CSO POPS Fanfare Cincinnati - Jan/Feb 2024

JAN / FEB 2024

Oxford proudly supports the Cincinnati Symphony Orchestra.

Oxford is independent and unbiased — and always will be.

We are committed to providing multi-generational estate planning advice and forward-thinking investment solutions to families and institutions.

ATLANTA ) CHICAGO ) CINCINNATI ) GRAND RAPIDS ) INDIANAPOLIS ) MINNEAPOLIS ) PALM BEACH 513.246.0800 ) WWW.OFGLTD.COM/CSO Oxford is an investment advisor registered with the U.S. Securities and Exchange Commission. Registration does not imply a certain level of skill or training.

0RUH LQIRUPDWLRQ DERXW 2[IRUGnV LQYHVWPHQW DGYLVRU\ VHUYLFHV DQG IHHV FDQ EH IRXQG LQ LWV )RUP $'9 3DUW ZKLFK LV DYDLODEOH XSRQ UHTXHVW 2)*

A proud sponsor of the musical arts

Fanfare Magazine | 1

JANUARY/ FEBRUARY 2024

CONTENTS

8

4

Directors & Advisors

5

Welcome from the President & CEO

6

Upcoming Concerts

8

Louis Langrée, Part III: Louis + Brahms, A Shock of Discovery

12

CSO Feature: CSO Concerts This Winter Offer Themes Ranging From Harmonic Exploration to Heroes’ Journeys

18

Pops Feature: Give Them the Ol’ Razzle Dazzle

22

Spotlight: CSO: CLIMB Award Honoree

24

Orchestra Roster

Part III of our seasonlong focus on Louis Langrée and his CSO tenure features Louis’ final concerts with the May Festival Chorus as Music Director, for Brahms’ A German Requiem Feb. 9–11. Louis, Director of Choruses Robert Porco and Chorus member Steve Dauterman discuss the work and its place in CSO history on pp. 8–11.

25

Artistic Leadership: Louis Langrée, John Morris Russell

12

26

Guest Artist Biographies

47

Concerts and CSO Program Notes: Jan. 5–7: CSO Brahms: Runnicles & Trifonov | Jan. 10: Pops Notorious B.I.G. X Tupac X Mahler | Jan. 12–14: Pops Chicago: The Musical in Concert | Jan. 19: Winstead Chamber Series Death and the Maiden | Jan. 19–20: CSO Rachmaninoff & Adams | Jan. 27: Lollipops Mo Willems’ Goldilocks & The Three Dinosaurs | Jan. 27–28: CSO Symphonic Mozart | Feb. 2–3: CSO Shostakovich: 1905 | Feb. 4: Pops Audra McDonald | Feb. 9–11: CSO Brahms’ German Requiem

86

Financial Support

92

Opus 50 and Opus 25 Subscriber Recognition

Other CSO concerts in Jan.–Feb. follow themes, some apparent, some not so, such as Sir Donald Runnicles’ and Dame Jane Glover’s explorations of a single composer (Brahms and Mozart, respectively) and Kevin John Edusei’s program, which he says is “about harmony, and what harmony means in our time.”

Read more on pp. 12–17.

96

Administration

18

ON THE COVER: Louis Langrée conducting the Cincinnati Symphony Orchestra. Credit: Mark Lyons

All contents © 2023–24. Contents cannot be reproduced in any manner, whole or in part, without written permission from the Cincinnati Symphony Orchestra and Cincinnati Pops.

2 | 2023–24 SEASON

In advance of the Cincinnati Pops Orchestra’s performances of Chicago: The Musical in Concert Jan. 12–14, read about the history and “ripped from the headlines” inspirations behind the musical’s plot, which came to Broadway through the efforts of Kander & Ebb, Bob Fosse and Gwen Verdon, pp. 18–21.

re sents P i t a n n i c n i M a ti née M u s i c a l e C

Debu t !

S U s i H g n i k Artis t M a

YUN ZENG FRENCH HORN

DONNA LOEWY PIANO

US DEBUT

• In 2022, at age 22, won the audition for principal horn of one of the oldest orchestras in the world (founded in 1570), Staatskapelle Berlin, a muchcoveted post for any brass player • In 2021, was awarded 2nd Prize in the horn category at the ARD International Music Competition in Munich, Germany

Sunday March 3, 2024 3 PM Memorial Hall 1225 Elm Street • OTR

• In 2019, First Prize winner in the newly introduced brass instrument category of the International Tchaikovsky Competition • Shines performing French Horn repertoire with symphony orchestras on international stages

Tickets:

MemorialHallOTR.org or 513-977-8838 MatineeMusicaleCincinnati.org

BOARD OF DIRECTORS Officers

CINCINNATI SYMPHONY ORCHESTRA & CINCINNATI POPS Music Hall, 1241 Elm Street, Cincinnati, OH 45202 Box Office: 513.381.3300 hello@cincinnatisymphony.org Group Sales: 513.864.0196 groupsales@cincinnatisymphony.org TTY/TDD: Use TTY/TDD Relay Service 7-1-1 cincinnatisymphony.org cincinnatipops.org

FANFARE MAGAZINE STAFF: Managing Editor Tyler Secor

Dianne Rosenberg, Chair Robert W. McDonald, Immediate Past Chair Sue McPartlin, Treasurer and Vice-Chair of Finance Gerron McKnight, Esq., Secretary Timothy Giglio and Kari Ullman, Vice-Chairs of Volunteerism Anne E. Mulder, Vice-Chair of Community Engagement Charla B. Weiss, Vice-Chair of Institutional Advancement Melanie Healey, Vice-Chair of Leadership Development

Directors Dorie Akers Heather Apple Michael P. Bergan Evin Blomberg Kate C. Brown Ralph P. Brown, DVM Trish Bryan* Otto M. Budig, Jr.* Andria Carter Melanie M. Chavez Andrea Costa Adrian Cunningham Gabe Davis Dr. Maria Espinola

Mrs. Charles Fleischmann III* Lawrence Hamby Delores Hargrove-Young Francie S. Hiltz* Joseph W. Hirschhorn* Lisa Diane Kelly Edna Keown Florence Koetters Jonathan Kregor Peter E. Landgren John Lanni Shannon Lawson Spencer Liles* Will Lindner Holly Mazzocca James P. Minutolo Laura Mitchell Lisa Lennon Norman Bradford E. Phillips, III Aik Khai Pung James B. Reynolds* Jack Rouse* Lisa M. Sampson Patrick Schleker Valarie Sheppard Stephanie A. Smith Albert Smitherman David R. Valz Randolph L. Wadsworth, Jr.* *Director Emeritus

Senior Editor/Layout Teri McKibben Graphic Design Stephanie Lazorchak CINCINNATI MAGAZINE: Advertising and Publishing Partners for Fanfare Magazine Publisher Ivy Bayer Production Director & IT Systems Administrator Vu Luong Advertising Designer Sophie Kallis Account Representatives Laura Bowling, Maggie Wint Goecke, Hilary Linnenberg, Chris Ohmer, Julie Poyer, Joe Hoffecker Operations Director Missy Beiting Business Coordinator Erica Birkle Advertising and Business Offices 1818 Race Street, Suite 301 Cincinnati, OH 45202 | 513.421.4300 Subscriptions: 1.800.846.4333 cincinnatimagazine.com

BOARD OF DIRECTORS DIVERSITY, EQUITY & INCLUSION (DE&I) COMMITTEE, COMMUNITY ADVISORY COUNCIL and MULTICULTURAL AWARENESS COUNCIL In May 2020 the realities of systemic inequity, injustice and racism in America were once again laid bare by the murder of George Floyd. That summer, the CSO created a 10-point DEI Action Plan to prioritize the Orchestra’s work to better represent and serve the entirety of the Cincinnati community.

Action items included the continued amplification of BIPOC artists on stage and in education programs; a review of hiring and compensation practices; organization-wide implicit bias training; increased mentorship opportunities; and the creation of a standing CSO Community Advisory Council (CAC) to strengthen ties to the community. We thank our many partners on the CAC and on our standing DE&I committee who are helping us with this important work.

CSO Board of Directors DE&I Committee Charla B. Weiss, Lead Heather Apple Ralph Brown Adrian Cunningham Maria Espinola Delores Hargrove-Young Lisa Kelly David Kirk* Gerron McKnight Lisa Lennon Norman Jack Rouse Lisa Sampson Stephanie Smith *Community Volunteer Primary Staff Liaison: Harold Brown Other Staff: Kyle Wynk-Sivashankar

You are welcome to take this copy of Fanfare Magazine home with you as a souvenir of your concert experience.

Alternatively, please share it with a friend or leave it with an usher for recycling. Thank you!

4 | 2023–24 SEASON

Community Advisory Council Desire Bennett, Design Impact Daniel Betts, Cincinnati Recreation Commission Jackie Taggart Boyd, Cincinnati Convention and Visitors Bureau/CincyUSA Alexis Kidd, Seven Hills Neighborhood Houses

Christopher Miller, National Underground Railroad Freedom Center Joele Newman, Peaslee Neighborhood Center Candra Reeves, Urban League of Greater Southwestern Ohio Leslie Rich, Ioby John P. Scott, Community Engagement Partners Billy Thomas, Cincy Nice Staff: Harold Brown

Multicultural Awareness Council Susan Carlson Andria Carter Piper Davis Kori Hill Alverna Jenkins Beverley Lamb Kick Lee Quiera Levy-Smith RaeNosa Onwumelu Yemi Oyediran Aurelia “Candie” Simmons Nakia Smith Daphney Thomas Staff: Harold Brown

WELCOME FROM THE PRESIDENT AND CEO

©Roger Mastroianni

Although much of our work takes place here at Music Hall, the CSO is implementing a strategic plan that underscores our vision to become the most relevant orchestra in America, and our work is being noticed.

Dear Friends of Music, Welcome to the New Year! We are glad you are here with us as we ring in another year of music for all.

Recently, in recognition of his extraordinary tenure and artistic accomplishments, Louis Langrée was appointed as Music Director Laureate of the CSO, effective at the conclusion of this current season—his last as Music Director—and extending through the 2027–28 season. As Music Director Laureate, Louis will return to Cincinnati to conduct the Orchestra in select concerts each season, beginning in the 2025–26 season, and we are thrilled. The CSO has been the fortunate beneficiary of Louis’ deep commitment to music, and to sharing it as widely as possible, for more than a decade. This new relationship honors that commitment and makes official our mutual intent to reunite for extraordinary performances.

As for the remainder of this season, there are still opportunities to see Louis in action: Brahms’ German Requiem (February 9–11), Hadelich & Holland (April 20–21), and Louis’s Grand Finale (May 10–12). The Saturday, May 11 performance will now include a free post-concert reception in celebration of Louis, reservations required. We encourage you to make plans to attend if you haven’t already.

We also congratulate our Cincinnati Symphony Youth Orchestra (CSYO) Concerto Competition winners: violinists Vivian Chang and Christy Kim. Christy Kim will perform Saint-Saëns’ Introduction and Rondo Capriccioso at the March 3 CSYO Philharmonic/CSO’s annual Side-by-Side concert, and Vivian Chang will perform Sarasate’s Carmen Fantasy at the April 28 CSYO Philharmonic concert.

Although much of our work takes place here at Music Hall, the CSO is implementing a strategic plan that underscores our vision to become the most relevant orchestra in America, and our work is being noticed.

The CSO was recently awarded the Cincinnati Business Courier and the Cincinnati USA Regional Chamber’s CLIMB (Cincinnati Lifts Inclusion and Minority Business) Award for our Brady Block Parties Series, a free summer outdoor event and concert series presented in partnership with local community organizations in neighborhoods across Cincinnati. The first presenting arts organization in Cincinnati to receive this award, we are honored to join the ranks of major change makers in the community. It affirms that we’re making progress toward realizing our vision to become the most relevant orchestra in America—and that work begins right here in Cincinnati. Stay tuned for more information about our free Brady Block Parties Series this summer.

Finally, we believe music is for all—regardless of budget. One way we reduce the barriers to experience the Orchestra is through our robust ticket program that offers first-timer, pay-what-you-wish, student, kids, senior citizen, active military, group and other discounts. We encourage you to visit our website (cincinnatisymphony.org/MusicForAll) for more information about each opportunity, and let’s make 2024 a year full of music for all.

Jonathan Martin

C O M I N G U P AT M U S I C H A L L MAR 2024 MUSIC TO MOVE YOU

CSO Proof

FROM THE CANYONS TO THE STARS MAR 1 & 2 FRI & SAT 8 PM Matthias Pintscher conductor Pierre-Laurent Aimard piano MESSIAEN Des canyons aux étoiles ("From the Canyons to the Stars") CSO Proof is generously made possible by Presenting Sponsors Irwin and Melinda Simon Presenting Sponsor: The Proctor & Gamble Company

CSYO PHILHARMONIC/CSO: ANNUAL SIDE BY SIDE MAR 3 SUN 7 PM COPLAND’S APPALACHIAN SPRING MAR 8-10 FRI & SAT 7:30 PM; SUN 2 PM* Matthias Pintscher conductor Conrad Tao piano COPLAND Suite from Appalachian Spring inti figgis-vizueta New Piano Concerto (CSO Commission, World Premiere) SCHUMANN Symphony No. 1, Spring

THE DOO WOP PROJECT MAR 15-17 FRI & SAT 7:30 PM; SUN 2 PM John Morris Russell conductor Show Sponsor: Pyro-Technical Investigations, Inc

Winstead Chamber Music Series

THE ART OF THE TRIO: BRAHMS & TCHAIKOVSKY MAR 21 THU 7:30 PM Wilks Studio in Music Hall GIPPS Pan and Apollo BRAHMS Clarinet Trio TCHAIKOVSKY Piano Trio

HEROIC STRAUSS & MELODIC MOZART MAR 23 & 24 SAT 7:30 PM; SUN 2 PM Sir Mark Elder conductor Pavel Kolesnikov piano WAGNER Overture to Tannhäuser MOZART Piano Concerto No. 17 STRAUSS Ein Heldenleben ("A Hero's Life")

BEN RECTOR & CODY FRY: Live with the Cincinnati Pops MAR 26 TUE 7:30 PM Ben Rector Cody Fry Jason Seber conductor

TCHAIKOVSKY & NIELSEN MAR 29 & 30 FRI 11 AM; SAT 7:30 PM Ryan Bancroft conductor Inon Barnatan piano COLERIDGE-TAYLOR Ballade for Orchestra TCHAIKOVSKY Piano Concerto No. 1 NIELSEN Symphony No. 4, The Inextinguishable

APR 2024 THE DREAM OF AMERICA APR 12-14 FRI & SAT 7:30 PM; SUN 2 PM* John Morris Russell conductor Concert Sponsors: The Jewish Foundation of Cincinnati & Kelly Dehan and Rick Staudigel

CLASSICAL ROOTS APR 19 FRI 7:30 PM* John Morris Russell conductor Classical Roots Community Choir Associate Sponsor: TriHealth

HADELICH & HOLLAND APR 20 & 21 SAT 7:30 PM; SUN 2 PM* Louis Langrée conductor Augustin Hadelich violin Jonathan Bailey HOLLAND New Work (CSO Co-Commission, CSO Premiere) SCHOENBERG Verklärte Nacht (“Transfigured Night”) BRAHMS Violin Concerto Presenting Sponsor: Cincinnati Symphony Club | Concert Sponsor: Johnson Investment Counsel

Winstead Chamber Music Series

SPOTLIGHT ON WINDS & STRINGS APR 25 THU 7:30 PM Wilks Studio in Music Hall SCHULHOFF Concertino for Flute, Viola and Double Bass REINECKE Clarinet Trio in A Minor KHACHATURIAN Clarinet Trio SCHUMANN String Quartet in A Minor

DVOŘÁK SYMPHONY NO. 8 APR 26 & 27 FRI & SAT 7:30 PM Katharina Wincor conductor Sheku Kanneh-Mason cello SHOSTAKOVICH Festive Overture SHOSTAKOVICH Cello Concerto No. 1 DVOŘÁK Symphony No. 8

CSYO CONCERT ORCHESTRA: WALK ABOUTS APR 28 SUN 2 PM Felipe Morales-Torres conductor

CSYO PHILHARMONIC: SPARTACUS APR 28 SUN 7 PM Samuel Lee conductor

FOR A FULL LIST OF UPCOMING EVENTS AND ADDITIONAL INFO

VISIT CINCINNATISYMPHONY.ORG Louis Langrée Music Director • John Morris Russell Cincinnati Pops Conductor *For more info on our livestreams visit cincinnatisymphony.org/live

Louis Langrée leads the opening of the 2022–23 CSO season, featuring Mahler’s Symphony No. 2, Resurrection, September 2022.

Credit: Roger Mastroianni

LOUIS LANGRÉE, Part III

Louis + Brahms, A Shock of Discovery

by KEN SMITH

When Louis Langrée first encountered Brahms’ A German Requiem, as a student at the Strasbourg Conservatory, he was so overwhelmed that he attended every rehearsal. Although Langrée had played many of the composer’s solo piano pieces, lieder and chamber works—and through

[The performance] marks Langrée’s final appearances with the May Festival Chorus as CSO Music Director.

his father, an organist and choirmaster, knew a wide range of liturgical repertoire—the future conductor found himself in a different dimension entirely. “It was so mysterious,” he recalls. “Was it concert piece? A ritual?

As a teenager, it was a shock of discovery.”

Much in the spirit of Brahms himself—who may have conceived the piece after the death of Robert Schumann in 1856, but didn’t start writing it until his mother died nine years later—Langrée waited to conduct the Requiem until the late 1990s. “The Requiem took a long time for Brahms to compose, and was so personal,” he says. “But it was the piece that first gave him the stamp, along with Bach and Beethoven, as one of the three ‘Bs’.” This may also partly explain why Brahms’ Requiem also marks Langrée’s final appearances with the May Festival Chorus as Cincinnati Symphony Orchestra Music Director on February 9 through 11.

Much of the Requiem’s challenge for any conductor, he claims, is finding a proper balance between orchestral richness and vocal expression.

“With symphonic music, you generally worry about form and shape and contrast,” he explains. “In this case, the text leads the tempo, the color,

8 | 2023–24 SEASON

LOUIS LANGRÉE, Part III

on a musical level, there’s Brahms’ incredible melodic gift—everybody gets a melody; if you’re an alto singing Brahms, you’re in heaven—but also superb craftsmanship. A three-note motif reappears in every movement, sometimes upside down. There are no wasted notes. The trendy word would be ‘organic,’ but really, everything is connected, and exactly May Festival Director of Choruses Robert Porco warming up the Chorus for Mahler’s Symphony No. 2, September 2022. Credit: Roger Mastroianni

where it belongs.”

Porco and Langrée may vary in their descriptions of

the meaning. You need to figure out exactly what

Brahms’ music—Langrée compares the violinless

you’re singing, why you’re singing it, and to whom

first movement to “a large viola da gamba”

you’re singing, or else you simply have a pointless,

while Porco calls it “an art song for chorus”—but

generic intensity.”

on the finer points they’re on the same page.

“With nearly any choral piece—any music for

“With Louis, I think we have that ideal balance,”

voices, really—the text came first,” agrees Robert

Porco says. “We tend to agree on a lot of things,

Porco, the May Festival’s Director of Choruses.

especially on following the natural flow of the

“Brahms wasn’t necessarily a churchgoing guy,

text. In America, we often think that all quarter

but he scoured his New Testament. Nearly every

notes are equal, but in reality, they simply are not.

movement has a textual progression—grief, but

That type of thinking goes against everything

also hope—that is impeccably thought out. And

Brahms was doing.”

`` Louis Langrée rehearses Mahler’s Symphony No. 2 with the May Festival Chorus and Cincinnati Symphony Orchestra, September 2022; Robert Porco, foreground, listens. Credit: Roger Mastroianni

Fanfare Magazine | 9

LOUIS LANGRÉE, Part III

The piece’s sense of consolation, he adds, has become part of May Festival history for some time. “In 1986, the Brahms Requiem was the first piece we sang with Jesús López Cobos, whose second wife had just passed away,” Dauterman recalls. “The piece was programmed years in advance, but the timing helped make those performances memorably tender and touching.”

Of the three Brahms performances Dauterman sang under longtime May Festival Music Director James Conlon, one occurred after the recent death of one of Conlon’s parents. The second was Conlon’s last-minute replacement for Robert Shaw in 1993, after Shaw’s wife had been diagnosed with late-stage breast cancer. When Shaw eventually conducted in Cincinnati four years later, his last appearance with the May Festival Chorus, the pain of her death was still palpable from the podium. “That performance was particularly memorable,” he claims. “It was terribly slow—maybe the slowest rendition I’ve ever heard—but it was the most accurate rhythm

Steve Dauterman, May Festival Chorus Member

we ever had.”

The most recent, in May 2012 under James

“Brahms doesn’t offer us much direction,”

Conlon, was especially comforting for Dauterman

says Langrée. “On the contrary, he gives us

himself, who had just lost his father earlier that

practically nothing, so that we have to make

year. “The Brahms Requiem has become a

choices—even whether or not to use the organ,

favorite piece for many of us in the Chorus,” he

where he just writes ad libitum. At the same

says, “and it was really meaningful to find out that

time, there aren’t many places where you say,

it would be the last piece that we’d do with Louis

‘This is where I take that option.’ It’s more

as CSO Music Director.”

Langrée has noted a particular

a case of always going deeper in the same direction, and figuring out how much deeper you can go.”

The Requiem’s non-liturgical nature didn’t go over well at first, especially with the German clergy. An early performance of the work-in-progress added

significance for the piece in “With Mozart or Cincinnati—a sentiment that Duruflé or Verdi, it’s Dauterman echoes. “Something basically, ‘Keep me about the German text in this out of Hell!’ piece resonates heavily with me, Brahms wrote a and seems to blend well with the requiem for the living.”

bits of Handel’s Messiah just

—Steve Dauterman

so listeners would feel suitably pious. “Brahms himself said he could just as easily have called this a ‘Humanist’

city’s history,” he claims. “You

only have to go to Over-the-Rhine to be surrounded by the remnants of German heritage here.”

But for Langrée, the piece is ultimately

Requiem,” says Langrée. “It was about providing

about transcending culture and chronology, and

consolation. Instead of Jesus, it was about all of

“finding a balance” has as much to do with its

us, starting with himself.”

compositional elements as with its musical forces.

Steve Dauterman, a member of the May Festival

“The Requiem is totally a Romantic piece, with a

Chorus since 1981, puts it slightly differently. “First

big orchestra,” he says. “At the same time, Brahms

of all, it’s a very Protestant Requiem,” he says.

pays homage to Baroque instrumentation and

“With Mozart or Duruflé or Verdi, it’s basically,

texture, particularly counterpoint. Actually, it’s

‘Keep me out of Hell!’ Brahms wrote a requiem for

more of a cantata, drawing influences from Schütz

the living.”

and Bach—even setting some of the same texts

10 | 2023–24 SEASON

LOUIS LANGRÉE, Part III

they did—and yet the piece also has a visionary aspect. Even Schoenberg wrote an essay with the title ‘Brahms the Progressive.’ The difficulty is not technical, but rather how to include all of these aspects while finding unity in them.”

Porco concurs with the Requiem’s place in the repertory (“not without precedent, but a much more complete statement,” he says).

Rather, he says, the piece’s durability lies in its universality. “Brahms had a very clear vision of what he wanted: a Requiem that wasn’t all— or even a little bit—about damnation,” Porco maintains. “I usually don’t talk much about religion in rehearsals—well, maybe the Catholic tradition in Italy when we do the Verdi Requiem, because you have to know where that’s coming from—but most people are in some way spiritual, and Brahms allows room for that. The references might be from the New Testament, but spiritually they speak to everyone.”

Inside the May Festival Rehearsal Room, choristers warm up for the Mahler Symphony No. 2 performance, September 2022.

Credit: Roger Mastroianni

Another final season highlight: Louis Langrée leads the CSO in a concert of works by Bernstein, Price and Copland, October 2023.

Credit: JP Leong

Fanfare Magazine | 11

CSO FEATURE

CSO Concerts This Winter Offer Themes Ranging From Harmonic Exploration to Heroes’ Journeys

by HANNAH EDGAR

The selections you hear on CSO programs are, almost always, the fruits of a deft compromise.

Artistic committees talk shop with conductors and soloists to figure out what’s in their repertoire, or what they’ll be playing on the road at the time of their engagement.

The Orchestra then squares that with any artistic preferences on their side—a hankering for a contemporary work, perhaps, or a piece providing an overdue highlight to symphony musicians—and sorts out an eveninglength program.

During all that scheduling Jenga, cohesion is usually an afterthought.

Most programs turn out, by necessity, a bit random, with no discernible throughline.

Dame Jane Glover, ©Jim Steere.

Mark it as both coincidence and At right: Glover’s latest book on the life blessing that no fewer than four CSO of Mozart, Mozart in Italy. programs this winter turned out highly thematic. Some themes are immediately heard bit of apparent, like Sir Donald Runnicles’ and Dame juvenilia with Jane Glover’s explorations of a single composer: the Symphony Johannes Brahms for Runnicles (Jan. 5–7), No. 13, which Wolfgang Amadeus Mozart for Glover (Jan. 27 Mozart wrote & 28). Others are more evocative: conductor when he was just Kevin John Edusei’s program (Jan. 19 & 20), for 15. Between the example, explores the inventive ways composers two symphonies utilize harmony. is the muchGlover, a renowned Mozart scholar, is beloved Sinfonia often asked to lead portrait programs of Concertante, the composer. One memorable survey in K. 364 for solo Philadelphia started with Mozart’s first violin and viola, symphony, which he wrote when he was eight, spotlighting CSO and ended with his last, the Jupiter. principals Stefani Matsuo and Christian Colberg.

Her bookends in Cincinnati are a little closer Glover specifically requested to lead the together. Glover’s program ends with the Symphony No. 13. Her latest book, Mozart in Symphony No. 36, Linz, one of Mozart’s mature Italy: Coming of Age in the Land of Opera, traces symphonies; before that, she’ll dust off a rarely Mozart’s teenage travels in Italy with his father,

12 | 2023–24 SEASON

CSO FEATURE

dynamic range hovers around mezzo for most of the piece.

Mozart, like many great composers, had a special affinity for the viola, often opting to play it in a chamber setting. His own experience on the instrument almost certainly influenced what is, more than the split viola section, the Sinfonia Concertante’s most unique compositional quirk: Mozart asks the viola soloist to sharpen the instrument’s strings by a half-step, or scordatura tuning. The violas of Mozart’s day, with their construction and Presumed portrait of Mozart (at keyboard) and Thomas Linley (with violin), milder gut strings, would have in Florence, 1770 faced significant challenges projecting over the orchestra.

Leopold. It was a hugely influential period for The scordatura tuning makes the instrument more the young composer: he produced this early resonant. (In a fascinating interview with The symphony in 1771, during the second of three such Strad podcast [Episode 31], German violist Nils trips. At the time, father and son were prolonging Mönkemeyer raises the possibility that Mozart their stay in Milan, where Habsburg Empress may also have had a uniquely mild instrument, Maria Theresa had commissioned the young even by 18th-century standards. Mönkemeyer Mozart for an opera, Ascanio in Alba. Leopold would know: he’s played Mozart’s viola.) had hoped the opera’s success would move the Today’s meatier, steel-stringed instruments Empress to grant him or his son a royal can handily surmount those challenges. appointment. It wasn’t to be, but These days, the Sinfonia Mozart tossed off the Symphony Concertante’s tuning question is “The fact that the No. 13 in the meantime. now more of a choose-your[Sinfonia Concertante] In his Pegasus Pocket Guide own adventure rather than often echoes between to Mozart, musicologist Sir a hard-and-fast rule. Glover, the two instruments just Nicholas Kenyon asserted who conducts both modern highlights their differences that Mozart’s 13th is his last and historically informed in a wonderful way.” symphony in a “conventional orchestras, mostly sees it mode.” Glover agrees. Her book —Christian Colberg played as Mozart intended. But points to this symphony—as well Colberg hasn’t played it that way as Mozart’s K. 111a and K. 113, written to date, despite having performed around the same time—as an example the Sinfonia Concertante since he was a of Mozart trading contrapuntal writing for the youngster on both viola and violin. At this point, highly lyrical, operatic style then in vogue in it would take longer to unlearn his non-scordatura Italy. That experience, her book argues, changed fingerings—though he’s open to trying, knowing Mozart’s compositional voice for good. that Mozart’s preference also sits better in the “After that, he started making his own rules…. soloist’s left hand.

He just followed his unbelievable instincts,” “If I do it the way he wanted it, it makes it Glover says. much easier. There are a lot more open strings, The Sinfonia Concertante, penned when the the finger patterns make a lot more sense, and composer was 23, is a hallmark. Mozart’s writing overall, it helps the intonation, quite frankly,” unusually emphasizes the viola’s sonority, not just Colberg says. through the solo part but in the ensemble: the “Basically, Christian’s just enjoying making his viola section is split into two parts, like a violin life more difficult,” Matsuo teases. `` section would usually be, and the orchestra’s

Fanfare Magazine | 13

CSO FEATURE

EXT. — A POLITICAL RALLY IN A CROWDED CITY CENTER Midday. The clouds above darken with the tumult of a coming storm. A platform is set up in a plaza. Atop it is a podium and lectern emblazoned with The Party symbol; a banner is set up behind. All around are Party dignitaries in solid-colored, militaristic garb.

Christian Colberg, Principal Viola, Louise D. & Louis Nippert Chair

While Colberg has been around the block with this piece, Matsuo hasn’t performed it yet. Her experience with the Sinfonia Concertante has so far come behind closed doors, complementing her viola-playing friends as they prepare the piece for performance. (“I feel like I know more violists who have played this than violinists, but I don’t even know how that’s possible when it always requires a violist and a violinist,” she says.)

It’s also Matsuo and Colberg’s first time playing together in a concerto setting with orchestra, though they occasionally play together in chamber settings.

“The fact that the piece often echoes between the two instruments just highlights their differences in a wonderful way,” Matsuo says.

Those differences aren’t just sonic—they’re technical, too. Colberg says simplistic comparisons between violin and viola are a personal “pet peeve” of his.

“I know that we share a lot of the same techniques with violinists, but truly we are, at the very least, 80 to 90 percent a piccolo cello. Whenever I’m in doubt as to how to play something, I always look at the cellos, and how much weight and speed they’re using in the bow.

I hardly ever look at the violins,” Colberg says.

“I was gonna say, there’s nothing more humbling than a violinist picking up a viola, hitting yourself in the face because it’s bigger than a violin, and being like, ‘Holy cow, how do I make this sound good?’” Matsuo says. “It’s a completely different concept of how to draw a sound. Violin is a lot more forgiving: you can over-press [with the bow], but with a viola, if you press it, it doesn’t work.”

Needless to say, Matsuo isn’t following Colberg’s instrument-swapping career trajectory anytime soon. Or is she?

She smirks at Colberg. “What if we just switched for the concert?”

14 | 2023–24 SEASON

A lone woman makes her way to the podium.

She is a well-respected luminary of some kind, invited here on behalf of The Party—perhaps a writer, artist or intellectual. She makes her way to the podium and begins speaking. Her voice is low, calm, soft like velvet. The crowd quiets and leans in to listen.

But as she goes on, her voice becomes more agitated. She speaks passionately about corruption, abuses of power, human rights violations—all of which are rife within The Party. The uniformed faces behind her purple, like the sky. This is not The Party line.

VARIED VOICES FROM THE CROWD (bleating and sharp, amid scattered boos) Liar!

Shame!

Get her!

After an ugly struggle, in a sickening monochromatic surge, she is yanked from the podium by The Party men swarming around her. But those close enough to the podium can still hear her voice, soft as ever, repeating the truth to anyone in earshot as she is dragged away.

-END-

If the Lutosławski Cello Concerto was a movie, in Kian Soltani’s imagining, it might unfold something like this. Soltani, 31, talks about the classic cello concertos like they’re great films waiting to be shot—he’s admitted in other interviews that, if he weren’t a cellist, he’d work in the movie biz. (His most recent album, Cello Unlimited, includes arrangements from Pirates of the Caribbean, Lord of the Rings and Bourne Identity, to name just a few titles.) The Elgar concerto, for example, is about learning to accept one’s destiny. Meanwhile, Soltani hears the Dvořák as not just a hero’s journey but a progression through the stages of grief, with the protagonist learning to live without a lost love.

“Each of them has a narrative for me. I like to think more in those terms,” Soltani says.

Soltani has lived with the Lutosławski Cello Concerto, a celebrated but sorely underperformed piece, much longer than most cellists his age: he got his first big break playing the concerto in a winning performance at the Paulo Cello Competition, when he was just 21.

Lutosławski wrote the cello concerto Kevin John Edusei leads the Cincinnati Symphony Orchestra. Credit: Charlie Balcom in 1970, during a period of peak disenchantment with Soviet leadership in Poland. living under—and resisting—fascism. These CSO Nonetheless, the composer maintained that his concerts (Feb. 2 & 3) emphasize Rostropovich’s concerto did not have political overtones. The interpretation by pairing the concerto with concerto’s dedicatee, Mstislav Rostropovich, Shostakovich’s Symphony No. 11, a work which disagreed, viewing it as a musical metaphor of

`` Cellist Kian Soltani. Credit: Holger Hage, Deutsche Grammophon

Fanfare Magazine | 15

STRONGER ARTS FOR A STRONGER REGION

The growth of Cincinnati and its arts is inseparable. Creating a thriving region starts with each of us giving what we can to the arts. Help set the stage for the future of the region we all love.

Give today at artswave.org.

CSO FEATURE

brought the composer back into good graces to start a piece totally vertically says a lot about with the Soviet authorities. where his compositional priorities were, or at Soltani, too, lands more on Rostropovich’s side least about his compositional process.” of things. He sees the cello protagonist as “an Edusei didn’t plan for it but, coincidentally individualist…an independent thinker” squared enough, both Samy Moussa’s Elysium, the against a hostile mass that wants to muzzle him.

2021 piece which begins the concert, and “That’s literally what happens at the beginning John Adams’ Harmonielehre, a modern classic of the piece: Trumpets, which are so much since it was premiered in 1985, both begin with louder than a cello can ever be, interrupt and straightforward choral statements: a silky B major silence you. And as you’re in the middle of the chord in Elysium, pounding E minor chords in cadenza, you’re silenced by the orchestra and the Harmonielehre. conductor,” Soltani says. “[The cello] attempts to They build exponentially from there. Elysium’s initiate dialogue, inviting people to play chord tones slide into new sonorities together—like, ‘Hey, there must be a by way of juicy glissandos. Adams way that we can meet somewhere, dresses up the repetition and Elysium is newer right?’ But after short episodes, rigorous rhythmic schemes of to Edusei.… But it’s it’s always back to being silenced: mid-20th century minimalism no less affecting to ‘No, we’re not interested in that.’” in big-boned, rich harmonies Edusei now than That persists until the last befitting Mahler, Sibelius and— Harmonielehre was to movement, which Soltani hears yes—Rachmaninoff. him as a young man. as an “all-out war.” Then, “it’s time “It’s a program about harmony, to fight”—but the victor remains and what harmony means in our unclear. We only hear the soloist time,” Edusei says. shriek out high As at the end of the piece, But just as harmony can be a symbol reminiscent of the stoic, solitary Ds that open for the challenges facing our world, it can also the piece. “It’s a cry of either victory or of pain,” be a portal to another realm entirely. Edusei Soltani says. has loved Harmonielehre since, as a teenager, The ambiguity of this bleak ending—and its he stumbled upon Edo de Waart and the San implication that there are, in the end, no real Francisco Symphony’s world premiere recording winners—feels fitting, and, unfortunately, ever in a thrift shop. He was totally thunderstruck. timely. “You can apply it to any political situation “I had never before heard such a style,” Edusei these days: the wish for dialogue, the failure of says. “It’s a difficult thing to call it ‘minimalism,’ such dialogue, and the suffering and violence that because it’s absolutely not minimalistic in the inevitably follow that,” Soltani says. techniques that he uses. [Adams] more or less Sergei Rachmaninoff, whose Piano Concerto uses rhythmic patterns as a Morse code that No. 2 will have been played by George Li connects different chords and materials. It has a just a few weeks before in Edusei’s program, completely different function, I find.” was a contemporary of both Lutosławski and Elysium is newer to Edusei—he began Shostakovich, but his music may seem to come conducting it last year and has since led the UK from another planet—lush, tuneful, unspooling and Belgian premieres of the work. But it’s no never-ending melodies. less affecting to Edusei now than Harmonielehre Even so, Rachmaninoff absolutely shares his was to him as a young man. He confesses that peers’ harmonic sophistication and attention Elysium’s climax, when a D major chord suddenly to structure. Edusei finds the opening of that bursts from the texture, sends tingles up and concerto especially radical in context—especially down his spine every time he conducts it. considering the flak Rachmaninoff got, and still “I can say that about only a couple of pieces in faces, as a 19th-century nostalgist stuck in a the repertoire. That says a lot about this particular flintier 20th century. piece,” Edusei says.

“The piece opens with just the chord structure,” he says—an F minor chord with a chromatic voice creeping within it. “For Rachmaninoff, who was definitely one of the greatest melodic writers,

Fanfare Magazine | 17

POPS FEATURE

Give Them the Ol’ Razzle Dazzle

by SCOT BUZZA

“Heaven Nowadays” “Hello, Suckers!” Propped atop a piano in one of 1920s Manhattan’s most notorious speakeasies, a middle-aged divorcée named Texas Guinan heckled her audience between songs and dirty jokes, emceeing vaudeville acts and plugging bootleg scotch at $25 a bottle. Prohibition be damned—between the hours of 11 p.m. and 7 a.m. she simultaneously ran five different clubs, all under the radar, where cover charges alone ranged from $5 to $25 a head and patrons spent the equivalent of a week’s salary for champagne. Even a pitcher of water was $2—suckers, indeed. But partygoers had few options. The U.S. Constitution had been amended to make alcohol illegal, and only those lucky few knew where to find the underground clubs, buttressed behind soundproofed walls, where you could buy booze, sex and more.

This deliciously sleezy milieu provided the backdrop for Chicago, in which a cadre of crooked lawyers and an opportunistic press feed sensationalism and vicarious thrill to a hungry public. Through the language of vaudeville and jazz, Chicago adopts the very form it Texas Guinan

lampoons, satirizing the media circus and telling us something ugly about ourselves along the way. The Broadway version of Chicago has little in common with the long list of musicals that glamorize show business. In fact, we, the audience, revel in the decadence: we find ourselves cheering for Velma and Roxie, we applaud the Merry Murderesses in the Cook County jail, and we ridicule Amos, the only selfless character on stage.

“You Can Even Marry Harry and Mess Around with Ike” Chicago was originally a 1926 stage play by journalist Maureen Watkins, based on several murders of the previous year. Jazz singer Beulah May Annan, the basis for the character Roxie, had been the wife of a mechanic. She shot her lover when he jilted her, and then she convinced her husband to take the rap. The 1926 Chicago script incorporated

Chicago was parts of her testimony verbatim, including the revelation of her originally a pregnancy—conveniently forgotten after her acquittal. The story of 1926 stage play by Belva Gaertner, the true-life basis for Velma, follows along parallel journalist Maureen lines. A cabaret singer who murdered her husband, she was acquitted Watkins, based on when she claimed to remember nothing about the incident. Lawyer several murders of the W. W. O’Brien, the real-life counterpart to the unctuous Billy Flynn, reportedly loved the publicity generated by his clients, and he basked previous year. in the attention after the original stage version of Chicago opened.

The 1942 film version of Maureen Watkins’ play was titled Roxie Hart.

Designed as a Ginger Rogers vehicle, the movie overhauled the plot and incorporated several hilariously irrelevant tap dance numbers. The ending, rewritten to conform to the Hays Code content guidelines, showcased a rehabilitated and happily married Roxie as the glowing mother of six children.

A decade later, actor/dancer Gwen Verdon and husband Bob Fosse began a long campaign for the rights to the story and, in 1975, finally 18 | 2023–24 SEASON

POPS FEATURE: Chicago

the focus when Fosse did it was ‘aren’t people slimy’ and ours really focused on celebrities getting away with all kinds of stuff just by being celebrities. Doing foreign productions of it has been interesting because they all love to make fun of that particular kind of Americanism, of us elevating our celebrities to this ridiculous status. And that’s what Chicago is about. You “give them the ol’ razzle dazzle” and you can get away with anything. You can “shoot someone on Fifth Avenue.”

Audiences understood the newfound relevance immediately, and when Velma thanked the audience for participating in the charade— “We are living examples of what a wonderful country this is!”— Journalist Maureen Watkins, author of the 1926 stage play, Chicago.

it was a punch in the gut. Newsday deemed the new

crafted the Broadway musical version. Fosse built

interpretation

the production on a score created by composer

“edgy, erotic,

John Kander and lyricist Fred Ebb, with Verdon

cynical, funny,

starring alongside Chita Rivera. The team chose to

nonstop stylish

focus on vaudeville as the vernacular of the story,

and, though

and on the idea of show business as the central

based on a

metaphor for vice.

21-year-old show, so prescient

“How Can They Hear the Truth above the Roar?”

about ‘90s

If music director Rob Fisher sounds like a

justice, the press

sociologist when he talks about Chicago, it may

and celebrity that

be because of his long history with the show.

it’s almost eerie.”

Beginning several decades ago with his music

Ben Brantley

direction of the 1996 Encores! production in New

observed, “all

York’s City Center, he oversaw the subsequent

the world’s a

transfer of Chicago to Broadway, where it has

con game, and

become Broadway’s longest running revival.

show business

Since then, he has supervised productions in

is the biggest

many different countries, translated into many

scam of all,” and

different languages. Much like the version seen

The Philadelphia

here on the stage of Cincinnati’s Music Hall,

Inquirer wrote,

the Encores! revival stripped away many of the

“Chicago is

external elements to place the music and the

revealed not

story at the center, and in so doing, brought new

just as the musical classic it is, but as a show with

layers of significance to the surface. Fisher says

particular resonance for our time.”

Beulah May Annan (the basis for “Roxie”) and Belva Gaertner (the true-life “Velma”)

about that revival: The simplicity of that production was that it did focus on the score, but the time was ripe—we’d just had the O.J. trial. And I feel like

“A Whole Lot Greater than the Sum of His Parts” John Kander’s score is the lens through which the audience experiences the story. In his

`` Fanfare Magazine | 19

POPS FEATURE: Chicago

original orchestration,

“Sequins in Their Eyes”

certain instruments in the

In the world of Chicago,

orchestra had iconic value:

contemporary society

the sexy trumpet opening

prizes “murder, greed,

illustrating the “anything

corruption, violence,

goes” morality of the

exploitation, adultery

times, the ironic solo violin

and treachery—all

whenever a particularly

those things we hold

distasteful character

near and dear to our

asked for sympathy, and

hearts.” Publicity thwarts justice. Courtrooms are

the Hungarian motives for the exotic foreign murderess, Hunyak, among

Composer John Kander, who wrote the score for the 1975 Broadway musical version of Chicago, with lyricist Fred Ebb.

circuses and lawyers are celebrities who perform instead of litigate. The

others. Fisher agrees that expanding the original Broadway pit version into

anti-heroines are ultimately acquitted not

the full symphonic version is similar to replacing

because of their innocence, but because of

12 crayons with a box of 64.

their ability to manipulate public opinion with

“The heft of the orchestra really supports the

a wink and a wiggle. We will look past the

story—it becomes more like a big Hollywood

most egregious of sins, they tell us, as long as

musical having that big orchestra. It really works.”

we have something shiny and entertaining to

In his estimation, nothing is lost in translation

distract us. “Exit music, please.”

because of the public’s familiarity with the music: “The audience at Encores! was even

Synopsis

applauding the vamps, they were applauding

The place is Chicago, Illinois. As the orchestral

the intros to the songs because they were so

vamp begins, the roaring ‘20s are in full roar:

excited to hear them. Now, this many years

the gin may be cold, but the jazz is hot. The

later, it’s happening again. They know the show,

Overture ends and we meet vaudevillian Velma

they know what’s coming. Also, they sing along!

Kelly, a first-tier star who has just murdered her

A symphonic audience sings along!”

husband and her sister after catching them in flagrante delicto. Velma

A group celebrating the end of Prohibition with four people setting fire to the four corners of the sign.

invites the audience to bask in the decadence of the times (“All That Jazz”) while the story of chorus girl Roxie Hart unfolds.

Roxie has just been jilted by her lover, nightclub owner Fred Casely, and so she does what any selfrespecting Catholic girl from Sacred Heart would do: she shoots him pointblank and kills him.

Roxie convinces her husband, Amos, that Fred was a burglar, and she sings of his simple-minded devotion to her (“Funny Honey”) when he agrees to take the rap. But when

20 | 2023–24 SEASON

POPS FEATURE: Chicago

the police reveal that Fred was Roxie’s lover,

and Velma each realize that they can trust no

he decides to let her fend for herself. Roxie

one (“My Own Best Friend”) and, in an inspired

faces the repercussions of her actions in the

twist, Roxie announces to the press that she is

women’s block of the Cook County Jail, where

pregnant, putting her in the headlines once again.

she first encounters not only Velma Kelly but

Following the Entr’acte, Velma greets the

also a group of other women who murdered

audience with “hello, suckers!” and laments

the paramours who wronged them (“Cell Block

the lucky streak Roxie seems to be enjoying

Tango”). Prison matron “Mama” Morton presides

(“I Know a Girl”) despite her obviously false

over the jail as her personal domain, ruling with

pregnancy (“Me and My Baby”). Amos, still

an iron fist and enforcing a system of mutual

gullible, looks forward to fatherhood until Billy

exploitation (“When You’re Good to Mama”)

prompts him to do the math and understand

according to a moral code as decrepit as that of

that he is not the father of the baby. Dejected

her charges. Through her connections

and emotionally exhausted, Amos

to the outside world, Mama Morton

questions his own worth

has helped Velma win the sympathy of the public and is already working as her agent to book her vaudeville appearances after her acquittal. Velma is furious at the arrival of Roxie, who threatens her place in the limelight.

Lawyer Billy Flynn arrives at the prison, fêted by his

(“Mr. Cellophane”) before Ben Brantley observed, apologizing to the audience “all the world’s a con game, and shuffling off stage. After and show business is the Cook County executes its biggest scam of all,” and first female prisoner in 47 The Philadelphia Inquirer years, it seems as though wrote, “Chicago is revealed Velma may be convicted, not just as the musical after all. She struggles to classic it is, but as a show win back Billy’s attention with particular resonance and reignite his interest in for our time.” her case (“When Velma Takes

clients in the women’s wing, who coo and sigh as he professes, “All I

the Stand”). Billy has a talent for blinding juries with his showmanship

Care About is Love.” Billy has agreed to take

(“Razzle Dazzle”), but when he gives Velma’s

on Roxie’s case after extorting money from

strategies away to Roxie, Velma and Mama

Amos, and he immediately begins re-writing her

Morton are left questioning decorum and

story for publication by the sympathetic tabloid

loyalty (“Class”).

columnist, Mary Sunshine, who always sees “A

In a brilliant act of manipulation, Billy gets Roxie

Little Bit of Good in Everyone.” Billy puppeteers

acquitted but, as the verdict is pronounced, press

a conference for the mainstream press, turning

attention shifts to a more sensational crime and

it into a de facto ventriloquist act with Roxie

Roxie’s fleeting celebrity is over. After admitting

merely paying lip service as Billy dictates a new

the fake pregnancy and dismissing the ever-loyal

version of the “truth” for the public (“We Both

Amos, she faces the challenge of regaining public

Reached for the Gun”).

attention. She and Velma pull themselves up by

Roxie and her trial have become the new

the bootstraps, create a team act (“Nowadays”),

cause célèbre of Chicago, while Velma finds that

and swap their aspirations of fame for notoriety.

her headlines have disappeared, her trial date

They dance to thank the audience for their

has been postponed, and her career plans have

support (“Hot Honey Rag”), extol the virtues of

stalled. Velma, out of desperation to stay in the

the American media, and join the company for a

public eye, works to talk Roxie into recreating

cynical final reprise.

her sister act (“I Can’t Do It Alone”), only to find Roxie’s own place in the headlines threatened by the latest sensational crimes of passion. Roxie

Fanfare Magazine | 21

SPOTLIGHT

CSO: CLIMB Award Honoree

by KIT GLADIEUX

The Cincinnati “Communities Symphony need vision and Orchestra has purpose to reach been recognized their highest as a 2023 CLIMB potential,” writes Award honoree the Cincinnati for its community Business Courier. engagement and The Award honors diversity, equity “organizations and inclusion [that are] (DE&I) initiatives pushing the Trithrough the CSO’s State upward Brady Block Party through their summer series of commitment to events. inspired, inclusive The CLIMB strategies” and (Cincinnati Lifts celebrates “how John Morris Russell conducting the CSO at the Evanston Brady Block Party, with vocalist Ciara Harper, July 2023. Credit: JP Leong Inclusion and embracing goals Minority Business) of greater diversity Awards are presented annually by the Cincinnati and equity fortifies our entire region’s chances for Business Courier and the Cincinnati USA Regional future success.”

Chamber. For the past five years, these awards The music of the CSO has long resounded have honored organizations and individuals within the iconic walls of Cincinnati’s Music Hall, within Greater Cincinnati who have demonstrated but, over the past two summers, the CSO has actionable dedication to fostering diversity, invested in bringing music directly to urban equity and inclusivity, both in the workplace and neighborhoods in Cincinnati through its Brady the broader community. Past recipients of this Block Parties. These events are not just concerts, award include Procter & Gamble, FC Cincinnati, they are block parties, complete with family Total Quality Logistics, Cincinnati Children’s activities, food trucks, local vendors and DJs. Hospital, Cincinnati Zoo & Botanical Garden and “Music is a force for good,” says President and many others.

CEO Jonathan Martin, “Music can be a vehicle for unity and community pride. And that is what the Brady Block Parties are all about. The CSO listens and works alongside community leaders to bring something that they want rather than something that’s convenient for us.”

The Cincinnati Symphony Orchestra has now joined the ranks of a group of people and programs with a shared devotion to a more vibrant Cincinnati.

“It is a true honor and deeply humbling for the CSO to be recognized with the CLIMB Award,” says CEO Board President Dianne

Pride Month Brady Block Party featuring international drag queen and star of RuPaul’s Drag Race Thorgy Thor, June 2023. Credit: JP Leong

22 | 2023–24 SEASON

SPOTLIGHT: CLIMB Award

Rosenberg. “We have been working very hard behind the scenes to build community partnerships, engage with local thought and community leaders, and build strategies that allow for engagement within communities historically underserved by the CSO.” “Arts organizations have existed for over 100 years,” states Martin, “and have catered to a small segment of the population. The CSO is strategically aligned to change that fact. We believe that music is for all, and the entire CSO organization will work to ensure we create new

experiences for audiences, deepen community belonging, foster cross-sector collaborations, build new relationships with cultural and community organizations, and expand the diversity seen on our stages.”

The CSO’s mission is to seek and share inspiration, and winning this award is proof that their commitment to DE&I initiatives are recognized both within their walls and throughout the community. Music is for all of us, and the CSO’s innovative methods of engagement and audience diversification certainly affirm that.

“The strategic plan adopted by the CSO in 2019 set the wheels in motion for developing strong DE&I strategies and relationships with community leaders,” says Charla Weiss, vice-chair of institutional advancement for the CSO Board of Directors. “The CSO’s commitment to DE&I and sharing music with all Cincinnatians will not waiver. Being a CLIMB Award honoree recognizes that our efforts have made a difference in our city, and we will continue to build upon this work.”

Above: Children create their own instruments at the Price Hill Brady Block Party, July 2023. Credit: Charlie Balcom At right: Children enjoying getting their faces painted at the Bond Hill Brady Block Party, July 2023. Credit: JP Leong Below: Families create art inspired by the legendary King Records at the Evanston Brady Block Party, July 2023.

Credit: JP Leong

Fanfare Magazine | 23

LOUIS LANGRÉE, Music Director Louise Dieterle Nippert & Louis Nippert Chair

JOHN MORRIS RUSSELL, Cincinnati Pops Conductor Louise Dieterle Nippert & Louis Nippert Chair

Matthias Pintscher, CSO Creative Partner Damon Gupton, Pops Principal Guest Conductor Samuel Lee, Associate Conductor Ashley and Barbara Ford Chair

Daniel Wiley, Assistant Conductor Ashley and Barbara Ford Chair FIRST VIOLINS Stefani Matsuo

CELLOS Ilya Finkelshteyn

CLARINETS Christopher Pell

TUBA Christopher Olka

Concertmaster Anna Sinton Taft Chair

Principal Irene & John J. Emery Chair

Principal Ashley & Barbara Ford Chair

Felicity James

Daniel Kaler

Principal Emma Margaret & Irving D. Goldman Chair

Associate Concertmaster Tom & Dee Stegman Chair

Acting Associate Principal Ona Hixson Dater Chair

Joseph Morris*

Philip Marten

Norman Johns**

TIMPANI Patrick Schleker

First Assistant Concertmaster James M. Ewell Chair++

Eric Bates Second Assistant Concertmaster Serge Shababian Chair

Kathryn Woolley Nicholas Tsimaras– Peter G. Courlas Chair++

Anna Reider Dianne & J. David Rosenberg Chair

Mauricio Aguiar§ Anne G. & Robert W. Dorsey Chair

Minyoung Baik Jo Ann & Paul Ward Chair

Karl & Roberta Schlachter Family Chair

Drew Dansby§ Nicholas Mariscal Hiro Matsuo Laura Kimble McLellan Chair++

Theodore Nelson‡ Peter G. Courlas– Nicholas Tsimaras Chair++

Alan Rafferty Ruth F. Rosevear Chair

[OPEN]

Rebecca Kruger Fryxell Clifford J. Goosmann & Andrea M. Wilson Chair

Gerald Itzkoff Jean Ten Have Chair

Charles Morey† Luo-Jia Wu SECOND VIOLINS Gabriel Pegis Principal Al Levinson Chair

Yang Liu* Harold B. & Betty Justice Chair

Scott Mozlin** Henry Meyer Chair

Kun Dong Cheryl Benedict Evin Blomberg§ Rachel Charbel Ida Ringling North Chair

Chika Kinderman Hyesun Park Paul Patterson Charles Gausmann Chair++

Stacey Woolley Brenda & Ralph Taylor Chair++

VIOLAS Christian Colberg Principal Louise D. & Louis Nippert Chair

Gabriel Napoli Acting Associate Principal Grace M. Allen Chair

Julian Wilkison** Rebecca Barnes§ Christopher Fischer Stephen Fryxell Melinda & Irwin Simon Chair

Caterina Longhi Denisse Rodriguez-Rivera Dan Wang Joanne Wojtowicz

24 | 2023–24 SEASON

Ixi Chen Vicky & Rick Reynolds Chair in honor of William A. Friedlander

Principal Mary Alice Heekin Burke Chair++

Luis Arturo Celis Avila* Thomas Vanden Eynden Chair

Stephen Jones** Trish & Rick Bryan Chair

Boris Astafiev§ Gerald Torres Rick Vizachero HARP Gillian Benet Sella Principal Cynthia & Frank Stewart Chair

FLUTES Randolph Bowman Principal Charles Frederic Goss Chair

Henrik Heide* Haley Bangs Jane & David Ellis Chair

Patricia Gross Linnemann Chair

Principal Susan S. & William A. Friedlander Chair

Principal Emalee Schavel Chair++

Michael Culligan* Joseph Bricker

KEYBOARDS Michael Chertock

FRENCH HORNS Elizabeth Freimuth

Julie Spangler+

James P. Thornton Chair

Principal Mary M. & Charles F. Yeiser Chair

[OPEN]* Ellen A. & Richard C. Berghamer Chair

Molly Norcross** Acting Associate Principal Sweeney Family Chair in memory of Donald C. Sweeney

Lisa Conway Susanne & Philip O. Geier, Jr. Chair

Duane Dugger Mary & Joseph S. Stern, Jr. Chair

Charles Bell Donald & Margaret Robinson Chair

TRUMPETS Anthony Limoncelli Principal Rawson Chair Jackie & Roy Sweeney Family Chair

Alexander Pride† Otto M. Budig Family Foundation Chair++

Christopher Kiradjieff

Principal Josephine I. & David J. Joseph, Jr. Chair

TROMBONES Cristian Ganicenco

Stephen P. McKean Chair

Emily Beare ENGLISH HORN Christopher Philpotts Principal Alberta & Dr. Maurice Marsh Chair++

Morleen & Jack Rouse Chair

Marc Wolfley+

CONTRABASSOON Jennifer Monroe

OBOES Dwight Parry

Lon Bussell*

Morleen & Jack Rouse Chair

BASSOONS Christopher Sales

Douglas Lindsay* PICCOLO Rebecca Pancner

Joseph Bricker* PERCUSSION David Fishlock

Chair for Cello

BASSES Owen Lee

Principal Matthew & Peg Woodside Chair

BASS CLARINET Ronald Aufmann

Martin Garcia* Marvin Kolodzik & Linda S. Gallaher Hugh Michie

James Braid Marc Bohlke Chair given

by Katrin & Manfred Bohlke

Associate Principal and E-flat Clarinet Robert E. & Fay Boeh Chair++

Principal Dorothy & John Hermanies Chair

Joseph Rodriguez** Second/Assistant Principal Trombone Sallie Robinson Wadsworth & Randolph L. Wadsworth Jr. Chair

BASS TROMBONE Noah Roper

James P. Thornton Chair

CSO/CCM DIVERSITY FELLOWS~ Lucas Braga, violin Melissa Peraza, viola Manuel Papale, cello Caleb Edwards, double bass Wendell Rosa, double bass LIBRARIANS Christina Eaton Principal Librarian Lois Klein Jolson Chair

Elizabeth Dunning Acting Associate Principal Librarian

Cara Benner Interim Assistant Librarian

STAGE MANAGERS Brian P. Schott Phillip T. Sheridan Daniel Schultz Mike Ingram Andrew Sheridan § Begins the alphabetical listing of players who participate in a system of rotated seating within the string section. * Associate Principal ** Assistant Principal † One-year appointment ‡ Leave of absence + Cincinnati Pops rhythm section ++ CSO endowment only ~ Funded by The Mellon Foundation

AND

ARTISTIC LEADERSHIP

LOUIS LANGRÉE, Music Director Louise Dieterle Nippert & Louis Nippert Chair In the 2023-24 season, Louis Langrée celebrates his final season with the Cincinnati Symphony Orchestra, where he has been Music Director since 2013, and will become Music Director Laureate at the conclusion of this season. He continues as Director of Théâtre national de l’Opéra-Comique in Paris, Chris Lee 2021 an appointment that began in November 2021. Langrée ended his 20-year tenure as Music Director of the Mostly Mozart Festival at Lincoln Center in the summer of 2023.

Two of his Cincinnati recordings were Grammy nominated for Best Orchestral Performance: Transatlantic, with works by Varèse, Gershwin and Stravinsky; and Concertos for Orchestra, featuring world premieres by Sebastian Currier, Thierry Escaich and Zhou Tian. On stage, his Pelléas et Mélisande trilogy contrasted settings

by Fauré, Debussy and Schoenberg. A multiseason Beethoven [R]evolution cycle paired the symphonies with world premieres, as well as recreation of the legendary 1808 Akademie. During the Covid pandemic, Langrée was a catalyst for the Orchestra’s return to the stage in the fall of 2020 with a series of digitally streamed concerts.

Between the start of his tenure and the conclusion of the CSO’s 2023–24 season, Langrée and the CSO will have commissioned 45 new orchestral works and he will have conducted 31 premieres from a wide range of composers, including Julia Adolphe, Daníel Bjarnason, Jennifer Higdon, Jonathan Bailey Holland, Kinds of Kings, David Lang, Missy Mazzoli, Nico Muhly, André Previn, Caroline Shaw and Julia Wolfe, and the world premiere of Christopher Rouse’s Symphony No. 6, Rouse’s final opus.

He has guest conducted the Berlin Philharmonic, Vienna Philharmonic, London Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, Budapest Festival Orchestra, NHK Symphony, Orchestre National de France and Leipzig Gewandhaus, as well as Orchestre des Champs-Elysées and Freiburg Baroque. He frequently conducts at the leading opera houses, including more than 50 performances at The Metropolitan Opera, and engagements with Vienna Staatsoper, Teatro alla Scala, Royal Opera House Covent Garden, Lyric Opera of Chicago and Bavarian Staatsoper, and at festivals including Glyndebourne, Aix-enProvence, BBC Proms, Edinburgh International and Hong Kong Arts.

A native of Alsace, France, he is a Chevalier de la Légion d’Honneur and Officier des Arts et des Lettres, and he is an Honorary Member of the Confrérie Saint-Étienne d’Alsace, an Alsatian winemakers’ brotherhood dating to the 14th century.

©

JOHN MORRIS RUSSELL Cincinnati Pops Conductor Louise Dieterle Nippert & Louis Nippert Chair A champion of American musical style, John Morris Russell has devoted himself to redefining the American orchestral experience.

His passionate embrace of America’s unique voice and musical stories has transformed how orchestral performances can deeply connect and engage with audiences worldwide. In his 13th season as conductor of the Cincinnati Pops Orchestra, Russell continues to reinvigorate the musical scene throughout Cincinnati and across the continent through the wide-range and diversity of his work as a conductor, collaborator and educator. In addition to the Cincinnati Pops, he serves as Music Director of the Hilton Head Symphony Orchestra in South Carolina and Principal Pops Conductor of the Buffalo Philharmonic Orchestra. Russell is a popular guest conductor with many of the most distinguished orchestras in North America, and this season he debuts with the Florida Orchestra and the Chicago Symphony Orchestra, returns to the Milwaukee Symphony Orchestra, and celebrates his 10th year with the National Orchestral Institute.

JMR’s performances have been called relevant and revelatory. In Cincinnati, Russell’s Pops concerts often celebrate untold musical stories and artists from the Great Midwest that resonate with audiences across the country and around the world. His leadership with the Cincinnati Symphony Orchestra’s wildly successful Classical Roots initiative, which he helped create over two decades ago, continues to honor and celebrate Black musical excellence, and has garnered record-breaking in-person and online audiences.

Russell’s visionary leadership at the Pops has also extended the prolific recording legacy of the Orchestra. In 2018, he created the “American Originals Project” which has won both critical and popular acclaim in two landmark recordings: American Originals (the music of Stephen Foster) and American Originals 1918 (a tribute to the dawn of the jazz age), which was Grammy nominated for “Best Classical Compendium.” In 2020, the American Originals Project continued with King Records and the Cincinnati Sound with legendary pianist Paul Shaffer, celebrating the beginnings of bluegrass, country, rockabilly, soul and funk immortalized in recordings produced in the Queen City. Russell has contributed seven albums to the Cincinnati Pops Orchestra discography, including JOY!, the Pops’ latest holiday album to be released in 2023.

Fanfare Magazine | 25

GUEST ARTISTS: January–February, 2024 CSO JAN 5–7: Brahms: Runnicles & Trifonov SIR DONALD RUNNICLES, conductor

holds honorary degrees from the University of Edinburgh, the Royal Scottish Academy of Music and Drama and the San Francisco Conservatory of Music.

Over the course of a career spanning 45

DANIIL TRIFONOV, piano Grammy-winning pianist

years, Sir Donald

Daniil Trifonov is a solo

Runnicles has built

artist, concerto champion,

his reputation

chamber collaborator and

on long-lasting ©Simon Pauly

composer. Combining

relationships with

consummate technique with

major orchestral

rare sensitivity and depth, his

and operatic institutions. Focusing on depth

performances are a perpetual

over breadth, he has held chief artistic leadership

source of wonder.

positions at the Deutsche Oper Berlin (since

In the 2023–24 season,

2009), San Francisco Opera (1992–2008), Grand Teton Music Festival (since 2005), BBC Scottish Symphony Orchestra (2009–16), and Orchestra of St. Luke’s (2001–07). Sir Donald was the Principal Guest Conductor of the Atlanta Symphony Orchestra (2001–23), and he is the first-ever Principal Guest Conductor of the Sydney Symphony Orchestra (since 2019).

Runnicles leads the Deutsche Oper Berlin (DOB) this season in productions of Parsifal, two full performances of the Ring cycle, and Pinar Karabulut’s production of Il trittico. He will conduct Tannhäuser at the Metropolitan Opera and appears as guest conductor with the Dresden Philharmonic, Dallas Symphony, Cincinnati Symphony and Utah Symphony.

Runnicles tours regularly with the DOB to destinations such as the Edinburgh International Festival, the London Proms, Royal Opera Oman and Dubai. He has joined The Philadelphia Orchestra in tours to China, summer residencies at Bravo! Vail Music Festival in Colorado and annual subscription concerts.

Runnicles’ extensive discography includes recordings of Wagner’s Tristan and Isolde, Mozart’s Requiem, Orff’s Carmina Burana, Britten’s Billy Budd, Bellini’s I Capuleti e i Montecchi, Aribert Reimann’s L’invisible, Wagner arias with Jonas Kaufmann and the Orchestra of the DOB (winner of 2013 Gramophone prize for Best Vocal Recording), and Janáček’s Jenůfa (nominated for a 2016 Grammy for Best Opera Recording).

Sir Donald Runnicles was born and raised in Edinburgh, Scotland. He was appointed an Officer of the Order of the British Empire in 2004 and was made a Knight Bachelor in 2020. He

©Dario Acosta

Trifonov performs Mason Bates’ Concerto, a work

composed for him, with the Chicago Symphony, Orchestra dell’Accademia Nazionale di Santa Cecilia and Deutsches Symphonie-Orchester Berlin; returns to the Cleveland Orchestra, New York Philharmonic, Los Angeles Philharmonic, Orchestre de Paris and Israel Philharmonic; and tours the U.S. and Europe with the Rotterdam Philharmonic and Philadelphia Orchestra, respectively. In recital, he tours Europe with cellist Gautier Capuçon and embarks on a high-profile transatlantic tour with a new solo program of Rameau, Mozart, Mendelssohn and Beethoven.

Trifonov won the Grammy Award for Best Instrumental Solo Album of 2018 with the Liszt collection Transcendental. His discography also includes the Grammy-nominated live recording of his Carnegie Hall recital debut; Chopin Evocations; Silver Age, for which he received Opus Klassik’s Instrumentalist of the Year/Piano award; the best-selling, Grammy-nominated double album Bach: The Art of Life; and three volumes of Rachmaninoff with The Philadelphia Orchestra, of which two received Grammy nominations and the third won BBC Music’s 2019 Concerto Recording of the Year.

Named Gramophone’s 2016 Artist of the Year and Musical America’s 2019 Artist of the Year, Trifonov was made a Chevalier de l’Ordre des Arts et des Lettres by the French government in 2021.

During the 2010–11 season, he won Third Prize in Warsaw’s Chopin Competition, First Prize in Tel Aviv’s Rubinstein Competition, and both First Prize and Grand Prix in Moscow’s Tchaikovsky Competition. He studied with Sergei Babayan at the Cleveland Institute of Music. daniiltrifonov.com

26 | 2023–24 SEASON

JAN–FEB GUEST ARTISTS

POPS JAN 10: Notorious B.I.G. X Tupac X Mahler STEVE HACKMAN, conductor

©Tavits Photography

Nashville, Oregon, Indianapolis, Grand Rapids, Columbus, Charlotte, Southwest Florida, Alabama, Colorado Music Festival and the Boston Pops.

In 2023, Hackman launched his original music

A multi-hyphenate

project THE BRINK, a four-part, 300-minute work

music powerhouse

incorporating elements as wide-ranging as lyric

and creative

opera and art-song cycles to conceptual hip-

visionary, Steve

hop and experimental electronica. The work is

Hackman is a

immersive and experiential in nature. Chapters I

daring voice intent

and II premiered at underground performances

on redefining

in March and June of 2023; Chapters III and IV

art music in the

premiere in the 2023–24 season.

21st century. He

He also has teamed up with some of the biggest

is at once a composer, conductor, producer, DJ,

pop superstars of today, including Steve Lacy,

arranger, songwriter, singer and pianist, and he

Doja Cat and Kanye West, to add a signature

uses these polymathic abilities to create original

virtuosic and classical dimension to their work.

music of incisive modernism yet rooted in elevated

Hackman serves as the conductor and curator

classicism. His groundbreaking orchestral fusions,

of BSO Fusion with the Baltimore Symphony

such as Brahms X Radiohead and The Resurrection

and Creative Director and Conductor of the

Mixtape (Mahler X Notorious BIG X Tupac Shakur),

Indianapolis Symphony’s Uncharted Series.

are introducing the symphony orchestra to its

In 2001, Hackman was the only outside

future audience; he has conducted these pieces

student to be accepted to Otto-Werner Mueller’s

to sellout houses across the country with the

conducting studio at The Juilliard School and

orchestras of Philadelphia, San Francisco, Dallas,

the Curtis Institute of Music. He received an

Seattle, Pittsburgh, San Diego, Colorado, Phoenix,

advanced diploma in conducting at Curtis,

``

Come chill with us

YOU GET ALL 4 OF THESE PERFORMANCES

BRAHMS’ GERMAN REQUIEM FEB 9 FRI 7:30 PM

DVOŘÁK SYMPHONY NO. 8 APR 26 FRI 7:30 PM

COPLAND’S APPALACHIAN SPRING MAR 8 FRI 7:30 PM

Season Finale

LOUIS’ GRAND FINALE MAY 10 FRI 7:30 PM

PLUS A COMPLIMENTARY DRINK VOUCHER

FOR JUST $149 per person cincinnatisymphony.org/casual

Fanfare Magazine | 27

JAN–FEB GUEST ARTISTS

where he also studied counterpoint, composition

Festival, Forecastle Festival and Jungfrau-

and improvisation under his mentor, Dr. Ford

Erzählfestival; performed as a soloist with the

Lallerstedt. He subsequently studied conducting

Stereo Hideout Brooklyn Orchestra and the

with David Zinman at the American Academy of

Pittsburgh, Baltimore, Indianapolis, Nashville,

Conducting at Aspen. He received further training

Columbus and Oregon symphony orchestras;

in orchestration from the Broadway orchestrator

and performed as the first hip-hop artist with the

and composer William Brohn. His undergraduate

Louisville Orchestra, including world premieres

degree is in piano performance from the University

of the folk opera The Way Forth and rap opera

of Illinois at Urbana-Champaign, where he studied

The Greatest: Muhammad Ali, where he starred

with Gustavo Romero. stevehackman.com

as his hometown hero. He has composed music for theatre, film, television, radio, podcasts and

JECOREY ARTHUR, emcee Jecorey “1200” Arthur is an award-winning teacher, musician and activist from Louisville, Kentucky.

studio albums.

In 2021, Arthur was inaugurated as the youngest city councilman in the history of Louisville.

MARCUS TENNEY (“Tennishu”), emcee

He is currently a music

Based in Richmond,

professor at Simmons

Virginia, Marcus Tenney

College of Kentucky, an

(“Tennishu”) has been

artist roster member of the

producing, recording

Inner-City Muslim Action

and performing music all

Network (IMAN), and an

over the world for the last

endorsed artist with Salyers

two decades. Known for

Percussion.

being equally proficient on

Arthur has performed at the Percussive Arts

trumpet and saxophone,

Society International Convention, Big Ears

Tennishu is also a lyricist and a rapper with an extensive catalog of self-released recordings.

Whether in the studio hammering out his next solo project or touring the city streets with the progressive powerhouse known as Butcher Brown, Tennishu delivers a potent and consistent experience no matter what he puts into the microphone.

His latest release, DrumTapes, uses the drum set as the centerpiece for creation. This project was inspired by the great drummers Tennishu has worked with over the years and represents the commitment to sit down and learn how to speak the language of the drum. tennishu.com

For more information about our guest artists, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

28 | 2023–24 SEASON

JAN–FEB GUEST ARTISTS

INDIA CARNEY, vocalist

TaRON LOCKETT, drummer

India Carney is a multi-

Dallas native TaRon

talented solo artist with a

Lockett, a two-time

wide range of experience

Grammy-nominated

in the performing arts

drummer/producer, has

industry. While traveling

worked with Snoop Dogg,

throughout the country and

Erykah Badu, Ceelo Green,

abroad, Carney writes and

Prince, Liv Warfield, Willie

performs original music, as

Nelson, Sheila E and DJ

well as collaborates with

D-Nice and currently tours

bands and other artists to

with Cory Henry and the

produce live shows and

Funk Apostles.

recordings that introduce a mix of classical, pop, R&B, a cappella music and theatrical influences.

NICHOLAS CLARK, bass

Carney is a versatile American singer, songwriter,

Nicholas Clark is a bassist,

arranger and actress.

musical director and

In addition to building a strong social

producer offering bespoke

media presence as an influencer, Carney was

services ranging from artist

introduced to her fans on an international scale

development, live and

as a Top 5 Artist on season eight of NBC’s

studio production work,

Emmy-winning series, The Voice. Carney has

and musical direction. The

performed with and for icons such as Katy

Fort Worth, Texas native

Perry, Lady Gaga, Meghan Trainor, Christina

is a highly sought after

Aguilera, H.E.R., Dua Lipa and others. She has

instrumentalist renowned

also performed at the Grammy Awards, B.E.T.

for his versatility, work

Awards, Late Night with Jimmy Fallon, The Ellen

ethic, professionalism and dedication to assisting

Degeneres Show and other broadcasts.

artists and clients create the best product

Despite Carney’s active performance schedule,

possible. His client list includes Demi Lovato,

her passion for music inspires her to help develop

Aminé, Muni Long, Carrie Rodriguez, Chiiild, Doja

the next generation of talented singers. She is

Cat, H.E.R., JoJo and Kanye West.

an alumna of UCLA (bachelor’s degree in music

Clark has played an integral role in producing

performance, minor in music industry), Manhattan

and programming shows, including Coachella,

School of Music (pre-college) and LaGuardia Arts

Kanye West’s YEEZY clothing line (Season 8—

High School (the Fame school) in New York City.

Paris), South by Southwest (SXSW) and Austin

Carney is committed to supporting the Arts and

City Limits (ACL). The list also comprises various

is moving forward with creating the India Carney

late-night television programs and numerous

Voice Scholarship Fund at The UCLA Herb Alpert

award shows, including the Billboard Awards and

School of Music.

the Video Music Awards.

India Carney is a member in good standing

Before becoming a professional musician, Clark

with Screen Actors Guild–American Federation of

played college football at the Naval Academy

Television and Radio Artists (SAG–AFTRA) and

and Texas State University, where he graduated

Broadcast Music Inc. (BMI). Instagram:

as a four-year starter and received all-conference

@india_carney; Twitter/X: @indiacarney

honors. He was a finalist for the prestigious William V. Campbell Award for student-athletes who excel on the field and in the classroom.

While pursuing a master’s degree in physics, Clark became well known within the national physics community and the local Austin music scene. After graduation, Samsung recruited him, and he began a dual lifestyle as an “engineer by day, musician by night.” Although engineering in

`` Fanfare Magazine | 29

JAN–FEB GUEST ARTISTS

a competitive, fast-paced environment presented

Kelli O’Hara, as well as Mr. Keillor at 70. At

tremendous personal and corporate growth,

Carnegie Hall with the Orchestra of St. Luke’s, he

he decided that music would be his avenue to

led gala performances of Candide, Guys and Dolls,

encourage and inspire the world.

and The Sound of Music.

Fisher was recently represented on Broadway as the score supervisor and arranger for An

POPS JAN 12–14: CHICAGO: The Musical in Concert

American in Paris (Grammy nomination) and Anything Goes (Grammy nomination).

Additionally, he remains the music supervisor and

ROB FISHER, conductor

arranger for Chicago: The Musical.

Rob Fisher is an internationally recognized music director, conductor and pianist, and a leading figure in American music and musical theatre. He has been a guest of every major orchestra in the country as conductor or pianist, and he has collaborated many times with the San Diego Symphony.

In addition to collaborating in concert and recording with such artists as Renée Fleming, Kristin Chenoweth, Kelli O’Hara, Patti LuPone, Idina Menzel, Brian Stokes Mitchell and David Hyde Pierce, he conducted the San Francisco Symphony in the Emmy-winning concert production of Sweeney Todd starring LuPone and George Hearn. At the Chicago Lyric Opera, he led the record-breaking production of The Sound of Music.

Fisher was founding music director and conductor of the New York City

With the New York Philharmonic, he

Center Encores! series from its inception in

conducted the acclaimed concert versions of Carousel (Emmy Nomination for Best Music Director) and My Fair Lady, both starring

1994 until 2005. The series earned a 2000 Tony Award, and in 1997, Fisher was given the Lucille Lortel Award. Fisher has made numerous recordings for Encores!, including the Grammy Award-winning Chicago cast album.

Recently Fisher arranged and conducted Renée Fleming’s Broadway.

A native Virginian, he holds degrees from Duke, American and Mansfield universities.

EMILY SKINNER, Mama Emily Skinner’s Broadway credits include New York New York, The Cher Show, Prince of Broadway (Outer Critics Circle Award nomination), Side Show (Tony nomination, Drama League Award), Jekyll & Hyde, The Full Monty, James Joyce’s The Dead, Dinner at Eight (Outer Critics Circle nomination) and Billy Elliot (BroadwayWorld Award). She has been seen in national tours of Ghost Brothers of Darkland County, Billy Elliot and Disney’s On the Record, and her Off-Broadway

Photo of August Wilson

by David Cooper.

credits include Picnic (Transport Group, Drama SEASON FUNDER

www.ensemblecincinnati.org

30 | 2023–24 SEASON

OPERATING SUPPORT

Desk nomination); My Life With Albertine (Playwrights Horizons); Jerry Springer the Opera

JAN–FEB GUEST ARTISTS

(Carnegie Hall); and Fiorello!, No Strings, Pardon

DYLIS CROMAN, Roxie

My English and A Tree Grows in Brooklyn (all at

Dylis Croman started her

City Center Encores!). She also originated roles

professional career at the

at Roundabout Theatre Company, York Theatre,

age of 17 in New York

WPA Theatre and Paramount Theatre at Madison

City dancing with The

Square Gardens. Regional credits include multiple

Feld Ballets/NY. She most

roles at The Kennedy Center, Signature Theatre,

recently starred as Roxie

Alliance Theatre, Theatre Under the Stars, Ford’s

Hart in the Broadway

Theatre, Virginia Rep, Lyric Theatre of Oklahoma,

musical Chicago. Other

American Conservatory Theatre, Long Wharf,

Broadway credits include

Old Globe, Goodspeed, Bucks County Playhouse,

A Chorus Line (standby

St. Louis MUNY, and many others. She has sung

Cassie/Sheila), Sweet

with symphony orchestras internationally, and her

Charity (understudy Charity), Thou Shalt Not

numerous CD recordings may be found at iTunes

(understudy Therese Raquin), Oklahoma! and

and Amazon.com. In the spring of 2024 she will

Fosse (trumpet solo). She has appeared in

appear in Suffs on Broadway. emily-skinner.com

national tours of Movin’ Out (Brenda), Thoroughly

LEWIS CLEALE, Billy

Modern Millie, Applause and Chicago. Television and film credits include Smash on NBC, Guiding

Lewis Cleale continues

Light, Fosse (trumpet solo, filmed for PBS’ Great

to delight and offend

Performances in America), as well as many

audiences on Broadway

national commercials.

``

as Joseph Smith/Mission President/Jesus (original cast) in The Book of Mormon. His other Broadway credits include Sondheim on Sondheim, Spamalot, Amour, Once Upon a Mattress and Swinging on a Star, for which he received a Drama Desk nomination. He played opposite Tyne Daly in Call Me Madam for New York City Center Encores!, and his Off-Broadway credits include Time and Again at Manhattan Theatre Club, A New Brain at Lincoln Center and The Fantasticks. He has toured nationally as Joe Gillis opposite Petula Clark in Sunset Boulevard and as Lt. Cable with Robert Goulet in South Pacific, and he was Sam in the Las Vegas production of Mamma Mia! His TV credits include Elementary and BrainDead, and he’s the voice of Cliff the troll in Disney’s Frozen. Cleale has appeared as a soloist with the LA Philharmonic, as well as the symphony orchestras of Dallas, Kansas City, San Diego, Virginia, North Carolina and Stockton. He is featured as El Gallo in the first complete recording of The Fantasticks starring author Tom Jones as Henry (the old actor), now out on Jay Records. In his spare time, Cleale owns and operates Nobletown Fiber Works, an artisan spinning mill in New York’s Hudson Valley.

Fanfare Magazine | 31

JAN–FEB GUEST ARTISTS

TARI KELLY, Velma

recordings of Groundhog Day, Anything Goes,

Tari Kelly is overjoyed to

The Boy from Oz and How the Grinch Stole

once again join Rob Fisher

Christmas. tarikelly.com

and company for Chicago in Concert. She is honored

MATTHEW DEMING, Amos & Mary

to have been a part of

Matthew Deming made

seven Broadway shows,

his Broadway debut in the

most recently Mr. Saturday

company of Chicago. He

Night (OBC) starring

also has performed Chicago:

Billy Crystal, followed by

The Musical in Concert with

Groundhog Day (OBC),

the San Diego Symphony

Something Rotten!,

Orchestra, Dallas Symphony

Anything Goes (OBC Roundabout Revival—Reno

Orchestra, Virginia

Sweeney understudy/replacement), The Boy

Symphony Orchestra and

from Oz starring Hugh Jackman (OBC), How

the Kansas City Symphony Orchestra. Other

the Grinch Stole Christmas (Mama Who) and

Broadway credits include The Visit, also by

Show Boat (OBC Revival). She has appeared in

Kander and Ebb, starring Chita Rivera. He

national tours of Anastasia (Countess Lily), Little

has sung both as a tenor and countertenor

Shop of Horrors (Audrey), Show Boat (Ellie) and

with various orchestras, including the

Beauty and the Beast (Silly Girl). Among her

New York Philharmonic, Los Angeles

regional credits are End of the Rainbow (Judy

Philharmonic, American Symphony Orchestra,

Garland—Henry Award), Thoroughly Modern

Israeli Philharmonic and Detroit Symphony, as

Millie (Millie—Jeff Nomination) and Anything

well as with the professional choral groups

Goes (Reno Sweeney—Carbonell Award). In

Musica Sacra, NY Virtuoso Singers, Collegiate

addition, she can be heard on the original cast

Chorale and St. Ignatius. He has worked

2023-24 SEASON ON SALE NOW 32 | 2023–24 SEASON

JAN–FEB GUEST ARTISTS

regionally at the Huntington Theater Co.,

Grammy-winning Big Phat Band. His film credits

the Signature Theatre in Virginia, Cincinnati

include co-writing and arranging the score for

Playhouse in the Park, Ogunquit Playhouse,

Clint Eastwood’s Sully, Shrek, American Hustle,

Allenberry Playhouse, Trinity Repertory and

The 15:17 to Paris, Dear God, The Adventures of

Williamstown Theatre Festival. Operatic credits

Pluto Nash, Tangled, Lilo and Stitch, Zootopia,

include the world premiere of Bel Canto at

Lightyear, Ray: The Ray Charles Story, The Alamo

the Lyric Opera in Chicago, many seasons at

and Assault on Precinct 13, while television

Summerscape at Bard College, and Opera

credits include playing drums on five seasons of

Roanoke, to name a few. Deming is also a voice

America’s Got Talent.

teacher at Marymount Manhattan College, Bard College and privately, and happily, divides

Brinker remains active as a Los Angeles and Nashville studio musician.

his time between New York City and Upstate New York.

CSO JAN 19–20: Rachmaninoff & Adams ANDREW RESNICK, piano Andrew Resnick

KEVIN JOHN EDUSEI, conductor German conductor Kevin

is a Broadway

John Edusei is sought after

music director,

the world over. He is deeply

pianist and

committed to the creative

conductor

elements of performance,

whose credits

presenting classical music

include Parade,

in new formats, cultivating

Boop, The

audiences, introducing

Cher Show,

music by under-

The King and I, The Bridges of Madison County, Peter and the Starcatcher, The Book of Mormon, War Paint and Wicked. Off-Broadway credits include The Last Five Years and Far from Heaven. He has music directed concerts for Ben Platt, Jonathan Groff and Kelli O’Hara and often serves as Patti LuPone’s pianist. He is composing a musical adaptation of The Giver. Resnick is a graduate of Yale University.

represented composers ©Marco Borggreve

and conducting an eclectic range of repertoire.

In the 2023–24 season, Edusei debuts with the Seattle, Detroit and Antwerp symphony orchestras, conducting a range of repertoire including Beethoven, Widmann, Strauss, Mazzoli, Zemlinsky, Moussa, Ravel, and a world premiere by Arlene Sierra. He will also return to the Indianapolis Symphony for the opening concert of the season

RAY BRINKER, drum set Drummer Ray Brinker has received seven Grammy nominations as a recording artist and arranger. His drumming may be heard on Ray Charles’ eighttime Grammy-winning Album of the Year, Genius Loves Company, as well as recordings by Joe Cocker, Natalie Cole, Pat Benatar, Norah Jones, David Lee Roth, Diana Krall, Josh Groban, Lea Salonga and James Taylor. He frequently performs live with the Tierney Sutton Band, of which he is a 30+-year co-founding member, and with Gordon Goodwin’s

as well as the Cincinnati Symphony Orchestra, Fort Worth Symphony (where he holds the position of Principal Guest Conductor), City of Birmingham Symphony, and the National Symphony Orchestra in Washington D.C. in a program that includes a world premiere by Adolphus Hailstork and John Adams’ Harmonielehre.

In recent seasons, Edusei has conducted many of the major orchestras across Europe and the U.S., including the Munich Philharmonic, London Philharmonic, London Symphony, BBC Symphony, Dallas Symphony, Baltimore Symphony and Minnesota Orchestra, among others. He has a long-standing relationship with the Chineke!

Orchestra, with whom he has appeared several times at London’s Royal Festival Hall, and, in 2022, he conducted them on a major European

``

Fanfare Magazine | 33

JAN–FEB GUEST ARTISTS

summer festivals tour that included the closing

Quartet and Davies Symphony Hall with violinist

concert of the Lucerne Festival, performances at

Stella Chen.

the Elbphilharmonie Hamburg, Snape Maltings,

Li is an exclusive Warner Classics artist,

Helsinki Festival and a return to the BBC Proms

with his debut recital album released in 2017.

for a televised performance of Beethoven’s Ninth

His second recording, in 2019, featured Liszt

Symphony. Edusei is the former Chief Conductor

solo works and Tchaikovsky’s Piano Concerto

of the Munich Symphony Orchestra and the Bern

No. 1, recorded live with Vasily Petrenko and

Opera House.

the London Philharmonic. His third album with

In the autumn of 2022, Edusei made his debut

the label, which will include solo pieces by

with the Royal Opera House conducting La

Schumann, Ravel and Stravinsky, will be released

bohème, which was streamed across cinemas

in the spring of 2024.

worldwide, and he will return in 2023–24 for

Li gave his first public performance at Boston’s

a production of Madama Butterfly. Previously,

Steinway Hall at the age of 10 and, in 2011, he

he has conducted at the Semperoper Dresden,

performed for President Obama at the White

English National Opera, Hamburg State Opera,

House in an evening honoring Chancellor Angela

Volksoper Wien and Komische Oper Berlin.

Merkel. Among Li’s many prizes, he was the

During his time as Chief Conductor of Bern

recipient of the 2016 Avery Fisher Career Grant,

Opera House, he led many highly acclaimed new

the 2012 Gilmore Young Artist Award and the

productions, including Peter Grimes, Ariadne auf

First Prize winner of the 2010 Young Concert

Naxos, Salome, Bluebeard’s Castle, Tannhäuser,

Artists International Auditions. He is currently

Tristan und Isolde, Kátya Kábanová and a cycle

pursuing an Artist Diploma at the New England

of the Mozart–Da Ponte operas (The Marriage

Conservatory. When not playing piano, Li is an

of Figaro, Don Giovanni and Così fan tutte).

avid reader and photographer, as well as a sports

kevinjohnedusei.com

fanatic. georgelipianist.com

GEORGE LI, piano Praised by The Washington Post for combining “staggering technical prowess, a sense of command and depth of

LOLLIPOPS FAMILY CONCERT JAN 27: Mo Willems’ Goldilocks & The Three Dinosaurs SAMUEL LEE, conductor Samuel Lee, first prize

expression,” pianist George

winner of the BMI

Li possesses an effortless

International Conducting

grace, poised authority

Competition in Bucharest

and brilliant virtuosity far

and the International

beyond his years. Since ©Paul Marc Mitchell

Conducting Competition

winning the Silver Medal

in Taipei, was appointed

at the 2015 International

Assistant Conductor of

Tchaikovsky Competition, Li has rapidly

the Cincinnati Symphony

established a major international reputation and

Orchestra, beginning

performs regularly with some of the world’s leading orchestras and conductors.

Li’s 2023–24 season began with a recital at the Grand Teton Music Festival followed by his debut with the Aula Simfonia in Indonesia. He also tours China and Europe and debuts with the Prague Philharmonia. U.S. performances include the Cincinnati and Milwaukee symphony orchestras and the Florida Orchestra, Oklahoma City Philharmonic and Chicago Sinfonietta; and recitals across the country. A committed collaborator, Li returns to the ECHO series with the Dover 34 | 2023–24 SEASON

in the 2022–23 season, and was promoted to Associate Conductor in August 2023.

In addition to several recent guest conducting engagements throughout Europe and Asia, Lee was also a Conducting Fellow with the Cabrillo Festival of Contemporary Music in 2021 and 2022, where he worked with conductors Cristian Măcelaru, Yannick Nézet-Séguin, Octavio MásArocas and Marin Alsop.

JAN–FEB GUEST ARTISTS

Since 2016 Samuel Lee has been the chief

DEONDRA MEANS, director

conductor of the C.P.E. Bach Musikgymnasium

Deondra Kamau Means has

orchestra Berlin. He and the orchestra have been

30 years of experience

regularly invited to the Berlin Philharmonie and

as a voice actor and has

Konzerthaus Berlin for subscription concerts. He

worked with the Hear/

also served as a viola professor at Hochschule für

Now Festival for the past

Musik und Theater “Felix Mendelssohn-Bartholdy”

three years. He was voice

in Leipzig, Germany until 2022.

talent for Blood Cotton and

As a violist, Lee was invited to perform with

co-produced and assistant

orchestras throughout Europe and Asia. From

directed American Socialist:

2009 until 2017, he was the violist of Novus String

The Life and Times

Quartet, and he was the second prize winner of

of Eugene Victor Debs. He

the 61st International Music Competition of ARD

was featured as a voice artist with the Cincinnati

Munich and first prize winner of the Salzburg

Symphony Orchestra’s Lollipops Family Concerts

International Mozart Competition.

as a narrator for Peter and the Wolf. He also is

Lee is an alumnus of Hochschule für Musik

a featured singer with The Hues Corporation

“Hanns Eisler” Berlin, where he studied viola

and was recorded as a featured soloist with the

with Prof. Tabea Zimmermann (BM, MM,

Kentucky Symphony Orchestra’s Ragtime Band

Konzertexamen), and orchestral conducting with

in Rags to Riches. In addition to directing, Means

Prof. Christian Ehwald (BM, MM). Lee completed

is the pianist at Second Baptist Church of Bond

Konzertexamen in orchestral conducting from

Hill in Cincinnati.

Hochschule für Musik und Theater Hamburg (Prof.

``

Ulrich Windfuhr).

THANK YOU —

CINCINNATI SYMPHONY CLUB is the Concert Sponsor for Lollipops Goldilocks and The Three Dinosaurs

Fanfare Magazine | 35

JAN–FEB GUEST ARTISTS

teacher for Princeton City Schools and a traveling

CHRIS CARTER, narrator Notable performances for

teaching artist for The Children’s Theatre of

Cincinnati-based artist

Cincinnati in the summer. She believes that music

Chris Carter include Bah

is a healing tool and puts this into practice each

Humbug! A One-Man

Sunday when she sings in area nursing homes.

Christmas Carol (one-man

Hedges is a mother of two and born to a family

show) and The Nikola Tesla

of musicians in Blue Ash/Cincinnati. The daughter

Story (one-man show) with

of Eddie Hedges, of Blessed Union of Souls, Marci

The Children’s Theatre of

Hedges is excited to cross over to the theatre

Cincinnati (TCTC). Other

world and looks forward to doing more work in

roles include Madagascar:

the near future.

A Musical Adventure (King Julien), Rock of Ages (Lonny), The Wizard of Oz

PAUL HAHN, Norwegian Dinosaur

(Scarecrow), Jesus Christ Superstar (Judas), and

Paul Hahn is an eighth

Young Frankenstein (Dr. Frederick Frankenstein).

grader at Cincinnati’s

Having spent two years as a carpenter’s apprentice

School for the Creative

and two years as an Arts Integration Specialist for

and Performing Arts

TCTC, he—quite literally—enjoys building bridges

(SCPA) and is elated to

between art, education and access.

be back on stage with the Cincinnati Pops for the second time. Notable roles

R. DeANDRÉ SMITH, Papa Dinosaur R. DeAndré Smith has

include Flounder in The

appeared in a number of

Little Mermaid (SCPA),

productions regionally,

Little Boy in Ragtime

including several in

(Cincinnati Music Theater and Cincinnati Pops)

Cincinnati. Among his

and Jason in Falsettos (Cincinnati Music Theater).

credits are The Wiz Jr. and

He thanks his family for their constant dedication

School House Rock Live

and dedicates this performance to his main

Jr. (Cincinnati Children’s

dinosaurs in real life, his older brothers Jeremy

Theatre); A Christmas

and Scott Hahn.

Carol, Big River, The 25

th

Annual Putnam County

RENEE HENRY, Goldilocks

Spelling Bee, Smokey Joe’s Café, One Flew Over

Renee Cherrie Henry is

the Cuckoo’s Nest and Show Boat (Cincinnati

the founder and artistic

Landmark Productions); RENT and A Wrinkle in

director of Body Movement

Time (Crossroads Repertory Theatre); and Beauty

Theatre, as well as a dancer,

Lou and the Country Beast, The Frog Prince and

choreographer, vocalist, actor

Hansel and Gretel (Missoula Children’s Theatre).

and percussion enthusiast.

He also appeared in Jerry Springer the Opera at

This native Cincinnatian was a

NewStage Collective.

naturally gifted child, but she began her professional training

MARCI HEDGES, Mama Dinosaur Marci Hedges is a songwriter,

at Cincinnati’s School for the Creative and Performing Arts.

singer and producer in

After graduating, she continued her professional

Cincinnati. She currently has

career of over 30 years with several professional

her own band called Marci

dance and theatre companies, including

and the Vibe Band and has

Cincinnati Black Theatre Company, Khamisi

sung with the Kentucky

Productions, Bi-Okoto Cultural Institute and

Symphony Orchestra and

the African American Dance Ensemble under

soloed in the Freedom Conductor Ensemble of

the direction of Chuck Davis. She is a mother

Cincinnati Opera. Hedges is a special education

of three sons and is currently the Movement Specialist for Elevated Excellence Academy.

36 | 2023–24 SEASON

JAN–FEB GUEST ARTISTS

Her mission is to aide in the preservation of

Director of Opera at the Royal Academy of Music,

traditional artforms through continuous study,

where she is now the Felix Mendelssohn Visiting

training, teaching and presentation.

Professor. She was recently Visiting Professor of Opera at the University of Oxford, her alma mater.

Glover has conducted all the major symphony

CSO JAN 27–28: Symphonic Mozart DAME JANE GLOVER, conductor Acclaimed British conductor Jane Glover, named Dame Commander of the Order of the British Empire in the 2021 New Year’s Honours, has been Music of the Baroque’s music director since 2002. She made her professional debut at the ©John Batten

Wexford Festival in 1975, conducting her own edition

of Cavalli’s Eritrea. She joined Glyndebourne in 1979 and was music director of Glyndebourne Touring Opera from 1981 until 1985. She was artistic director of the London Mozart Players from 1984 to 1991. From 2009 until 2016, she was

and chamber orchestras in Britain, as well as orchestras in Europe, the United States, Asia and Australia. She has worked with the periodinstrument orchestras Philharmonia Baroque and the Handel and Haydn Society, and she has made frequent appearances at the BBC Proms.

In demand on the international opera stage, Glover has appeared with numerous companies.

A Mozart specialist, she has regularly conducted all the Mozart operas on stages around the world since her first performances of them at Glyndebourne in the 1980s, and her core operatic repertoire also includes Monteverdi, Handel and Britten. In the current season she returned to Houston Grand Opera for Don Giovanni, which she will also conduct for Cincinnati Opera in 2024.

The current season includes debuts with the Baltimore Symphony and Helsinki Philharmonic, as well as returns to the New York Philharmonic and the Cincinnati and Toronto symphony

``

SCAN TO LEARN THE VALUE OF YOUR HOUSE

Fanfare Magazine | 37

JAN–FEB GUEST ARTISTS

orchestras. She will conduct the Mozart Requiem

STEFANI MATSUO, violin

in a debut with Camerata Salzburg in the 2024–

Stefani Matsuo, appointed

25 season.

by Music Director Louis

Jane Glover’s discography includes a series of

Langrée as Concertmaster

Mozart and Haydn symphonies with the London

of the Cincinnati Symphony

Mozart Players and various recordings with the

Orchestra (CSO) in

London Philharmonic, the Royal Philharmonic,

September 2019, has

Trinity Wall Street and the BBC Singers. She is the

emerged as one of today’s

author of the critically acclaimed books Mozart’s

great talents.

Women and Handel in London and has recently

She was Concertmaster

published Mozart in Italy. She holds a personal

for the CSO’s

professorship at the University of London, is a

Grammy-nominated

Fellow of the Royal College of Music, an Honorary

album, Transatlantic,

Member of the Royal Academy of Music and the

and she had the honor of premiering Missy

holder of several honorary degrees. In 2020, she

Mazzoli’s Fanfare for the Unimpressed for solo

was awarded the Royal Philharmonic Society’s

violin as part of The Fanfare Project, begun in

Gamechanger Award for her work in breaking

2020 as the CSO’s response to the pandemic. In

new ground for other female conductors.

2019, Matsuo made her solo debut with the CSO,

jane-glover.com

performing Mozart’s Violin Concerto No. 4.

Prior to joining the CSO, Matsuo made her New York City debut in Alice Tully Hall performing the Britten Violin Concerto with the Juilliard Orchestra. She made her solo recital debut at the Phillips Collection in Washington, D.C. as the winner of the 2012 Washington International Competition. Matsuo was also the winner of the 2012 Juilliard Concerto Competition and a laureate of the 2011 Michael Hill International Competition.

A dedicated chamber musician, Matsuo has collaborated with many distinguished artists. In Cincinnati, she serves as a co-artistic director of concert:nova and is a regular performer on the CSO Chamber Players Series and Linton Chamber Music Series. She is also a member of Matsuo Duo with her husband and CSO cellist Hiro Matsuo. In New York City, she performed regularly with the Jupiter Chamber Players and Salomé Chamber Orchestra. She also served as concertmaster of Symphony in C and as a member of the first violin section of the Indianapolis Symphony Orchestra.

Matsuo currently serves on the violin faculty of the University of Cincinnati College-Conservatory of Music.

She completed her master’s degree at The Juilliard School under the tutelage of Sylvia Rosenberg and has a bachelor’s degree from the Cleveland Institute of Music, where she studied with Paul Kantor. Matsuo originally hails from North Carolina.

38 | 2023–24 SEASON

JAN–FEB GUEST ARTISTS

CHRISTIAN COLBERG, viola Christian Colberg is Principal Viola of the

CSO FEB 2–3: Shostakovich: 1905 CRISTIAN MĂCELARU, conductor Grammy-winning

Cincinnati Symphony

conductor Cristian

Orchestra. Prior to joining

Măcelaru is Artistic Director

the CSO, he was the

of the George Enescu

Assistant Principal Viola of

Festival and Competition,

the Baltimore Symphony

Music Director of the

Orchestra. Colberg is also

Orchestre National de

an artist-faculty member at

France, Chief Conductor of

the Aspen Music Festival

the WDR Sinfonieorchester,

and School, a Valade

Artistic Director and

Fellow at the Interlochen Center for the Arts and Principal Viola at the Bellingham Festival of Music.

Colberg began his musical studies at the age of four in his native Puerto Rico. A recipient of numerous awards, including the Alpha Delta Kappa Foundation Fine Arts grant, Colberg was honored by the House of Representatives of Puerto Rico in 1985, and again by the Senate in 1994, for his achievements in the classical music field. He is a graduate of the Peabody Institute of Music, where his main teachers included Alexander Schneider, Saul Ovcharov, Charles Libove and Shirley Givens. Colberg has also been on the violin faculty of the Peabody Institute of

©Adriane White

Principal Conductor of the Interlochen Center

for the Arts’ World Youth Symphony Orchestra and Music Director and Conductor of the Cabrillo Festival of Contemporary Music.

At the 2023 George Enescu Festival, his inaugural season as Artistic Director, Măcelaru led the George Enescu Philharmonic, WDR Sinfonieorchester and Orchestre National de France alongside the Romanian Youth Orchestra. Additional 2023–24 season highlights include Măcelaru’s debut with the Philharmonia Orchestra and return engagements with the

Music and on the viola faculty of the University of Cincinnati College-Conservatory of Music.

An active chamber musician, Colberg has collaborated with such artists as Marvin Hamlisch, Gary Karr, Milton Katims, Augustin Hadelich, Samuel Sanders, Joseph Silverstein, Jaime Laredo and Sharon Robinson, with the Muir, Cypress and Ariel string quartets, and with the Silk Road Festival in China.

In October 2018, Colberg performed his own Viola Concerto with the Cincinnati Symphony Orchestra. He has performed this work with numerous orchestras, including the Puerto Rico Conservatory Orchestra and Música de Cámara in New York City. The second movement of his concerto was used as the competition piece for the 2014 Primrose International Viola Competition and the third movement was used in the Sphinx competition of 2023. In June of 2018, The Rant—For Two Violas was also premiered at the International Viola Congress in Los Angeles. His newest composition for string quartet and drums was released in 2022 on a new album titled Talking to Myself, in which he also plays all the parts.

`` Fanfare Magazine | 39

INVEST ENGAGE INNOVATE LEAD

Program Spotlight: POETRY OUT LOUD Ohio Poetry Out Loud State Champion Hiba Loukssi of Xenia High School (Greene County) reciting a poem at the 2023 state finals. She competed at the national finals in Washington, D.C. Image credit: Terry Gilliam

Investing state and federal dollars, the Ohio Arts Council funds and supports quality arts experiences for all Ohioans to strengthen communities culturally, educationally, and economically.

Learn more about our grant programs and resources, find your next arts experience, or connect: OAC.OHIO.GOV.

JAN–FEB GUEST ARTISTS

NDR Elbphilharmonie Orchestra, Swedish Radio Symphony Orchestra, Cincinnati Symphony

In 2017, Soltani signed an exclusive recording contract with Deutsche Grammophon, and

Orchestra and St. Louis Symphony Orchestra.

has since released Home, comprising works by

In addition to their regular performances in

Schubert, Schumann and Reza Vali, as well as the

Paris, Măcelaru and the Orchestre National de

Dvořák and Tchaikovsky Piano Trios with Lahav

France will play a major role in the opening

Shani and Renaud Capuçon, and Dvořák’s Cello

ceremony of the Paris Summer Olympics in July

Concerto with the Staatskapelle Berlin and Daniel

2024. During the 2023–24 season, they will tour

Barenboim. He won the Innovative Listening

major cities in Austria and Spain, including Vienna,

Experience Award at the Opus Klassic Awards

Madrid and Barcelona. This season, Măcelaru will

2022 for his Cello Unlimited album (Deutsche

also tour in China and South Korea with the WDR

Grammophon, October 2021).

Soltani attracted worldwide attention in April

Sinfonieorchester.

Măcelaru’s previous seasons include European

2013 as winner of the International Paulo Cello

engagements with the Concertgebouworkest,

Competition in Helsinki. In February 2017, he won

Symphonieorchester des Bayerischen

Germany’s celebrated Leonard Bernstein Award

Rundfunks, Leipzig Gewandhaus Orchestra,

and, in December 2017, he was awarded the

Wiener Symphoniker, Tonhalle-Orchester

prestigious Credit Suisse Young Artist Award.

Zürich, Staatskapelle Berlin and Budapest

Born in Bregenz, Austria in 1992 to a family of

Festival Orchestra. In North America, he has

Persian musicians, Soltani began playing the cello

led the New York Philharmonic, Los Angeles

at age four and was only 12 when he joined Ivan

Philharmonic, National Symphony Orchestra,

Monighetti’s class at the Basel Music Academy. He

Chicago Symphony Orchestra, Boston Symphony

was chosen as an Anne-Sophie Mutter Foundation

Orchestra, San Francisco Symphony, The

scholarship holder in 2014 and completed his

Cleveland Orchestra and The Philadelphia

further studies as a member of the young soloists

Orchestra, where he was Conductor-in-Residence

program at Germany’s Kronberg Academy. He

for three seasons.

received important additional training at the

More information on Cristian Măcelaru can

International Music Academy in Liechtenstein. As

be found at macelaru.com. Management for

of October 2023, he is a professor of cello at the

Cristian Măcelaru: Primo Artists, New York, NY,

University of Music and Performing Arts in Vienna.

Kian Soltani plays “The London, ex Boccherini”

primoartists.com.

Antonio Stradivari cello, kindly loaned to him

KIAN SOLTANI, cello Cellist Kian Soltani is

by a generous sponsor through the Beare’s International Violin Society. kiansoltani.com

invited by the world’s leading orchestras, conductors and recital promoters, propelling him from rising star to

POPS FEB 4: Audra McDonald AUDRA McDONALD, guest artist Audra McDonald is

one of the most talked

unparalleled in the breadth

about cellists performing

and versatility of her

today. In the 2023–24

artistry as both a singer

season, he is the Focus

and an actor. The winner

Artist of Tonhalle-

of a record-breaking

Orchester Zürich and will share stages with the

six Tony Awards, two

Wiener Symphoniker, WDR Sinfonieorchester,

Grammy Awards and

NDR Elbphilharmonie Orchestra, Cincinnati

an Emmy, in 2015 she

Symphony Orchestra, Orchestre de Chambre de Lausanne, Konzerthausorchester Berlin and NHK Symphony Orchestra. Aside from orchestral and recital concerts, he maintains a busy schedule of tours with Camerata Salzburg and Mahler Chamber Orchestra.

was named one of Time ©Allison Michael Orenstein

magazine’s 100 most influential people and

received a National Medal of Arts—America’s highest honor for achievement in the field— from President Barack Obama. In addition to Fanfare Magazine | 41

JAN–FEB GUEST ARTISTS

her Tony-winning performances in Carousel,

ANDY EINHORN, conductor

Master Class, Ragtime, A Raisin in the Sun, The

Leading Broadway music

Gershwins’ Porgy and Bess and Lady Day at

director and conductor

Emerson’s Bar & Grill—the role that also served

Andy Einhorn most

as the vehicle for her Olivier Award-nominated

recently served as the

2017 debut in London’s West End—she has

music supervisor and

appeared on Broadway in The Secret Garden;

musical director for the

Marie Christine (Tony nomination); Henry IV; 110

Broadway productions

in the Shade (Tony nomination); Shuffle Along,

of Hello, Dolly! starring

or, The Making of the Musical Sensation of 1921

Bette Midler (Grammy

and All That Followed; Frankie and Johnny in

nomination, original

the Clair de Lune (Tony nomination); and Ohio State Murders.

Broadway cast recording) and Carousel starring Renée Fleming (Grammy

On television, she was seen by millions as the

nomination, original Broadway cast recording).

Mother Abbess in NBC’s The Sound of Music Live!

Einhorn’s previous Broadway music directing and

and played Dr. Naomi Bennett on ABC’s Private

conducting credits include Holiday Inn, Woody

Practice. She won an Emmy Award for her role as

Allen’s Bullets Over Broadway, Rodgers and

host of PBS’s Live From Lincoln Center and has

Hammerstein’s Cinderella, Brief Encounter and

received nominations for Wit, A Raisin in the Sun,

Sondheim on Sondheim. Other Broadway work

and Lady Day at Emerson’s Bar & Grill. Having first

includes Evita and The Light in the Piazza.

appeared on CBS’s The Good Wife, she plays Liz

Since 2011, Einhorn has served as music director

Reddick in The Good Fight on Paramount+ and

and pianist for six-time Tony Award winner Audra

Dorothy Scott in Julian Fellowes’ historical drama

McDonald, performing with her at prestigious

The Gilded Age on HBO and HBO Max. Her film

orchestras and venues across the U.S., as well as

credits include Disney’s live-action Beauty and the

a series of recorded concerts with the Sydney

Beast and MGM’s Aretha Franklin biopic, Respect.

Symphony at the Sydney Opera House in Australia.

A Juilliard-trained soprano, her opera credits

He most recently made his debut at New York City

include La voix humaine and Send at Houston

Center. McDonald and Einhorn have recorded two

Grand Opera, and Rise and Fall of the City of

albums together: Sing Happy: Live with the New

Mahagonny at Los Angeles Opera, where the

York Philharmonic and Go Back Home.

resulting recording earned her two Grammy

He served as the music director for HBO’s

Awards. McDonald has issued five solo albums

Peabody Award-winning documentary Six by

on the Nonesuch label as well as Sing Happy with

Sondheim and music supervisor for the Great

the New York Philharmonic on Decca Gold. She

Performances Peabody Award-winning special

also maintains a major career as a concert artist,

Broadway Musicals: A Jewish Legacy on PBS. In

regularly appearing on the great stages of the

2019, Einhorn conducted Bette Midler and Marc

world and with leading international orchestras. A

Shaiman at the 2019 Academy Awards. He also

founding member of Black Theatre United, board

music supervised and appeared on camera for

member of Covenant House International, and

the Emmy-winning performance of Eat Sh*t

prominent advocate for LGBTQAI+ rights, her

Bob for HBO’s Last Week Tonight starring John

favorite roles are those performed offstage, as an

Oliver. Upcoming film and TV projects include

activist, wife to actor Will Swenson, and mother.

the AppleTV+ series Extrapolations and Cabrini

audramcdonald.com

(producer Jonathan Sanger).

Recently, he has conducted concerts with the Baltimore Symphony Orchestra, National Arts Centre Orchestra, Detroit Symphony, Vancouver Symphony Orchestra, Pacific Symphony, Cleveland Orchestra and Aspen Music Festival.

He is a guest faculty member at the Aspen Music Festival and is a regular music director and pianist for the 92nd Street Y’s Lyrics and Lyricists series.

Andy Einhorn is an honors graduate of Rice University in Houston.

42 | 2023–24 SEASON

JAN–FEB GUEST ARTISTS

CSO FEB 9–11: Brahms’ German Requiem LOUIS LANGRÉE, conductor

Handel & Haydn (H+H) Society; Fauré’s Requiem with the National Symphony Orchestra; and a program of Haydn and Mozart with H+H.

Turn to p. 25 for a biography of CSO Music

Season debuts include the Houston Symphony,

Director Louis Langrée.

for Orff’s Carmina Burana, and the New World

JOÉLLE HARVEY, soprano

©Arielle Doneson

Symphony, for Beethoven’s Ninth Symphony.

Notably, Harvey joins two long-tenured music

A native of Bolivar, New

directors for their farewell seasons: Louis Langrée,

York, soprano Joélle

leading the Cincinnati Symphony Orchestra in

Harvey received her

Brahms’ Ein deutsches Requiem, and the Kansas

bachelor’s and master’s

City Symphony’s Michael Stern, who conducts

degrees in vocal

performances of Mahler’s Symphony No. 2.

performance from the

An in-demand vocal soloist, the soprano

University of Cincinnati

regularly appears with the great orchestras of

College-Conservatory

the U.S., including the New York Philharmonic

of Music (CCM). She

(Mozart’s Requiem, Handel’s Messiah), the

began her career training at Glimmerglass Opera

Cleveland Orchestra (Mahler’s Second and Fourth

(now The Glimmerglass Festival) and the Merola

symphonies, Bach’s B Minor Mass), the San

Opera Program.

Francisco Symphony (Fidelio, Beethoven’s Mass

Harvey opened the 2023–24 season with an

in C, Handel’s Messiah, Carmina Burana), and the

appearance at London’s Wigmore Hall, singing

Los Angeles Philharmonic (Adams’ Nixon in China,

the role of Tirsi in Handel’s Clori, Tirsi e Fileno,

Beethoven’s Missa Solemnis).

with Harry Bicket leading The English Concert.

On the operatic stage, Harvey appears regularly

She sings Handel’s Messiah with the Chicago

at the Glyndebourne Festival, having bowed in

Symphony, North Carolina Symphony and

seven roles. She made her Metropolitan Opera

``

A U D I T I O N for the May Festival Chorus & Youth Chorus

Sing with us for the 2024 May Festival Season!

There are no costs associated with singing in the May Festival Choruses.

mayfestival.com/join Fanfare Magazine | 43

JAN–FEB GUEST ARTISTS

debut as Pamina in The Magic Flute, her Royal

role of X: The Life and Times of Malcolm X.

Opera Covent Garden debut as Susanna, and

He was previously seen at the Met, where he

appeared as Galatea in Acis and Galatea and

opened its 2021–22 season in a celebrated

Zerlina in Don Giovanni with the Festival d’Aix-

“breakout performance” (New York Times) as

en-Provence. Other opera performances include

Charles in Terence Blanchard’s Fire Shut Up

Flora in The Turn of the Screw with Houston

in My Bones, which won the 2023 Grammy for

Grand Opera, Anne Trulove in The Rake’s

Best Opera Recording.

Progress with Utah Opera, as well as Zerlina and

Liverman’s 2023–24 season further includes

Eurydice in Telemann’s Orpheus with New York

productions with Opera Philadelphia for the

City Opera. joelleharvey.com

world premiere of Rene Orth’s 10 Days in a Madhouse and the Met Opera for Roméo et

WILL LIVERMAN, baritone

©Jaclyn Simpson Photography

Juliette. In concert, he joins the Lexington

Called “a voice for this

Philharmonic for the orchestrated world premiere

historic moment” (The

of Shawn E. Okpebholo’s Two Black Churches,

Washington Post), Grammy-

Houston Symphony’s Carmina Burana, Cincinnati

winning baritone Will

Symphony Orchestra for Brahms’ Ein deutsches

Liverman is the recipient of

Requiem, and The Washington Chorus’ Elijah

the 2022 Beverly Sills Artist

Reimagined, plus vocal recitals for Dayton Opera,

Award and the co-creator

Caramoor and Cincinnati Song Initiative. He

of The Factotum—“mic-

serves as Artistic Advisor for Renée Fleming’s

drop-fabulous good” (Opera

SongStudio at Carnegie Hall.

News)—which premiered at

Cedille Records released Liverman’s Dreams

Lyric Opera Chicago in 2023.

of a New Day: Songs by Black Composers with

This season, Liverman

pianist Paul Sanchez in February 2021. The album

returns to the Metropolitan Opera in the title

debuted at No. 1 on the Billboard Traditional

THE MAY FESTIVAL CHORUS Sopranos Natalie Badinghaus Tracy Bailey Karen Bastress Laurel Boisclair Ellsworth Cindy Bosh Dawn Bruestle Caitlyn Byers Renee Cifuentes Kathy Dietrich Jennifer Dobson Rachel Dummermuth Sarah Evans Anita Marie Greer Melissa Haas Dana Harms Mary Wynn Haupt Carolyn Hill Alexandra Kesman Lisa Koressel Judith C. LaChance Hilary Landwehr Julia Lawrence Jennifer Leone Julia Marchese Audrey Markovich Justine Merritt Melissa Navarra Alison Peeno Lauren Peter Regina Rancourt Kristi C. Reed Beth Roberts Hannah Schafer Noelle Scheper Julia H. Schieve Christin Sears Yvon F. Shore

44 | 2023–24 SEASON

Mary Ann Sprague Katherine Sullivan Alex Vale Patricia Wilkens Taraneh R. Wilkinson Olivia Zimmerman Altos Hannah Bachmann Leslie Baum Jennifer Blair Emily Cotten Margaret Eilert Ali Falcon Kathy Falcon Sarah Fall Lindsey Fitch Amanda Gast Sally Vickery Harper Sarah Keeling Horseman Spence B. Ingerson Amy Jackson Karolyn L. Johnsen Jenifer Klostermeier Julia Lankisch Julie Laskey Megan Lawson Katherine Loomis Elaine P. Lustig Kathy Mank Melissa A. Martin Teri McKibben Jennifer Moak Rozelia Park Amy M. Perry Christy Roediger Amanda Schwarz Rosenzweig

Ann Schwentker Karen Scott-Vosseberg Sarah Stoutamire Kristie Stricker Katie Tesmond Christine Wands Megan Weaver Robin Rae Wiley Tenors Avery Bargasse Ryan Block David Bower Douglas Easterling David Gillespie Robert Henderson Fansheng Kong Kevin Leahy Matthew Leonard Robert Lomax Andrew Miller Greg Miller H. Scott Nesbitt Scott C. Osgood Jason Ramler Larry Reiring Adam Shoaff David W. Skiff Jeffrey Stivers Matthew Swanson Timothy Vance Gary Wendt Stephen West Barry Zaslow

Basses Mark Barnes Jim Baxter Richard Becker Nathan Bettenhausen Andrew L. Bowers Scott Brody Douglas J. Bruestle Darren Bryant Christopher Canarie Matthew Cheek Steven L. Dauterman David Dugan Steve France Mark Hockenberry Kim P Icsman Christopher Kanney Takuya Konishi Jim Laskey D. Stuart Lohrum John McKibben Salvador Miranda Andrew Nash Keith Nash Justin Peter James V. Racster Brian Reilly Sergey Tkachenko Joshua Wallace Mark Weaver Paul Wessendarp Tommy Wessendarp

JAN–FEB GUEST ARTISTS

Classical chart and was nominated for a Grammy

state, including the Spirit of Cincinnati USA

for Best Classical Solo Vocal Album.

Erich Kunzel Queen City Advocate Award from

Liverman is an alumnus of the Ryan Opera

Cincinnati USA Convention and Visitors Bureau

Center at the Lyric Opera of Chicago and was

and the Irma Lazarus Award from the Ohio Arts

a Glimmerglass Festival Young Artist. He holds

Council’s annual Governor’s Awards for the Arts.

degrees from The Juilliard School (M.M.) and

mayfestival.com/chorus

Wheaton College in Illinois (B.M.). willliverman.com ROBERT PORCO has been

THE MAY FESTIVAL CHORUS Robert Porco, Director

recognized as one of the

Matthew Swanson, Associate Director of Choruses Heather MacPhail, Accompanist Sergey Tkachenko, Conducting Fellow Sarah Farwell, Chorus Manager

the U.S., and throughout his

leading choral musicians in career he has been an active preparer and conductor of choral and orchestral works, including most of the major

The May Festival Chorus has earned acclaim

choral repertoire, as well as of

locally, nationally and internationally for its musicality, vast range of repertoire, and sheer power of sound. The Chorus of 130 avocational singers is the core artistic element of the Cincinnati May Festival as well as the official chorus of the Cincinnati Symphony Orchestra (CSO) and the Cincinnati Pops.

The May Festival Chorus has strengthened its national and international presence through numerous PBS broadcasts of live concerts and several award-winning recordings, many in collaboration with the Cincinnati Symphony Orchestra and Cincinnati Pops. Most recently, a live recording of Robert Nathaniel Dett’s The Ordering of Moses featuring Music Director Laureate James Conlon conducting the Chorus and the CSO at Carnegie Hall was released to critical acclaim in 2016 (Bridge Records).

The May Festival Chorus has garnered awards in recognition of its continuing artistic excellence and performances throughout the

opera. In 2011, Porco received Credit: Charlie Balcom

Chorus America’s “Michael Korn Founders Award for

Development of the Professional Choral Art.” In 2016, he led the May Festival Chorus and Cincinnati Symphony Orchestra in a performance of Mendelssohn’s Elijah for Chorus America’s National Conference.

Porco’s conducting career has spanned geographic venues and has included performances in the Edinburgh Festival; Taipei, Taiwan; Lucerne, Switzerland; Tel Aviv and Jerusalem, Israel; and Reykjavik, Iceland; and at the May Festival, Tanglewood Music Festival, Berkshire Music Festival, Blossom Festival and Grant Park Festival. He has been a guest conductor at the May Festival and with the Cincinnati Symphony Orchestra and The Cleveland Orchestra, among others.

The 2023–24 season is Robert Porco’s 35th as May Festival Director of Choruses.

For more information about our guest artists, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

Fanfare Magazine | 45

FORT WASHINGTON INVESTMENT ADVISORS PROUD PARTNER OF THE CINCINNATI SYMPHONY ORCHESTRA

Bradley J. Hunkler Senior Vice President, Chief Financial Officer, Western & Southern Financial Group

Kate C. Brown, CFP® Managing Director, Fort Washington, CSO Board Member

John F. Barrett Chairman, President & CEO, Western & Southern Financial Group

Maribeth S. Rahe President & CEO, Fort Washington

Tracey M. Stofa Managing Director, Head of Private Client Group, Fort Washington

Fort Washington Investment Advisors, Inc., a member of Western & Southern Financial Group, is honored to help advance the Cincinnati Symphony Orchestra’s mission to seek and share inspiration.

Learn how we can work together. fortwashington.com

46 | 2023–24 SEASON

BRAHMS: RUNNICLES & TRIFONOV | 2023–24 SEASON FRI JAN 5, 7:30 pm SAT JAN 6, 7:30 pm SUN JAN 7, 2 pm Music Hall

SIR DONALD RUNNICLES, conductor DANIIL TRIFONOV, piano Johannes BRAHMS (1833–1897)

Concerto No. 1 in D Minor for Piano and Orchestra, Op. 15 Maestoso Adagio Allegro

INTERMISSION

Johannes BRAHMS

Symphony No. 2 in D Major, Op. 73 Allegro non troppo Adagio non troppo Allegretto grazioso (Quasi andantino) Allegro con spirito

These performances are approximately 125 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group.

These concerts are endowed by Martha Anness, Priscilla Haffner & Sally Skidmore in loving memory of their mother, LaVaughn Scholl Garrison, a long-time patron of the Orchestra.

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding.

This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

Listen to selections from this program on 90.9 WGUC March 3, 2024 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

Fanfare Magazine | 47

JAN 5–7 PROGRAM NOTES JOHANNES BRAHMS Born: May 7, 1833, Hamburg, Germany Died: April 3, 1897, Vienna, Austria

Concerto No. 1 in D Minor for Piano and Orchestra, Op. 15

Johannes Brahms

Composed: 1854–59 Premiere: January 22,

1859, Hannover, Germany with Brahms as pianist.

Instrumentation: solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings CSO notable performances: First: January 1925, Fritz Reiner conducting; Wilhelm Bachaus, piano. Most Recent: December 2018, Louis Langrée conducting; Yefim Bronfman, piano.

Duration: approx.

44 minutes

48 | 2023–24 SEASON

Brahms began writing what became his first Piano Concerto when he was only 21. At the time, he had not completed any multi-movement works for orchestra and, not surprisingly, he was confronted by numerous technical challenges. He was also wrestling with intense personal problems, many of which were associated with the demise of his dear friend and mentor, Robert Schumann. In 1854, not long after meeting Brahms, Schumann attempted suicide and, as a result of his deteriorating condition, he was sent to a psychiatric hospital at Endenich. After this, Brahms devoted himself to supporting Robert’s wife, Clara (a famous concert pianist), and their children, a task that such a young man was ill-equipped to do.

He played such a central role in the life of the family that he was named godfather to the Schumanns’ youngest child, Felix, who was born after Robert was institutionalized. Brahms was also the conduit for Robert and Clara’s messages, as doctors initially barred Clara from seeing her husband because they feared he would become too excited. Schumann passed away in July 1856, by which time Clara’s and Brahms’ lives had become intertwined, and, while this brought them great comfort and joy, it also produced anxieties.

Brahms composed his first piano concerto while battling to conceive his first symphony. In 1854, he sketched a three-movement sonata for two pianos, but before completing it he realized that he had designed ideas that were better suited to a work for much larger forces; as a result, he began turning this material into a symphony. But this did not satisfy him either and, ultimately, he decided to recycle the material into a piano concerto—the Op. 15, D Minor Piano Concerto. The first movement of this work expanded upon material from the aborted two-piano sonata, but the second and third movements were conceived specifically for the concerto.

He completed the second movement in 1857 and the third in 1856.

Throughout this process, he repeatedly turned to his most trusted friends, Clara Schumann and Joseph Joachim (a brilliant violinist and composer) for advice, in some instances sending them parts of the score or playing sections to them on the piano. At the time, Joachim was working on his own violin concerto, which was also in D minor. Both men were influenced

by Beethoven, and they aimed to create concertos that had the same type of structural integrity and gravitas as those of the older master, rather than ones that conformed to the type of modern concertos that were merely virtuoso showpieces.

The first performance of Brahms’ Piano Concerto, in March 1858, was a type of informal private hearing. It was conducted by Joachim with his orchestra at Hannover (Germany) and Brahms played the solo piano part. Throughout his life Brahms used these types of trial performances to check the effectiveness of his new works, and particularly their orchestration. After more alterations, the same performers gave the work an official premiere in 1859 and then, a few days later, Brahms played the solo piano with a different orchestra at the Leipzig Gewandhaus. But Leipzig had yet to be won over by Brahms’ music and the reviews were not kind; indeed, there were reports that the audience hissed. Although most of the subsequent reviews were more positive, potential publishers were deterred by the harsh reception, and the full score was not published

PROGRAM NOTES

until 1874. By this time, the concerto had had numerous well-received performances, and the Leipzig one no longer mattered.

The Concerto’s first movement, with its formidably difficult piano part, resembles the intensity of a Herculean tragedy. In contrast, the inner movement is more intimate, beginning with mournful bassoons. It is often regarded as a tribute to Robert Schumann, but Brahms wrote to Clara that it was a “gentle portrait” of her, and the dialogue between the piano and orchestra suggests the intimacy of the two. The last movement has often been compared to the finale of the violin concerto Joachim had been working on—both movements are influenced by the mood and structure of the finale of Beethoven’s Third Piano Concerto. Brahms’ rollicking movement creates a vibrant conclusion to his work.

—Heather Platt, Sursa Distinguished Professor of Fine Arts

JOHANNES BRAHMS

Symphony No. 2 in D Major, Op. 73 Although Brahms struggled to complete his First Symphony, he seems to have had far fewer difficulties with the Second. He wrote it quickly between June and October in 1877, while he was still preparing the score of the First for publication. Similarly, the work’s bucolic mood contrasts with the drama and tension of the First Symphony. Brahms wrote most of the Second Symphony during his summer vacation at Pörtschach, in the southern region of Austria. The experience must have been enjoyable and gratifying because he returned to this location during the following two summers, writing the Violin Concerto, Op. 77, in 1878 and the Violin Sonata, Op. 78, in 1879. Perhaps in a whimsical mood, Brahms told Eduard Hanslick, a close friend and one of the most influential music critics in Vienna, that the air in Pörtschach was full of cheerful, lovely melodies. He knew that Hanslick preferred his lyrical works to his complex ones and teasingly suggested the critic would think he wrote the symphony “specially for you or even your young lady!” Theodor Billroth, like many of the composer’s other friends, bathed in the work’s pastoral colors. He wrote, “It is all rippling streams, blue sky, sunshine and cool green shadows.” Brahms completed the symphony while he was staying in Baden-Baden, near Clara Schumann’s home. She was immediately captivated when he played parts of the first and last movements on the piano to her.

Hans Richter with the Vienna Philharmonic premiered the Symphony in December 1877. The outpouring of enthusiasm for the work led to numerous other performances, and during the next two years it was given throughout Germany and Austria, as well as further afield in Amsterdam, Moscow, New York, Boston and Milwaukee. Theodore Thomas conducted the American premiere in New York in 1878 and the first performance in Cincinnati in 1880. Like many others, a Cincinnati critic preferred the Second Symphony to the First, praising its “kaleidoscopic variety” of orchestral colors and observing that its textures were more transparent (that is, less cluttered) than those of the First.

The first movement begins rather unusually and lyrically, with a melody played by the cello. This melody provides the impetus for much of the movement, as well as for some of the melodies in the following three. But almost immediately there is a pause and the trombones and tuba quietly enter, creating a momentary change in mood. Although brief and quiet, this passage causes enough of an interruption that one of the composer’s colleagues, Vincenz Lachner, protested. Brahms defended himself with

Symphony No. 2 in D Major, Op. 73 Composed: 1877 Premiere: December 30,

1877, Vienna.

Instrumentation: 2 flutes,

2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, strings CSO notable performances: First: March 1896, Frank Van der Stucken conducting. Most Recent, Special Concert: October 2016, Louis Langrée conducting. Most Recent, CSO Subscription: March 2016, Louis Langrée conducting. Other: February 1995, Iván Fischer conducting; February 1943, Arturo Toscanini conducting.

Duration: approx.

43 minutes

Fanfare Magazine | 49

Join Barbara Kellar as she showcases artists and cultural leaders from the Greater Cincinnati community.

SATURDAY 6:30PM CET SUNDAY 8:30PM CET ARTS

www.CETconnect.org Emmy Award Win nneer R gionaal - Inter Re erviiew ew/D Discu ussio on Program m

PROGRAM NOTES

a rather uncharacteristic acknowledgment, indicating that this passage related to his bleaker moods: “I would have to confess that I am, by the by, a severely melancholic person, that black wings are constantly flapping above us.” Like dark clouds, similarly short, sustained brass passages recur a few times throughout the movement, and their melancholic mood occasionally tinges the other movements as well.

The subdued opening to the slow second movement, with its gently ponderous cello melody and plaintive bassoon accompaniment, create an introspective mood likely related to the brass phrases in the first movement. Although brighter phrases from the flute and an ethereal, dance-like second theme elevate the mood, the movement ends quietly, with somber kettle-drum rumblings under the last statement of the beautiful main melody.

Fritz Simrock, Brahms’ publisher and friend, predicted the third movement would be “irresistible for an audience” and observed that the “last seems to lift all its listeners back into heaven, which, moreover, we already found in the first movement.” Both the third and fourth movements are lighter than the first two, and in contrasting ways they recall Classical-era style. To be more precise, the concluding Allegro con spirito is reminiscent of Haydn’s high-spirited finales. This movement features the stormiest episode of the symphony, but it is contrasted by the overall pastoral quality. The brass, which dropped out during the third movement, return in the fourth, and, toward the end of this movement, the trombones conquer the solemn doubts they had expressed in the first movement and join the other instruments in an exhilarating conclusion.

—Heather Platt, Sursa Distinguished Professor of Fine Arts

For more information about this program, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

Fanfare Magazine | 51

Celebrating the arts and the joy they bring to life every day.

PNC is proud to be the Pops SeDVRQ Sponsor and to support the Cincinnati Symphony Orchestra and Cincinnati Pops. Thank you for helping to make the Greater Cincinnati region a beautiful place to call home.

©2022 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC CON PDF 0618-0106

NOTORIOUS B.I.G. X TUPAC X MAHLER | 2023–24 SEASON WED JAN 10, 7:30 pm Music Hall

STEVE HACKMAN, conductor Jecorey Arthur, emcee | Marcus Tenney, emcee | India Carney, vocalist TaRon Lockett, drummer | Nick Clark, bass Steve Hackman’s THE RESURRECTION MIXTAPE A fusion of Mahler’s Symphony No. 2, Resurrection, and the music of Notorious B.I.G. (Christopher Wallace) and Tupac Shakur

ACT I

ACT II

Mahler, Symphony No. 2, Resurrection: Movement IV Urlicht Movement I Totenfeier—Allegro Maestoso

Mahler, Symphony No. 2, Resurrection: Movement IV: Urlicht Movement V: In Tempo des Scherzos

Notorious B.I.G. Everyday Struggle

Notorious B.I.G. Only God Can Judge Me I Wonder If Heaven Got A Ghetto California Love How Do U Want It Changes Life Goes On

Party and Bullsh*t Juicy Kick in the Door Notorious Thugs Things Done Changed Who Shot Ya Hypnotize

Tupac Shakur Me Against the World Hail Mary

Ambitionz az a Ridah 2 of Americaz Most Wanted Ghetto Gospel Hit ‘Em Up

Tupac Shakur Respect— Suidical Thoughts Sky’s the Limit Victory Big Poppa

Keep Ya Head Up So Many Tears

INTERMISSION Program subject to change The Cincinnati Pops Orchestra is grateful to Pops Season Sponsor PNC. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

Fanfare Magazine | 53

CHICAGO: THE MUSICAL IN CONCERT | 2023–24 SEASON FRI JAN 12, 7:30 pm SAT JAN 13, 7:30 pm SUN JAN 14, 2 pm Music Hall

Rob Fisher, conductor Emily Skinner (Mama) Lewis Cleale (Billy) Dylis Croman (Roxie) Tari Kelly (Velma) Matthew Deming (Amos & Mary) Overture All That Jazz Funny Honey Cell Block Tango When You’re Good to Mama All I Care About A Little Bit of Good We Both Reached for the Gun Roxie I Can’t Do It Alone My Own Best Friend INTERMISSION Entr’acte I Know a Girl Me and My Baby Mr. Cellophane When Velma Takes the Stand Razzle Dazzle Class Nowadays Hot Honey Rag Finale

Tour Direction: Artist Management Partners Worldwide LLC Tim Fox | Alison Ahart Williams | Alicia Horwitz | Georgina Ryder www.amp-worldwide.com

Program subject to change Guest Rhythm Section Members: Andrew Resnick, piano and Ray Brinker, drum set

The Cincinnati Pops Orchestra is grateful to Pops Season Sponsor PNC. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

54 | 2023–24 SEASON

PROGRAM NOTES When one thinks of the musical Chicago, a few associations instantly come to mind—the iconic opening vamp of “All That Jazz,” a wah-wah trumpet, a seductively subtle thrust of the hip.

For many people, what comes to mind is simply a couple of finger snaps.

But behind all of these instantly recognizable images and sounds is a surprising history—in fact, the story of Roxie, Velma, Amos, Billy and the Merry Murderesses of the Cook County Jail has been part of America’s collective cultural consciousness for nearly a century.

The story begins with—what else—murder. Or, rather, alleged murder. The unrelated murder trials of Beulah Annan and cabaret singer Belva Gaertner riveted the world of 1924 Chicago with their sensational, lurid details. This was in no small part thanks to intrepid journalist Maurine Dallas Watkins, who covered the trials breathlessly as a reporter for the Chicago Tribune. The immense popularity of her columns and the circus-like atmosphere surrounding the trials prompted Watkins to write a satirical play inspired by these true events. Beulah and Belva became Roxie and Velma, and the rest is history.

After Watkins’s play Chicago had a healthy run on Broadway in 1926, it went on to become a silent film in 1927 and then a film vehicle for Ginger Rogers titled Roxie Hart in 1942.

After John Kander, Fred Ebb and Bob Fosse got their hands on the material and worked their unique brand of musical theatre magic, it became Chicago: A Musical Vaudeville in 1975.

A modest success but critically underrated and misunderstood, the production was shut out at the Tony Awards, steamrolled by the far less cynical A Chorus Line. The show didn’t become a bona fide hit until 20 years later, when New York City Center’s Encores! Series, in one of its first seasons, presented Chicago in concert to overwhelming acclaim, prompting Fran and Barry Weissler to move the production to Broadway in 1996. The Broadway revival triumphed at the box office and at the Tony Awards, making it clear that Chicago had finally become an essential part of the musical theatre canon. The revival has remained open ever since and is now the second longest-running Broadway production of all time.

The sensational reception of the Broadway revival portended that numerous tours and international

productions were not far behind. Even Hollywood came knocking—and before long, the 2002 motion picture adaptation of Chicago was sweeping the Oscars.

This brings us to the present moment: Chicago, with its brilliant score and its ever-relevant story, has conquered Broadway, Hollywood and the international stage. Now, composer John Kander has given us still another exciting chapter to add to this impressive history, providing the inspiration to revisit the score in a new medium— the symphony orchestra. Orchestrator Bill Elliott’s reimagined and deconstructed soundscape is full of surprises, providing a fresh perspective for approaching the music while still bolstering everything you know and love about the “Cell Block Tango,” “Mr. Cellophane,” “Nowadays,” and the rest of the dynamic score. Whether it is your first exposure or you are a long-time fan, this Chicago experience will have a special Razzle Dazzle for you quite unlike any other.

To make the alignment of talents even more serendipitous, this project has been spearheaded by none other than Rob Fisher, the same legendary conductor responsible for making the Encores! production (and the Broadway revival it generated) possible in the first place. But you just can’t do it alone. Mr. Fisher, Mr. Kander, Mr. Elliott and librettist Tom Thompson have poured their passion for Chicago into creating this unique concert experience together.

“In 50 years or so, it’s gonna change, you know,” Roxie and Velma sing with a bittersweet laugh. And yet, 95 years after the trials of Beulah Annan and Belva Gaertner, some things have not changed at all—toxic celebrity worship is still en vogue, the justice system is still eminently corruptible, and, of course, people still have a boundless capacity to con and be conned. In other words, it is no surprise that this electrifying tale of murder, greed, corruption, violence, exploitation, adultery and treachery is still very much near and dear to our hearts.

Fanfare Magazine | 55

RACHMANINOFF & ADAMS | 2023–24 SEASON FRI JAN 19, 11 am SAT JAN 20, 7:30 pm Music Hall

KEVIN JOHN EDUSEI, conductor GEORGE LI, piano Samy MOUSSA

Elysium for Orchestra

(b. 1984)

Sergei RACHMANINOFF Concerto No. 2 in C Minor for Piano and Orchestra, Op. 18 (1873–1943)

Moderato Adagio sostenuto Allegro scherzando

INTERMISSION

John ADAMS (b. 1947)

Harmonielehre Part 1 Part 2: The Anfortas Wound Part 3: Meister Eckhardt and Quackie

These performances are approximately 125 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group and Concert Sponsors Peter Landgren & Judith Schonbach Landgren.

The appearance of George Li is made possible by Dr. Lesley Gilbertson & Dr. William Hurford.

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

Listen to this program on 90.9 WGUC March 10, 2024 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

56 | 2023–24 SEASON

JAN 19–20 PROGRAM NOTES SAMY MOUSSA Born: 1984, Montréal, Canada

Elysium for Orchestra Born in Montréal in 1984 and now based in Berlin, composer-conductor Samy Moussa is one of the world’s leading composers. His work has been performed by many of the world’s most prestigious orchestras, and he has featured as Artist-in-Residence at the Toronto Symphony Orchestra and works closely with Orchestre Symphonique de Montréal.

Regularly programmed by the world’s most prestigious orchestras, Moussa’s works have been commissioned and performed by the likes of the Wiener Philharmoniker, Bavarian Radio Symphony Orchestra, DSO Berlin, Dutch National Opera and Ballet, Dallas Symphony Orchestra and Brussels Philharmonic. The 2022–23 season saw the world premiere of his Trombone Concerto with Orchestre national de Lyon and trombonist Jörgen van Rijen, as well as the European premiere of his Second Symphony with BBC Scottish Symphony Orchestra and the BBC Proms 2023. Highlights of the 2023–24 season include the world premieres of Antigone, an oratorio for female chorus and orchestra, conducted

by Erik Nielsen with Dutch National Opera and Ballet, and a new work commissioned by the Pittsburgh Symphony Orchestra to be conducted by Manfred Honneck.

In 2020, Moussa became a Laureate of the Fondation Banque Populaire; other of his honors include the 2018 Villa Massimo Fellowship, SchleswigHolstein Musik Festival’s 2017 Paul Hindemith Prize, the Ernst von Siemens 2013 Composers’ Prize, and a 2012 Bayerischer Kunstförderpreis for his work as Music Director of INDEX Ensemble.

Moussa completed his undergraduate studies at Université de Montréal under José Evangelista and postgraduate studies at Hochschule für Musik und Theater München under Matthias Pintscher and Pascal Dusapin, undertaking masterclasses with Pierre Boulez and courses with Salvatore Sciarrino.

Following are program notes about Elysium, which is dedicated to its commissioner, the Vienna Philharmonic. It is co-commissioned by the Festival de Lanaudière, Vancouver Symphony Orchestra, BBC Scottish Symphony Orchestra and Royal Scottish National Orchestra.

Elysium: the everlasting paradise where heroes dwell. The pre-Hellenic Elysian Fields feature many of the tropes we have grown to associate with a paradisiacal afterlife, including the absence of time, an endlessly bountiful and peaceful land in which to reside, and the presence of divine beings. Its earliest reference can be found in Homer’s Odyssey, itself the earliest work of Western literature whose origins as an epic poem date back to the 8th century BCE. While Homer’s Elysium is restricted to heroes and demigods, by the 5th century BCE and the time of the pre-Socratic philosopher Empedocles, the entry requirements had relaxed somewhat to include the virtuous. This evolution reflects the changing attitudes and increasing upward mobility within the Greek city-state as well as the teachings of Empedocles himself, whose philosophy exerts a significant influence on Samy Moussa. Rather than remaining the sole preserve of the elite, immortal Elysium becomes the ultimate ethical aspiration for the common man in conjunction with a new quality of earthly life. This societal change is mirrored in the evolution of thought, ideas and the spoken word that become evident

Samy Moussa, ©Genevieve Caron

Composed: 2021 Premiere: September 18,

2021 in Barcelona, Spain at the Basílica de la Sagrada Família by the Vienna Philharmonic, Christian Thielemann conducting.

Instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, China cymbal, crotales, crash cymbals, glockenspiel, small triangle, snare drum, tam-tam, tambour de Basque, tubular bells, vibraphone, wind gong, strings CSO notable performances: These are the first CSO performances of Elysium.

Duration: approx.

12 minutes

Fanfare Magazine | 57

PROGRAM NOTES

throughout what would become known as the Golden Age of classical Hellenic society.

Samy Moussa’s vision of Elysium carries Brucknerian undertones and begins with slowly shifting glissando chords leading to a leaping accompaniment motif from which a melody emerges. The accompaniment figure accelerates and the harmonic structure from the opening section returns. The music grows in waves and leads to the first climax of the piece.

Sergei Rachmaninoff

Composed: 1900–01 Premiere: October 14,

1901, Moscow, Alexander Siloti conducting with Rachmaninoff as soloist.

Instrumentation: solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, crash cymbals, strings CSO notable performances: First: January 1910, Leopold Stokowski conducting; Sergei Rachmaninoff, piano. Most Recent, Special Concert (Nina Simone Piano Competition): October 2023, Louis Langrée conducting; Joshua Mhoon, piano. Most Recent, CSO Subscription: January 2020, Louis Langrée conducting; Behzod Abduraimov, piano. Other: May 2016, Evgeny Kissin, piano with Louis Langrée conducting; Novmeber 1968, Van Cliburn, piano with Max Rudolf conducting; January 1957 Arthur Rubinstein, piano with Thor Johnson conducting.

Duration: approx.

35 minutes

58 | 2023–24 SEASON

Following a short transition, the initial melody-accompaniment material reappears in different orchestral coloring. A new pulse enters, growing in speed and volume until we reach the full, grandioso climax of the piece, with the glissandi from the opening ecstatically transformed. The coda makes use of the scurrying trumpet figuration from the climactic section before the accompaniment figure gradually returns, this time in a much more lyrical guise, to lead us to the conclusion of the piece.

SERGEI RACHMANINOFF Born: April 1, 1873, Starorussky Uyezd, Russia Died: March 28, 1943, Beverly Hills, California

Concerto No. 2 in C Minor for Piano and Orchestra, Op. 18 When he was old and as mellow as he would ever get, Rachmaninoff wrote these words about his early years: “Although I had to fight for recognition, as most younger men must, although I have experienced all the troubles and sorrow that precede success, and although I know how important it is for an artist to be spared such troubles, I realize, when I look back on my early life, that it was enjoyable, in spite of all its vexations and bitterness.” The greatest “bitterness” of Rachmaninoff’s career was the total failure of his Symphony No. 1 at its premiere in 1897, a traumatic disappointment that thrust him into such a mental depression that he suffered a complete nervous collapse.

An aunt of Rachmaninoff’s, Varvara Satina, had recently been successfully treated for an emotional disturbance by a certain Dr. Nicholas Dahl, a Moscow physician who was familiar with the latest psychiatric discoveries in France and Vienna, and it was arranged that Rachmaninoff should visit him. Years later, in his memoirs, the composer recalled the malady and the treatment: “[Following the performance of the First Symphony,] something within me snapped. A paralyzing apathy possessed me. I did nothing at all and found no pleasure in anything.

Half my days were spent on a couch sighing over my ruined life. My only occupation consisted in giving a few piano lessons to keep myself alive.”

For more than a year, Rachmaninoff’s condition persisted. He began his daily visits to Dr. Dahl in January 1900. “My relatives had informed Dr. Dahl that he must by all means cure me of my apathetic condition and bring about such results that I would again be able to compose. Dahl had inquired what kind of composition was desired of me, and he was informed ‘a concerto for pianoforte.’ In consequence, I heard repeated, day after day, the same hypnotic formula, as I lay half somnolent in an armchair in Dr. Dahl’s consulting room: ‘You will start to compose a concerto—You will work with the greatest of ease—The composition will be of excellent quality.’ Always it was the same, without interruption....

Although it may seem impossible to believe,” Rachmaninoff continued, “this treatment really helped me. I started to compose again at the

PROGRAM NOTES

beginning of the summer.” In gratitude, he dedicated the new Concerto to Dr. Dahl.

The C Minor Concerto begins with eight bell-tone chords from the solo piano that herald the surging main theme, announced by the strings.

A climax is achieved before a sudden drop in intensity makes way for the arching second theme, initiated by the soloist. The development, concerned largely with the first theme, is propelled by a martial rhythm that continues with undiminished energy into the recapitulation.

The second theme returns in the horn before the martial mood is reestablished to close the movement. The Adagio is a long-limbed nocturne with a running commentary of sweeping figurations from the piano. The finale resumes the marching rhythmic motion of the first movement with its introduction and bold main theme. Standing in bold relief to this vigorous music is the lyrical second theme, one of the best-loved melodies in the entire orchestral literature, a grand inspiration in the ripest Romantic tradition. These two themes, the martial and the romantic, alternate for the remainder of the movement. The coda rises through a finely crafted line of mounting tension to bring this work to an electrifying close.

—Dr. Richard E. Rodda

JOHN ADAMS Born: February 15, 1947, Worcester, Massachusetts

Harmonielehre John Adams is one of today’s most acclaimed composers. Audiences have responded enthusiastically to his music, and he enjoys a success not seen by an American composer since the zenith of Aaron Copland’s career: a recent survey of major orchestras conducted by the League of American Orchestras found John Adams to be the most frequently performed living American composer; he won five Grammy Awards between 1989 and 2004; he received the University of Louisville’s prestigious Grawemeyer Award in 1995 for his Violin Concerto; in 1997, he was elected to the American Academy of Arts and Letters and named “Composer of the Year” by Musical America magazine; he was made a Chevalier dans l’Ordre des Arts et des Lettres by the French Ministry of Culture; in 2003, he received the Pulitzer Prize for On the Transmigration of Souls, written for the New York Philharmonic in commemoration of the first anniversary of the World Trade Center attacks; from 2003 to 2007, Adams held the Richard and Barbara Debs Composer’s Chair at Carnegie Hall, and since 2009 he has been Creative Chair with the LA Philharmonic; in 2004, he was awarded the Centennial Medal of Harvard University’s Graduate School of Arts and Sciences “for contributions to society”; and in 2019 he became the first American composer to receive the Erasmus Prize “for notable contributions to European culture, society and social science.”

He has been granted honorary doctorates by the Royal Academy of Music (London), The Juilliard School and Cambridge, Harvard, Yale and Northwestern universities; honorary membership in Phi Beta Kappa; and the California Governor’s Award for Lifetime Achievement in the Arts.

In June 2023, the Library of Congress announced that it was acquiring Adams’ manuscripts and papers for its Music Division, which also holds the papers of Leonard Bernstein, Aaron Copland, George and Ira Gershwin, Martha Graham, Charles Mingus, Neil Simon and other distinguished American artists.

John Adams

Composed: 1984 Premiere: March 21, 1985,

San Francisco, Edo de Waart conducting.

Instrumentation: 4 flutes (incl. 3 piccolos), 3 oboes (incl. English horn), 4 clarinets (incl. 2 bass clarinets), 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, 2 tubas, timpani, bass drum, bell tree, chimes, crotales, crash cymbals, glockenspiel, gong, marimbas, sizzle cymbal, suspended cymbals, tamtam, triangles, tubular bells, vibraphone, xylophone, 2 harps, celeste, piano, strings CSO notable performances: First/Most Recent: September 2014, Louis Langrée conducting.

Duration: approx.

40 minutes

Fanfare Magazine | 59

PROGRAM NOTES

For more information about this program, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

John Adams was born into a musical family in Worcester, Massachusetts, on February 15, 1947; as a boy, he lived in Woodstock, Vermont and in New Hampshire. From his father, he learned the clarinet and went on to become an accomplished performer on that instrument, playing with the New Hampshire Philharmonic and Sarah Caldwell’s Boston Opera Orchestra, and appearing as soloist in the first performances of Walter Piston’s Clarinet Concerto in Boston, New York and Washington. Adams’ professional focus shifted from the clarinet to composition during his undergraduate study at Harvard, where his principal teacher was Leon Kirchner.

Rather than following the expected route for a gifted young composer, which often led through Europe, Adams chose to stay in America. In 1972, he settled in California to join the faculty of the San Francisco Conservatory of Music, where his duties included directing the New Music Ensemble, leading the student orchestra, teaching composition, and administering a graduate program in analysis and history. In 1978, he became associated with the San Francisco Symphony and conductor Edo de Waart in an evaluation of that ensemble’s involvement with contemporary music. Two years later, he helped to institute the Symphony’s “New and Unusual Music” series; he served as Resident Composer with the San Francisco Symphony from 1979 to 1985. Adams has also established an international conducting career in his own and other works as Conductor and Music Advisor of the Saint Paul Chamber Orchestra, Artistic Director and Conductor of the Ojai and Cabrillo Music Festivals in California, and guest conductor with the orchestras of New York, Chicago, Cleveland, Los Angeles, London, Amsterdam and other major music centers.

Adams wrote: Harmonielehre was created after a terribly frustrating fallow period, during which I composed every day for a year, and nothing worthwhile came out of it. I think that what was going on inside of me was a multi-faceted crisis about understanding myself as an artist and a human being, and about my relationship to my own music and to contemporary music in general. I can remember the day that I just sat down at the piano and hit those shocking opening chords. I’d just had a dream the night before in which I saw myself driving across the San Francisco Bay Bridge and, looking out, saw a huge tanker in the bay.

It was an image of immense power and gravity and mass. And while I was observing this tanker, it suddenly took off like a rocket ship with an enormous force of levitation. As it rose out of the water, I could see a beautiful brownish-orange oxide on the bottom part of its hull. When I woke up the next morning, the image of those huge chords came to me, and the piece was off like an explosion. After a year of no progress at all, Harmonielehre now came very quickly; I wrote this 40-minute work in about three months.

The first movement of Harmonielehre, which lasts about 17 minutes, is architectonically monolithic and is, in fact, a single-movement symphony in itself, concluding with the same chords in the same disposition with which it began. But I didn’t predetermine that. I’m not the kind of composer who prescribes or pre-visages the entire structure of a piece in advance. I like to feel that each composition is a voyage of discovery—on a personal, psychological, spiritual, as well as a technical

60 | 2023–24 SEASON

PROGRAM NOTES

level.... I find composing to be a journey through the underworld. And the reason I often have heroic endings in my pieces—something that is terribly anachronistic today—is that I’m totally amazed to have emerged from the tunnel into the light. The act of composing is the creation of the light for me—it really is like a biblical trial.

The second movement is about such a trial. It is titled “The Anfortas Wound,” which refers to the Medieval grail-questing King Anfortas, who was wounded due to pride, to hubris, and the wound caused impotence. “The Anfortas Wound” is a piece about sickness and infirmity, both physical and spiritual. Wagner describes the wound Anfortas received in battle as being in his side and hence gives it a Christian allusion; but in the original French version of the story, it’s in his testicles. So, to me, it’s a creativity wound—of re-creation, of procreation. In a sense, the entire movement is a musical scenario about impotence and spiritual sickness. But when I completed it, I felt I’d somehow confronted my darker side, and the darker side of life, too.

To me, the last two movements of Harmonielehre are a pair—“The Anfortas Wound” exists under a bad sign, it has to do with an existence that is without grace. And then in the third movement, grace appears for no reason at all…that’s just the way grace is, the unmerited bestowal of blessing on man. The light at the end of the tunnel appears in this third movement, titled “Meister Eckhardt and Quackie,” combining the great Medieval theologian with a sobriquet for my daughter, Emily. The first generating image for Harmonielehre was that dream of the tanker taking off, and the second was that

THANK YOU —

RACHMANINOFF & ADAMS is generously supported by Presenting Sponsor, Peter Landgren & Judith Schonbach Landgren

Fanfare Magazine | 61

The intimacy of chamber music does not diminish its power to inspire.

Changing Winds of Time January 21/22 This vibrant program features the winds and pianist of the Cincinnati Symphony Orchestra performing works of the Baroque and Romantic eras as well as music of today. Linton presents the exciting world premiere of Grammy-nominated composer Shawn Okpebholo’s woodwind quintet.

The Best of Three - Trio Seoul February 18/19 The city of Seoul is a dynamic symbol of this trio’s cultural roots and artistic intensity. In their Cincinnati debut, Trio Seoul will perform Arensky’s cornerstone piano trio on a program that will also display %ɥȉȱƈǯ‫ٵ‬ȷ dramatic eloquence, embody a young and in-love Shostakovich, and introduce the eclectic music of Uzong Choe.

Debut of the Rosamunde String Quartet MAR 3/4, 2024 Former Cincinnati Symphony Youth Orchestra concertmaster Noah Bendix-Balgley now serves as concertmaster of the Berlin Philharmonic. He returns to the Queen City as a member of the Rosamunde Quartet. This dream-team ensemble will perform works that contrast Haydn’s playfulness and Beethoven’s foreboding.

Performances in Avondale and Loveland.

LintonMusic.org | 513.381.6868 | info@lintonmusic.org

PROGRAM NOTES

of Meister Eckhardt floating through the firmament with a baby on his shoulders as she whispers the secret of grace into his ear.

Part III begins with the evocation of that latter image.... At the end of Harmonielehre there’s an extended passage during which a tremendous harmonic struggle takes place. Finally, E-flat wins through its strength, and the moment seems like an epiphany.

The title of the piece refers to the Harmonielehre, or “Theory of Harmony,” of Schoenberg, his exhaustive and very personal study of harmony. It’s always struck me as significant that Schoenberg produced this book at the same time—1910—he was making his radical break with the whole tradition of European harmony. I am strongly attracted to the whole sensibility of that epoch with its combination of sensuality and intellectual energy. And although my use of tonal principles is vastly different from Schoenberg’s, there are moments in my Harmonielehre that evoke the language and sensibility of the music he wrote around that time. Schoenberg dedicated his Harmonielehre to Mahler, and so I suppose that, on a far more modest level, my own Harmonielehre is a kind of dedication to Schoenberg. The other shade of the meaning of the title has to do with harmony in the larger sense, in the sense of spiritual and psychological harmony. The secret that Quackie whispers into Meister Eckhardt’s ear in Part III is also about harmony.

Experienced on this level, the whole piece is a kind of allegory about that quest for grace.

—Dr. Richard E. Rodda

BECAUSE WHO THEY BECOME IS AS IMPORTANT AS WHAT THEY LEARN. We ensure that each child, 18 months to 18 years, will be known, nurtured, and inspired. Our program is designed to connect students both academically and personally. Whether in the classroom or on our 60-acre campus, we cultivate a passion for innovative learning, independent thinking, and self-discovery that guides students to be scholars, athletes, artists, inventors, and leaders. Country Day is The Place to Be.

APPLY NOW FOR ADMISSION, TUITION ASSISTANCE, AND SCHOLARSHIP CONSIDERATION.

THE PLACE TO BE. Fanfare Magazine | 63

WINSTEAD CHAMBER SERIES | 2023–24 SEASON

FRI JAN 19, 7:30 pm Harry T. Wilks Studio, Music Hall

Ludwig van BEETHOVEN (1770–1827)

Serenade in D Major for Flute, Violin and Viola, Op. 25 Entrata: Allegro Tempo ordinario d’un Menuetto Allegro molto Andante con variazioni Allegro scherzando e vivace Adagio—Allegro vivace e disinvolto Rebecca Pancner, flute Rachel Charbel, violin Christopher Fischer, viola

Franz SCHUBERT (1797–1828)

String Quartet No. 14 in D Minor, D. 810, Death and the Maiden Allegro Andante con moto Scherzo: Allegro molto Presto Philip Marten, violin Gerald Itzkoff, violin Gabriel Napoli, viola Nicholas Mariscal, cello

INTERMISSION

Antonín DVOŘÁK (1841–1904)

Serenade in D Minor, Op. 44 Moderato quasi marcia Menuetto—Trio: Presto Andante con moto Finale: Allegro molto Lon Bussell, oboe Emily Beare, oboe Joseph Morris, clarinet Ixi Chen, clarinet Martin Garcia, bassoon Hugh Michie, bassoon Elizabeth Freimuth, horn Lisa Conway, horn Molly Norcross, horn Hiro Matsuo, cello Stephen Jones, contrabass

TIMING OK

This performance is approximately 125 minutes long, including intermission.

YOU’RE INVITED to greet the musicians after the concert.

The Winstead Chamber Series is endowed by a generous gift from the estate of former CSO musician WILLIAM WINSTEAD.

64 | 2023–24 SEASON

JAN 19 PROGRAM NOTES LUDWIG VAN BEETHOVEN Born: December 16, 1770, Bonn, Germany Died: March 26, 1827, Vienna, Austria

Serenade in D Major for Flute, Violin and Viola, Op. 25 Although Ludwig van Beethoven did not submit his Serenade Op. 25 for publication until the year 1801, the stylistic features of the composition suggest an origin much earlier in Beethoven’s career. In 1802, his Viennese publisher, Giovanni Cappi, released them under the opus number 25, but the composer soon peddled another arrangement of the work—one that he claimed was the work of another musician—to a second publisher in Leipzig. Ludwig van Beethoven’s reputation for Geschäftssinn, his shrewd “business sense,” was certainly well earned.

As a young man in Vienna seeking to establish himself, Beethoven invested a great deal of effort into the most marketable genres of music.

Piano concertos were the most advantageous, since they placed him in front of an audience in three simultaneous roles: conductor, soloist and composer. But in addition to churning out the usual trios, quartets and sonatas for violin and cello, he experimented with other combinations of instruments as well, often as a means to flatter dilettantes and colleagues. Between 1792 and 1801, he completed 13 compositions for ensembles of unusual configurations and sold them to multiple publishers whenever possible.

The Serenade Op. 25 follows the structure popularized by the light-hearted divertimenti of Haydn’s generation. Quick-tempo outer movements bookend a suite of inner movements typically including a pair of minuets, an adagio and a set of variations, although Beethoven turns one of his minuets into a scherzo.

The Entrata (“Entry”) is a processional march beginning with imitation horn calls before evolving into call-and-response figures between the flute and strings. The following minuet has two trios, one a dialogue between violin and viola, the other for solo flute over an Italianate lute accompaniment in the strings.

The Allegro molto in 3/8 time is fiery and unsettling. The composer juxtaposes minor against major, volatile against predictable. The following theme and variations showcase the composer’s ingenuity in compensating for the lack of a bass instrument. The theme appears in double stops, followed by variations in which each of the players has their moment to show off.

The brief scherzo movement features a cheerful motive in dotted rhythms, offset by a legato middle section. The final Adagio barely lasts 24 measures before launching into a rondo with gallant dotted rhythms, in which the composer surprises the listener with lopsided rhythms and unpredictable chromaticisms before concluding with a tongue-in-cheek coda.

—Dr. Scot Buzza

Ludwig van Beethoven

Composed: Published in Vienna, 1802 Premiere: Unknown Duration: approx. 24 minutes

Fanfare Magazine | 65

PROGRAM NOTES

FRANZ SCHUBERT Born: January 31, 1797, Vienna, Austria Died: November 19, 1828, Vienna, Austria

String Quartet No. 14 in D Minor, D. 810, Death and the Maiden “What I produce is due to my understanding of music and to my sorrows.”

—an entry from Schubert’s journal, March 1824

Franz Schubert; painting by Wilhelm August Rieder, 1875

Composed: March 1824 Premiere: January 29,

1826 at the home of Karl and Franz Hacker in Vienna and published in 1831 Duration: approx.

40 minutes

In the freezing cold January of 1797, Franz Schubert was born in the kitchen alcove (close to the only heat source) of a one-room apartment in the Zum roten Krebsen (“The Red Crab”) house. On that day he had a 50/50 chance of surviving his infancy. Of the 14 children born to Franz and Elisabeth only five survived. Late 18th-century Europe was a completely different world from the world we inhabit today. We take for granted our modern-day knowledge of hygiene and sanitation and how diseases are transmitted, but it wouldn’t have been common knowledge for the general European population of Schubert’s time. In fact, the theory of germs would not become widely accepted until the late 19th century. Ultimately, this lack of understanding of disease transmission and germs would lead to the untimely death of Franz Schubert at the young age of 31, likely of syphilis.

By March 1824, Schubert knew he was dying, and how much time he had left was unknown. In May 1823, Schubert penned these words, “annihilated I lay in the dust, / Scorched by agonizing fire, / My life’s martyr path, / Approaching eternal oblivion.” The race against death had begun and incited Schubert to greater compositional achievements. In the last six years of Schubert’s life, he composed some of his greatest works, including the song cycles Die schöne Müllerin and Die Winterreise, the Octet in F Major, the Impromptus for piano, the Great C Major Symphony and the string quartet, The Death and the Maiden.

The title of this string quartet (posthumously applied) and the theme of its second movement come from Schubert’s 1817 song, “Der Tod und das Mächen” (“The Death and the Maiden”). The song is a conversation between The Maiden and Death with the chordal Death theme bookending the one statement by The Maiden: Maiden: “Pass me by! Oh, pass me by! / Go, wild man of bones! I am still young! Go, dear, / And do not touch me. / And do not touch me.”

For more information about this program, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

66 | 2023–24 SEASON

Death: “Give me your hand, you beautiful and delicate creature! / I am a friend, and come not to punish. / Be of good courage! I am not wild, / You shall sleep softly in my arms!”

It is Death’s theme that Schubert brings to the String Quartet No. 14’s second movement, which has a theme and variation structure. Much like the entire work, each variation carries its own emotional expression from a lilting sadness to anger to moments of sheer joy.

The first movement is a rollercoaster of emotions beginning with the shouting and thundering introduction followed by agitation, which permeates the entire movement. But the second theme provides a dotted lyric melody that in the development transitions to a major key, providing a moment of light and joy.

The Scherzo and Trio third movement is a study in dramatic contrasts.

The minor Scherzo is a fiery dance with melodic lines that overwhelmingly move downward, while the Trio moves to the parallel major key with a long sweeping melody. But an aspect of the Scherzo’s fire remains with the first violin.

PROGRAM NOTES

The final movement is a very fast Italian dance called the tarantella. The common legend (now disproved) is that the tarantella was danced as a cure for the toxic spider bite, which caused madness and convulsions.

Within this movement is a paraphrase or reference to another of Schubert’s famous songs, Erlkönig, which tells the story of a young boy and his father pursued through the forest by the “Erlking” (a death character). The Erlking touches the boy, who dies in his father’s arms.

The last stanza of Schubert’s 1823 poem reads, “Take my life, my flesh and blood, / Plunge it all in Lethe’s flood, / To a purer, stronger life / Oh, great one, let it thrive.” Perhaps Schubert received his wish because, after his death, his music received a “stronger life” and has certainly thrived.

200 years after this string quartet’s creation and 4,704 miles away from Vienna, we will listen to this work on a cold January day in Cincinnati.

—Tyler M. Secor

ANTONÍN DVOŘÁK Born: September 8, 1841, Nelahozeves (near Prague), Czechia (Austrian Empire) Died: May 1, 1904, Prague, Czechia

Serenade in D Minor, Op. 44 In contrast to Haydn, Mozart and Beethoven, for whom the serenade was Gebrauchsmusik (“utility music”), when the 19th-century Romantic masters composed in the genre it was out of nostalgia for the classicism of 18th-century Vienna. Professed admiration for the balance Mozart and Haydn achieved between light entertainment and “art music” was a sort of homage to “old fashioned” music. Even works that are now cornerstones of the chamber repertoire had disappeared from public awareness and had to be rediscovered by 19th-century wind ensembles.

Young Antonín Dvořák encountered these revived pieces during a visit to Vienna in 1877, where he happened to hear one of Mozart’s wind serenades and was spontaneously prompted to write his own Serenade in D Minor, Op. 44. It serves as the woodwind counterpart to his much more famous string serenade Op. 22, and, like the latter, is intentionally constructed in the classical style. However, Dvořák breathes his own unambiguous Bohemian flavor into the work, blending comedy with sentiment in a way that evokes Rusalka and The Bartered Bride as much as Figaro.

Indeed, Mozart’s presence is felt in the underpinnings of the work: Dvořák bases his choice of instrumentation on Mozart’s Gran Partita: 12 winds plus a foundation of bass. The Czech composer also models the third movement, the Andante con moto, on the Adagio movement from Mozart’s work in homage. The result is a charming concert piece, overflowing with stylized Bohemian dances and dreamy melodies, that belies the circumstances of its creation: Dvořák composed and polished it in just 14 days.

As was common among the serenades of the 18th century, the work opens and closes with marching music. The Minuet is an amalgamation of two Czech peasant dances: both the leisurely sousedská and the racing furiant evince their working-class origins. The following Andante, on the other hand, is sheer elegance and sophistication. Of Dvořák’s many disarming finales, the one heard in this work is among the most magnificent—a folk music furioso that enchants the listener from the first notes of the opening unison to the final, blaring horn fanfares.

—Dr. Scot Buzza

Antonín Dvořák

Composed: January 4–18, 1878 Premiere: November 17, 1878 at the Prague Provisional Theatre conducted by the composer Duration: approx. 24 minutes

Fanfare Magazine | 67

CHERRY CORDIAL

GREAT NOTES, GREAT FLAVORS. FIND MORE FLAVORS AT HOMEMADEBRAND.COM PROUD SPONSOR OF

MO WILLEMS’ GOLDILOCKS & THE THREE DINOSAURS | 2023–24 SEASON SAT JAN 27, 10:30 am Music Hall

SAMUEL LEE, conductor Deondra Means, director | Chris Carter, narrator R. DeAndré Smith, Papa Dinosaur | Marci Hedges, Mama Dinosaur Paul Hahn, Norwegian Dinosaur | Renee Henry, Goldilocks Priscilla Hershberger, costumes and props Overture to The Marriage of Figaro

Wolfgang Amadeus Mozart

Selections from In Dahomey Introduction Governor’s Entrance On Emancipation Day

Will Marion Cook, arr. Berens The Czar Waltz from Society Emancipation Day Reprise

Goldilocks and the Three Dinosaurs, A Symphonic Spectacular Intro-Up-Tus Dinosaurs!!

Someplace Else Traypzee Traypzee An Orchestra 4 Moi Barge!

Ben Folds & Mo Willems

Delicious-Strange-normous A Nummy Nummy Num Too Tall Too Big Tick Tock Outta There!

Disappointed Dinos “Your Own Story”

(The Show is) Over-ture

Ben Folds

The Cincinnati Pops is grateful to Series Sponsor United Dairy Farmers & Homemade Brand Ice Cream and Concert Sponsor Cincinnati Symphony Club.

This concert is made possible by the Ullman Family: Kari, Jonathan, Colin and Teddy in celebration of Colin’s 5th birthday.

For more information about this program, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

Lollipops Family Concerts are supported in part through the George & Anne Heldman Endowment Fund and through the Vicki & Rick Reynolds Endowment Fund.

Fanfare Magazine | 69

SYMPHONIC MOZART | 2023–24 SEASON SAT JAN 27, 7:30 pm SUN JAN 28, 2 pm Music Hall

DAME JANE GLOVER, conductor STEFANI MATSUO, violin CHRISTIAN COLBERG, viola Wolfgang Amadeus MOZART (1756–1791)

Wolfgang Amadeus MOZART

Symphony No. 13 in F Major, K. 112 Allegro Andante Menuetto Molto allegro

Sinfonia Concertante in E-flat Major, K. 364 Allegro maestoso Andante Presto

INTERMISSION

Wolfgang Amadeus MOZART

Symphony No. 36 in C Major, K. 425, Linz Adagio. Allegro spiritoso Poco adagio Menuetto. Trio. Menuetto Presto

These performances are approximately 105 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsors Fort Washington Investment Advisors, Inc. and Western & Southern Financial Group.

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

Listen to this program on 90.9 WGUC March 17, 2024 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

70 | 2023–24 SEASON

JAN 27–28 PROGRAM NOTES WOLFGANG AMADEUS MOZART Born: January 27, 1756, Salzburg, Austria Died: December 15, 1791, Vienna, Austria

Symphony No. 13 in F Major, K. 112 At the time of Wolfgang Amadeus Mozart’s birth on January 27, 1756, Salzburg was an independent city-state ruled by a succession of princearchbishops under the umbrella of the Holy Roman Empire. These religious and secular leaders were also the city’s largest employers: lawyers, maids, chefs, valets and an entire orchestra of musicians were on their payroll.

Wolfgang’s father, Leopold Mozart, was hired by the court as a violinist and soon married Anna Maria, a local woman with no formal schooling.

She gave birth to seven children, only two of whom survived past infancy: Wolfgang, the youngest, and his older sister, Nannerl.

The life of a court musician was far from glamorous and the Mozarts got by on very little. They lived in a small, rented apartment above a grocery shop in the center of Salzburg. When it became clear that both of his children were immeasurably gifted at the piano, Leopold seized the opportunity for financial gain and set about promoting them as child prodigies. The kindly Archbishop Schrattenbach, an ardent music lover, agreed to his employee’s request for a leave of absence to tour Europe and show off his genius progeny. Believing it would reflect well on his court, Schrattenbach partially subsidized the trip. The family also received financial backing from their landlord, the wealthy merchant Johann Hagenauer, who had become a close friend and supporter.

Wolfgang was six years old when the family set out on a tour that lasted three and half years. He and his sister played concerts in the royal courts of all the leading European cities, including Paris, London and Vienna.

Despite their extensive travels, they had never ventured into the musical mecca of Italy; after returning home to Salzburg, Leopold set his sights on this country for his son. It was crucial that Mozart, who was emerging as a composer, absorb the innovative Italian symphonic and operatic traditions that were so revered across Europe.

In a turning point for the family, Leopold and Wolfgang left for Italy alone in the winter of 1769. Nannerl was 18 and no longer a child star.

She was expected to prepare for marriage and earn a small income as a piano teacher. Although Nannerl resented this decision, it was no longer financially feasible to travel as a family. Leopold wanted to focus on his brilliant son and nurture his talent and reputation. There was also always the hope that an important connection in Italy could lead to a permanent position for Wolfgang.

The initial Italian tour lasted 15 months, with Mozart performing in 40 cities across the country to great acclaim. Their time in Milan was a highlight and proved most productive when Wolfgang received a commission to compose an opera, which would bring him back to the city the following year. As much as Leopold tried to secure employment at one of the Italian courts of the Habsburg Empire, he was unsuccessful. The two went home to Salzburg but were not emptyhanded: Wolfgang was well on his way to becoming an opera composer.

During their second trip to Milan to oversee the production of the newly commissioned opera, Mozart composed his Symphony No. 13. He was 15, and this work is considered to be the last of his childhood symphonies.

Like many of his early works, it draws from the style of Italian opera

Wolfgang Amadeus Mozart

Composed: 1771 Premiere: November 1771 Instrumentation: 2 oboes,

2 horns, strings CSO notable

performances: These are the first CSO performances of the Symphony No. 13.

Duration: approx.

14 minutes

Fanfare Magazine | 71

PROGRAM NOTES

overtures, a popular convention that influenced many composers of the day. The first movement is in a boisterous triple meter. Energetic themes of running scales in the violins and spirited ostinato in the lower strings contrast with the lyrical motifs in the oboes and horns. The overall effect is full of charisma and charm.

The slow second movement proceeds with the simple grace of a song.

The violins take the melodic line with the violas adding harmony over a gentle accompaniment. The Minuet is stately and straightforward, while the middle trio section has a darker tone with subtle harmonic intricacies provided by the inner voice of the violas. The final movement is in rondo form, with a recurring dance-like refrain that is interspersed with softer sections that feature colorful, chromatic harmonies.

—Catherine Case

Sinfonia Concertante in E-flat Major, K. 364 Composed: 1779 Premiere: Unknown Instrumentation: solo

violin, solo viola, 2 oboes, 2 horns, strings CSO notable performances: First: March 1907, Frank Van der Stucken conducting; Alexander Petschnikoff and Lili Petschnikoff, soloists. Most Recent, Special Concert: November 2011, Roberto Abbado conducting; Timothy Lees, violin; Christian Colberg, viola. Most Recent, CSO Subscription: February 1988, Michael Gielen conducting; Ani Kavafian, violin; Ida Kavafian, viola.

Duration: approx.

30 minutes

72 | 2023–24 SEASON

WOLFGANG AMADEUS MOZART

Sinfonia Concertante in E-flat Major, K. 364 In 1773, the teenage Wolfgang and his father, Leopold, arrived home in Salzburg after three consecutive trips to Italy, where Wolfgang toured as a concert pianist and oversaw the production of his first two operas, which had been commissioned in Milan. Upon their return, Wolfgang was hired as a musician in the court of the new archbishop of Salzburg, Prince-archbishop Colloredo. Colloredo was not as popular or generous as his predecessor and had little patience for the Mozart family’s frequent requests to travel. Both Wolfgang and Leopold chafed against the restrictions placed on them as employees of the court and often butted heads with the Archbishop. Wolfgang was accustomed to being celebrated—the result of his years as a touring child prodigy—and he longed to travel and search for a more glamorous post in a larger city.

When it became apparent that Colloredo would not grant leaves of absence for both father and son, it was decided that Leopold would stay behind and keep his job while Wolfgang ventured abroad. Leopold hated to relinquish control of his son’s life and demanded that his wife, Anna Maria, accompany the 21-year-old Mozart.

In the fall of 1777, Wolfgang left Salzburg with his mother for what turned out to be a 16-month sojourn with extended visits in Mannheim and Paris. Mozart’s travels always provided ample opportunities to take in the musical trends that were developing across Europe. The genre of the sinfonia concertante was especially popular in Mannheim, a city with an overabundance of talented musicians. The form used two or more soloists, resembling a concerto, within the structure of a large-scale symphonic work. Mozart’s experiments with this genre include his Concerto for Flute and Harp, a concerto for two pianos, and the magnificent Sinfonia Concertante for Violin and Viola. In a tragic turn of events during their stay in Paris, Anna Maria, whose health had been in decline, died in July 1778.

Mozart was alone in the city and left to grieve in solitude.

Mozart composed his Sinfonia Concertante after returning home to Salzburg and reluctantly accepting another job as a musician and composer in Colloredo’s court. Although he is best known as a pianist, Mozart was also a talented violinist and often played the viola in chambermusic settings, preferring the instrument’s darker tones and inner harmonies. He likely had himself in mind as the viola soloist when he composed this piece.

PROGRAM NOTES

The orchestral introduction opens with a multitude of thematic ideas and contains an exquisite example of a “Mannheim crescendo”: a series of trills that slowly build up over an ostinato bass. This technique, along with other stylistic innovations of the day, was made famous by the renowned Mannheim orchestra and its composers. The bracing music eagerly anticipates the entrance of the soloists, who emerge from the texture as the orchestra fades into a cadence. The duo first plays together in harmony, then in a call and response conversation, always supporting the other as an equal partner. Solo cadenzas of this era were usually improvised by the performer and treated as a showcase of virtuosity.

However, here and in the second movement, Mozart wrote out the cadenzas, creating intimate moments of dialogue between the soloists in the style of an operatic duo.

The second movement unfurls with extensive melodies full of emotional depth. Mozart rarely used minor modes for his slow movements, yet here the key of C minor adds a somber quality to the languid phrases.

The soloists take turns with the melody, passing it back and forth in increasingly shorter segments. A poignant cadenza completes this quiet and heartfelt movement.

In contrast to the intensity of the Andante, the Presto is lighthearted and joyful. The trills in the opening theme harken back to the trills of the first movement’s “Mannheim crescendo,” yet instead of building drama they add to the playfulness. The soloists play a game of tag throughout the movement, occasionally joining forces before one or the other rushes ahead again. The work ends with an exuberant display of virtuosity and sense of optimism.

—Catherine Case

WOLFGANG AMADEUS MOZART

Symphony No. 36 in C Major, K. 425, Linz Mozart arrived in Vienna in March of 1781 under direct orders from his employer, the Archbishop Colloredo, who had traveled from Salzburg with his entire household in order to attend the crowning of Emperor Joseph II. Mozart came directly from Munich, where his new opera Idomeneo had just premiered to great acclaim and his status as a composer was lavishly celebrated. His situation in Vienna was a stark contrast and he grew increasingly frustrated with the restrictions put on him by the Archbishop.

Tensions ran high, and Mozart’s request to be discharged from his court duties was denied. He continued to act out until his firing became inevitable. Mozart wrote to his father, Leopold, on June 9, 1781, that he had been released from service “with a kick in the ass.” Against his father’s stern objections, Mozart stayed on in the city as a free man, finally able to pursue a life and career of his own making.

Mozart quickly began establishing himself as a teacher, pianist and composer in Vienna and developed a relationship with Constanze Weber, the younger sister of his earlier flame, Aloysia. After the pair married, Mozart felt a growing obligation to visit his family and appease his father’s resentment toward his new wife. Leaving behind their newborn baby, the couple traveled to Salzburg and ended up staying for three months.

Symphony No. 36, Linz Composed: 1783 Premiere: November 4,

1783 in Linz.

Instrumentation:

2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, strings CSO notable performances: First: December 1943, Eugene Goossens conducting.

Most Recent: November 2010, Sir Roger Norrington conducting.

Duration: approx.

26 minutes

Fanfare Magazine | 73

PROGRAM NOTES

For more information about this program, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

74 | 2023–24 SEASON

Leopold and Nannerl, Mozart’s older sister, never completely warmed to Constanze, but Mozart had done his duty as a son.

On their way home, the Mozarts stopped in Linz, the midway point between Salzburg and Vienna. They had planned to stay at an inn but were greeted at the city gates by a servant who escorted them to the estate of Count Thun-Hohenstein. The Count was an old family friend with an exceptional orchestra, and he was eager to host a concert in honor of his guests. Mozart wrote in a letter to Leopold: “On Tuesday, November 4th, I am giving a concert in the theatre here and, since I have not a single symphony with me, I am writing a new one at break-neck speed, which must be finished by that time.”

Within four days, Mozart not only composed his grandest symphony yet, but he also copied the parts and rehearsed the orchestra for the performance. Although written with apparent haste and under pressure to appease his host, the Linz Symphony shows no sign of a rushed deadline.

In fact, for the first time in his symphonies, Mozart opens with a slow introduction, reflecting a growing trend among Viennese composers at the time.

The Linz begins with stately dotted rhythms in a declamatory, grand gesture. The Allegro spiritoso follows with a quiet energy before fully embracing its festive character. The delightful theme gains an off-kilter buoyancy with an irregular phrase pattern that signals the originality of Mozart’s mature style. After a joyful exposition, a soft, arching violin phrase transitions seamlessly into the development section. A lyrical and chromatic descending scale in the woodwinds soon brings the music back to the opening theme.

The Andante is a graceful siciliano in 6/8 time. Its home key is F major, but the harmonies continually lean toward minor realms. The timpani and trumpets bring a tinge of somberness to the otherwise light mood with their interjections of pulsing notes. A strikingly sparse section features delicate scales rising in the basses and violins before the opening theme returns.

The Minuet is a courtly dance with a trio section that features oboe and bassoon interacting in a playful counterpoint. The instrumentation is characteristically witty: Mozart has the oboe play the melody an octave above the strings followed by the bassoon an octave below the strings.

The effect is both charmingly rustic and elegant.

The finale begins softly, but with vigor, and soon bursts forth with uncontainable energy and an abundance of joyful themes. In a darker passage, a quick three-note motif travels through the strings against sustained and chromatic woodwind harmonies. The development section takes a descending arpeggio fragment from earlier and tosses it around the orchestra in a brilliant display of color. A standard recapitulation of the opening material rounds out the movement.

—Catherine Case

SHOSTAKOVICH: 1905 | 2023–24 SEASON FRI FEB 2, 11 am SAT FEB 3, 7:30 pm Music Hall

CRISTIAN MĂCELARU, conductor KIAN SOLTANI, cello Witold LUTOSŁAWSKI (1913–1994)

Concerto for Cello and Orchestra Introduction— Four Episodes— Cantilena— Finale

INTERMISSION

Dmitri SHOSTAKOVICH (1906–1975)

Symphony No. 11 in G Minor, Op. 103, The Year 1905 The Palace Square: Adagio The 9th of January: Allegro In Memoriam: Adagio The Tocsin: Allegro non troppo—Allegro

These performances are approximately 120 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group and Presenting Sponsor The Ladislas and Vilma Segoe Family Foundation.

The Ladislas and Vilma Segoe Family Foundation

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding.

This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

Listen to selections from this program on 90.9 WGUC March 24, 2024 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

Fanfare Magazine | 75

FEB 2–3 PROGRAM NOTES WITOLD LUTOSŁAWSKI Born: January 25, 1913, Warsaw, Poland Died: February 7, 1994, Warsaw, Poland

Concerto for Cello and Orchestra Witold Lutosławski’s unique musical language is highly innovative, yet it communicates easily with audiences. The Polish master explored uncharted territory, yet he built on the past, effecting a synthesis between old and new stylistic elements on one hand, and intellectual and emotional approaches on the other.

The Cello Concerto was written for the great Russian cellist Mstislav Rostropovich, who played the world premiere with the Bournemouth Symphony under the direction of Edward Downes on October 14, 1970.

The composer wrote a detailed program note on his piece, describing both the work’s structure and the emotions it expresses:

Witold Lutosławski

Composed: 1970 Premiere: October 14,

1970 by the Bournemouth Symphony, Edward Downes conducting, Mstislav Rostropovich, cello Instrumentation: solo cello, 3 flutes (incl.

2 piccolos), 3 oboes, 3 clarinets (incl. bass clarinet), 3 bassoons (incl. contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, bell plate, snare drum, suspended cymbals, tamtam, tenor drum, tom-toms, vibraphone, whip, wood blocks, xylophone, harp, celeste, piano, strings CSO notable performances: First: October 1983, Michael Gielen conducting; Yo-Yo Ma, cello. Most Recent: March 1992, Jesús López Cobos conducting; Lynn Harrell, cello. Other: March 1992, Carnegie Hall, Jesús López Cobos conducting; Lynn Harrell, cello.

Duration: approx.

23 minutes

For more information about this program, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

76 | 2023–24 SEASON

The Cello Concerto consists of four movements played without pause: Introduction, Four Episodes, Cantilena and Finale.

Introduction: I understand the note D repeated at one-second intervals in an expressionless manner (indifferente) as a moment of complete relaxation, or even absentmindedness. The performer abandons this state immediately when something else begins to happen in his part and will return to it several times in the course of the Introduction. […]

After a five-second rest the cello begins the first Episode, inviting a few instruments to a dialogue, which subsequently develops into a more animated music. The brass instruments put an end to it, as they had done at the end of the Introduction.

Other Episodes unfold in a similar manner. […]

The Cantilena begins and develops in a broad melodic line. To put an end to it a few brass instruments are not enough. This time it needs the angry intervention presented in the form of a huge orchestral tutti and it is in this way that the finale begins. A sort of duel ensues between the cello and the orchestra, after which the cello, playing three very rapid sections, is attacked by three different small groups of instruments.

Finally the orchestra prevails, attaining its climax after which the cello utters a moaning phrase.

The work might have ended there. But instead of a gloomy, disappearing conclusion one might have expected, there follows a short and fast Coda, whose triumphant ending is, as it were, beyond the event that has just occurred. […]

—Peter Laki

DMITRI SHOSTAKOVICH Born: September 25, 1906, Saint Petersburg, Russia Died: August 9, 1975, Moscow, Russia

Symphony No. 11 in G Minor, Op. 103, The Year 1905 Shostakovich wrote his Symphony No. 11 in memory of the 1905 revolution— the first of three revolutions that shook Czarist Russia at the beginning of the 20th century. Since it was written shortly after the Hungarian revolution of 1956 was crushed by Soviet tanks, Shostakovich most likely had those recent events in mind when he composed the work. Yet the symphony ultimately transcends any concrete event to denounce all tyrants and mourn for victims of injustice everywhere.

PROGRAM NOTES

Shostakovich took pains to ensure his message was clear to every listener. He adapted many of the symphony’s principal themes from songs of the workers’ movement—songs that every resident of the Soviet Union learned to sing in school. He then wove these themes together in a complex tapestry, having them undergo substantial transformations and bringing them back repeatedly, sometimes in their original form and sometimes with important changes, in the course of the symphony’s four movements (which are played without pause).

The first movement (“The Palace Square”) begins with a slow-moving melody played by the muted strings—a depiction of the motionless Palace Square on an ice-cold January day. This frozen image will return several times as a powerful contrast to the intense drama unfolding in the second movement (“The Ninth of January”), which portrays the moment where the Czarist guards opened fire on peaceful demonstrators.

The title of the third movement, “Eternal Memory,” alludes to a funeral chant of the Orthodox church, but it is actually based on the “Worker’s Funeral March,” a well-known revolutionary song. The funeral song is then swept aside by the fourth movement (“Tocsin”), where the alarm bells call to a new battle, as a theme representing the plea to the Czar is played with great fervor by the full orchestra. The glacial string music of the first movement returns, complemented by a long English horn solo, before the final upsurge that, with its musical material taken from the second movement, seems to suggest at the end of the piece that the struggle is not over.

—Peter Laki

Dmitri Shostakovich

Composed: 1957 Premiere: October 30,

1957 by the USSR Symphony Orchestra, Natan Rakhlin conducting Instrumentation: 3 flutes (incl. piccolo), 3 oboes (incl. English horn), 3 clarinets (incl. bass clarinet), 3 bassoons (incl. contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, chimes, crash cymbals, snare drum, tam-tam, triangle, xylophone, harp, celeste, strings CSO notable performances: First: February 2007, Yakov Kreizberg conducting. Most Recent: May 2015, Louis Langrée conducting.

Duration: approx.

55 minutes

THANK YOU —

SHOSTAKOVICH: 1905 is generously supported by Presenting Sponsor,

The Ladislas and Vilma Segoe Family Foundation.

Fanfare Magazine | 77

Donate to the CSO by buying yourself a new piano.* STRIVE FOR EXCELLENCE For over 120 years, Willis Music and Cincinnati Symphony Orchestra Have been serving the greater Cincinnati area with music, culture, and music education.

STEINWAY.CINCINNATI.COM

Willis Music Kenwood Galleria

8118 Montgomery Road Cincinnati, Oh 45236 (859) 396-4485 pianos@willismusic.com *Willis Music will give a donation to the Cincinnati Symphony Orchestra for every piano that a Cincinnati Symphony Orchestra patron purchases.

AUDRA McDONALD | 2023–24 SEASON SUN FEB 4, 7:30 pm Music Hall

AUDRA McDONALD ANDY EINHORN, conductor

Audra McDonald returns to the Music Hall stage, after her sold-out performance with the Pops in 2018! The winner of a record-breaking six Tony Awards, two Grammys, an Emmy and the National Medal of Arts, Audra is unparalleled in her versatility as both a singer and actor. Audra has appeared on the Broadway stage in Carousel, Ragtime and Sweeney Todd, and film and television credits include The Good Fight, Respect and The Gilded Age. Selections will be announced from the stage.

There is no intermission.

The Cincinnati Pops Orchestra is grateful to Pops Season Sponsor PNC. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

Fanfare Magazine | 79

BRAHMS’ GERMAN REQUIEM | 2023–24 SEASON FRI FEB 9, 7:30 pm SAT FEB 10, 7:30 pm SUN FEB 11, 2 pm Music Hall

LOUIS LANGRÉE, conductor JOÉLLE HARVEY, soprano WILL LIVERMAN, baritone MAY FESTIVAL CHORUS, Robert Porco, director Johannes BRAHMS (1833–1897)

Ein Deutsches Requiem (“A German Requiem”), Op. 45 Chorus: “Selig sind, die da Leid tragen” Chorus: “Denn alles Fleisch es ist wie Gras” Baritone and Chorus: “Herr, lehre doch mich” Chorus: “Wie lieblich sind deine Wohnungen” Soprano and Chorus: “Ihr habt nun Traurigkeit” Baritone and Chorus: “Denn wir haben hie” Chorus: “Selig sind die Toten”

These performances are approximately 75 minutes long. There is no intermission.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group.

The appearance of the May Festival Chorus is made possible by a generous gift from the Nancy & Steve Donovan Fund for Chorus and Orchestra.

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding.

This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

Listen to this program on 90.9 WGUC March 31, 2024 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

80 | 2023–24 SEASON

FEB 9–11 PROGRAM NOTES JOHANNES BRAHMS Born: May 7, 1833, Hamburg, Germany Died: April 3, 1897, Vienna, Austria

Ein Deutsches Requiem (“A German Requiem”), Op. 45 From its initial performances in Austria and Germany during 1867–1869, Brahms’ A German Requiem was acclaimed not only as one of his major compositions, but also as one of the most important choral works of the 19th century. To many, it fulfilled Robert Schumann’s prophecy that Brahms would become the Messiah of the next generation of composers and create pathbreaking, wonderful large-scale works for orchestra and chorus. Regardless of its status, this is one of the composer’s most personal works, being partly inspired by the death in 1856 of his beloved mentor, Robert Schumann. Brahms wrote most of the work during 1865–66, although he drew on a few ideas he had sketched during 1854, at which time the strength of his friendship with the Schumann family was deepening. While he finished six of the seven movements during 1866, he wrote the fifth in 1868. This movement, featuring a lyrical soprano solo, is closely associated with his mother, who died in 1865 while he was working on the composition.

Unlike the Requiems of Mozart, Berlioz and Verdi, Brahms’ A German Requiem does not employ the words of the traditional Latin Requiem Mass of the Catholic church. He assembled the text of the work himself, using 16 verses from the German Protestant Bible. He did not follow the Bible’s ordering of these verses, and, in a few movements, he combined verses from two or more different books. Expressing resignation, consolation and hope, the words he chose offer comfort to those who grieve. But, unlike the Latin Requiem, there is no reference to Jesus, which surprised a few critics of the time. The German words and the musical style, which is heavily influenced by German composers such as Bach, Mozart and Beethoven, marked the work as distinctively German. But Brahms’ contemporaries, in Europe and the United States, also believed it transcended national borders and reflected emotions that those coping with bereavement experience.

Each of the seven movements features deeply moving passages. The slow opening movement—“Blessed are they that mourn, for they shall be comforted”—is initiated by the violas, rather than the higher, brighter violins. The lower instrument contributes to creating a mysterious sound, as if a veil is gradually lifted. The gentleness of this movement contrasts with the march-like dirge of the second. Drawing on larger orchestral forces, it begins with images of death —“For all flesh is as grass”— but builds to a triumphant passage, in a fast, brighter section that promises eternal joy—“pain and suffering shall flee away.” The third movement—“Lord, teach me that there must be an end of me”— begins with a prayer-like section for baritone solo and ends with a lengthy choral fugue accompanied by a notoriously long sustained pitch in the brass, lower strings and timpani. Numerous critics, including James Huneker, a flamboyant and influential American writer of the end of the 19th century, interpreted the amazing length of this pitch as God’s enduring strength.

Others recalled that the first performance of the movement, in Vienna, was ruined when the timpanist played this pitch so loudly that the voices and other instruments could not be heard. The tensions of this movement give way to the gentler fourth movement —“How lovely are Thy tabernacles, O Lord of hosts!”—which has fewer passages of complex counterpoint than

Johannes Brahms

Composed: 1865–68 Premiere: December 1,

1867, Vienna (mvts. 1–3); April 10, 1868, Bremen (mvts. 1–4, 6–7); February 18, 1869, Leipzig (complete) Instrumentation: solo soprano and baritone, SATB chorus, 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, 2 harps, organ, strings CSO notable performances: First CSO: April 1955, Thor Johnson conducting; Eleanor Ryan, soprano; Dietrich FischerDieskau, baritone (his U.S. debut); Miami University Chorus; CCM Chorus; Mt. St. Joseph Choir; Tri-State Masonic Choir. Most Recent CSO: November 2008, Paavo Järvi conducting; Heidi Grant Murphy, soprano; Matthias Goerne, baritone; May Festival Chorus, Robert Porco, director. First CSO at May Festival: May 1906, Frank Van der Stucken conducting (a concert in memory of Theodore Thomas); Johanna Gadski, soprano; David FfrangconDavies, baritone; May Festival Chorus; Adolph H. Stadermann, organ.

Most Recent CSO at May Festival: May 2012, James Conlon conducting; Nicole Cabell, soprano; John Relyea, bass-baritone; May Festival Chorus, Robert Porco, director.

Other: October 1972, soprano Kathleen Battle with baritone Ronald Corrado, Thomas Schippers conducting.

Duration: approx.

70 minutes

Fanfare Magazine | 81

PROGRAM NOTES

For more information about this program, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

the third. Critics have frequently praised the opening of this movement for its exquisite lyricism and hymn-like texture. Its emphasis on high pitches contrasts with the low colors of the preceding movements. But the fifth movement—“You now have sorrow, but I will see you again”—has earned even more plaudits, and it was frequently performed as a stand-alone piece during the 19th century. Its concluding reference to the comfort provided by a mother are perhaps related to Brahms’ memories of his own mother. The grand sixth movement, although beginning softly, is one of the most dramatic movements in the work; the words “at the last trumpet” are thrillingly intoned to a brass accompaniment followed by the exciting climax of the work that leads to a closing fugue. A 1904 critic in The New York Sun described this movement as “literally Titanic.” Contrasting with the excitement of the sixth movement, the Requiem ends with a short, poignantly flowing movement that quietly consoles—“Blessed are the dead which die in the Lord.”

—Heather Platt, Sursa Distinguished Professor of Fine Arts

A German Requiem TEXT with DIRECT (below the German) and POETIC/KING JAMES BIBLE TRANSLATIONS I. Chorus (Matthew 5:4; Psalm 126: 5–6) Selig sind, die da Leid tragen, Blessed are, who grief bear, denn sie sollen getröstet werden. for they shall comforted be.

Die mit Tränen säen, Who with tears sow, werden mit Freuden ernten. will with joys harvest.

Sie gehen hin und weinen, They go forth and weep, und tragen edlen Samen, and bear precious seeds, und kommen mit Freuden and come with joys und bringen ihre Garben. and bring their sheaves.

Blessed are they that mourn, for they shall be comforted.

They that sow in tears shall reap in joy.

They that go forth and weep, bearing precious seed, shall come again with rejoicing, bringing their sheaves with them.

II. Chorus (I Peter 1:24; James 5:7, 8a; I Peter 1:25; Isaiah 35:10) Denn alles Fleisch es ist wie Gras For all flesh is like grass und alle Herrlichkeit des Menschen and all magnificence of mortals wie des Grases Blumen. like the grasses’ flowers.

Das Gras ist verdorret The grass has dried up und die Blumen abgefallen. and the flower fallen off.

So seid nun geduldig, lieben Brüder, So be now patient, dear brothers, bis auf die Zukunft des Herrn. until the future of the Lord.

Siehe, ein Ackermann wartet auf Behold, a husbandman waits die köstliche Frucht der Erde for the previous fruit of the earth und ist geduldig darüber, bis er empfahe and is patient about it until he receives den Morgenregen und Abendregen. the morning-rain and evening-rain.

So seid geduldig.

So be patient.

82 | 2023–24 SEASON

For all flesh is as grass, and all the glory of man as the flowers of the grass.

The grass is withered, and the flowers fallen away.

Be patient, therefore, brethren, unto the coming of the Lord.

Behold, the husband waits for the precious fruit of the earth, and hath long patience for it, until he receive the early and the latter rain.

So be patient.

But the word of the Lord endures forever.

And the ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads: they shall obtain joy and gladness, and sorrow and sighing shall flee away.

PROGRAM NOTES

Aber des Herrn Wort bleibt in Ewigkeit.

But the Lord’s word remains in eternity.

Die Erlöseten des Herrn werden wiederkommen, The redeemed of the Lord will again come und gen Zion kommen mit Jauchzen; and to Zion come with shouts of joy; Freude, ewige Freude wird über ihrem Haupte sein; eternal joy will upon their head be; Freude und Wonne werden sie ergreifen, joy and delight will them seize und Schmerz und Seufzen wird weg müssen. and sorrow and sighing will [go]away have to.

III. Baritone Solo and Chorus (Psalm 39:4–7; Wisdom of Solomon 3:1) Herr, lehre doch mich, Lord, Teach me, dass ein Ende mit mir haben muss, that an end with me have must, und mein Leben ein Ziel hat, and my life an end has, und ich davon muss. and I away must.

Siehe, meine Tage sind eine Handbreit vor dir, Behold, my days are a hand wide before you, und mein Leben ist wie nichts vor dir. and my life is as nothing before you.

Ach, wie gar nichts sind alle Menschen, Ah, how nothing at all are all mortals, die doch so sicher leben. who yet so confidently live.

Sie gehen daher wie ein Schemen, They go about like a phantom, und machen ihnen viel vergebliche Unruhe; and create them musch vain unrest; sie sammeln und wissen nicht, they gather and know not wer es kriegen wird. who it receive will.

Nun Herr, wes soll ich mich trösten?

Now Lord, in whom shall I myself comfort?

Ich hoffe auf dich.

I trust in you.

Der Gerechten Seelen sind in Gottes Hand The righteous’ souls are in God’s hand, und keine Qual rühret sie an. and no torment touches them.

Lord, teach me that there must be an end of me, and my life has a term, and I must go hence.

Behold my days are a handbreadth before Thee; and my life is as nothing before Thee.

Ah, what vain things are all men, that yet live so sure of themselves.

They go about like a shadow, and make themselves much useless anxiety: they amass possessions, and know not who will enjoy them.

Now, Lord, in what shall I find solace?

My hope is in Thee.

The souls of the righteous are in God’s hand, and there shall no torment touch them.

IV. Chorus (Psalm 84:1–2, 4) Wie lieblich sind deine Wohnungen, How lovely are your dwellings, Herr Zebaoth!

Lord Sabaoth!

Meine Seele verlanget und sehnet sich My soul yearns and longs nach den Vorhöfen des Herrn; for the courts of the Lord; mein Leib und Seele freuen sich my body and soul rejoice in dem lebendigen Gott. in the living God. Wohl denen, die in deinem Hause wohnen, Well-being to those, who in your house dwell, die loben dich immerdar! who praise you forever.

How amiable are Thy tabernacles, O Lord of hosts!

My soul desires, yea, even longs for the courts of the Lord: my body and soul rejoice in the living God. Blessed are they that dwell in Thy house: they will still be praising Thee.

Please turn page quietly.

Fanfare Magazine | 83

PROGRAM NOTES

V. Soprano Solo and Chorus (John 16:22; Isaiah 66:13; Ecclesiasticus 51:35) Ihr habt nun Traurigkeit; You have now sorrow; aber ich will euch wieder sehen but I want to you again see und euer Herz soll sich freuen, and your heart shall rejoice und eure Freude soll niemand von euch nehmen. and your joy shall no one from you take.

Ich will euch trösten, I want to you comfort, wie einen seine Mutter tröstet. Sehet mich an: as one his mother comforts. Look at me: ich habe eine kleine Zeit Mühe und Arbeit gehabt I have a brief time toil and labor had, und habe grossen Trost funden. and have great comfort found.

You now have sorrow; but I will see you again, and your heart shall rejoice, and your joy no man shall take from you.

I will comfort you as one comforted by his mother.

Behold with your eyes, how that I labored but a little, and found for myself much rest.

VI. Baritone Solo and Chorus (Hebrews 13:14; I Corinthians 15:51–52, 54–55; Revelation 4:11) Denn wir haben hie keine bleibende Statt, For we have here no permanent place, sondern die zukünftige suchen wir. but the one to come seek we.

Siehe, ich sage euch ein Geheimnis.

Behold, I tell you a mystery: Wir werden nicht alle entschlafen, We will not all fall asleep, wir werden aber alle verwandelt werden; we will, however, all transformed be; und dasselbige plötzlich in einem Augenblick and the selfsame suddenly in an instant, zu der Zeit der letzten Posaune. at the time of the last trombone.

Denn es wird die Posaune schallen For will the trombone sound und die Toten werden auferstehen unverweslich, and the dead will rise up incorruptible, und wir werden verwandelt werden. and we will transformed be.

Dann wird erfüllet werden They will fulfilled be das Wort, das geschrieben steht: the word, that written stands: Der Tod ist verschlungen in den Sieg. death is swallowed up in victory.

Tod, wo ist dein Stachel?

Death, where is your sting?

Hölle, wo ist dein Sieg?

Hell, where is your victory?

Herr, du bist würdig Lord, you are worthy to receive zu nehmen Preis und Ehre und Kraft, praise and honor and might, denn du hast alle Dinge erschaffen, for you have all things created, und durch deinen Willen and by your will have they haben sie das Wesen und sind geschaffen. being and are created.

For here we have no continuing city, but we seek one to come.

Behold, I shew you a mystery; we shall not all sleep, but we shall all be changed, in a moment, in the twinkling of an eye, at the last trumpet.

For the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.

Then shall be brought to pass the saying that is written: Death is swallowed up in victory.

O death, where is thy sting?

O grave, where is thy victory?

Thou art worthy, O Lord, to receive glory and honor and power: for Thou hast created all things, and for Thy pleasure they are and were created.

VII. Chorus (Revelation 14:13) Selig sind die Toten, Blessed are the dead, die in dem Herren sterben, von nun an. who in the Lord die from now on.

Ja, der Geist spricht, Yes, the Spirit says dass sie ruhen von ihrer Arbeit; that they rest from their labor denn ihre Werke folgen ihnen nach. for their works follow them after.

84 | 2023–24 SEASON

Blessed are the dead which die in the Lord from henceforth: Yea, says the Spirit, that they may rest from their labors; and their works do follow them.

WELCOME TO JAN–FEB GROUPS! (as of October 24, 2023)

Pops Notorious B.I.G. X Tupac X Mahler: Jan. 10 Mount St. Joseph University Taylor Family & Friends Pops Chicago the Musical in Concert: Jan. 12–14 Barrington of Oakley Berkeley Square Hoffman Family & Friends Ken Anderson Alliance Maple Knoll Village May Festival Youth Chorus Oletangy Orange High School Rosenberg Family and Friends CSO Rachmaninoff & Adams: Jan. 19–20 Barrington of Oakley Christian Village Knolls of Oxford Loveland High School Maple Knoll Village Otterbein Retirement Community Seasons Retirement Community The Kenwood by Senior Star Twin Lakes at Montgomery Lollipops Mo Willems’ Goldilocks & the Three Dinosaurs: Jan. 27 Clark Family & Friends Muehlenkamp Family & Friends CSO Shostakovich: 1905: Feb. 2–3 Christian Village at Mason Delhi Middle School Knolls of Oxford Maple Knoll Village Otterbein Retirement Community The Kenwood by Senior Star Twin Lakes at Montgomery

ENJOY THE MUSIC, TOGETHER! • Groups of 10+ save 20% on most concerts and seniors and students save even more!

• Curate your own event with a private reception, guided tour or meet and greet— the possibilities are endless.

Contact CSO Group Sales: 513.864.0196 or groupsales@cincinnatisymphony.org cincinnatisymphony.org/groups

Fanfare Magazine | 85

2023–24 FINANCIAL SUPPORT INSTITUTIONAL SUPPORT Local and national foundations, businesses, and government agencies are integral to the Orchestra’s vibrant performances, community engagement work, and education activities. We are proud to partner with the following funders.

SEASON AND SERIES SPONSORS Pops Season

IDEA Series

Lollipops Series

CSO Season

PLATINUM BATON CIRCLE ($50,000+)

CONDUCTOR’S CIRCLE ($10,000–$14,999)

ArtsWave Charles H. Dater Foundation The Thomas J. Emery Memorial Trust The Fifth Third Foundation The Carol Ann and Ralph V. Haile, Jr. Foundation Carl Jacobs Foundation H.B., E.W., F.R. Luther Charitable Foundation The Mellon Foundation Dr. John & Louise Mulford Fund for the CSO National Endowment for the Arts Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation Ohio Arts Council PNC Bank Margaret McWilliams Rentschler Fund of Greater Cincinnati Foundation Nina Browne Parker Trust Harold C. Schott Foundation / Francie and Tom Hiltz, Trustees Marge and Charles J. Schott Foundation The Louise Taft Semple Foundation Skyler Foundation Western & Southern Financial Group Anonymous

Bartlett Wealth Management Chemed Corporation Cincinnati Children’s Hospital Medical Center The Crosset Family Fund of Greater Cincinnati Foundation CVG Airport Authority Kelly Dehan and Rick Staudigel Graeter’s Ice Cream Peter E. Landgren and Judith Schonbach Landgren Messer Construction Co. The Daniel & Susan Pfau Foundation

GOLD BATON CIRCLE ($25,000–$49,999)

BUSINESS & FOUNDATION PARTNERS (up to $2,499)

Coney Island The Cincinnati Symphony Club The Jewish Foundation of Cincinnati George and Margaret McLane Foundation The Ladislas & Vilma Segoe Family Foundation United Dairy Farmers & Homemade Brand Ice Cream The Wohlgemuth Herschede Foundation

African American Chamber of Commerce Albert B. Cord Charitable Foundation D’Addario Foundation Earthward Bound Foundation Hixson Architecture Engineering Interiors Journey Steel Robert A. & Marian K. Kennedy Charitable Trust PricewaterhouseCoopers LLP Frances L. P. Ricketts Sullivan Memorial Fund TriHealth The Voice of Your Customer Toi and Jay Wagstaff Visit Cincy

SILVER BATON CIRCLE ($15,000–$24,999)

HORAN Johnson Investment Counsel League Of American Orchestras Oliver Family Foundation The Procter & Gamble Company The Rendigs Foundation Taft Stettinius & Hollister LLP Scott and Charla Weiss Wodecroft Foundation

CONCERTMASTER’S CIRCLE ($5,000–$9,999) Keating Muething & Klekamp PLL Levin Family Foundation The Willard & Jean Mulford Charitable Fund Pyro-Technical Investigations, Inc. Queen City (OH) Chapter of The Links, Incorporated Thompson Hine LLP

ARTIST’S CIRCLE ($2,500–$4,999) d.e. Foxx and Associates, Inc. Richard Freshwater L. Timothy Giglio Charles Scott Riley III Foundation Kyle Wynk-Sivashankar and Siva Shankar

Join this distinguished group!

Contact Sean Baker at 513.744.3363 or sbaker@cincinnatisymphony.org to learn how you can become a supporter of the CSO and Pops. This list is updated quarterly.

2023 ARTSWAVE PARTNERS The Cincinnati Symphony Orchestra and Cincinnati Pops acknowledge the following partner companies, foundations and their employees who generously participate in the Annual ArtsWave Community Campaign at the $100,000+ level. $2 million+ P&G $1 million to $1,999,999 Fifth Third Bank and Fifth Third Foundation $500,000 to $999,999 altafiber GE Aerospace $250,000 to 499,999 Cincinnati Children’s Hospital Medical Center The Cincinnati Insurance Companies Western & Southern Financial Group

86 | 2023–24 SEASON

$100,000–$299,999 Carol Ann and Ralph V. Haile, Jr. Foundation Cincinnati Business Courier Cincinnati Reds Duke Energy The E.W. Scripps Company and Scripps Howard Foundation The Enquirer | Cincinnati.com Great American Insurance Group Greater Cincinnati Foundation The H.B., E.W. and F.R. Luther Charitable Foundation, Fifth Third Bank, N.A., Trustee The Kroger Co. Messer Construction Co. PNC U.S. Bank

FINANCIAL SUPPORT

PERMANENT ENDOWMENTS Endowment gifts perpetuate your values and create a sustainable future for the Orchestra. We extend our deep gratitude to the donors who have provided permanent endowments in support of our programs that are important to them. For more information about endowment gifts, contact Kate Farinacci, Director of Special Campaigns & Legacy Giving, at 513.744.3202.

ENDOWED CHAIRS Grace M. Allen Chair Ellen A. & Richard C. Berghamer Chair Robert E. & Fay Boeh Chair The Marc Bohlke Chair given by Katrin & Manfred Bohlke Trish & Rick Bryan Chair Otto M. Budig Family Foundation Chair Mary Alice Heekin Burke Chair Michael L. Cioffi & Rachael Rowe— the Honorable Nathaniel R. Jones Chief Diversity & Inclusion Officer Peter G. Courlas– Nicholas Tsimaras Chair Ona Hixson Dater Chair The Anne G. & Robert W. Dorsey Chair+ Jane & David Ellis Chair Irene & John J. Emery Chair James M. Ewell Chair Ashley & Barbara Ford Chair for Assistant Conductor Ashley & Barbara Ford Chair for Assistant Conductor Ashley & Barbara Ford Chair for Principal Tuba Susan S. & William A. Friedlander Chair+ Charles Gausmann Chair Susanne & Philip O. Geier, Jr. Chair+ Emma Margaret & Irving D. Goldman Chair Clifford J. Goosmann & Andrea M. Wilson Chair Charles Frederic Goss Chair Jean Ten Have Chair Dorothy & John Hermanies Chair Lois Klein Jolson Chair Josephine I. & David J. Joseph, Jr. Chair Harold B. & Betty Justice Chair Marvin Kolodzik & Linda S. Gallaher Chair+ Al Levinson Chair Patricia Gross Linnemann Chair+ Alberta & Dr. Maurice Marsh Chair Stephen P. McKean Chair Laura Kimble McLellan Chair

The Henry Meyer Chair The Louise Dieterle Nippert & Louis Nippert Chairs Rawson Chair The Vicky & Rick Reynolds Chair in honor of William A. Friedlander+ Ida Ringling North Chair Donald & Margaret Robinson Chair Dianne & J. David Rosenberg Chair+ Ruth F. Rosevear Chair The Morleen & Jack Rouse Chair+ Emalee Schavel Chair Karl & Roberta Schlachter Family Chair Serge Shababian Chair Melinda & Irwin Simon Chair+ Tom & Dee Stegman Chair+ Mary & Joseph S. Stern, Jr. Chair+ Cynthia & Frank Stewart Chair The Jackie & Roy Sweeney Family Chair The Sweeney Family Chair in memory of Donald C. Sweeney Anna Sinton Taft Chair Brenda & Ralph Taylor Chair James P. Thornton Chair Nicholas Tsimaras– Peter G. Courlas Chair Thomas Vanden Eynden Chair Sallie Robinson Wadsworth & Randolph L. Wadsworth Jr. Chair Jo Ann & Paul Ward Chair Matthew & Peg Woodside Chair Mary M. & Charles F. Yeiser Chair

Fred L. & Katherine H. Groll Fund for Musical Excellence Fred L. & Katherine H. Groll Fund for Great Artists Fred L. & Katherine H. Groll Trust Pianist Fund The Carol Ann and Ralph V. Haile, Jr. Foundation Endowment Fund Anne Heldman Endowment Fund** Mr. and Mrs. Lorrence T. Kellar+ Lawrence A. & Anne J. Leser* Mr. & Mrs. Carl H. Lindner** Janice W. & Gary R. Lubin Fund for Black Artists PNC Financial Services Group The Procter & Gamble Fund Vicky & Rick Reynolds Fund for Diverse Artists+ Melody Sawyer Richardson* Rosemary and Mark Schlachter Endowment Fund*+ The Harold C. Schott Foundation, Francie and Tom Hiltz Endowment Fund+ Peggy Selonick Fund for Great Artists Dee and Tom Stegman Endowment Fund*+ Mr. & Mrs. Joseph S. Stern, Jr. Fund for Great Artists U. S. Bank Foundation* Sallie and Randolph Wadsworth Endowment Fund+

ENDOWED PERFORMANCES & PROJECTS

Rosemary & Frank Bloom * Cincinnati Financial Corporation & The Cincinnati Insurance Companies The Margaret Embshoff Educational Fund Kate Foreman Young Peoples Fund George & Anne Heldman+ Macy’s Foundation Vicky & Rick Reynolds*+ William R. Schott Family** Western-Southern Foundation, Inc. Anonymous (3)+

Eleanora C. U. Alms Trust, Fifth Third Bank, Trustee Rosemary and Frank Bloom Endowment Fund*+ Cincinnati Bell Foundation Inc. Mr. & Mrs. Val Cook Nancy & Steve Donovan* Sue and Bill Friedlander Endowment Fund*+ Mrs. Charles Wm Anness*, Mrs. Frederick D. Haffner, Mrs. Gerald Skidmore and the La Vaughn Scholl Garrison Fund

Educational Concerts

OTHER NAMED FUNDS Ruth Meacham Bell Memorial Fund Frank & Mary Bergstein Fund for Musical Excellence+ Jean K. Bloch Music Library Fund Cora Dow Endowment Fund Corbett Educational Endowment** Belmon U. Duvall Fund Ewell Fund for Riverbend Maintenance Linda & Harry Fath Endowment Fund Ford Foundation Fund Natalie Wurlitzer & William Ernest Griess Cello Fund William Hurford and Lesley Gilbertson Family Fund for Guest Pianists The Mary Ellyn Hutton Fund for Excellence in Music Education Josephine I. & David J. Joseph, Jr. Scholarship Fund Richard & Jean Jubelirer & Family Fund* The Kosarko Family Innovation Fund Elma Margaret Lapp Trust Jésus López-Cobos Fund for Excellence Mellon Foundation Fund Nina Browne Parker Trust Dorothy Robb Perin & Harold F. Poe Trust Rieveschl Fund Thomas Schippers Fund Martha, Max & Alfred M. Stern Ticket Fund Mr. & Mrs. John R. Strauss Student Ticket Fund Anna Sinton & Charles P. Taft Fund Lucien Wulsin Fund Wurlitzer Season Ticket Fund CSO Pooled Income Fund CSO Musicians Emergency Fund *Denotes support for Annual Music Program Fund **Denotes support for the 2nd Century Campaign +Denotes support for the Fund for Musical Excellence

GIFT OF MUSIC: September 8–October 27, 2023 The following people provided gifts to the Gift of Music Fund to celebrate an occasion, to mark a life of service to the Orchestra, or to commemorate a special date. Their contributions are added to the Orchestra’s endowment. For more information on how to contribute to this fund, please call 513.744.3271.

In honor of Richard & Sylvia Williams Mrs. Esther Grubbs In memory of Mike Krug Mrs. Esther Grubbs

In memory of Jack & Marilyn Osborn Ms. Patricia Myers & Mr. Alan Flaherty

In memory of Jack Osborn Mr. Jose Chavez Mrs. Florence Koetters Mr. Larry Kyte

In memory of John Tenenholtz Mrs. Esther Grubbs

Fanfare Magazine | 87

FINANCIAL SUPPORT

HONOR ROLL OF CONTRIBUTORS The Cincinnati Symphony Orchestra and Cincinnati Pops are grateful to the following individuals that support our efforts by making a gift to the Orchestra Fund. We extend our heartfelt thanks to each and every one and pay tribute to them here. You can join our family of donors online at cincinnatisymphony.org/donate or by contacting the Philanthropy Department at 513.744.3271.

PLATINUM BATON CIRCLE Gifts of $50,000 and above

Ellen A. Berghamer Robert W. Dorsey § Healey Liddle Family Foundation, Mel & Bruce Healey George L. and Anne P. Heldman Fund* § Harold C. Schott Foundation, Francie & Tom Hiltz Florence Koetters Jo Anne and Joe Orndorff Marilyn J. and Jack D. Osborn § In Memory of Laura Gamble Thompson Vicky and Rick Reynolds Ann and Harry Santen § Irwin and Melinda Simon Tom and Dee Stegman Jackie and Roy Sweeney Family Fund* Mr. Randolph L. Wadsworth Jr. § Scott and Charla Weiss Anonymous (1)

GOLD BATON CIRCLE Gifts of $25,000–$49,999

Dr. and Mrs. John and Suzanne Bossert § Mr. and Mrs. Frederick E. Bryan, III § Michael L. Cioffi & Rachael Rowe Sheila and Christopher C. Cole Dr. and Mrs. Carl G. Fischer Ashley and Bobbie Ford § Dr. Lesley Gilbertson and Dr. William Hurford Mr. and Mrs. Paul Isaacs Dr. and Mrs. Stephen Joffe Mrs. Andrea Kaplan Edyth B. Lindner Calvin and Patricia Linnemann Mark and Tia Luegering Mr. and Mrs. Timothy Maloney Susan McPartlin & Michael Galbraith G. Franklin Miller and Carolyn Baker Miller Dianne and J. David Rosenberg Moe and Jack Rouse § Mark S. and Rosemary K. Schlachter § Mrs. Theodore Striker Mr. and Mrs. Jonathan Ullman Nancy C. Wagner and Patricia M. Wagner §

SILVER BATON CIRCLE Gifts of $15,000–$24,999

Mr. and Mrs. Larry Brueshaber Mr. Gregory D. Buckley and Ms. Susan Berry-Buckley Robert and Debra Chavez Stephen J Daush Dianne Dunkelman and Clever Crazes for Kids CCI Design, Molly and Tom Garber Tom and Jan Hardy § Mr. and Mrs. Joseph W. Hirschhorn § Marvin P. Kolodzik and Linda S. Gallaher § Mrs. Erich Kunzel Peter E. Landgren and Judith Schonbach Landgren Alan Margulies and Gale Snoddy In memory of Bettie Rehfeld Mr. and Mrs. Robert W. McDonald Joseph A. and Susan E. Pichler Fund* In memory of Mary and Joseph S. Stern, Jr Mrs. Anne Drackett Thomas Sarah Thorburn DeeDee and Gary West § Mrs. James W. Wilson, Jr. Mr. and Mrs. James M. Zimmerman § Anonymous (1)

CONDUCTOR’S CIRCLE Gifts of $10,000–$14,999

Mr. and Mrs. Andrew Akers Joe and Patricia Baker Michael P Bergan and Tiffany Hanisch Ms. Melanie M. Chavez Mrs. Thomas E. Davidson § Kelly Dehan and Rick Staudigel Dr. and Mrs. Alberto Espay Mr. and Mrs. Tom Evans Mrs. Charles Fleischmann William and Jo Ann Harvey John and Ramsey Lanni Whitney and Phillip Long Holly and Louis Mazzocca Mr. Bradford Phillips III Melody Sawyer Richardson § Bill and Lisa Sampson Martha and Lee Schimberg Mr. Lawrence Schumacher Dr. Jean and Mrs. Anne Steichen Ralph C. Taylor § Mr. and Mrs. JD Vance

Carol Striker with Martha and Lee Schimberg at Artist’s Circle Dinner event. Credit: Claudia Hershner

88 | 2023–24 SEASON

CONCERTMASTER’S CIRCLE Gifts of $5,000–$9,999

Dr. Charles Abbottsmith Heather Apple and Mary Kay Koehler Thomas P. Atkins Mrs. Thomas B. Avril Kathleen and Michael Ball Robert and Janet Banks Louis D. Bilionis and Ann Hubbard Robert L. Bogenschutz Thomas A. Braun, III § The Otto M. Budig Family Foundation Sally and Rick Coomes K.M. Davis Bedouin and Randall Dennison Dennis W. and Cathy Dern Laura Doerger-Roberts & Peter Roberts Mrs. John C. Dupree Mrs. Diana T. Dwight In Loving Memory of Diane Harrison Zent Mr. and Mrs. Richard Fencl Mr. and Mrs. James T. Fitzgerald Marlena and Walter Frank Dr. and Mrs. Harry F. Fry L. Timothy Giglio Kathy Grote in loving memory of Robert Howes § Mr. and Mrs. Lawrence Hamby John B. and Judith O. Hansen Ms. Delores Hargrove-Young Dr. Donald and Laura Harrison Mr. and Mrs. Brian E. Heekin Dr. James and Mrs. Susan Herman Mr. and Mrs. Stephen Hicks Karlee L. Hilliard § Mr. and Mrs. Geoffrey Keenan Mr. and Mrs. Lorrence T. Kellar Holly King Mr. and Mrs. Richard Kovarsky Michael and Marilyn Kremzar Richard and Susan Lauf Will and Lee Lindner Adele Lippert Mrs. Robert Lippert Elizabeth and Brian Mannion David L. Martin Mr. Jonathan Martin Mandare Foundation Barbara and Kim McCracken § Linda and James Miller James and Margo Minutolo Mr. and Mrs. David W. Motch Mr. Arthur Norman and Mrs. Lisa Lennon Norman The Patel-Curran Family Alice Perlman David and Jenny Powell Ellen Rieveschl § Elizabeth and Karl Ronn § James and Mary Russell Dr. E. Don Nelson and Ms. Julia Sawyer-Nelson Mr. Dennis Schoff and Ms. Nina Sorensen Mike and Digi Schueler Brent & Valerie Sheppard Sue and Glenn Showers § Rennie and David Siebenhar Mr. and Mrs. Gerald Skidmore § Michael and Donnalyn Smith Brett Stover § Mr. and Mrs. David R. Valz Christopher and Nancy Virgulak Mr. and Mrs. Daniel Wachter

Mrs. Ronald F. Walker Mrs. Paul H. Ward § Donna A. Welsch Cathy S. Willis Andrea K. Wiot Irene A. Zigoris Anonymous (3)

ARTIST’S CIRCLE Gifts of $3,000–$4,999

Mr. and Mrs. Richard N. Adams Mr. Roger Ames Mr. Nicholas Apanius Mr. and Mrs. Gérard Baillely Ms. Marianna Bettman Glenn and Donna Boutilier Peter and Kate Brown Dr. Ralph P. Brown Janet and Bruce Byrnes Gordon Christenson Susan and Burton Closson Lois Cohen § Peter G. Courlas § Marjorie Craft George Deepe and Kris Orsborn Jim and Elizabeth Dodd Connie and Buzz Dow Dr. and Mrs. Stewart B. Dunsker David and Kari Ellis Fund* Ann A. Ellison Hardy and Barbara Eshbaugh Ms. Amy McDiffett Yan Fridman Frank and Tara Gardner Dr. and Mrs. Ralph A. Giannella Lesha and Samuel Greengus Dr. and Mrs. Jack Hahn Mr. and Mrs. Robert R. Heidenreich Donald and Susan Henson Ruth C. Holthaus In Memory of Benjamin C. Hubbard § Mr. and Mrs. Bradley G. Hughes Mr. and Mrs. Michael C. Hughes Mr. Marshall C. Hunt, Jr. Karolyn Johnsen Dr. Richard and Lisa Kagan Dr. Robert W. Keith and Ms. Kathleen Thornton Don and Kathy King Lynn Keniston Klahm Marie and Sam Kocoshis Mr. Frank P. Kromer Mr. Shannon Lawson Mrs. Jean E. Lemon § Merlanne Louney Mr. and Mrs. Donald Marshall Glen and Lynn Mayfield Allen-McCarren Ms. Sue Miller Mrs. Patricia Misrach Mr. and Mrs. David E. Moccia § George and Sarah Morrison III Ms. Mary Lou Motl David and Beth Muskopf Anne E. Mulder and Rebecca M. Gibbs Phyllis Myers and Danny Gray Poul D. and JoAnne Pedersen Mark and Kim Pomeroy Mr. Aftab Pureval Michael and Katherine Rademacher Sandra Rivers James Rubenstein and Bernadette Unger Mr. & Mrs. Peter A. Schmid Rev. Dr. David V. Schwab Sandra and David Seiwert Mr. Rick Sherrer and Dr. Lisa D. Kelly Elizabeth C. B. Sittenfeld §

FINANCIAL SUPPORT

John Morris Russell, Stephen Schwartz and vocalists with a guest of PNC after the “Defying Gravity” Pops performance. Credit: CSO Staff

Doug and Laura Skidmore William A. and Jane Smith Elizabeth A. Stone Margaret and Steven Story Mr. and Mrs. J. Dwight Thompson Mr. and Mrs. Ronald Tinklenberg Neil Tollas and Janet Moore Dr. Barbara R. Voelkel Dr. and Mrs. Galen R. Warren Jonathan and Janet Weaver Jim and George Ann Wesner Jo Ann Wieghaus In Memory of Bruce R. Smith Ronna and James Willis Steve and Katie Wolnitzek Carol and Don Wuebbling Mr. and Mrs. Robert L. Zierolf Anonymous (5)

SYMPHONY CIRCLE

Gifts of $1,500–$2,999

Jeff and Keiko Alexander § Lisa Allgood Beth and Bob Baer Mrs. Gail Bain In Memory of Mr. William T. Bahlman, Jr. William and Barbara Banks Glenda and Malcolm Bernstein David and Elaine Billmire Neil Bortz Dr. and Mrs. William Bramlage Mrs. Jo Ann C. Brown Ms. Jaqui Brumm Chris and Tom Buchert Dr. Leanne Budde Daniel A. Burr Ms. Barbara Caramanian Tom Carpenter and Lynne Lancaster Dr. Alan Chambers Beverly Kinney and Edward Cloughessy Carol C. Cole § Randy K. and Nancy R. Cooper Andrea D. Costa, Esq. Mr. and Mrs. Charles E. Curran, III § Mr. Louis M. Dauner and Ms. Geraldine N. Wu Mrs. Shirley Duff Mr. and Mrs. John G. Earls § Barry and Judy Evans Gail F. Forberg § Dr. Charles E. Frank and Ms. Jan Goldstein Mr. and Mrs. Joseph Fricke Linda P. Fulton § Dudley Fulton Kathleen Gibboney Mrs. Jay N. Gibbs Donn Goebel and Cathy McLeod Dr. and Mrs. Glenn S. Gollobin

Drew Gores and George Warrington Jim and Jann Greenberg Bill and Christy Griesser John and Elizabeth Grover Esther B. Grubbs § Mr. and Mrs. Byron Gustin Ham and Ellie Hamilton Mrs. Jackie Havenstein Mr. Tom Helmick Mr. Fred Heyse Melissa Huber Mr. Bradley Hunkler Heidi Jark and Steve Kenat Linda Busken and Andrew M. Jergens § Barbara M. Johnson Ms. Sylvia Johnson Holly H. Keeler Arleene Keller Mr. and Mrs. Woodrow Keown, Jr. John and Molly Kerman Bill and Penny Kincaid In Memory of Jeff Knoop Juri Kolts Carol Louise Kruse Evelyn and Fred Lang Charles and Jean Lauterbach Mary Mc and Kevin Lawson Elizabeth Lilly* Dr. and Mrs. Lynn Y. Lin Mr. and Mrs. Clement H. Luken, Jr. Edmund D. Lyon Mark Mandell-Brown, MD and Ann Hanson Mr. Gerron McKnight Becky Miars John and Roberta Michelman Mr. and Mrs. David A. Millett Terence G. Milligan Susan E. Noelcke Nan L. Oscherwitz Rick Pescovitz and Kelly Mahan Sandy Pike § James W. Rauth § Beverly and Dan Reigle Stephen and Betty Robinson Marianne Rowe § Nancy Ruchhoft Mr. Joseph A. Schilling Frederick R. Schneider James P. Schubert Stephanie A. Smith Albert and Liza Smitherman Bill and Lee Steenken Mrs. Donald C. Stouffer Mr. and Mrs. Richard Stradling, Jr. Susan and John Tew Janet Todd Mr. William Trach Barbie Wagner Michael L. Walton, Esq

Charla and Scott Weiss at the Artist’s Circle Dinner on October 14. Credit: Claudia Hershner

Ted and Mary Ann Weiss David F. and Sara K. Weston Fund Virginia Wilhelm Rev. Anne Warrington Wilson Robert and Judy Wilson Jeff Yang David and Sharon Youmans Ms. Nancy Zimpher Anonymous (7)

CONCERTO CLUB

Gifts of $500–$1,499

Hiro Adachi Christine O. Adams Romola N. Allen § In memory of Carol Allgood & Ester Stevens Mr. Thomas Alloy & Dr. Evaline Alessandrini Paul and Dolores Anderson Mr. and Mrs. Frank Andress Dr. Victor and Dolores Angel Nancy J. Apfel Lynne & Keith Apple, Honoring our Family Judy Aronoff and Marshall Ruchman Ms. Laura E. Atkinson Mr. David H. Axt and Ms. Susan L. Wilkinson Dr. Diane S. Babcock § Nate and Greta Bachhuber Mrs. Mary M. Baer Todd and Ann Bailey Jerry and Martha Bain Mr. and Mrs. Carroll R. Baker Jack and Diane Baldwin Peggy Barrett § Mrs. Polly M. Bassett Ms. Glenda Bates Michael and Amy Battoclette Drs. Carol and Leslie Benet Fred Berger Dr. Allen W. Bernard Barbara and Milton Berner Dr. David and Cheryl Bernstein Ms. Henryka Bialkowska-Nagy Sharon Ann Kerns and Mike Birck Michael Bland Randal and Peter Bloch Dr. and Mrs. Jeffrey Bloomer Ms. Sandra Bolek Ron and Betty Bollinger Clay and Emily Bond Mr. and Mrs. Kenneth Borisch Dr. Carol Brandon Marilyn and John Braun Briggs Creative Services, LLC Robert and Joan Broersma Marian H. Brown Rachelle Bruno and Stephen Bondurant

Jacklyn and Gary Bryson Bob and Angela Buechner Jack and Marti Butz John Byrd Catherine Calko Ms. Deborah Campbell § Mr. and Mrs. Christopher Canarie Mr. and Mrs. Thomas Carothers Susan L. Carson Dr. Julia H. Carter Mike and Shirley Chaney Catharine W. Chapman § Ichun Chiao Dee and Frank Cianciolo Fund* James Civille Dr. George I. Colombel Fred W. Colucci Mr. and Mrs. Philip K. Cone Marilyn Cones Dr. Margaret Conradi Thomas and Barbara Conroy Janet Conway Jack and Janice Cook § Robin Cotton and Cindi Fitton Dennis and Pat Coyne Martha Crafts Dr. James Creech Tim and Katie Crowley Susan and John Cummings Adrian and Takiyah Cunningham Jacqueline Cutshall Mr. Joseph and Mrs. Lori Dattilo Mr. and Mrs. Jerry E. Davis Loren and Polly DeFilippo Stephen and Cynthia DeHoff Rozelia Park and Christopher Dendy Robert B. Dick, Ph.D. Ms. Rhonda Dickerscheid Jean and Rick Donaldson George Dostie Mrs. John Doviak David and Kelley Downing Meredith and Chuck Downton Ms. Andrea Dubroff Tom and Leslie Ducey Tom and Dale Due David and Linda Dugan Mr. Corwin R. Dunn Michael D. and Carolyn Camillo Eagen Mr. Daniel Epstein Barbara Esposito-Ilacqua Mr. Edward Ettin Sally Eversole Ms. Kate Farinacci Dr. and Mrs. William J. Faulkner Ms. Jean Feinberg Ms. Barbara A. Feldmann Richard and Elizabeth Findlay Dr. and Mrs. Thomas Fischer Anne and Alan Fleischer

`` Fanfare Magazine | 89

FINANCIAL SUPPORT Ms. Nancy B. Forbriger Janice and Dr. Tom Forte Mr. and Ms. Bernard Foster Susan L. Fremont Mr. Gregrick A. Frey In memory of Eugene and Cavell Frey Lynne Friedlander Michael and Katherine Frisco Mr. and Mrs. James Fryman Marjorie Fryxell Ms. Bianca Gallagher Christophe Galopin Melanie Garner and Michael Berry Ms. Jane Garvey Ms. Christina Gearhart Drs. Michael and Janelle J. Gelfand Mr. Henry Genther Dr. and Mrs. Freidoon Ghazi Ms. Kathryn Gibbons David J. Gilner Mr. and Mrs. James Gingrich Dr. Jerome Glinka and Ms. Kathleen Blieszner Dr. and Mrs. Charles J. Glueck Dan Goetz Dr. and Mrs. Richard Goetz Mr. Ken Goldhoff Mr. and Mrs. Jim Goldschmidt Ms. Arlene Golembiewski Robert and Cynthia Gray Carl and Joyce Greber Mary Grooms Dr. Anthony and Ann Guanciale Alison and Charles Haas Ms. Sarah Habib Mary and Phil Hagner Peter Hames Walter and Karen Hand In memory of Dr. Stuart Handwerger Catherine K. Hart Mariana Belvedere and Samer Hasan Mr. John A. Headley Amy and Dennis Healy Kenneth and Rachel Heberling Mrs. Betty H. Heldman § Howard D. and Mary W. Helms Mrs. E. J. Hengelbrok, Jr. Michelle and Don Hershey Janet & Craig Higgins Mr. and Mrs. Russell W. Hill Mr. and Mrs. William A. Hillebrand Kyle and Robert Hodgkins Benjamin & Naomi Hoffman Ms. Leslie M. Hoggatt Richard and Marcia Holmes Bob and Dolly Holzwarth Stanley A. Hooker, III Sean and Katie Hubbard Karen and David Huelsman Mrs. Carol H. Huether Dr. G. Edward & Sarah Hughes Ms. Idit Isaacsohn Dr. Maralyn M. Itzkowitz Mrs. Charles H. Jackson, Jr. Mr. and Mrs. Fred Jebens Marcia Jelus David & Penny Jester Mr. and Mrs. Paul H. Johnson Mrs. Marilyn P. Johnston

90 | 2023–24 SEASON

In Honor of Lois Jolson Elizabeth A. Jones Mrs. Martha Jones Scott and Patricia Joseph Jay and Shirley Joyce Mr. and Mrs. Robert Judd Ms. Mary Judge Dr. and Mrs. Richard Kerstine Mr. and Mrs. Dave Kitzmiller Jack & Sharon Knapp Pamela Koester-Hackman Carol and Scott Kosarko Mr. and Mrs. Robert H. Kraimer Mr. and Mrs. Jonathan Kregor Mr. and Mrs. Bruce A. Krone Kathleen B. and Michael C. Krug Fund* Pat and Randy Krumm § Mark & Elisabeth Kuhlman Mrs. John H. Kuhn § Jo Ann and George Kurz Pinky Laffoon & Family Patricia Lambeck Everett and Barbara Landen Asher Lanier Karen Larsen Ms. Sally L. Larson Mrs. Julie Laskey Joe Law and Phil Wise Mrs. Judith A. Leege in memory of Philip B. Leege Betsy Leigh and David Holliday Dr. Carol P. Leslie Mr. and Mrs. Lance A. Lewis Mrs. Maxine F. Lewis Paula and Nick Link Mr. Ajene Lomax Mr. Steven Kent Loveless Luke and Nita Lovell David and Katja Lundgren Larry and Mary Geren Lutz Mrs. Mary Reed Lyon Edgar J. and Elaine J. Mack Fund Marshall and Nancy Macks Mr. and Mrs. Julian A. Magnus Jenea Malarik Ms. Cheryl Manning Andrew and Jean Martin Mr. and Mrs. Warren L. Mason Mr. and Mrs. Dean Matz Ms. Mary Jane Mayer Dr. Janet P. McDaniel Mark McKillip and Amira Beer Stephanie McNeill Charles and JoAnn Mead Ms. Nancy Menne Ms. Mary Ann Meyer Michael V. Middleton Laura Milburn Sonia R. Milrod Dr. Stanley R. Milstein § Ms. Laura Mitchell Mr. Steven Monder Eileen W. and James R. Moon Regeana and Al Morgan Mr. William J. Morgan Alan Flaherty and Patti Myers § Mr. and Mrs. Norman Neal Mr. Scott Nelson and Dr. Susan Kindel

Mr. Ted Nelson and Ms. Ixi Chen Ms. Helen Neumann Mr. and Mrs. Christopher Newcomer Mr. Gerald Newfarmer Mrs. Alfred K. Nippert Jane Oberschmidt § Ms. Sylvia Osterday Phyllis Overmann John A. Pape The Pavelka Family Carol and Jim Pearce Ann and Marty Pinales Mrs. Stewart Proctor Dr. Aik Khai Pung Marjorie and Louis Rauh Ms. Mary Redington Dr. and Mrs. Robert Reed Dr. Robert Rhoad and Kitsa Tassian Rhoad Stephanie Richardson Mr. David Robertson Laurie and Dan Roche Mr. and Mrs. Ian Rodway Dr. Anna Roetker Ms. Jeanne C. Rolfes Dr. and Mrs. Gary Roselle Ellen and Louis Ross Mr. and Mrs. G. Roger Ross Dr. Deborah K. Rufner J. Gregory and Judith B. Rust Elizabeth and Kazuya David and Judy Savage Mr. Christian J. Schaefer Cindy Scheets Ms. Carol Schleker Mr. and Mrs. Patrick Schleker Jane and Wayne Schleutker Dr. and Mrs. Michael Schmerler Mrs. Donna Schnicke George Palmer Schober Tim and Jeannie Schoonover Glenda C. Schorr Fund* Carol J. Schroeder § Mary D. Schweitzer Dr. Joseph Segal and Ms. Debbie Friedman Mr. and Mrs. Thomas P. Semancik Drs. Mick and Nancy Shaughnessy Jerry and Donna Shell The Shepherd Chemical Company Alfred and Carol Shikany Ms. Joycee Simendinger Kristin and David Skidmore In Honor of Kenneth Skirtz Ms. Martha Slager Susan and David Smith Ms. Margaret Smith Mark M. Smith (In memory of Terri C. Smith) Stephen and Lyle Smith Phillip and Karen Sparkes Paula Spitzmiller Mr. and Mrs. Timothy Stautberg Ms. Ruth M. Stechschulte Mark and Anne Stepaniak Susan M. and Joseph Eric Stevens Mr. Jason V. Stitt Stephanie and Joseph Stitt Nancy and Gary Strassel

Ms. Susan R. Strick Mr. George Stricker, Jr. Mr. Mark Stroud Patricia Strunk § Dr. Alan and Shelley Tarshis Maureen Taylor Mr. Fred Tegarden Carlos and Roberta Teran Rich and Nancy Tereba Linda and Nate Tetrick Joyce and Howard Thompson Mr. Stuart Tobin Torey and Tom Torre Mrs. Esthela Urriquia Dr. Ilse M. van der Bent Mr. D. R. Van Lokeren Dr. Judith Vermillion Jim and Rachel Votaw § Ms. Barbara Wagner Mr. and Mrs. James L. Wainscott Jane A. Walker Sarella Walton Herman & Margaret Wasserman Music Fund* Mrs. Louise Watts Maryhelen West Ms. Bonnie White Ms. Elizabeth White Ms. Diana Willen Mr. Dean Windgassen and Ms. Susan Stanton Windgassen § Don and Karen Wolnik Rebecca Seeman and David Wood Mr. and Mrs. Robert Wylly III Mr. John M. Yacher Mrs. Darleen Young Judy and Martin Young Mr. David Youngblood and Ms. Ellen Rosenman Dr. and Mrs. Daryl Zeigler Ms. Joan Zellner Moritz and Barbara Ziegler Mr. Richard K. Zinicola and Ms. Linda R. Holthaus Anonymous (19) List as of October 31, 2023

GIFTS IN-KIND Ms. Melanie M. Chavez Graeter’s Ice Cream Harris Media Co. List as of November 1, 2023 * Denotes a fund of The Greater Cincinnati Foundation. § Denotes members of The Thomas Schippers Legacy Society. Individuals who have made a planned gift to the Cincinnati Symphony Orchestra and Pops Orchestra are eligible for membership in the Society. For more information, please contact Kate Farinacci at 513.744.3202.

FINANCIAL SUPPORT

THE THOMAS SCHIPPERS LEGACY SOCIETY Thomas Schippers was Music Director from 1970 to 1977. He left not only wonderful musical memories, but also a financial legacy with a personal bequest to the Orchestra.

The Thomas Schippers Legacy Society recognizes those who contribute to the Orchestra with a planned gift. We thank these members for their foresight and generosity. For more information on leaving your own legacy, contact Kate Farinacci at 513.744.3202.

Mr. & Mrs. James R. Adams Jeff & Keiko Alexander Mrs. Robert H. Allen Paul R. Anderson Carole J. Arend Donald C. Auberger, Jr. Dr. Diane Schwemlein Babcock Henrietta Barlag Peggy Barrett Jane* & Ed Bavaria David & Elaine Billmire Walter Blair Lucille* & Dutro Blocksom Rosemary & Frank Bloom* Dr. John & Suzanne Bossert Dr. Mollie H. Bowers-Hollon Ronald Bozicevich Thomas A. Braun, III Joseph Brinkmeyer Mr. & Mrs. Frederick Bryan, III Harold & Dorothy Byers Deborah Campbell & Eunice M. Wolf Myra Chabut* Catharine W. Chapman Michael L. Cioffi & Rachael Rowe Mrs. Jackson L. Clagett III Lois & Phil* Cohen Leland M.* & Carol C. Cole Grace A. Cook Jack & Janice Cook Mr. & Mrs. Charles Cordes Andrea Costa Peter G. Courlas & Nick Tsimaras* Mr. & Mrs. Charles E. Curran III Amy & Scott Darrah, Meredith & Will Darrah, & children Caroline H. Davidson Harrison R.T. Davis Ms. Kelly M. Dehan Amy & Trey Devey Robert W. Dorsey Jon & Susan Doucleff Ms. Judith A. Doyle Mr. & Mrs. John Earls Barry & Judy Evans Linda & Harry Fath Alan Flaherty Mrs. Richard A. Forberg* Ashley & Barbara Ford Guy & Marilyn Frederick Rich Freshwater & Family

Susan Friedlander* Mr. Nicholas L. Fry Linda P. Fulton H. Jane Gavin Edward J. and Barbara C.* Givens Kenneth A. Goode Clifford J. Goosmann & Andrea M. Wilson Mrs. Madeleine H. Gordon J. Frederick & Cynthia Gossman Kathy Grote Esther B. Grubbs, Marci Bein & Mindi Hamby William Hackman Vincent C. Hand & Ann E. Hagerman Tom & Jan Hardy William L. Harmon Mrs. Morton L. Harshman* Mary J. Healy Frank G. Heitker Anne P. Heldman Betty & John* Heldman Ms. Roberta Hermesch* Karlee L. Hilliard Michael H. Hirsch Mr. & Mrs. Joseph W. Hirschhorn Daniel J. Hoffheimer Kenneth L. Holford Mr. George R. Hood Mr. & Mrs. Terence L. Horan Mrs. Benjamin C. Hubbard Susan & Tom Hughes Carolyn R. Hunt* Dr. William Hurford & Dr. Lesley Gilbertson Mr. & Mrs. Paul Isaacs Julia M. F. B. Jackson Michael & Kathleen Janson Andrew MacAoidh Jergens Jean C. Jett Margaret H. Jung Mace C. Justice Karen Kapella Dr. & Mrs.* Steven Katkin Rachel Kirley & Joseph Jaquette Carolyn Koehl Marvin Kolodzik & Linda Gallaher Carol & Scott Kosarko Michael & Marilyn Kremzar Randolph & Patricia Krumm

Theresa M. Kuhn Warren & Patricia Lambeck Peter E. Landgren & Judith Schonbach Landgren Owen & Cici Lee Steve Lee M. Drue Lehmann Mrs. Jean E. Lemon Mr. Peter F. Levin George & Barbara Lott Janice* & Gary Lubin Mr.* & Mrs. Ronald Lyons Marilyn J. Maag Margot Marples David L. Martin Allen* & Judy Martin David Mason Mrs. Barbara Witte McCracken Laura Kimble McLellan Dr. Stanley R. Milstein Mrs. William K. Minor Mr. & Mrs. D. E. Moccia Kristin & Stephen Mullin Christopher & Susan Muth Patti Myers Susan & Kenneth Newmark Dr. & Mrs. Theodore Nicholas Jane Oberschmidt Marja-Liisa Ogden Julie & Dick* Okenfuss Jack & Marilyn Osborn* Dr. & Mrs. Richard E. Park, MD Mr. & Mrs. Charles Pease Poul D. & JoAnne Pedersen Sandy & Larry* Pike Mrs. Harold F. Poe Anne M. Pohl Irene & Daniel Randolph James W. Rauth Barbara S. Reckseit Melody Sawyer Richardson Ellen Rieveschl Elizabeth & Karl Ronn Moe & Jack Rouse Marianne Rowe Ann & Harry Santen Rosemary & Mark Schlachter Carol J. Schroeder Mrs. William R. Seaman Dr. Brian Sebastian Mrs. Mildred J. Selonick*

Mrs. Robert B. Shott Sue & Glenn Showers Irwin & Melinda Simon Betsy & Paul* Sittenfeld Sarah Garrison Skidmore Adrienne A. Smith David & Sonja* Snyder Marie Speziale Mr. & Mrs. Christopher L. Sprenkle Michael M. Spresser Barry & Sharlyn Stare Cynthia Starr Bill & Lee Steenken Tom & Dee Stegman Barry Steinberg Nancy M. Steman John & Helen Stevenson Mary* & Bob Stewart Brett Stover Dr. Robert & Jill Strub Patricia M. Strunk Ralph & Brenda* Taylor Conrad F. Thiede Minda F. Thompson Carrie & Peter Throm Dr. & Mrs. Thomas Todd Nydia Tranter Dick & Jane Tuten Thomas Vanden Eynden & Judith Beiting Mr. & Mrs. Robert Varley Mr. & Mrs. James K. Votaw Mr. & Mrs.* Randolph L. Wadsworth Jr. Jack K. & Mary V. Wagner* Nancy C. Wagner Patricia M. Wagner Mr.* & Mrs. Paul Ward Jo Anne & Fred Warren Mr. Scott Weiss & Dr. Charla Weiss Anne M. Werner Gary & Diane West Charles A. Wilkinson Ms. Diana Willen Susan Stanton Windgassen Mrs. Joan R. Wood Alison & Jim Zimmerman * Deceased New Schippers members are in bold

Fanfare Magazine | 91

We APPLAUD Our Loyal CSO and Pops Subscribers

Opus

We thank every subscriber whose investment in the Cincinnati Symphony Orchestra and Cincinnati Pops makes these concerts possible. We would not be on stage without you! Thank you especially to the following subscribers whose loyalty and support has extended 25–50 years or more. *

50 & 25 Subscribers of 50 years or more: Mr. and Mrs. Richard N. Adams Mr. Gordon Allen Theresa M. Anderson Nancy J. Apfel Mrs. Marvin Aronoff Kathy and Ken Baier Michael A. Battersby Mr. and Mrs. Herbert J. Beigel Glenda and Malcolm Bernstein Hon. Marianna Brown Bettman Mr. Walter B. Blair Rev. Richard W. Bollman, S.J. Bill and Mary Bonansinga Eleanor A. Botts Byron and Wilhelmina Branson Mr. and Mrs. R. Richard Broxon Mr. and Mrs. William M. Bryan Donald L. and Kathleen Field Burns Jim and Nina Campbell Carol C. Cole Mr. David S. Collins and Ms. Sandra M. Gans Dr. C. J. and Carolyn Condorodis Dr. Margaret Conradi Sally and Rick Coomes Peter G. Courlas Nancy Creaghead Lynne Curtiss Mrs. Jacqueline L. Cutshall Mrs. Lilian Estevez. de Pagani Sally H. Dessauer Jahnett M. Dickman Mrs. Rupert A. Doan Mrs. Mel B. Dreyfoos Mr. and Mrs. C. Thomas Dupuis Mr. John Eddingfield Ms. Cathy C. Eubanks Mr. and Mrs. James T. Fitzgerald Dr. David Flaspohler and Dr. Cynthia Crown Mr. and Mrs. Ashley L. Ford Mikki and Walter Frank Carol S. Friel Mrs. Nancy Gard Mr. and Mrs. James K. Gehring Dr. and Mrs. Charles J. Glueck Sharon L. Goodcase Clifford J. Goosmann & Andrea M. Wilson Esther Grubbs and Karen Dennis William P. Hackman Mary and Phil Hagner Dr. and Mrs. Edward Hake Ham and Ellie Hamilton Mrs. Joan D. Hauser Mr. and Mrs. Stanley Hedeen Mrs. Betty H. Heldman Mr. Michael H. Hirsch Mr. and Mrs. Joseph W. Hirschhorn

92 | 2023–24 SEASON

List as of November 21, 2023

*If we have inadvertently left your name off this subscribers-only list or if we need to make corrections, please call us at 513.381.3800 or email us at hello@cincinnatisymphony.org.

We are also grateful to those who have been loyal subscribers for 10–24 years, whose names we are unable to include here due to space limitations.

Mrs. Benjamin C. Hubbard Mr. and Mrs. Marshall C. Hunt, Jr. Rev. & Mrs. Andrew MacAoidh Jergens Ruth and Frederick Joffe Dr. J. O’Neal Johnston Mr. & Mrs. Lorrence T. Kellar Dr. and Mrs. Earl Kisker Paul and Carita Kollman Mr. and Mrs. W. C. Kuhnell Susan Laffoon The Lazarus Family Mr. Gus Lewin Mr. and Mrs. H. Spencer Liles Mrs. Linda Linker Judy and Donald Lomax Dr. and Mrs. Joseph T. Luttmer Peter and Angela Madden Mr. Carl G. Marquette, Jr. Tom and Nancy Matthew Mr. Howard Mayers Barbara and Kim McCracken Mr. and Mrs. John S. McCullough Ted and Barb Mechley Mr. and Mrs. G. Franklin Miller Ms. Lynn Miller Mr. and Mrs. David Moccia Mrs. Murray S. Monroe Mr. and Mrs. David W. Motch Mrs. Mary Lou Mueller Michael and Linda Myers Janet J. Nailor Mr. and Mrs. John Niehaus Jack Niehaus and Anne Dudley Dr. Cora Ogle Dr. and Mrs. Thomas W. Osborn, III Alice Perlman Mrs. Robert D. Phelps Anne M. Pohl Mrs. Stewart Proctor Mr. Joseph W. Raterman Mr. and Mrs. Joseph H. Rohling Lee and Martha Schimberg Henk and Mary Jane Schipper Mr. and Mrs. Frederick R. Schneider Mrs. William Schwerin Dr. and Mrs. Rees W. Sheppard Alfred and Carol Shikany Sue and Glenn Showers Jacqueline M. Mack and Dr. Edward B. Silberstein John and Janet Simpkinson Mr. and Mrs. Kenneth Skirtz Mr. and Mrs. David Lee Smith Mr. and Mrs. John Spiess Mrs. Henry R. Stefanik Tom and Dee Stegman Dr. Jean and Mrs. Anne Steichen Mr. and Mrs. Albert C. Dierckes, Jr. Mr. and Mrs. Laurence G. Stillpass Mrs. Lowella M. Stoerker Elizabeth A. Stone Mrs. Joan C. Stouffer Mrs. Theodore W. Striker Dr. and Mrs. Suranyi

Virginia Tafel Mr. Thomas L. Tallentire Mrs. George Tassian Susan and John Tew Dorothy and Lowell Orr, Jr. Mr. and Mrs. J. Dwight Thompson Dr. and Mrs. Samuel P. Todd, Jr. Mr. Robert Lindner, Sr. Dr. Ilse M. van der Bent Paul and Jo Ann Ward Dr. and Mrs. Galen R. Warren Maryhelen West Dr. and Mrs. James B. Willis Susan G. Stanton Louise Wolf William and Ellen Wyler Ms. Anita L. Ziegelmeyer John and Jean Zoller

Subscribers of 25 to 49 years: Terri and Tom Abare Ms. Carol A. Abbott Mrs. Christine O. Adams Mr. David Adams Mr. and Mrs. Greg Adams Mrs. Patricia Adams Ms. Sandra D. Adams Richard and Mary Aft Dr. and Mrs. Khosrow Alamin Mr. and Mrs. Thomas Albers Mr. and Mrs. John G. Anderson Ms. Lynn R. Anderson Paul and Dolores Anderson R. Bruce and Patricia A. Anderson Ms. Christine M. Andrew Dr. and Mrs. Victor D. Angel Mr. and Mrs. John B. Anthony Mr. Jimmy E. Antia and Ms. Pheruza P. Tarapore Brent and Kim Arter Ms. Laura E. Atkinson Mr. and Mrs. Philippe Audax Mrs. Connie Ault Susan Wilkinson and David Axt Dr. Cindy J. Bachurski Mrs. Mary M. Baer Beth and Bob Baer Mr. and Mrs. Carroll R. Baker Mr. Joseph Baker Mr. Mark and Ms. Coral Baker Mr. and Mrs. Jack W. Baldwin Mr. and Mrs. Michael E. Ball Mr. and Mrs. Franchot Ballinger Mr. and Mrs. Joseph T. Balmos Mr. and Mrs. Roger Barbe Mr. and Mrs. Dale Bardes Ms. Henrietta Barlag Mr. and Mrs. Chris Barnes Mr. Jeff Miller Mrs. Polly M. Bassett Mr. M. Bates and Ms. L. Bowen Michael and Amy Battoclette

Mr. and Mrs. Michael C. Becker Mr. and Mrs. Wayne Beimesch Dr. and Mrs Thomas E. Bell Ms. Peggy Bell-Lohr Mr. John A. Belperio Mr. William S. Bentley and Mrs. Susan Bentley Mr. Bill Berger and Ms. Janet Landen Mr. Robert D. Bergstein Rev. Milton T. Berner Mrs. Karen M. Berno Mr. and Mrs. Hal Bernstein Nancy Bertaux and Kaleel Skeirik Mr. and Mrs. John D. Bever Henryka Nagy Mr. and Mrs. David R. Biddle Mr. and Mrs. Steven A. Biedenbach Mr. and Mrs. Douglas Bierer Mr. and Mrs. John C. Bierman David and Elaine Billmire Mr. and Mrs. Charles Birkenhauer Glen W. and Linda C. Bischof Mr. and Mrs. Thomas B. Bishop Dr. Stuart Blersch Mr. and Mrs. Peter M. Bloch Ann Blocksom Dr. Jeffrey B. Bloomer Ms. Mary Lou Blount Mr. and Mrs. Donald R. Blum Mr. and Mrs. William Boardman Ms. Beverly Bodin Dr. Christiane Boehr Ms. Traci L. Boeing Mr. and Mrs. Richard L. Bohne Mrs. and Mr. Anna V. Bonham-White Mr. and Mrs. Laurence Bonhaus Mrs. Joyce R. Borkin Mr. Neil K Bortz Mr. and Mrs. Gaetano T. Bosco Glenn and Donna Boutilier Dr. and Mrs. Kevin E. Bove Bruce Bowdon & Robin Bratt Ms. and Mr. Cynthia G. Bowling Ann Boylan Mr. and Mrs. George R. Bradley III Ms. Mary Jane Bradley Ms. Linda F. Brainard Dr. and Mrs. William Bramlage Thomas A. Braun, III Ms. Mary Breighner Mr. and Mrs. Mark Breitenstein Mr. and Mrs. Stephen D. Bretz Virginia Brezinski Ms. Elizabeth Brice Mr. and Mrs. Mark O. Bricker Mrs. Kathy J. Bright Ms. Maria Britto Mr. and Mrs. Robert Brodbeck Dr. and Mrs. Robert J. Broersma Ms. Kathryn L. Brokaw Mr. and Ms. Lynn Brothers Mr. Don H. Brown Mr. and Mrs. Jeffrey Brown Ms. Marinell Brown Mr. and Mrs. Bart A. Brown, Jr.

Opus 50 & 25 SUBSCRIBERS Mr. and Mrs. Michael O. Brown Dr. and Mrs. Ralph P. Brown Mr. Thomas H. Brown Mr. and Mrs. Timothy Brown Mr. and Mrs. James P. Bruckmann Mr. and Mrs. Larry J. Brueshaber Mr. and Mrs. William T. Brungs Mrs. Hermine Brunner Ms. Rachelle Bruno and Mr. Stephen Bondurant Mr. and Mrs. Frederick E. Bryan, III Chris and Tom Buchert Mr. and Mrs. Otto M. Budig, Jr. Mr. and Mrs. Jeff Bullock Mr. and Mrs. Frank Burdick Mr. and Mrs. Thomas W. Burdin Mrs. Faye P. Nobis Mr. James Burger Ms. Barbara B. Burke Mr. and Mrs. William R. Burleigh Mr. and Mrs. Fred Burnett Mr. and Mrs. Robert W. Burns Daniel Burr Mr. and Ms. John Busam Mr. and Mrs. John B. Busche Mr. James Cadigan Mr. Alan B. Cady Mr. and Mrs. Cary R. Cain Mr. and Mrs. Vincent N. Capasso Mr. and Mrs. Peter E. Carels Mr. R. P. Carey Mr. William Carey Ms. Shirley Carlisle Dr. and Mrs. Gary G. Carothers Stephen and Karen Carr Mr. and Mrs. Robert E. Carroll Dr. Julia H. Carter Mrs. Maria I. Carver Ms. Sandra Case Mr. and Mrs. Peter L. Cassady Ms. Rosalind Chaiken Mr. Edward Chamberlin and Ms. Coletta Hughes Dr. Alan Chambers Mrs. Catharine W. Chapman Mr. and Mrs. Robert Chavez Mr. Eric J. Cheney Ms. Karen C. Cheyne Mr. Edmund M. Choi Ms. Joan H. Cholak Gordon and Favienne Christenson Ms. Karen T. Cianciolo Cincinnati Financial Corporation Mr. Michael L. Cioffi and Rachael Rowe Mr. Timothy Clarke Mrs. and Mr. Ruth Claypoole Ms. Susan Cline Mr. Edward Cloughessy and Ms. Beverly Kinney Mr. and Mrs. James Coates Mr. and Mrs. Michael Coffey Dr. and Mrs. John S. Cohen Sheila and Christopher Cole Marc & Julie Colegrove Mrs. Lucille F. Collins Mr. Marvin R. Collins and Mr. Jay D. Colville Ms. Ricki L. Collins William J. Hahn Mrs. Thomas Cones Mrs. Jacqueline L. Conner Mr. and Mrs. William V. Coombs Mr. and Mrs. Randy K. Cooper II Mr. and Mrs. Thomas M. Copanas Robin T. Cotton and Cynthia Fitton Mr. and Mrs. James Cox Ms. Melissa Cox Mr. and Mrs. Dennis P. Coyne Mr. and Mrs. David D. Crane Kim and Jeff Crawford Mr. Timothy Crowley Mrs. Carol A. Schradin James and Susan Crumpler

Mr. and Mrs. William S. Culp Mr. and Mrs. Thomas L. Cuni Mr. and Mrs. Henry F. Dabek, Jr. Donald and Victoria Daiker Mr. and Mrs. Robert Darby Mr. and Mrs. Thomas A. Darner Mr. Louis M. Dauner Mr. and Mrs. Thomas A. Dauwe April and Harry Davidow Mr. Frank B. Davis Ms. Linda Sue Davis Ms. Yvonne M. Davis Ms. Margaret R. Dawson Dr. and Mrs. Rank O. Dawson, Jr. Dr. George S. Deepe Mr. and Mrs. Alan P. DeJarnette Mr. and Mrs. Daniel Dell Bedouin and Randall Dennison Mr. and Mrs. Dennis W. Dern Dr. and Mrs. Edward Desatnik Mr. William E. Devine Ms. Rhonda Dickerscheid Mr. Noel J. Dickson Ms. Marion DiFalco Mr. and Mrs. Warren Dillon Mr. and Mrs. Robert Dinerman The David J. Joseph Co. Mr. and Mrs. Bill Doll Mr. and Mrs. Robert J. Donlan Dr. Robert Donovan Mr. and Mrs. Stephen P. Donovan, Jr. Drs. Gerald Dorn and Deborah Hauger Mr. Robert W. Dorsey Mr. George E. Dostie Jon and Susan Doucleff Mr. and Mrs. Roger Doughty Mr. Claude Drouet Tom and Leslie Ducey Anne Dulle Mrs. Doris A. Dunathan Mr. and Mrs. William L. Dunavant Mrs. Dianne Dunkelman Mr. and Mrs. Corwin R. Dunn Mr. Craig Duston Mrs. Diana T. Dwight Mr. and Mrs. Michael D. Eagen Mr. and Mrs. John Earls Mrs. Victoria Eaton Mr. and Mrs. Harold K. Eberenz Mr. and Mrs. Lynn Ebersole Mrs. J. Kay Eby Dave and Kathy Eby Mr. David G. Edmundson Mr. and Ms. Edward R. Ratterman Mr. and Mrs. Charles D. Edwards Sister Margaret Efkeman Mr. Dale B. Elliott Mr. John Ellmore Mr. Leslie F. Chard II Dr. and Mrs. Steven J. Englender Mr. and Mrs. Robert Ernst Dr. and Mrs. Robin Estes Eric and Catherine Estill Mr. and Mrs. Allan W. Evans Mr. and Mrs. Barry C. Evans Ms. Judith A. Evans Dr. Ralph O. Ewers Ms. Jane Eyler Mrs. Mary Ann Fagel Ms. Julie W. Fairbanks Dr. Douglas K. Fairobent and Dr. Paulette M. Gillig Dr. and Mrs. Horacio Falciglia Dr. and Mrs. William J. Faulkner Ms. Carol H. Fencl John and Barbara Fillion Ms. Gwendoline M. Finegan Mr. and Mrs. Harry J. Finke IV Dr. and Mrs. Carl G. Fischer Ms. Carol M. Fisher Ms. Elizabeth C. Fisher-Smith Mr. and Mrs. Barry A. Fittes

Mr. and Mrs. Robert R. Fitzpatrick, Jr. Mr. David B. Fleming Mr. and Mrs. Russell D. Flick Mr. and Mrs. Winston E. Folkers Mr. and Mrs. Mathias F. Foltyn Ms. Judy Foreman Ms. Amy McDiffett Dr. and Mrs. Thomas Forte Mr. Byron Fowler Ms. Marjorie Fox Dr. Alan Frager Dr. Charles E. Frank and Ms. Jan Goldstein Mrs. Renee S Frankel Mr. and Mrs. Gerald Franzen Mr. and Mrs. Guy Frederick Harriet A. and William M. Freedman Mr. and Mrs. John Freeman Mr. and Mrs. Joseph V. Frey Mr. Michael Friedman Mrs. Peggy Frondorf Dr. and Mrs. Harry F. Fry Mr. Kelly Fulmer Mrs. John M. Gallagher Mr. and Mrs. Andrew Galloway Dr. and Mrs. Wayne E. Gardiner Frank and Tara Gardner Ms. Martha J. Gardner Ms. Madeleine Garvin Mark S. Gay GE Aviation Mr. and Mrs. Michael F. Gehrig Dr. Sheila Gelman and Dr. David Greenblatt Ms. Annette V. Georgin Ms. Shelly Shor Gerson Dr. and Mrs. Freidoon Ghazi Dr. and Mrs. Ralph Giannella Mr. L. Timothy Giglio Mr. and Mrs. Fred E. Gilliam Mr. and Mrs. Louis A. Ginocchio, Jr. Mr. and Mrs. Edward J. Givens Dr. and Mrs. Seymour I. Glick Dr. Jerome Glinka and Dr. Kathleen Blieszner Mark and Renee Glogowski Ms. Karen L. Glover Mr. and Mrs. Haynes Goddard Mr. Paul Godfrey Ms. Edna M. Godsey Mr. Donn J. Goebel and Catherine McLeod Mr. and Mrs. Robert A. Goering Mr. and Mrs. Elden Dale Golden Mr. and Mrs. Stewart Goldman Steven and Shelley Goldstein Mr. and Mrs. Jerome P. Gonnella Mr. and Mrs. Cecil Good David and Mary Beth Goodale Irvin and Beatrice Goodman Ms. Christa M. Gorman Mr. and Mrs. Harry Gotoff Mr. and Mrs. Thomas W. Gougeon Mr. William J. Gracie, Jr. Mr. and Mrs. Karl R. Graham Ms. Moira Grainger Mr. Tom W. Graler Mrs. Carolyn Grant Mrs. Mary E. Gray Robert and Cynthia Gray Dr. & Mrs. Samuel Greengus Mr. Gary Gregory Mrs. Barbara Greiner Dr. Sandra M. Grether Mr. David Greulich Ms. Margaret Groeber Mary Grooms Ms. Kathleen M. Grote Mr. Richard L. Gruber Mr. and Mrs. Thomas J. Gruber Ms. Sarah Guenther Mrs. Andi Guess

Dr. Janet C. Haartz and Kenneth V. Smith Mrs. Leo A. Haas Ms. Wendy C. Haas Dr. and Mrs. Jack A. Hahn Mr. and Mrs. Richard A. Hall Mr. and Mrs. David E. Haller Mr. and Mrs. David E. Halstead Dr. and Mrs. Robert Hamilton Mr. Vincent C. Hand Dr. and Mrs. Stuart Handwerger Ms. Julie H. Hanley Ms. Jane F. Hansley Mary Pat Key and Wayne Harner Mr. Edward G. Harness, Jr. Mr. and Mrs. James Harper Mr. and Mrs. Steven Harper Mr. David Harpring Ms. Betty J. Harris Ms. Ellen A. Harrison Mr. and Mrs. Michael Hartle Mr. and Mrs. William Hartmann Mr. and Mrs. William Harvey Mr. Gene Hawkins and Mrs. Margaret Tuxford-Hawkins Mr. and Mrs. Richard E. Haynes Mr. John A. Headley Mr. and Mrs. Robert R. Heidenreich Diane M. Heilmann Mr. and Mrs. Eric W. Heineke Mr. Stephen W. Heinzman and Ms. Sharon Bergman Mrs. Nadine Hellings Pat and Bob Hemmer Ms. Nancy L. Hendricks Mr. and Mrs. John Hepfinger Ms. Lynn M. Hericks Mrs. Cheryl Hern-Janovic Mr. Bruce Herren Sister Carren Herring Mr. and Mrs. William Herring Dr. and Mrs. Edward B. Herzig Mrs. Jane A. Heskamp Mr. and Mrs. Rick Hibbard Mr. and Mrs. Frederick T. Hicks Mr. and Mrs. William C. Hill Mr. George M. Hillenbrand, II Ms. Karlee L. Hilliard Mr. and Mrs. Wayne Hinaman Mr. and Mrs. Randy C. Hirtzel Laura A. Hobson Mrs. Wilma Hochstrasser Emily M. Hodges Mr. and Mrs. Timothy L. Hoerst Daniel J. Hoffheimer Mr. and Mrs. Jon Hoffheimer Mr. Ronald J. Hoffman and Ms. Barbara Gomes Mr. and Mrs. Don Hoffmann Irene A. Hofmann Ms. Ruth C. Holthaus Mrs. Robert S. Holzman Mr. and Mrs. Robert F. Holzwarth Mr. William Hopple The HORAN Family Mr. and Mrs. Ken L. Horan Mr. and Mrs. Donald B. Hordes Mr. Douglas A. Horn Mr. and Mrs. Orson Hornsby Bonnie and Carl Hosea Mr. Thomas Hotek Mr. and Ms. Robert H. Howard Dr. and Mrs. Ron Hsieh Mr. Henry Huber Mr. and Mrs. Michael C. Hughes Mr. and Mrs. Thomas Humphrey Ms. Judythe A. Huston Mr. and Mrs. R. Douglas Hutchens Dr. and Mrs. Stanley B. Ignatow Mr. and Mrs. Kevin Imfeld Mr. and Mrs. Paul L. Inderhees Ms. Sue T. Ingraham Dr. Donna R. Jackson Charles and Doris Jackson

`` Fanfare Magazine | 93

Opus 50 & 25 SUBSCRIBERS Skip and Joan Jackson Mrs. Mary B. Jasany John M. Jeep and Lynda Hoffman-Jeep Mrs. Marcia Jelus Ms. Louise K. Jenks Mrs. Barbara A. Jennings Mr. and Mrs. Bruce Jewett Dr. and Mrs. Stephen Joffe John & Thomas Schiff & Co. Karolyn and James Johnsen Mr. and Mrs. James G. Johnson Mr. and Mrs. Randy Johnson Mr. and Mrs. Charles A. Johnston Mr. and Mrs. Robert E. Jones Mr. and Mrs. Robert M. Jones Mr. and Mrs. Kenneth E. Jostworth Ms. Susan L. Judis Mr. and Mrs. Donald J. Junker Mr. and Mrs. Carl Kalota Dr. and Mrs. James Katz Mr. Larry Kavanagh and Ms. Kelly Kusch Dr. and Mrs. James Kaya Ms. Holly Keeler Mr. and Mrs. Geoffrey Keenan Mrs. Karen G. Keller Mr. and Mrs. Michael A. Kelley Ms. Carol Kessler and Mr. Lawrence R. Becker Ms. Susan S. Kies Mr. and Mrs. James L. Kimble Bill and Penny Kincaid Mr. and Mrs. John Kindel Mr. and Mrs. Donald W. King Dr. Harry R. Kinlaw Mr. and Mrs. Bruce A. Kintner Patrick and Mary Kirk Mr. Ray Kissinger Mr. James Klein Mr. and Mrs. Fred Kleiser Jay and Diana Klenk Mrs. Carol A. Grasha and Mr. Christopher B. Knoop Mr. and Mrs. Edward F. Knox Mr. and Dr. Randy Lee Kobman Mr. and Mrs. William Koch Mrs. Carolyn W. Koehl Mrs. Pamela Koester-Hackman Mr. Marvin P. Kolodzik and Linda Gallaher Mrs. Arlene Koon Mr. and Mrs. Richard Kovarsky Mr. and Mrs. Robert H. Kraimer Mr. and Mrs. Kenneth J. Kramer Mr. and Mrs. Howard J. Krauss Mr. & Mrs. M. H. Kremzar Mr. and Mrs. Ronald Krieg Mrs. Kathleen Krug Mr. and Mrs. Randolph L. Krumm Carol Louise Kruse Mrs. Phyllis M. Kugler Mrs. Theresa M. Kuhn Mr. David M. Kundrat Ms. Marianne Kunnen-Jones Dr. and Mrs. Daniel Kuy Mr. and Mrs. Robert F. LaChance Mr. and Mrs. Paul Laemmle Mr. and Mrs. Robert Lamb Ms. Robin G. Lambert Mrs. Barbara G. Landen Diane McKay Landi Mr. and Mrs. Richard M. Landis Ms. Margaret A. Landwehr Ms. Kathryn S. Lang Teresa T. Lange Mr. and Ms. Robert Langenderfer Mr. Walter E. Langsam Ms. Sally L. Larson Mr. and Mrs. Richard I. Lauf Mr. and Mrs. Charles W. Lauterbach Mrs. Deborah L. Lease Ms. Elaine B. Lee Ms. Patricia Lee

94 | 2023–24 SEASON

Mr. and Mrs. Terry W. Lee Dr. Donald W. Leedy Dr. and Mrs. Howard Leftwich Mr. and Mrs. Clifford A. Leighty Mr. Michael Lenz Mrs. Diane M. Collins and Mr. Jack W. Levi Ms. Jane Lewin Mr. Robert E. Lewis Mr. and Mrs. Michael A. Lieberman Dr. and Mrs. Lynn Y. Lin Dr. Peter R. Lindsay Mr. and Mrs. Nicholas A. Link Dr. and Mrs. Calvin C. Linnemann Mr. and Mrs. Thomas J. Lippert Mrs. Robert R. Lippert Mr. Steven J. Lippert Mr. and Mrs. Jonathan R. Lippincott Mr. and Mrs. Joseph A. Listermann Mr. Earl Litton Ms. Ellen A. Litton Mr. and Mrs. Barry L. Loeb Mr. and Mrs. Phillip C. Long Mr. and Mrs. Roger Losekamp Dr. and Mrs. Robert A. Love, III Dr. G. Franklin Lowe Mr. and Mrs. Stuart Lowitz Mr. and Mrs. Gary Lubin Mr. and Mrs. David S. Lucas Ms. Mary W. Lund Mr. and Mrs. David C. Lundgren Mr. and Mrs. Ron Lyons Mr. and Mrs. Brian D. MacConnell Mr. and Mrs. Douglas MacCurdy Ms. Carol A. MacGregor Dr. and Mrs. Bryan L. Madison Mr. Scott Maier Mr. and Mrs. George S. Maley Mr. and Mrs. Barry C. Malinowski Kathy and Brad Mank Donn and Pamela Manker Dr. and Mrs. Brian A. Mannion Mrs. Morita Marmo Ms. Dianne H. Marn Mr. and Mrs. Dan Marquardt Mr. and Mrs. Donald I. Marshall Mr. David L. Martin Mrs. Judith Martin Mr. and Mrs. William C. Martin Ms. M. Vicky Mary Mr. and Mrs. Warren L. Mason Mrs. and Mr. Margaret Masters Mrs. Mary E. Mathers Mr. John A. Matulaitis and Dr. Siga M. Lenkauskas Mr. and Mrs. John Mays Mr. and Mrs. Merrick F. McCarthy III Mr. and Mrs. Thomas M. McClurg Mr. Martin P. McConnell and Ms. Patricia Stockman Ms. Tawny McCormick David and Leslie McCracken Dr. Janet P. McDaniel Ms. Janet McGrath Mr. Mark E. McKillip and Ms. Amira Beer Mr. Douglas J. McKimm Mr. and Mrs. Michael C. McKinney Mr. and Mrs. Terry McMillen Ms. Nancy McNeal Mr. and Mrs. Charles C. McOsker Mr. Paul Medin and Ms. Carol Ray Lynn Meloy and Lyle Cain Lon Mendelsohn Mrs. Gloria A. Metz Mr. and Mrs. Gary A. Metzger Mr. and Mrs. Dennis J. Meyer Lee Meyer James and Sarah Michael Mrs. Ann Michaels Ms. Darlene Miller Dr. and Mrs. E. Huxley Miller Mr. and Mrs. James L. Miller Mr. James M. Miller

Ms. Sue Miller Mr. and Mrs. Richard T. Miller Drs. Robert and Elaine Miller Mr. and Mrs. Robert P. Miller Dr. and Mrs. Theodore H. Miller Mr. and Mrs. David A. Millett Terence G. Milligan Mr. and Mrs. Donald D. Mills Mr. Earl J. Mills Ms. Sonia R. Milrod Ms. Kathy S. Molony Mr. and Mrs. Jesse F. Montgomery III Eileen W. and James R. Moon Mr. Michael T. Moore, Jr. Mr. and Mrs. Russ Morrison Ms. Carol T. Moses Mr. and Mrs. Kevin R. Mosher Mr. and Mrs. Ira Moskowitz Mr. and Mrs. Gates Moss Mr. and Mrs. Edward J. Mottola Ms. Joyce A. Mueller Mrs. Kathleen Mueller Ms. Jane Mueninghoff Mr. and Mrs. James E. Muething Mr. and Dr. David Muskopf Kevin and Lane Muth Ms. Phyllis A. Myers Mr. and Mrs. Christopher Mystkowski Mr. and Mrs. James S. Nash Mr. and Mrs. Robert S. Nawalaniec Larry Neuman Mr. and Mrs. Raymond D. Neusch Mr. Gerald Newfarmer and Ms. Amy Paul Mr. and Mrs. George W. Newman Mr. Robert B. Newman and Ms. Mary Asbury Mrs. Christine E. Neyer Dr. Joseph A. Nicolas Dr. and Mrs. Melvyn M. Nizny Mr. John C. Noelcke Ms. Kathleen E. Noonan Ms. Barbara Norris Mr. and Mrs. Randolph G. Nunn, Jr. Mr. and Mrs. Bruce F. Nutley Ms. Sylvia Imes O’Bannon Mr. and Mrs. John Oberhelman Mrs. Deborah Oberlag Mr. and Mrs. Daniel B. O’Brien Mr. and Mrs. Michael J. O’Brien Mr. Edward A. O’Connell and Ms. Susan Dreibelbis Ms. Katherine O’Connor Dr. and Mrs. Alan E. Oestreich Ms. Erna Olafson Mr. R. Lee Oliver Mr. Fred C. Orth III and Ms. Marlene Miner Mr. and Mrs. James Osterburg Mr. and Mrs. Dennis R. Osterhaus Prof. and Mrs. Daniel E. Otero Mrs. Carol A. O’Toole Dr. and Mrs. Carl L. Parrott, Jr. Mr. and Mrs. Milton Partridge Mr. and Mrs. Graham Paxton Charlie and Tara Pease Poul D. and JoAnne Pedersen Dr. and Mrs. Alter Peerless Mrs. Sue C. Pepple Mr. James S. Petera and Ms. Lora S. Johnson Mr. and Mrs. Richard Peterson Carol A. and Edwin A. Pfetzing Mr. and Mrs. David C. Phillips Mr. Stephen L. Phillips Mr. and Mrs. Paul Piazza Mr. and Mrs. Joseph A. Pichler Mr. and Mrs. Martin Pinales Dr. and Mrs. Timothy L. Pohlman Mark and Kim Pomeroy Dr. and Mrs. Martin Popp Mr. David Simon Michael Potticary and Tellervo Juula-Potticary

Dr. and Mrs. Peter S. Poulos Ms. Nancy M. Powell Mr. and Mrs. Richard K. Powers Mr. and Mrs. Richard H. Pratt Drs. Marcia Kaplan and Michael Privitera Ms. Priscilla J. Prouty Mr. and Mrs. Art Provenzano Gordon and Diana Queen Mr. and Mrs. Glenn Rainey Mr. and Mrs. Paul C. Rapien Mr. and Mrs. Thomas J. Raptis Ms. Constance S. Rave Mr. and Mrs. J. Kent Rawlings Elaine Reardon, Alma Meyers and Judy Schwallie Mr. and Mrs. Mark Reckman Dr. and Mrs. Robert L. Reed Mr. and Mrs. Allan T. Reeves Mr. William D. Reid and Mrs. Anne Cushing-Reid Mr. and Mrs. Daniel H. Reigle Mr. and Mrs. Kenneth A. Reis Mr. and Mrs. Philip F. Remmel Mr. Michael Rench Mr. and Mrs. Kenneth M. Revelson Ken Rex and Patricia Wade Mr. Frank Reynolds Vicky and Rick Reynolds William and Linda Rhoads Mr. Jerry Rice Ms. Pamela S. Rice Becky and Ted Richards Mrs. Kathy F. Richardson Mr. and Mrs. Robert H. Riesenbeck Mr. and Mrs. Thomas M. Riga Mr. and Mrs. J. Timothy Riker Ms. Janice Ring Karen and Mark Ringswald Egan Ms. Sandra Rivers Mr. and Mrs. Jeffrey Robbins Mr. and Mrs. Fred C. Robertshaw Mr. and Mrs. Stephen E. Robinson Ms. Susan Robinson Suzanne and Craig Robinson Mr. and Mrs. Samuel A. Rodner Mr. Tom Rolfes Mr. and Mrs. J. G. Rosborough Mr. and Mrs. Philip Rose Mr. and Mrs. J. David Rosenberg Mrs. Bettina Ross Joseph N. Ross Mr. and Mrs. Jack Rouse James Rubenstein and Bernadette Unger Robert and Tiraje Ruckman Ms. Judy Ruehl Dr. Deborah K. Rufner Ms. Lois Runden Mr. Nick Ruotolo Mr. and Mrs. Gregory S. Rusk Mr. and Mrs. James E. Russell Ms. Lisa Russell Thomas & Audrey Ruthman Mr. and Mrs. Raymond Rybolt Mr. Gregory R. Saelens Eugene and Ellen Saenger Mrs. Iris M. Sageser Ms. Cheryl A. Sallwasser Ms. Nancy L. Sanchez Mr. and Mrs. Charles K. Sanders Mrs. Germaine L. Santos Ms. Jill H. Sauter Mr. and Mrs. David J. Savage, Jr. Dr. and Mrs. E. Don Nelson Mr. and Mrs. M. J. Scharfenberger Mr. and Mrs. Eric Schaumloffel Mr. and Mrs. Tom Schick Mr. and Mrs. David Schieve Mark S. and Rosemary K. Schlachter Mr. Wayne S. Schleutker David and Nancy Schlothauer Dr. and Mrs. Michael Schmerler Mr. and Mrs. Michael Schmidt

Opus 50 & 25 SUBSCRIBERS Mr. C. Robert Schmuelling and Ms. Susan Cohen Mr. and Mrs. Charles W. Schneider Mr. and Mrs. Paul Schneider Mr. and Mrs. Daniel J. Schnell Mr. and Mrs. Timothy H. Schoonover Ms. Carol J. Schroeder Dr.and Mrs. Fritz L. Schuermeyer Mr. Arthur K. Schuler Kenneth Schonberg and Deborah Schultz Mr. Steven R. Schultz Ms. Christine Schumacher Rev. Dr. David V. Schwab Mr. Alan Schwartz Dr. and Mrs. David B. Schwartz Ms. Carol J. Schweitzer Mr. and Mrs. David Schwieterman Ms. L. Susan Pace Ms. Jean Sens Ms. Stephanie Sepate Mr. and Mrs. Bruce Settell Ms. Janice F. Seymour Ms. Martha Sharts Drs. Mick and Nancy Shaughnessy Mr. and Mrs. Fred Shaw Mr. and Mrs. James B. Sherlock Mr. and Mrs. Bruce M. Sherwood Mr. and Mrs. Laurence A. Shiplett Stanley and Jane Shulman Mr. Eli E. Shupe, Jr. Mr. and Mrs. David C. Siebenhar Mr. and Mrs. Jay Sien Lise and Kevin Sigward Mr. Mark Silbersack Deborah Silverman, M.D. Dr. and Mrs. Barry J. Simon Mr. and Mrs. Irwin B. Simon Mrs. Linda Simon Mr. Tim Sisson Mr. and Mrs. Doug S. Skidmore Mrs. Heidi M. Smakula Mr. and Mrs. Gary A. Smith J. K. and Vicki Smith Ms. Michele A. Smith Dr. Jennifer S. Smith Mr. and Mrs. Richard C. Smith, Jr. Mr. Richard K. Smith Mr. and Mrs. Robert Smith Ms. Patricia A. Songer Mr. and Mrs. Andrew P. Speno Mr. Matthew J. Spiro

Ms. Paula A. Spitzmiller Mr. and Mrs. Richard R. Sprigg Ms. Ruth M. Stechschulte Mr. and Mrs. William G. Steenken Mrs. Trista K. Stegman Mr. and Mrs. Jacob K. Stein Mr. and Mrs. Frank E. Stephenson Ms. Marjorie A. Stephenson Mr. Richard Sternberg Mr. and Mrs. Joseph E. Stevens Mr. and Mrs. Francis H. Stewart Miss Judy Stockmeier and Mr. Raymond Dick Mr. and Mrs. Gary E. Stoelting Ms. Margaret M. Story Mr. Victor Shaffer Mr. Brett A. Stover Mr. and Mrs. Richard F. Stradling Mr. and Mrs. Gary L. Strassel Dr. Joseph Stratman Mrs. Gerri Strauss Ms. Judith A. Stubenrauch Mr. and Mrs. Robert Sugerman Mr. and Mrs. Andrew E. Sweeny, Jr. Mr. and Mrs. Francis R. Szecskay Mr. and Mrs. Thomas Tami Ms. Reiko Tanaka Mr. Ralph C. Taylor, Jr. Mr. Alexander W. Teass Mr. and Mrs. Fred Tegarden Mr. Hugh J. Brandt and Ms. Nancy A. Tehan Kathy Teipen Mr. and Mrs. John A. Tensing Tom and Sue Terwilliger Mr. Michael Ramundo and Ms. Beverly Thomas Mr. and Mrs. Stephen R. Thomas James L. Thompson Mr. and Mrs. William P. Thurman Dr. Gregory Tiao Mrs. Helga Tillinghast Ms. Myrna Tinsley-Ethridge Mr. and Mrs. William Tipkemper Mr. and Mrs. Stuart Tobin Mr. Michael R. Toensmeyer Mr. and Mrs. Robert C. Togneri Gloria and Peter Toot Mr. and Mrs. Ed Topmiller Mr. Dennis Trchka Paul and Diana Trenkamp Mr. Timothy E. Troendle

Ms. Debbie Bogenschutz and Mr. Harold Tucker Mr. and Ms. Robert H. Turner, Jr. Mr. and Ms. Clifford J. Turrell Ms. Phyllis Uffman Ms. Mary M. Uhlenbrock Mr. and Mrs. Alan J. Ullman Unique Musical Products Mr. D. R. Van Lokeren Mr. and Mrs. Johnnie W. Vance Mr. and Mrs. David VanSice Mr. and Mrs. Richard C. Veid Mr. and Mrs. Todd W. Veigel Mr. Eric Vespierre and Ms. Corinne Reich Ms. Mary U. Vicario Mr. and Mrs. Miguel Villalba Mrs. Mary Ellen H. Villalobos Mr. and Mrs. Christopher F. Virgulak Mr. and Mrs. Paul R. Vollbracht Ms. Molly A. Vollmer Mr. and Mrs. James K. Votaw Mr. and Mrs. Randolph L. Wadsworth Jr. Mr. and Mrs. Richard E. Wagner, Jr. Nancy Wagner and Patricia Wagner Mr. and Mrs. James A. Waldfogle Mrs. Brenda Walker Robert and Joan Wallace Dr. and Dr. Mark Wallingford Mr. and Mrs. Denis F. Walsh Ms. Lesly Sue H. Walters Mr. Michael L. Walton Ms. Sarella M. Walton Dr. Robert J. Warden Mr. and Mrs. Howard P. Warner Dr. and Mrs. Jerry Warner Claude and Camilla Warren Frederick and Jo Anne Warren Mr. and Mrs. Chad Warwick Mr. and Mrs. Richard Wayman Dr. and Mrs. Barry W. Webb Mr. and Mrs. Terry N. Webb Mr. and Mrs. Richard Webster Mrs. William N. Weed Ms. Marilyn J. Wehri Mr. Gerald Weigle, Jr. Dr. and Mrs. Daniel L. Weinstein Mr. and Mrs. Richard Weis Ms. Anne M. Werner Mr. and Mrs. James E. Wesner DeeDee and Gary West

Mr. John H. Westenkirchner Mr. and Mrs. Howard Wetzler Mrs. Margaret L. Whalen Dr. and Mrs. Stephen P. Whitlatch Mr. and Mrs. Daniel Whittenburg Mrs. Ann Wicks Ms. Glay P. Wiegand Janice T. Wieland Mr. and Mrs. Garth Wiley Mr. and Mrs. Robert H. Wilhelm Shirley Gershuny-Korelitz Mr. and Mrs. James A. Williams Dr. Jeffrey C. Williams Ms. Catherine S. Willis Mr. and Mrs. Robert Willis Mrs. James W. Wilson, Jr. Mr. and Mrs. John W. Wintz Mr. and Mrs. Richard B. Wissel Ms. Barbara J. Witte Mr. and Mrs. Craig V. Wolf Gary and Cindy Mr. and Mrs. Donald Wolnik Steve and Katie Wolnitzek Regina and Joseph Wolterman Mr. and Mrs. Charles Wood Mr. and Mrs. David H. Wood Mr. and Mrs. Carl Woodrow Mr. Tom Woodruff Dr. and Mrs. Mark Workman Mr. and Mrs. William A. Wortman Charles Wright Mr. and Mrs. Jerry Wuestefeld Mr. Alvin Wulfekuhl Ms. Susan Mineer-Wulsin Mr. and Mrs. Geoffrey Wyght Mr. and Mrs. Wayne C. Wykoff Mr. and Mrs. Robert L. Wylly John M. Yacher Emel Yakali Mr. Won-Bin Yim Mr. and Mrs. David C. Youmans Mrs. Darleen J. Young Mr. Jim Young Carol J. Yungbluth Mr. and Mrs. John E. Zeller Mr. and Mrs. Robert R. Ziek, Jr. Mr. and Mrs. Robert L. Zierolf Mrs. Irene Zigoris Donald and Karen Zimmerman Ms. Sue Zimmerman Dr. and Mrs. David C. Zink Ms. Judith P. Zinsser Ms. Mary L. Zubelik

THANK YOU, LOYAL SUBSCRIBERS!

Fanfare Magazine | 95

ADMINISTRATION SHARED SERVICES & SUBSIDIARIES. The Cincinnati Symphony Orchestra’s business model is unique within the orchestral industry because it provides administrative services for other nonprofits and operates two subsidiary companies—Music & Event Management, Inc. and EVT Management LLC. With the consolidation of resources and expertise, sharing administrative services allows for all organizations within the model to thrive. Under this arrangement, the CSO produces hundreds of events in the Greater Cincinnati and Dayton regions and employs hundreds of people annually.

Kit Gladieux Communications Intern

HUMAN RESOURCES & PAYROLL Kyle Wynk-Sivashankar Vice President of Human Resources

Lauren Hall Digital Content Intern

Megan Inderbitzin-Tsai Director of Payroll Services

John Clapp Vice President of Orchestra & Production

Tyler Secor Director of Publications & Content Development

Natalia Lerzundi Human Resources & Payroll Coordinator

Rich Freshwater Vice President & Chief Financial Officer

Lee Snow Digital Content Technology Manager

Jenny Ryan Human Resources Manager

Michael Frisco Vice President of Marketing

COMMUNITY ENGAGEMENT, DIVERSITY, EQUITY & INCLUSION Harold Brown The Honorable Nathaniel R. Jones Chief Diversity & Inclusion Officer

SENIOR MANAGEMENT TEAM Jonathan Martin President & CEO Harold Brown The Honorable Nathaniel R. Jones Chief Diversity & Inclusion Officer

Felecia Tchen Kanney Vice President of Communications & Digital Media Mary McFadden Lawson Chief Philanthropy Officer

Kaitlyn Driesen Digital Production Manager

LEARNING Carol Dary Dunevant Director of Learning Hollie Greenwood Learning Coordinator Kyle Lamb Learning Programs Manager

Robert McGrath Chief Operating Officer

Key Crooms Director of Community Engagement

Mason Stewart Education Programs Intern

Anthony Paggett Acting Vice President of Artistic Planning

Pamela Jayne Volunteer & Community Engagement Manager

MARKETING Michael Frisco Vice President of Marketing

Kyle Wynk-Sivashankar Vice President of Human Resources

FINANCE, IT & DATA SERVICES Rich Freshwater Vice President & Chief Financial Officer

Leon Barton Website Manager

Deborah Benjamin Accounting Clerk

Carmen Granger Subscriptions & Loyalty Marketing Manager

EXECUTIVE OFFICE Jonathan Martin President & CEO Laura Ruple Executive Assistant to the President and CEO Robert McGrath Chief Operating Officer Shannon Faith Assistant to the Chief Operating Officer ARTISTIC PLANNING Anthony Paggett Acting Vice President of Artistic Planning Grace Kim Artistic Planning Intern Shuta Maeno Assistant to the Music Director & Artistic Planning Sam Strater Senior Advisor for Cincinnati Pops Planning COMMUNICATIONS & DIGITAL MEDIA Felecia Tchen Kanney Vice President of Communications & Digital Media Charlie Balcom Social Media Manager KC Commander Director of Digital Content & Innovation

96 | 2023–24 SEASON

Julian Cann Accounting Clerk Kathleen Curry Data Entry Clerk Elizabeth Engwall Accounting Manager Matt Grady Accounting Manager Sharon Grayton Data Services Manager Marijane Klug Accounting Manager

Jon Dellinger Copywriter & Marketing Manager

Elaine Hudson Assistant Box Office Manager Hannah Kaiser Assistant Box Office Manager Abigail Karr Audience Engagement Manager Stephanie Lazorchak Graphic Designer Michelle Lewandowski Director of Marketing

Shannon May Accounting Clerk

Tina Marshall Director of Ticketing & Audience Services

Kristina Pfeiffer Director of Finance

Madelyn McArthur Marketing Intern

Elizabeth Salmons Accounting Clerk

Amber Ostaszewski Director of Audience Engagement

Judy Simpson Director of Finance Tara Williams Data Services Manager

Alexis Shambley Marketing & Audience Insight Coordinator

Patron Services Representatives Ellison Blair, Lead Drew Dolan, Lead Wendy Marshall, Lead Erik Nordstrom, Lead Hannah Blanchette Alison de la Paz Craig Doolin Mary Duplantier Ebony Jackson Talor Marren Lucas Maurer Marian Mayen Gregory Patterson PHILANTHROPY Mary McFadden Lawson Chief Philanthropy Officer Laura Aldana Philanthropy Intern Sean Baker Director of Institutional Giving Bhaya Nayna Channan Corporate Giving Manager Ashley Coffey Foundation & Grants Manager Kate Farinacci Director of Special Campaigns & Legacy Giving Penny Hamilton Philanthropy Assistant Catherine Hann Assistant Director of Individual Giving Rachel Hellebusch Institutional Giving Coordinator Leslie Hoggatt Director of Individual Giving & Donor Services Quinton Jefferson Research & Grants Administrator D’Anté McNeal Special Projects Coordinator Jenna Montes Individual Giving Manager Emma Steward Donor Engagement Coordinator PRODUCTION John Clapp Vice President of Orchestra & Production Naomi Bennett Orchestra Personnel & Operations Manager Laura Bordner Adams Director of Operations Carlos Javier Production Manager Alex Magg Production Manager Isabella Prater Production Intern Brenda Tullos Director of Orchestra Personnel

Welcome WE BELIEVE MUSIC LIVES WITHIN US ALL

regardless of who we are or where we come from. We believe that music is a pathway to igniting our passions, discovering what moves us, deepening our curiosity and connecting us to our world and to each other.

DIVERSITY, EQUITY AND INCLUSION The Cincinnati Symphony Orchestra and Cincinnati Pops Orchestra’s commitment to diversity, equity and inclusion is catalyzed by systemic injustice and inequality perpetuated by individuals and institutions. Our mission is to seek and share inspiration, and at its essence, the CSO exists to serve our community. Our entire community.

Reflecting our community and the world around at every level—on stage, behind-thescenes, and in neighborhoods throughout the region—is essential to the CSO’s present and future and makes us a strong ensemble and institution.

LAND ACKNOWLEDGEMENT The Cincinnati Symphony Orchestra and Cincinnati Pops acknowledges that Cincinnati Music Hall occupies land that has been the traditional land of the Hopewell, Adena, Myaamia (Miami), Shawandasse Tula (Shawanwaki/Shawnee), and Wahzhazhe Manzhan (Osage) peoples, who have continuously lived upon this land since time immemorial. We acknowledge that this land was unceded and stolen via methods of genocide and ethnic cleansing by colonizers.

We honor past, present and future Indigenous peoples.