotte, but it took a toll on the members, who had to fill 650 volunteer slots, working as hostesses and staffing the basement tearoom. However, the venture was a success, raising $16,000 for the Symphony — enough to keep the fundraiser going for 38 years before undergoing a facelift and becoming today’s Heart of the Home Tour, which features tours of multiple homes in the Charlotte area. It’s obvious how proud the members are of their contributions as they reminisce over “their houses” — the ones that were designed under their leadership. Recalling details of the rooms, designers’ names, and how large the crowds were. It’s even more obvious the fondness that the members have for each other.

Past President Linda Weisbruch remembers feeling a bit at sea after moving to Charlotte from Los Angeles in 1987. She decided to volunteer at the Designer House down the block from her home. She recalled that by the end of that first evening, she was in the back room counting the money. “They just said ‘come on in, join us!’ It was such a great organization and welcoming. So many of my friends come from being in The Guild, and I’ve had so many opportunities to do things I’ve never done before, being chair of a Designer House, being President of The Guild, and President of the Volunteer Council at the League of American Orchestras. None of that would have happened without me being bold enough to go down the street and ask to volunteer. I’ve gained a lot of very deeply loved friends.”

LInda Weisbruch & Melissa Woolf McCrory

Melissa Woolf McCrory, another former Guild President, agrees. “Some of my dearest friends have come from this organization. We work really hard, but I’m always amazed by the intelligence and efficiency. And oh, we’ve had a lot of fun — there are a lot of great stories.”

Now, after a three-year hiatus due to the pandemic, the Heart of the Home Tour is returning March 31–April 1. The two-day tour will include six beautiful homes featuring their kitchens and outdoor entertaining spaces which showcase trends for kitchen makeovers, bold design, and sustainable materials, along with fresh inspiration for entertaining indoors or out. Tour-goers will enjoy tastings from local chefs, sample signature beverages, and explore flower and jewelry options from local artisans while visiting six spectacular homes.

Proceeds allow The Symphony Guild to support the Charlotte Symphony, its youth orchestras, and The Guild’s award-winning youth music education initiatives.

“I think it’s vitally important that a community our size has a volunteer organization to support our Symphony,” Woolf McCrory points out. “Because our symphony is so vital to the arts in our community, and a lot of people don’t quite understand the impact they have. The symphony is an incredible gem to the arts in Charlotte.”

Charlotte Observer preview of the first CSO Designer House, Sept. 1972.

Heart of the Home Details:

Taste of the Tour Party & Silent Auction

Wednesday, March 29, 2023, at 5:30–8:30 pm

Ferguson’s South End Showroom (129 West Summit Avenue)

Tickets are available for purchase online for $50 per person with a special rate of $40 for guests under 40.

Heart of the Home Tour

Friday, March 31, 5:00–8:30 pm

and Saturday, April 1, 10:00 am–4:00 pm

Tickets are available for purchase online for $35 per person

Learn more about The Symphony Guild of Charlotte, including how to become a member, at symphonyguildcharlotte.org

How is Hearing Loss

Connected to Alzheimer’s?

Are you having trouble hearing your favorite string parts at the symphony? It may be time to schedule a hearing test! This incredibly important sense can impact so many facets of your life, and as it diminishes over time it may play a factor in your memory as you age.

What are the early signs of hearing loss?

Before diving into how hearing loss affects your hearing, it’s critical to look at early symptoms in order to mitigate the condition early. Eric Tyler, AuD, a CEENTA audiologist who practices out of their SouthPark office, explains some of the more common symptoms of hearing loss. “If you or someone you know is dealing with the following:

• Muffled sounds

• Difficulty grasping words and sentences

• Social withdrawal

• Tinnitus (ear ringing)

...they may be experiencing hearing reduction.”

How is hearing loss linked to memory loss?

As previously mentioned, your hearing is more than just a way to pick up sounds. Hearing is also vital for learning and memory retention. Reduction in hearing can cause the brain to work harder in order to fill memory gaps, which can result in poor cognitive functioning in other areas. In fact, studies have pointed to hearing loss being a factor in atrophy of the brain. Similar studies have pointed to a correlation between patients with Alzheimer’s disease and a previous diagnosis of hearing loss. Those with reduced hearing were between two to five times more likely to develop dementia depending on the severity of the hearing loss.

What are preventative steps to reduce dementia if you have hearing loss?

That said, being diagnosed with hearing loss is not a definitive statement of developing Alzheimer’s. To mitigate this from happening, you can stay engaged with others socially and continue to receive mental stimulation with fun activities that promote learning, such as reading or picking up hobbies.

One of your best steps is to receive hearing aids, and that includes a proper hearing evaluation from an audiologist. Whether you’ve just been diagnosed with hearing loss or you believe someone you know may have trouble hearing sounds, put your trust in CEENTA. From comprehensive hearing tests to recommendations on the right hearing aids, CEENTA has what you need to enjoy the music. To schedule with a CEENTA audiologist, call 704-295-3300.

ERIK SATIE

born: May 17, 1866 in Honfleur, France

died: July 1, 1925 in Paris, France

In the summer of 1909, Sergei Diaghilev’s spectacular Ballets Russes burst upon the Parisian artistic scene. The Ballets Russes staged the premieres of such works as Igor Stravinsky’s The Firebird (1910), Pétrouchka (1911), and The Rite of Spring (1913), Maurice Ravel’s Daphnis et Chloé, and Claude Debussy’s Jeux (1913). Diaghilev’s brilliant and controversial productions inspired audience and critical reaction that ranged from sheer adulation to violent rebellion. The most famous Ballets Russes scandal occurred at the May 29, 1913 Théâtre des Champs-Elysées premiere of Stravinsky’s pathbreaking The Rite of Spring

Another notorious Ballets Russes premiere took place at on May 18, 1917. On that date Erik Satie’s ballet Parade had its first performance at the Théâtre du Châtelet. Commissioned by the Ballets Russes, Parade was a collaboration between many of the most brilliant artists of the day. The ballet’s plot, by Jean Cocteau, relates the tale of a group of circus performers who offer an outdoor preview of the show, in an attempt to lure customers into the tent. The audience believes it has seen the actual show, and departs. Léonide Massine choreographed Parade. Pablo Picasso designed the costumes and sets, which included the opening red curtain, portraying the performers lounging backstage.

Audiences of the time expected ballet to offer an escape from the unpleasant realities of daily life. But Cocteau’s plot made quotidian matters the focus of Parade. Picasso’s cubist costumes, and Satie’s score, a brilliant mélange of classical and popular elements (including numerous exotic percussion instruments added at Cocteau’s insistence), magnified the audience’s disorientation. Guillaume Apollinaire authored the program notes for the premiere of Parade. He described Parade as “une sorte de surréalisme” (“a kind of surrealism”).

premiere: May 18, 1917 in Paris

Parade (1917)

This was approximately three years before the start of the controversial Surrealism movement. Many were no more prepared for it in 1917 than they were in 1920.

The Théâtre du Châtelet audience voiced its displeasure during and after the performance. Cocteau quipped: “I have heard the cries of a bayonet charge in Flanders, but it was nothing compared to what happened that night at the Châtelet.” Critic Jean Poueigh congratulated Satie after the premiere. But in his review of the premiere, Poueigh dismissed Parade as “an outrage on French taste”, and Satie “for his lack of wit, skill, and inventiveness.” Satie responded with a series of insulting communications to Poueigh. The most famous (and printable) of Satie’s invective is: “Monsieur and dear friend—you are an ass, and an unmusical one! Signed, Erik Satie”. Because Satie’s messages were in the form of postcards that could be read by anyone handling the mail, Poueigh sued the composer for defamation. Satie was fined, and sentenced to a week in prison, which was later suspended.

left: Picasso’s Cubist-inspired costumes were constructed from solid cardboard, restricting the dancers’ movements and influencing the choreography.

above: Detail from a reproduction of Picasso’s original “Red Curtain” from Parade.

These photographs of costumes designed by Pablo Picasso are in the public domain in the United States because it was first published before 1923, in Maurice Raynal, Picasso, 2., verm. Aufl. Aus dem französischen

München.

IGOR STRAVINSKY

born: June 17, 1882 in Lomonosov, Russia died: April 6, 1971 in New York City

Suite from Pulcinella (1922, rev. 1947)

In the second decade of the 20th century, Igor Stravinsky rose to international prominence with a trilogy of ballets the young Russian composer wrote for Sergei Diaghilev’s Ballets Russes — The Firebird (1910), Pétrouchka (1911), and The Rite of Spring (1913). Each succeeding ballet was marked by increased rhythmic complexity and dissonance. In fact, the often barbaric music of The Rite of Spring so shocked some of those in attendance at the May 29, 1913 premiere, fistfights broke out in the Paris Champs-Elysées Theater.

Stravinsky’s first collaboration with Diaghilev after World War I once again created a stir, but for a quite different reason. In the spring of 1919, Diaghilev suggested Stravinsky consider writing music for a ballet concerning the amorous escapades of the fictional harlequin, Pulcinella. The music would be based upon works by the 18 th -century Italian composer Giovanni Pergolesi (1710-1736), whose music Stravinsky “liked and admired immensely.”

The premiere of Pulcinella took place at the Opéra on May 15, 1920. As with Satie’s Parade, Léonide Massine served as choreographer, and Pablo Picasso designed the scenery and costumes. Massine also danced the title role. Ernest Ansermet conducted the performance, which, according to Stravinsky, “ended in a real success.” A few years later, Stravinsky created a Pulcinella concert suite, featuring music from the ballet. The premiere of the Suite from Pulcinella took place on December 22, 1922, with Pierre Monteux (who also led the first performances of Pétrouchka and The Rite of Spring) conducting the Boston Symphony.

Stravinsky’s Pulcinella — both in its complete ballet and concert suite versions — continues to engage audiences with its lyric charm, infectious energy, and piquant orchestral sonorities. Subsequent discoveries that much

premiere: May 15, 1920 in Paris

of the music attributed to Pergolesi was actually written by other composers have, of course, done nothing to diminish Stravinsky’s achievement.

Stravinsky’s Pulcinella Suite comprises eight brief movements:

I. Sinfonia (Ouverture). Allegro moderato

II. Serenata. Larghetto

III. (a) Scherzino, (b) Allegro, (c) Andantino

IV. Tarantella

V. Toccata. Allegro

VI. Gavotta; Allegro moderato (Variazione 1a: Allegretto, Variazione 2a: Allegro più tosto moderato)

VII. Vivo

VIII.

a) Minuetto. Molto moderato, (b) Finale. Allegro assai

A cartoon drawn by Jean Cocteau in Rome, 1917 − it is captioned: “After the reprise of The Rite of Spring, Picasso comforts Stravinksy...He drank too much vodka.”

Jean Cocteau, Picasso, Stravinsky, and Picasso’s wife Olga in Antibes, 1926.

LUDWIG VAN BEETHOVEN

baptized: December 17, 1770 in Bonn, Germany died: March 26, 1827 in Vienna, Austria

Symphony No. 2 in D Major

Opus 36 (1802)

By the start of the 19 th century, Ludwig van Beethoven had firmly established himself as one of Vienna’s most important pianists and composers. But during that same period, Beethoven began to experience the hearing loss that would plague the composer for the remainder of his life.

It is not surprising that Beethoven spent much time contemplating the meaning of his existence. One of the products of this soul-searching process was the document known as the “Heiligenstadt Testament,” written in October of 1802. Addressed to his two brothers, the Testament was found among Beethoven’s papers after the composer’s death in 1827. In the “Heiligenstadt Testament,” Beethoven confessed: “I was on the point of putting an end to my life — only art it was that withheld me, and it seemed impossible to leave the world until I had produced all that I felt called upon me to produce…”

Around the same time Beethoven penned the “Heiligenstadt Testament,” he put the finishing touches on a work begun the previous year, the Symphony No. 2. The D-Major Symphony received its premiere on April 5, 1803 at Vienna’s Theater-an-der-Wien.

In 1801, Beethoven announced to his friend, Wenzel Krumpholz: “I am only a little satisfied with my previous works. From today on I will take a new path.” Musical historians usually designate the 1803 “Eroica”, Opus 55, as the commencement of Beethoven “new path” — at least in terms of symphonic composition. It is interesting, then, to read the following critique of the premiere of the Second Symphony, published in the Vienna Zeitung für die Elegante Welt on April 16, 1803: “the first (Symphony) is essentially of more value than the second, because it is developed with an unforced lightness, while in the second the striving for

premiere: April 5, 1803 in Vienna

the new and astonishing is more apparent.” The following May, that same paper characterized the Symphony No. 2 as “a crass monster, a hideously writhing wounded dragon, that refuses to expire, and though bleeding in the Finale, furiously beats about with its tail erect.”

Upon closer inspection, it is not difficult to find the elements of the Symphony No. 2 that so troubled the critics. It is true that the Symphony is not cast in the epic mode that made the “Eroica” such an epochal work. On the other hand, the D-Major Symphony offers frequent and compelling employment of dynamic contrasts, dissonance, and brilliant thematic manipulation. All of these elements point the way to the revolutionary style so indelibly associated with Beethoven. That Beethoven was able to write such vibrant, masterful (and indeed, high-spirited) music while in the grips of a shattering personal crisis, testifies to the spirit of a man who once vowed: “I will seize Fate by the throat; it shall certainly not bend and crush me completely.”

The Symphony No. 2 is in four movements. In the first, an extended and dramatic slow-tempo introduction (Adagio molto) resolves to the vibrant, high-spirited principal Allegro con brio. The second movement (Larghetto) exudes gracious lyricism, contrasting with agitated moments in the central episode. The third-movement Scherzo (Allegro) is based upon a three-note motif, bandied about by the orchestra in vibrant dialogue, featuring abrupt juxtapositions of loud and soft dynamics. High spirits prevail in the finale (Allegro molto), capped by the raucous closing bars.

We gratefully acknowledge these generous donors to the Charlotte Symphony Annual Fund. This list reflects gifts received between July 1, 2022 through March 1, 2023

BENEFACTOR CIRCLE

$100,000+

Anonymous

Catherine & Wilton Connor

$50,000 – $99,999

Roberta H. Cochran

Ellen M. Fitzsimmons & Greg Rogowski

$25,000 – $49,999

Joan & Mick Ankrom

Richard & Ruth Ault

Dr. Milton & Arlene Berkman Philanthropic Fund

Mark & Judith Brodsky

DG Brungard Foundation

Jean & Dick Cornwell

J. Porter & Victoria Durham

Linda & Bill Farthing

$15,000 – $24,999

Ralph S. Grier

Richard Krumdieck

DeDe & Alex McKinnon

$10,000 – $14,999

Anonymous (3)

Francisco & Jeannette Alvarado

Katharine & Frank Bragg

Mr. & Mrs. R. Alfred Brand III

Lynne & Colby Cathey

Christoph & Robin Feddersen

Karen Fox

Chris & Susan Kearney

Ginger Kelly

Page & Ed Kizer

Douglas Young

Patrick J. O’Leary

John & Maria Huson

Jane & Hugh McColl

Patricia & Thrus Morton

Patrick J. O’Leary

Richard J. Osborne

Paul & Kathy Reichs

Carolyn Shaw

John & Andromeda Williams

Debbie & Pat Phillips

Judy & Derek Raghavan

Ann & Fritz Rehkopf

Betty P. & Jeffrey J. Lee

Ms. Nina Lesavoy

Susan & Loy McKeithen

Alex & Ulrike Miles

Robert Norville

Mr. & Mrs. Jerry Richardson

Mary Anne Rogers

Mike Rutledge

Thomas & Sherry Skains

Richard & Lisa Worf

For more information on how to make a gift to the CSO Annual Fund, please contact Libby Currier, Annual Fund Manager, at 704.714.5137 or lcurrierl@charlottesymphony.org

Lori & Eric Sklut

Emily & Zach Smith

Melinda & David Snyder

Ms. Andrea J. Stevenson

Kevin Taylor

Drs. Jennifer Sullivan & Matthew Sullivan

Chris & Jim Teat

Judith & Gary Toman

Mr. & Mrs. C.L. Trenkelbach

Suzie & Nick Trivisonno

In Memory of Tess Verbesey

Kevin & Jill Walker

Floyd Wisner & Glenda Colman

$3,500 – $4,999

Wedge & Debbie Abels

Philipp J. Bischoff

Judith Carpenter

Joan & Parker Foley

H. Clay Furches

Richard I. McHenry & Cynthia L. Caldwell

Mr. & Mrs. Paul McIntosh

Tony & Linda Pace

Edgar & Karen Whitener

$2,500 – $3,499

Anonymous (3)

Julian Andretta

Mrs. Harriet B. Barnhardt

Bill & Georgia Belk

Tiffany & Jason Bernd

Jan & Bob Busch

Cathy Bessant & John Clay

Ms. Melody Birmingham

Mr. & Mrs. Alan Blumenthal

Dr. & Mrs. O. Robert Boehm

Twig & Barbara Branch

Ann Thomas Colley

Dorothy & Mike Connor

Melissa Cornwell

Chris & Elizabeth Daly in Memory of Betty Haggarty

Alfred & Amy Dawson

Peter De Arcangelis

Phil & Mary Delk

Cheryl DeMaio

Peggy & Charles Dickerson

Peggy & Richard Dreher

Mrs. Carolyn Faison

Alex & Patty Funderburg

Timothy & Kara Gallagher

Harvey & Cindy Gantt

Mr. Billy L. Gerhart, in memory of Judith Gerhart

Todd & Andrea Griffith

Ivan Hinrichs

Brian & Juliet Hirsch

Carol A. Hitselberger & Robert Petty

Jim & Peggy Hynes

Shirley & Bob Ivey

David S. Jacobson

Ginger Kemp

Bruce & Martha Karsh

Dr. & Mrs. Christ A. Koconis

Meghan & Luis Lluberas (continued next page)

David M. Cody

Carstarphen

Neil & Claire Cotty

Elizabeth Betty Eaton

Arlene H. Elisha

Mrs. Geraldine S. Emmert

Mr. Peter F. Guild

Katherine G. Hall

Angela & Michael Helms

Steven Hershfield & Mary Jo Germain

Mr. & Mrs. Benjamin F. Hill, Jr.

Joan Irwin

Gene & Helen Katz

Dr. & Mrs. Jack Kramer

Elizabeth J. McLaughlin

Anna Marriott

Ms. Rosemarie Marshall & Mr. Lee Wilkins

Jim & Dottie Martin

Cricket Weston & David Molinaro

;Eleanor W. Neal

Caroline Olzinski

Mr. Vincent Phillips & Mr. Paul Pope

John & Wilma Pinter

Larry & Dale Polsky

John & Susan Rae

Mr. & Mrs. Pope A. Shuford

Morris & Patricia Spearman

Ken Spielfogel & Richard Withem

Robert & Maxine Stein

Ann & Wellford Tabor

Tillie S. Tice

James H. Trexler & Kelly Zellars

Daniel & Kathleen Troy

Mindy & Don Upton

Vera Watson

Grant Webb

Linda & Craig Weisbruch

Mrs. Eugenia N. White

Deems Wilson

Ms. Deborra Wood & Mr. Russell Propst

$1,000 – $1,499

Anonymous (2)

Ashley & Steve Allen

Kathleen & Richard Anderson

Melissa & Daren Anderson

JWD Atchison

Mary Lou & Jim Babb

Mr. & Mrs. Lincoln A. Baxter

Morgan Beggs

John & Katherine Beltz

Shirley W. Benfield

Donald H. & Barbara K. Bernstein

Family Foundation

Si & Michael Blake

Ms. Brett Blumenthal & Mr. David Wax

Carole Bourret

Khary Brown in Memory of Kyden Justice Brown

Frances & Herbert Browne

Jane & Larry Cain

Maggie Callen

Ralph & Sam Canfield (continued next page)

Adam & Sienne Taylor

Mr. & Mrs. James Traylor

Mr. & Mrs. Hans Teich

Vint & Libby Tilson

Sarah S. Tull

Drs. Iris Cheng & Daniel Uri

Mrs. William K. Van Allen

Mr. & Mrs. Michael Van Glish

Bill & Rita Vandiver

Dr. & Mrs. Bill Chu & Jin Wang

Pam & Steve West

Peter White

David Wilcox

Bryan Wilhelm

Ms. Judith Wood

Mrs. Anne Yudell

$500 – $999

Anonymous (4)

Michael & Lee Abbott

Mark Abrams & Iris Prandi

Mr. Lester Ackerman & Mr. Layton Campbell

Larry Anderson

Leigh & Rhonda Armistead

Mrs. Natascha A. Bechtler

Bob & Cathy Becker

Dr. John L. Bennett & Mr. Eric T. Johnson

Jeffrey Boghosian

David Bower & Ann Richardson

Ms. Marianne Bragg

James Broadstone

Aram & Scott Bryan

Mr. Charles Budd

Greg & Mary Lou Cagle

Barbara F. Caine

Ms. Lisa Callen

Amanda & Kevin Chheda

Hobart B. Cheyne

Ms. Michele T. Classe

Mr. Brent Clevenger

Dr. W. Gerald Cochran & Mr. Timothy D. Gudger

Mr. Thomas E. Collins, Jr.

Dr. & Mrs. Charles E. Cook

Dr. Kilian Cooley

Dr. & Mrs. Mark Couture

Mr. & Mrs. Alpo F. Crane

Ellen M. Crowley

Mrs. Judy Crozier

Craig Selimotic Danforth

Dr. Roy E. DeMeo, Jr. & Ms. Linda A. Evanko

Thomas & Kris Duffy

Virginia Dulaney

Ms. Helen Edwards

Rebecca Elliott

Martin Ericson, Jr.

Dr. & Mrs. J. Murray Fadial

Doug Faris

Smith

Julia J. Souther

Mr. & Mrs. Larry Stern

Kathryn Stewart

Sam & Martha Stowe

Wesley & Claudia Sturges

George & Brenda Sweet

Ms. Sarah Teague

Tim Timson

Jenny & Ken Tolson

James & Melanie Twyne

Greg & Sandy Vlahos

Lyman Welton

Barnet & Harriet Weinstock

Dr. Thomas H. White

Mr. & Mrs. John A. Yakob

Ms. Barbara Yarbrough

Dan & Susan Yardley

Dr. & Mrs. T. Price Zimmermann

$250 – $499

Anonymous (3)

Paula Andretta

Andrew & Karen Antoszyk

Judi Bainbridge

Dr. & Mrs. Michael J. Bell

Sam & Nancy Bernstein

Ms. Deborah Berry

Mr. & Mrs. Alexander Bierce

Stuart Blackmon

Lawton & Janette Blandford

Megan Blankemeyer List

Ken & Nelle Brown

Mr. Nicholas Bonevac

Steve Bost

David H. & Barbara J. Burns

John Carr

Robert & Jo Anne Caruso

Mary Case

Amy Cathey

Rev. Janice Chalaron

Ms. Catherine Choudary (continued

Joan W. Martin & Pat Burgess

Theodore & Katherine Martinez

Ed & Wendy Matthews

Steve & Tammy Matula

Jill Maxwell

Kim & Alan Maxwell

Ms. Judy Mayo

James & Stephanie McGarvey

Eric Miller

Kimberly Moore-Wright

Glenn A. Muegel

David H. Nance & Jennifer Nance

Sara & Tom Nolan

Dr. & Mrs. Michael E. Norman

Dimitris & Jennifer Papageorgiou

Cookie & Jerry Parnell

Rose & Bailey Patrick

Bradley & Sharon Patterson

Mr. Conrad Puckett

Mr. Mason & Dr. Krista Rankin

Stephen & Melissa Ratliff

Emily & Brian Reinicker

Dr. Livia Robicsek

Mr. & Mrs. Albert E. Rodgers

Sarah E. Schoedinger

Eileen Scholl

Merle & Judy Schuh

Dr. & Mrs. Marvin Shapiro

Ginny Shaw

Fred H. Smith

James & Ellie Stephens

William & Catherine Stone

Larry Stratemeyer

Charlene Sturgill

Brenda Gail Summers

Ms. Jena M. Summerville

Carrie & Jeffrey Teixeira

Nancy & Dick Thigpen

Gretchen & Jean-Claude Thill

Melissa M. Tolin

Patti Tracey & Chris Hudson

Cynthia Turner

Sarah & Tim Turner

Rebecca Valenstein

Minyan Wang

Jenny & Henry Ward

Ms. Leslie Webster

Mr. Erik Weghorst

Mr. & Mrs. Tom Weidman

Mr. & Mrs. Richard J. Wertheimer

Mrs. Carol Wilson

Allen & Clara Wolfe

Karen & Charles Wolff

CORPORATE PARTNERS

We are grateful for the following outstanding corporate funders:

$250,000 +

$100,000 - $249,999

$20,000 - $49,999

$10,000 - $19,999

$5,000 - $9,999

Atrium Health Kingfisher Capital The Dunhill Hotel

For more information, please contact Amanda LoCascio, AVP - Institutional Philanthropy at 704.714.5138 or alocascio@charlottesymphony.org

GOVERNMENT & FOUNDATION SUPPORT

We are grateful for the following outstanding foundation and government funders:

$100,000 +

$50,000 - $99,999

Dickson Foundation

$20,000 - $49,999

DG Brungard Foundation

Mariam & Robert Hayes Charitable Trust

The Trexler Foundation

$10,000 - $19,999

Blumenthal Foundation

Charlotte Mecklenburg Community Foundation

Cole Foundation

Dunspaugh-Dalton Foundation, Inc.

The Maurer Family Foundation

$5,000 - $9,999

AT&T Foundation

The George W. & Ruth R. Baxter Foundation

The Jack H & Ruth C. Campbell Foundation

The Charlotte Assembly

$2,500 - $4,999

Barnhardt/Thomas Trust

Kathryn Stephenson Pipe Organ Endowment Foundation

Stanly County Community Foundation

Winer Family Foundation

For more information, please contact Toni Freeman, Grant Writer at development@charlottesymphony.org

The Truist Charitable Fund is a donor-advised fund created by Truist and administered by The Winston-Salem Foundation

We invite your firm to join this special group of corporate supporters committed to keeping the music alive — enriching Charlotte and the surrounding communities as a first-class place to work and live.

$2,500 - $4,999

GreerWalker

Moore & VanAllen Park Inc.

$5,000 + $500 - $2,499

Carter Troutman Pepper LLP

World Famous Golf Carts of South Carolina

For more information, please contact Amanda LoCascio, AVP - Institutional Philanthropy at 704.714.5138 or alocascio@charlottesymphony.org

The Charlotte Symphony Orchestra recognizes donors of exceptional generosity whose cumulative giving to the CSO exceeds $1 million with the designation of Music Director Society.

Anonymous (2)

Bank of America Corporation

Catherine & Wilton Connor

Goldman, Sachs & Co.

The Leon Levine Foundation

John S. & James L. Knight Foundation

Mr. & Mrs. Hugh L. McColl, Jr.

Robert Haywood Morrison Foundation

C. D. Spangler Foundation

The Symphony Guild of Charlotte, Inc.

Wells Fargo Corporation

For more information, please contact Leslie Antoniel, AVP of Development, at 704.714.5139 or lantoniel@charlottesymphony.org.

Anonymous (3)

Geraldine I. Anderson†

Richard & Ruth Ault

Baldwin Family Trust

Barnhardt Thomas Trust

Larry & Joyce† Bennett

Donald H. & Barbara K. Bernstein

Mark & Louise Bernstein†

Twig & Barbara Branch

Saul Brenner

Mike & Joan Brown†

Mrs. Joan Bruns †

Jan & Bob Busch

Dr. Helen G. Cappleman, Ph.D.†

Jim Cochran†

Robin Cochran

Tom Covington

Charles & Peggy Dickerson

Mr. Martin Ericson, Jr.

David J.L. Fisk & Anne P. O’Bryne

Peter & Ann† Guild

William G. & Marguerite K. Huey Fund†

Dr. Nish Jamgotch, Jr.

Betty & Stanley Livingstone†

† Deceased

Nellie McCrory †

M. Marie Mitchell†

Cricket Weston & David Molinaro

Joan & Richard Morgan

Don C. Niehus

Eva Nove

Richard J. Osborne

Gwen Peterson & Tom Hodge

James Y. Preston†

Mrs. Clayton (Dusty) Pritchett

Ann & Fritz Rehkopf

Elizabeth Waring Reinhard

Nancy W. Rutledge

Mike Rutledge

Harriet Seabrook

Mr. & Mrs. William Seifert

Morris & Patricia Spearman

Bob & Maxine Stein

Dr. Ben C. Taylor III

Mr. & Mrs. Hans Teich

Cordelia G. Thompson

Tim Timson

Jenny & Ken Tolson

Ms. Debora Wood & Mr. Russell Propst

The Encore Society includes individuals who have made provisions for the CSO in their estate plans. We are honored to recognize their support: Leave a lasting legacy of great music through your planned gift. For more information, contact Leslie Antoniel at 704.714.5139.

With your gift, the Charlotte Symphony uplifts, entertains, and educates the diverse communities of Charlotte-Mecklenburg and beyond through exceptional musical experiences.

March 17 & 18 7:30 pm | Belk Theater

The original Star Wars trilogy comes to a dramatic conclusion at Belk Theater this season with Star Wars: Return of the Jedi. The Empire and the Rebel Alliance prepare for a final confrontation. See it on the big screen with John Williams’s legendary score performed live!

704.972.2000 | charlottesymphony.org

© 1983 & TM Lucasfilm Ltd. Presentation licensed by Disney Concerts in association with 20th Century Fox Film Corp, Lucasfilm and Warner/Chappell Music. © All rights reserved.

Multimillion Dollar Commitment City of Charlotte

$1.5 million and above Bank of America

C.D. Spangler Foundation / National Gypsum Company

John S. and James L. Knight Foundation

Trane Technologies

$600,000 - $1 million

Albemarle Foundation

Atrium Health

Barings

Duke Energy

Honeywell

JELD-WEN, Inc.

LendingTree Foundation

Lowe’s Companies, Inc.

Novant Health

Red Ventures

Truist

$300,000-$600,000

Ally Financial

The Centene Charitable Foundation

Childress Klein Properties

Coca-Cola Consolidated

Deloitte

EY

The Gambrell Foundation

Moore & Van Allen

PwC

Robinson, Bradshaw & Hinson, P.A.

Rodgers Builders

Wells Fargo

Up to $300,000

Fifth Third Bank

Foundation For The Carolinas

Deidre and Clay Grubb

Leslie and Michael Marsicano

Jane and Hugh McColl

Nucor Corporation

PNC Bank

Premier, Inc.

Jane and Nelson Schwab

The Charlotte Symphony is supported, in part, by the Infusion Fund and its generous donors.

BOARD OF DIRECTORS

Linda McFarland Farthing

Chair

John Williams

Vice Chair

Mick Ankrom

Treasurer

David Fisk

President & CEO

Melissa Anderson

Joye D. Blount

Mike Butterworth

Manny Clark

Nick Clements

Catherine Connor

Mary Delk*

Denise DeMaio

Richard Krumdieck

Alex McKinnon

Ulrike W. Miles

Glenn Mincey

Robert Rydel*

Ylida Scott

Melinda Snyder

Jennifer Sullivan

Jenny Tolson*

Jenny Topilow*

Kevin Walker

*ex officio

BOARD OF TRUSTEES

Richard Osborne, Chair

Ruth & Richard Ault

Kat Belk

Arlene & Milton Berkman

Jason & Tiffany Bernd

Mary & Charles Bowman

Frank Bragg

Robin & Bill Branstrom

Derick & Sallie Close

Robin Cochran

Wilton Connor

Jeanie & T. Thomas Cottingham III

Brian Cromwell

Alessandra & Pasquale De Martino

Alvaro & Donna de Molina

Peggy & Richard Dreher

Lisa Hudson Evans

Todd Gorelick

Janet Haack

Reginald B. Henderson, Esq.

Mark & Whitney Jerrell

Jeff Lee

Gov. James G. Martin

Jane & Hugh McColl

Susan & Loy McKeithen

Elizabeth J. McLaughlin

George McLendon

Patrick J. O’Leary

Debbie & G. Patrick Phillips

Paul Reichs

Nancy & Charles Robson

Patricia A. Rodgers

M.A. Rogers

Dan & Sara Garces Roselli

Laura & Mike Schulte

Carolyn Shaw

Tom Skains

Emily & Zach Smith

Bob & Marsha Stickler

Adam Taylor

Cynthia Tyson

Braxton Winston

Richard Worf

Albert Zue

EXECUTIVE

David J. L. Fisk, President & CEO

Samantha Hackett, Executive Administrator

ARTISTIC OPERATIONS (see p. 9)

DEVELOPMENT

Shayne Doty, Vice President of Development

Leslie Antoniel, Associate Vice President of Development

Libby Currier, Annual Fund Manager

Tammy Matula, Database Manager

Jennifer Gherardi, Campaign Coordinator

Senta Harvey, Annual Fund & Sponsorships Associate

FINANCE & ADMINISTRATION

Angel Adams, Vice President of Finance & Administration

Lissette Rodriguez, Staff Accountant

Chazin & Company, Financial Services

Amy Hine, Office Administrator

HUMAN RESOURCES

Maribeth Baker (Catapult), Human Resources Counselor

LEARNING & COMMUNITY ENGAGEMENT

Aram Kim Bryan, Vice President of Learning & Community Engagement

Emily Gordon, Project Harmony Manager

Dylan Lloyd, Youth Orchestras Manager

Peyton Wulff, Learning Manager

Jirah Montgomery, Youth Orchestras Assistant

MARKETING

Mical Hutson, Vice President of Marketing & Audience Development

Deirdre Roddin, Director of Institutional Marketing & Communications

Nicole Glaza, Senior Manager of Digital Marketing

Chad Calvert, Visual Communications Manager

Laura Thomas, Marketing Manager

Meghan Starr, Patron Communications Manager

Garrett Whiffen, Ticketing Manager 128

March 24 & 25

Belk Theater

Jessica Cottis, conductor

Charlotte Master Chorale

“Engaging” (The Scotsman) conductor Jessica Cottis returns to lead the Charlotte Master Chorale and your CSO in Mendelssohn’s expansive Symphony No. 2, “Hymn of Praise.”