March & April Fanfare Magazine

MAR/APR 2023

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Seas s o e n d u l c n o C e l a c M a tin ée M u s i an rm c o es! f r e P g n i l l i r h T wi th Tw o

Valerie Eickhoff

USA DEBUT

MEZZO-SOPRANO

Silver-Garburg PIANO DUO

Sunday • March 26, 2023 7 PM

Sunday • May 7, 2023 3 PM

Memorial Hall

Anderson Hills United Methodist Church

1225 Elm Street • Over the Rhine

7515 Forest Road, Cincinnati, 45255

• Winner of the 2022 German SWR Young Opera Stars Competition

• Have performed and collaborated with orchestras in 70 countries on 5 continents

• Awarded the Emmerich Smola Prize, selected by the audience — only six young top-class singers are invited to compete for this award

• Appeared as soloists with the Orchestra of the Americas alongside Yo-Yo Ma and Claudio Bohorquez on their 2021 European tour

• Awarded the Deutsche Radio Philharmonie Orchestra Prize, selected by members of the orchestra

• Since 2014, have occupied one of the few extant professorships for piano duo at the Graz University of the Arts

• 2021 prize winner in the singing division of the ARD music competition, Germany’s largest international classical music competition • Member of the Deutsche Oper am Rhein • Repertoire includes role of Prince Orlovsky (Die Fledermaus), Lisetta (Haydn’s Il mondo della luna), Angelina (Rossini’s La Cenerentola) and Cherubino (Le nozze di Figaro)

“[The duo demonstrates] lyrical sensitivity and ravishing technical mastery…only rarely does one experience such spontaneous shouts of ‘bravo’ at the end of a concert.”

—Frankfurter Allgemeine Zeitung “The Silver-Garburg Piano Duo compels with their superb sound and outstanding ensemble playing…Extremely classy.”

—Concerti

Tickets:

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

MARCH/ APRIL 2023

CONTENTS 4

Directors & Advisors

5

Cincinnati Symphony Orchestra “We Believe”

6

Upcoming Concerts

8

Welcome from the President & CEO

9

Feature: Premieres, Mermaids and Deafness: Bringing New Works to Music Hall

16

Feature: Film + Live Orchestra: A New Concert Experience

20

Spotlight: Celebrating Women’s History Month

25

Spotlight: Young People’s Concerts: Innovating for a New Generation

29

Spotlight: Meet Our New Orchestra Musicians, Part III

33

Orchestra Roster

34

Artistic Leadership: Louis Langrée, John Morris Russell, Matthias Pintscher, Damon Gupton, Samuel Lee and Daniel Wiley

37

Guest Artist Biographies

43

Concerts and CSO Program Notes: Mar. 4–5: Death & Transfiguration | Mar. 10–12: Marvel’s Black Panther Film in Concert | Mar. 17–18: The Mermaid | Mar. 19: NIMAN and CSO Side-by-Side | Mar. 24–26: Beethoven’s Fifth | Mar. 25: Lollipops Sherlock Holmes and the Case of the Missing Maestro | Apr. 7–8: Shostakovich Symphony No. 5

73

Financial Support

80

Administration

ALSO look for the Mar/Apr “Of Note” found on p. 56 of this issue of Fanfare Magazine.

ON THE COVER: CSO Principal Horn Elizabeth Freimuth.

Credit: Roger Mastroianni

All contents © 2022–23. Contents cannot be reproduced in any manner, whole or in part, without written permission from the Cincinnati Symphony Orchestra and Cincinnati Pops.

2 | 2022–23 SEASON

9 Cincinnati Symphony Orchestra performances in March and April offer a delightful mix of premieres, exciting guest soloists, and… mermaids(?). Yes, mermaids!

Read about it on pp. 9–15.

16 The CSO and Pops have, in the last few decades, seized the opportunity to present concerts featuring films with live orchestra— including our March performances of Marvel’s Black Panther Feature Film with Orchestra. It’s a marriage of art and technology that has audiences cheering. Learn more on pp. 16–19.

20 March is Women’s History Month, and we celebrate by featuring the CSO’s women in leadership (two pictured here) of the CSO. Read about the women who influenced them and how they, in turn, are influencing others and effecting change, pp. 20–24.

A proud sponsor of the musical arts

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

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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 | 2022–23 SEASON

Dianne Rosenberg, Chair Robert W. McDonald, Immediate Past Chair Sue McPartlin, Treasurer and Vice-Chair of Finance Usha C. Vance, Secretary Timothy Giglio and Gerron L. McKnight, Esq., 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 Kate C. Brown Ralph P. Brown, DVM Trish Bryan* Otto M. Budig, Jr.* Andria Carter Melanie M. Chavez Michael L. Cioffi Andrea Costa Adrian Cunningham Gabe Davis Kelly M. Dehan Alberto J. Espay, M.D. Dr. Maria Espinola Mrs. Charles Fleischmann III* Lawrence Hamby Delores Hargrove-Young

Francie S. Hiltz* Joseph W. Hirschhorn* Brad Hunkler Lisa Diane Kelly Edna Keown Patrick G. Kirk, M.D. Florence Koetters Jonathan Kregor Peter E. Landgren John Lanni Shannon Lawson Spencer Liles* Edyth B. Lindner* Will Lindner Timothy Maloney Holly Mazzocca James P. Minutolo Laura Mitchell John A. Moore Theodore Nelson Lisa Lennon Norman Bradford E. Phillips, III Aik Khai Pung James B. Reynolds* Jack Rouse* Lisa M. Sampson Patrick Schleker Digi France Schueler Valarie Sheppard Stephanie A. Smith Albert Smitherman Kari Ullman David R. Valz Randolph L. Wadsworth, Jr.* Daniel Wachter *Director Emeritus

BOARD OF DIRECTORS DIVERSITY, EQUITY & INCLUSION (DE&I) COMMITTEE and COMMUNITY ADVISORY 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 Members: Tiffany Cooper, Kyle Wynk-Sivashankar

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: Tiffany Cooper, Harold Brown

Multicultural Awareness Council Susan Carlson Andria Carter Piper Davis Dara Fairman Kori Hill Alverna Jenkins Beverley Lamb Carlos Garcia Leon Aurelia “Candie” Simmons Jaime Sharp Quiera Levy Smith Daphney Thomas Alford West Staff: Tiffany Cooper, Harold Brown

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.

— Representation and visibility matter. As we strive to be the most relevant orchestra in America, we begin with these statements that recognize historical problems in our Organization and industry and define our hopes for the future.

We are committed to diversity, equity and inclusion Our commitment to diversity, equity and inclusion is catalyzed by systemic injustice and inequality perpetuated by individuals and institutions. We believe that reflecting our community and the world around us at every level—on stage, behind-the-scenes, and in neighborhoods throughout the region—is essential to the CSO’s present and future.

We honor the land and Indigenous peoples We acknowledge 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 honor past, present and future Indigenous peoples.

C O M I N G U P AT M U S I C H A L L MAR 2023 DEATH & TRANSFIGURATION MAR 4 & 5 SAT 7:30 pm; SUN 2 pm* Louis Langrée conductor Elizabeth Freimuth horn R. STRAUSS Horn Concerto No. 1 Samuel ADAMS Variations [World Premiere, CSO Co-Commission] R. STRAUSS Death and Transfiguration

Film In Concert MARVEL’S BLACK PANTHER MAR 10–12 FRI & SAT 7:30 pm; SUN 2 pm THE MERMAID MAR 17 & 18 FRI & SAT 7:30 pm Kevin John Edusei conductor Simone Lamsma violin F. MENDELSSOHN Die schöne Melusine (“The Fair Melusine”) E. KORNGOLD Violin Concerto A. ZEMLINSKY Die Seejungfrau (“The Mermaid”)

BEETHOVEN’S FIFTH MAR 24–26 FRI 11 am; SAT 7:30 pm; SUN 2 pm Anna Rakitina conductor Sterling Elliott cello A. DVOŘÁK Cello Concerto Richard AYRES No. 52, I. Saying Goodbye L.v. BEETHOVEN Symphony No. 5

Lollipops Concert SHERLOCK HOLMES AND THE CASE OF THE MISSING MAESTRO MAR 25 SAT 10:30 am Concert Sponsor: Cincinnati Symphony Club

CSO PROOF: SURREALIST EL TROPICAL MAR 29 & 30 WED & THU 8 pm Rosie Herrera Dance Theatre Rosie Herrera choreographer Clyde Scott video and production designer Luke Kritzeck lighting and production designer

APR 2023 SHOSTAKOVICH SYMPHONY NO. 5 APR 7 & 8 FRI & SAT 7:30 pm Louis Langrée conductor Stephen Hough piano Daníel BJARNASON New Work, Part I [US Premiere, CSO Co-Commission] S. RACHMANINOFF Piano Concerto No. 1 D. SHOSTAKOVICH Symphony No. 5

CLASSICAL ROOTS APR 14 FRI 7:30 pm* John Morris Russell conductor Donald Lawrence featured guest artist Classical Roots Community Choir Artist Sponsor: Jeffrey & Jody Lazarow and Janie & Peter Schwartz Family Fund

N. RIMSKY-KORSAKOV Russian Easter Overture Billy CHILDS Saxophone Concerto [CSO Co-Commission] M. MUSSORGSKY Pictures at an Exhibition (arr. Ravel)

MAHLER SYMPHONY NO. 7 APR 21 & 22 FRI 11 am; SAT 7:30 pm Matthias Pintscher conductor G. MAHLER Symphony No. 7 Concert Sponsor: Peter Landgren and Judith Schonbach Landgren

BEN FOLDS APR 25 TUE 7:30 pm Ben Folds singer-songwriter-pianist RAGTIME In Concert APR 28-30 FRI & SAT 7:30 pm; SUN 2 pm John Morris Russell conductor

MAY 2023 SAINT-SAËNS ORGAN SYMPHONY MAY 5-7 FRI & SAT 7:30 pm; SUN 2 pm Louis Langrée conductor Víkingur Ólafsson piano Friday & Saturday H. BERLIOZ Overture to Les francs-juges (“The Judges of the Secret Court”) M. RAVEL Concerto in G Major for Piano and Orchestra C. SAINT-SAËNS Symphony No. 3, Organ Sunday H. BERLIOZ Overture to Les francs-juges (“The Judges of the Secret Court”) H. BERLIOZ “Marche des Gardes” from Les francs-juges (“The Judges of the Secret Court”) C. SAINT-SAËNS Danse macabre C. SAINT-SAËNS Symphony No. 3, Organ

AN AMERICAN IN PARIS MAY 12 & 13 FRI 11 am; SAT 7:30 pm Louis Langrée conductor Courtney Bryan piano and composer D. MILHAUD La création du monde (“The Creation of the World”) Courtney BRYAN Piano Concerto [World Premiere (orchestral version), CSO Co-Commission] D. ELLINGTON Night Creature G. GERSHWIN An American in Paris (ed. Clague) Presenting Sponsor: HORAN

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 Music Hall | 1241 Elm St | Cincinnati, OH | 45202

THESE ARE YOUR MOMENTS

PICTURES AT AN EXHIBITION APR 15 & 16 SAT 7:30 pm; SUN 2 pm Ramón Tebar conductor Steven Banks saxophone

WELCOME FROM THE PRESIDENT AND CEO

©Roger Mastroianni

We owe a great deal of thanks to our audiences and donors, our Board, our staff, our musicians, and our artistic leaders for the momentum we are gathering as we move into a post-pandemic, changed world.

Dear Friends, Welcome to the Cincinnati Symphony Orchestra and Cincinnati Pops!

The level of activity that takes place here is extraordinary. Each time we pause and reflect on the magnitude of programs, innovation, and the people who make it all a reality, the breadth of activity never ceases to inspire us to constantly strive to better serve our community. We owe a great deal of thanks to our audiences and donors, our Board, our staff, our musicians, and our artistic leaders for the momentum we are gathering as we move into a post-pandemic, changed world.

In this issue of Fanfare Magazine, we dive into the stories behind our March and April concerts and learn more about the changing landscape of the concert experience. In Ken Smith’s story, we hear from Louis Langrée, composer Samuel Adams, guest conductor Kevin John Edusei and cellist Sterling Elliott. In Steven Rosen’s piece, he explores the intersection between films and live music and its recent surge in popularity through the perspectives of John Morris Russell, Matthias Pintscher and Keitaro Harada. In Wajeeh Khan’s story, we highlight our Young People’s Concerts and how they inspire the next generation of musicians and fans.

We talk to our newest musicians about their journeys to Cincinnati and our Orchestra in the third and final installment of our new musicians series. In honor of Women’s History Month in March, we feature the women leaders on our administrative team who are changing the face of orchestral administration.

You will also see within the pages of this magazine a special event on March 19 featuring a side-by-side performance of the inaugural National Pathways Festival Orchestra, made up of some of the most talented young musicians from across the country, and the CSO. In 2019, the CSO was the incubator for and partner to the newly-established National Instrumentalist Mentoring and Advancement Network (NIMAN), dedicated to creating a level playing field for BIPOC classical music instrumentalists in the United States. With leaders from American orchestras, professional musicians and educators, we are collectively working on aligning resources and collaborating to strengthen the trajectory of classical instrumentalists of color at all stages of their pre-careers. We are laying the foundation for much-needed change in our sector, and we are proud to host this year’s convening here at Music Hall.

There is much to look forward to in the coming months, and I thank you for joining us.

With gratitude,

Jonathan Martin

8 | 2022–23 SEASON

Premieres, Mermaids and Deafness: Bringing New Works to Music Hall

by Ken Smith

C

CSO Music Director Louis Langrée conducts the Cincinnati Symphony Orchestra in Prokofiev’s Symphony No. 5, January 2023. Credit: Mark Lyons

onducting a world premiere is always a point of pride for Louis Langrée, but he approaches a premiere with a touch of humility, too “When it comes to bringing a new work into the world, we’re not the parents,” he says. “We’re only the doctors and midwives assisting the delivery.”

That feeling is particularly acute in the case of Samuel Adams’ Variations,

since Langrée wasn’t even the original doctor. Written during the 2020–21 season, when Adams had been tapped to be the Concertgebouw’s composer-in-residence, the piece required too many forces for Amsterdam’s legendary concert hall to accommodate safely under Covid protocols. Therefore, the CSO’s performances on March 4 and 5, originally intended to be the U.S. premiere, will now be the world premiere.

“I often have rich and fertile discussions with composers, not just about

the music but also the orchestra itself, its history and current personality,” he says. “But with Sam it was different. The piece is dedicated to Karina Canellakis, who was supposed to conduct the premiere with the Netherlands Radio Philharmonic.”

Even before seeing the score, however, Langrée was captivated by Adams’ “cerebral” music—he compares its “waves and layers” to French spectralists like Tristan Murail—to bookend his piece with two works by one of Cincinnati’s most beloved composers, Richard Strauss. “This is not just juxtaposing a world premiere with classic repertoire, it’s about comparing two totally different languages, two radically different conceptions of orchestral color,” he says.

10 | 2022–23 SEASON

CSO FEATURE

Violinist Pekka Kuusisto plays Daníel Bjarnason’s Violin Concerto with the Cincinnati Symphony Orchestra, Louis Langrée conducting, January 2023. Credit: Mark Lyons

Both Strauss and Adams, he adds, strongly

legends: Mendelssohn’s concert overture Märchen

convey the sensibilities of youth. Strauss wrote

von der schönen Melusine (“The Fair Melusine”)

Death and Transfiguration, which Strauss himself

and Zemlinsky’s Die Seejungfrau (“The Mermaid”),

conducted with the CSO in 1904, when he was 25. He wrote the Horn Concerto No. 1, which will feature CSO Principal Elizabeth Freimuth as soloist, even earlier as a tribute to his father, who was a leading horn player in his day.

That family dynamic, Langrée admits, has some bearing on his placing Strauss’ concerto

an orchestral fantasy based on

Even before seeing the score…Langrée was captivated by Adams’ “cerebral” music… comparing its “waves and layers” to French spectralists like Tristan Murail…

alongside Adams, the son

Hans Christian Andersen’s folktale “The Little Mermaid.”

The program all started with Zemlinsky, says Edusei, who was taken both by the beauty of the composer’s music and the power of his storytelling. “Die Seejungfrau is full of the most beautiful melodies, but when you dive beneath the surface you

of postminimalist composer John Adams.

discover this intricate counterpoint—inspired by

“Sometimes a parental figure can be so dominant,

Brahms—that closely follows the plot of the love

but in neither example here does that seem to be

story.”

the case,” Langrée adds. “Sam definitely writes in

There was also the “story behind the story,”

his own language, but it’s not difficult to hear an

where it’s not hard to hear art imitating life. “After

occasional nod to his father.”

his tragic affair with Alma Schindler, who shortly

Slightly more overt themes follow a similar

after became Gustav Mahler’s wife, Zemlinsky

formula in two upcoming CSO programs by guest

very much identified with the reflected little

conductors. On March 17 and 18, Kevin John

mermaid,” Edusei says. “How can you not love

Edusei makes his CSO debut leading Korngold’s

this piece?”

Violin Concerto with soloist Simone Lamsma,

A natural pairing came in Mendelssohn, he

bookended by two works inspired by mermaid

adds, since his Overture was inspired by the

`` Fanfare Magazine | 11

CSO FEATURE

same medieval French legend that became

The next week, conductor Anna Rakitina opens

the basis for most mermaid stories to come.

the March 24, 25 and 26 program with Dvořák’s

“Mendelssohn was looking to write an overture

Cello Concerto performed by soloist Sterling

that doesn’t make people shout ‘da capo’

Elliott, followed by two pieces that evoke— one conscously, one not—the

[repeat, “from the beginning”] but rather touches on more intimate feelings,” Edusei explains. “In the first two measures, we already understand that we’re in the water, following the mermaid’s swimming gestures. You sense the male

Looking for a fitting concerto to reunite with Dutch violinist Simone Lamsma, Edusei turned to Korngold, a student of Zemlinsky in Vienna.

subject of deafness. Preceding Beethoven’s Fifth Symphony is the first movement of Richard Ayres’ No. 52, a piece originally commissioned by the BBC in 2020. Opening with a solo cello line gradually augmented by the other strings “appearing like a

character in the agitated allegro, and the piece ends as softly as it begins, with the

fog…distorted as a tinnitus,” Ayres recreates a

mermaid disappearing in the last waves.”

sense of Beethoven’s—and his own—increasing

Looking for a fitting concerto to reunite with the Dutch violinist Simone Lamsma, Edusei

hearing loss.

Such a theme may seem a world away from

turned to Korngold, a student of Zemlinsky in

Dvořák, but for Elliott, who grew up playing

Vienna. “This is a great occasion to hear pupil

collaboratively in his family string quartet from

and teacher in juxtaposition,” he says. “It makes

the time he was 5, this is precisely the kind of

you wonder, how much of the often-quoted

non-traditional program where teamwork can

‘Hollywood Sound’ so associated with Korngold

yield quirky and unusual results. “With most

actually stems from Zemlinsky.”

concerto performances, I don’t really concern

Guest conductor Kevin John Edusei. Credit: Marco Borggreve

12 | 2022–23 SEASON

CSO FEATURE

myself with the rest of the program,” says the

Shostakovich’s Fifth Symphony and

cellist, who will be making his first appearance

Rachmaninoff’s First Piano Concerto with soloist

with Rakitina. “But in a situation like this, Anna

Stephen Hough, Langrée will conduct the first

may have some aspects that feed directly from

part of a new Bjarnason work co-commissioned

the Dvořák as a point of continuity. In any case,

by the CSO.

it’s considerably more gratifying when a joint effort brings the whole thing together.”

“Daníel is also a conductor, so he knows how to fill an orchestra with idiosyncratic timbres

Langrée returns to the podium in early

and vibrant textures,” Langrée says. “The sound

April with another premiere that is less of

is immediately recognizable, transparent, tricky

a singular headline-grabber than a new

rhythmically, but at the same time powerful.”

chapter in an ongoing, fruitful relationship.

Premieres always have a lot of buzz

Back in 2015, Langrée conducted the world

around them, but sometimes the subsequent

premiere of Collider, an orchestral piece by the

performances are when the piece takes on

Icelandic composer Daníel Bjarnason

a new life. “If a performance of a new work

commissioned for the CSO’s

is not a world premiere, somehow it seems

MusicNOW Festival. When Langrée

less interesting,” Langrée says. “Sometimes a

asked to bring the piece back in

first performance is indeed full of shock and

2020 for the Orchestra’s 125th

beauty, but as a performer I enjoy revivals much

anniversary concert, Bjarnason

more. You don’t have the added pressure of

admitted that he “made a few

determining whether or not a piece will

changes.”

“Actually, it was a totally different piece,” Langrée

work. You already know it works. You’re immediately starting at a higher level, so it can only be better.”

laughs. “And I liked both.

He cites the presentation format

At some point, we should

of Bjarnason’s new piece as the

perform both in the same

best of both worlds: the CSO

concert.” That might take

and its two commissioning

some time, however,

partners will each offer the

since other Bjarnason

world premiere of a single

works keep cropping

movement, as well as a

up. Earlier this season,

later performance of the

Langrée conducted

entire work. “So many

the composer’s

compositions have their

Violin Concerto

premiere and then just

with soloist Pekka

disappear,” Langrée says.

Kuusisto (for

“This way we each share

whom the piece

both the work and the

was written).

excitement, and it will

On April

surely give greater life to

7 and 8,

the piece.”

along with

Cellist Sterling Elliott

Fanfare Magazine | 13

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CSO FEATURE

SIDEBAR

How a pandemic, Fibonacci, and a desert landscape influenced Adams’ Variations

by KEN SMITH

One of the many ironies of Samuel Adams’s Variations—a piece, incidentally, devoid of any classical “theme and variation” formula—was that it had been written at the behest of Amsterdam’s Concertgebouw, where Adams had been appointed composerin-residence in 2020. As a result of the Covid pandemic, Adams was “in residence” neither in the Netherlands nor his longtime home in the Bay Area, but rather (as he describes it) in “desert suburbia.”

“Once it became clear that my wife wouldn’t be working for a while—she was a violinist with the San Francisco Symphony— we left for western Nevada,” he says. “I like to say that composers are social distancers by profession, but for about a year and a half we were literally out there by ourselves.”

Well, not entirely by themselves—there were the Canada geese—but the pareddown environment soon took root in his music. “The desert was so unbelievably gorgeous. And for seven or eight months, I was basically stationary and became very sensitized to gradual changes in my surroundings,” he explains. “So these ‘variations’ are really a series of gradually, almost intangibly, morphing environments. Certain themes and core harmonic ideas reemerge as the piece goes on, but the sense of ‘variation’ has much more to do with Right: Composer Samuel Adams (Credit: Lenny Gonzalez).

kaleidoscopic changes of color and energy.”

Structurally, the six sections expand exponentially—from one minute to two, then three, then five, then eight— mathematically following the Fibonacci sequence but also intuitively reflecting both the expansive nature of the pandemic lockdown and the gradual reopening of space that offered new possibilities.

Above: Amargosa Valley, Nevada—Paiute and Shoshone land (Credit: Deborah O’Grady).

The Fibonacci sequence.

“This piece, which I started in June 2020 and finished in January 2021, marked the beginning of a whole new chapter where I began reconsidering my priorities as a person and a musician,” explains Adams, who has since relocated with his wife and newborn child to Seattle. The piece’s belated world premiere—the

2021 performance originally set for Amsterdam has been rescheduled for 2024—follows on the heels of his “non-concerto” No Such Spring for piano and orchestra (scheduled for its world premiere in February 2023 with pianist Conor Hanick and the San Francisco Symphony), which he says is an extension of the same sound world.

“I think the change in my music mirrored the change in my emotional state,” he says. “I used to expect audiences to lean in, probably more than they were comfortable with….

Now I feel it’s important to create a sense of immediacy.

When I was in my 20s, I used to think that complicated music was by definition complex, but I’ve learned that those are very different things. Mozart is simple, but complex. And a lot of complicated modernism is actually very facile. Now, I’m trying to write complex music, but with many points of entry so that a wide range of people—with their own individual listening histories and variety of personal experiences—can find their way in.”

Fanfare Magazine | 15

Film + Live Orchestra: A New Concert Experience

by Steven Rosen

Credit: Mikki Schaffner

CSO Creative Partner Matthias Pintscher conducts the Cincinnati Symphony Orchestra for CSO Proof: Sun Dogs, October 2022.

Credit: Charlie Balcom

…the crowd erupted with the biggest cheering and clapping of the night.

The Pops was anything but, excuse the term, “second fiddle” to the movie.

At a Cincinnati Pops concert in late December 2022, Justin and Amanda Eckstein of Bridgetown were sitting at the middle of a center row in the packed gallery section of Music Hall’s Springer Auditorium with a superb view of all the multi-media activity before them. A huge, suspended movie screen was showing Star Wars: The Force Awakens while the Orchestra on the stage below was playing the film’s rousing, exciting score with flair and in sync with the cinematic action.

When the movie’s involving narrative was over and the extensive credits began to scroll on the screen, the young couple didn’t leave.

Neither, unusually, did most others in the sold-out concert hall. They were waiting to applaud the Orchestra when the credits ended. “Usually people never sit through the end credits of a movie,” Justin said. “But they absolutely do here.” `` African drum virtuoso Massamba Diop will join the Pops for its Marvel’s Black Panther Film with Orchestra performances March 10–12.

Fanfare Magazine | 17

FEATURE: Film with Orchestra

One reason is that the have been Return of the Jedi, night’s guest conductor, The Empire Strikes Back, Keitaro Harada, had earlier Coco, Home Alone, Harry told the crowd, which Potter and the Sorcerer’s included many young adults Stone, Harry Potter and the Prisoner of Azkaban and West and parents with children in tow, to sit patiently so they Side Story (the 1961 film).

The next similar Pops could heartily applaud the credit for the film’s esteemed presentation will take place March 10–12, when composer, John Williams.

And they did! But they also concertgoers can see Black Panther, 2018’s smash hit stayed seated even after that, until the Orchestra ceased from Disney and Marvel Studios, while the Orchestra playing. Then the crowd erupted with the biggest performs the film’s Academy Award-winning score by cheering and clapping of the night. The Pops was anything Swedish composer Ludwig Göransson. Damon Gupton, but, excuse the term, “second Pops Principal Guest fiddle” to the movie.

Conductor, is scheduled to “The live music aspect conduct this concert. adds so much to it,” “There are so many Justin said. “There’s amazing composers so much to see.” out there, and he’s Told later about one for sure,” said that comment, Cincinnati Pops Harada—an Conductor John Associate Conductor Morris Russell of of the Cincinnati Black Panther’s Symphony Orchestra Göransson. “So from 2015 to 2019 much of the and current Music score is based on and Artistic Director African drumming. of the Savannah Göransson Philharmonic— collaborated with wasn’t surprised. “I From top: Audience members dressed up in their finest Beauty and the Beast costumes, September 2022 (Credit: Tyler Secor). Conductor one of the great think everyone has Keitaro Harada and his wife Yuri Kurashima pose with members of Ohio masters of African different reasons for Garrison of the 501st Legion (Credit: Charlie Balcom). percussive arts, attending, but the Massamba Diop, to record this fantastic score.” common denominator is they want to hear their In a thrilling move, Diop, a virtuoso of the tama, orchestra play live to a film they love,” he said. a Senegalese talking drum, will be performing “You can’t get that in the movie theater and you with the Pops for the Black Panther screenings. can’t get that in your house, no matter how great As Russell explains it, pairing movies with your sound system is. It’s so different hearing a live orchestral music goes back to the silent era, great orchestra play in front of you. That’s what but has really taken off in recent years due to the draw is.”

John Williams. “Williams’ music is so brilliantly The Force Awakens was a smashingly crafted to make the most of the drama inherent successful example of the Pops’ ongoing in an orchestra,” he said. “So it’s been very presentation of what’s been called “film with exciting to see how this whole genre of concerts live orchestra” locally and “movies in concert” has blossomed.’’ by a website that’s been tracking such events Williams, a prolific film composer for decades worldwide since 2010. This season, in the months and still active at age 91 (he wrote the score before The Force Awakens, the Pops also for Steven Spielberg’s recent The Fabelmans), presented Disney’s revered 1991 animated Beauty became widely celebrated in the 1970s and early and the Beast in concert. Among the movies in 1980s for his rousing scores for the first Star Wars concert that the Pops has previously presented movies. Among his many accomplishments, he 18 | 2022–23 SEASON

has continued to pen music for not only Star Wars films, but also other box office hit film series such as Harry Potter and Indiana Jones.

Williams also served as principal conductor — for the Boston Pops from — SU N DOG S 1980 to 1993, where he — SU N DOGS SU N was an early adopter of DOG S playing film scores and showing film clips. As Cary Film posters created for CSO Proof: Sun Dogs O’Dell wrote on a 2022 Library of Congress blog celebrating Williams’ for these films,” said Director of first Star Wars score in 1977, “Williams’s 14-year Operations Laura Bordner Adams. tenure in Boston was seminal in bringing the best The pairing of film with live orchestra in of the film-music repertoire to the concert hall.”

Cincinnati isn’t just a Pops thing. Back in 1991, Film distributors now have special digital Jesús López Cobos conducted the CSO during a “prints” with the recorded scores removed. performance at Riverbend, where the Orchestra Some of those distributors then send technicians performed Sergei Prokofiev’s score for Sergei on-site to aid an orchestra’s technicians with a Eisenstein’s 1938 Alexander Nevsky while the film presentation. And orchestra conductors receive was shown without its recorded score. special monitors that help them keep track of And, last October, the CSO offered three a score’s cues, measures and tempos. (They nights of a daring experiment known as Sun can also use audio click tracks.) As a result, film Dogs—part of the Orchestra’s risk-taking CSO scores not originally meant to be performed live Proof programming. Working with Minnesota’s from start to finish now have worldwide bookings, Liquid Music, the Orchestra commissioned just like the biggest classical music soloists. several respected, artful filmmakers to work “There’s so much responsibility in keeping the with contemporary composers on three short, orchestra together, making sure they sound great adventurous films with music. As the films were and then coordinating with the film at the same projected at Springer Auditorium, the Orchestra time,” Russell said of an orchestra conductor’s under conductor Matthias Pintscher played responsibilities at a film with live orchestra the composed music. The American director concert. “You’re always on high alert. It’s kind of Josephine Decker (Shirley) worked with coironic because, although this is very complicated composers Arooj Aftab and Daniel Wohl on Rise, to conduct, if you do your job exceedingly well Again; composer Rafiq Bhatia collaborated with utmost accuracy and upmost artistry, no one with Thai director Apichatpong Weerasethakul notices what you’re doing.”

(Memoria) for On Blue; and French/Senegalese The audience, however, may indeed notice filmmaker Mati Diop (Atlantics) and her how well the film they’re watching looks collaborator, French filmmaker/publisher Manon and its dialogue and special effects sound.

Lutanie, worked with composer Devonté Hynes That’s important, and the CSO has invested in on Naked Blue. equipment to make the best impression possible.

“Anything that extends the realm of The orchestra rents two projectors (one is for possibilities that we have is very welcome,” emergency back-up) and a screen for each film said Pintscher, who holds the position of CSO engagement. Depending on the aspect ratio of Creative Partner with the Orchestra. “These are the film, the screen is either 17-by-30 feet or 15times of innovation, so naturally it’s a requirement by-35 feet. Speakers are installed on the sides that institutions like a symphonic orchestra of the stage, under the balcony, and also on the have a response to that. I think it’s an exciting, balcony and gallery levels. “Currently, we do not beautiful challenge. It keeps us on our toes, have a permanently installed screen or projector keeps us moving forward, keeps our minds fresh for our film concerts because renting always and makes us think. I think that’s a most crucial ensures we have the most up-to-date technology requirement of this art form.”

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SPOTLIGHT

Celebrating Women’s History Month In celebration of Women’s History Month, we hear directly from our female directors, Vice President of Communications, and Chief Philanthropy Officer about the women who inspired them and their advice for the next generation of arts administrators.

Who are the women in your life who have inspired you?

My mother. She is an incredibly hard worker. While my grandmother was developing Alzheimer’s, my mother was a caregiver for not only my dad and I, but served as my grandmother’s primary caregiver, all while working a full-time job. She is one of the most caring and selfless people I know.

Also, my very first clarinet teacher, Shelley Roland. As a teacher, she didn’t let me cut corners in my playing and helped me build tenacity, resilience, passion and dedication. She is also one of the strongest women I know.

Having been diagnosed with cancer a number of years ago, she hasn’t let it slow her down—maintaining her performance and teaching obligations, traveling across the world, and being a source of strength and positivity for others. —Michelle Lewandowski, Director of Marketing My mother. She grew up in Mississippi, got her degree in chemical engineering and yet was told they didn’t hire women in that field. The obstacles she cleared to have a successful career taught me that showing who you are matters far more than what you are. —Mary McFadden Lawson, Chief Philanthropy Officer My mom is a fearless trailblazer. When her career began, there were very few women conducting concert band ensembles. She became a mentor for dozens of early career professionals, especially young women entering the field. And, she’s still an in-demand ensemble coach and adjudicator for young musicians. I feel pretty lucky that I get her advice on a daily basis!

—Catherine Hann, Assistant Director of Individual Giving My mom has been a huge inspiration in my life. She was the one who brought classical music into our home, as she was an opera singer early in her life. She performed with the Indianapolis Opera for years, and my younger brother and I were members of the children’s chorus for many productions; I believe that is what sparked my fire for performing.

—Leslie Hoggatt, Director of Individual Giving and Donor Services

From top: Mary McFadden Lawson, Chief Philanthropy Officer (Credit: Mark Lyons). Felecia Tchen Kanney, Vice President of Communications (Credit: Robert Cummerow).

I grew up in a family full of strong, fiercely independent women. I was fortunate to have three generations of women raising me to be the woman I am today. My mother inspires me to be a better person, mother and professional every day. She was a working mom and really showed me that you can have it all even if there are intense moments of juggling.

—Kate Farinacci, Director of Special Campaigns and Legacy Giving One woman who inspires me is my grandma. She’s no longer here to give advice, which I miss terribly, but she was the hardest working, most loving woman I knew. She taught me to work hard and learn everything I could about the organization you choose to join (preferably one you feel represents your values), and show support and compassion to those you work with. —Tina Marshall, Director of Ticketing and Audience Services When I began my journey, there were very few women who were in my chosen field. However, there were two women who inspired me as a child: (1) my paternal grandmother, Ruth Dary, who showed me I could do

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SPOTLIGHT: Women’s History Month

anything that I wanted to do and not let being a woman be an excuse for anyone, and (2) my 6th grade instrumental music director, Barb Kelly, who had a passion for teaching music and inspired me to be the best I could be. —Carol Dary Dunevant, Director of Learning

All of you are leaders in your field; did you have mentors or role models who helped you along the way?

I have been most inspired professionally by two women in my life.

My mentor at my first job out of college was Raye Allen, who is now the Director of Leadership Giving with the Cincinnati Opera. Raye taught me about the philanthropy industry and best practices in donor stewardship and cultivation. She also taught me how to be a professional.

Susan Berliant was my supervisor and mentor when I worked for the Contemporary Arts Center. Susan is the person who made me the fundraiser I am today. She guided me, instilled confidence, and taught me to think creatively about how to fundraise in Cincinnati. I am grateful that these two amazing women came into my life, and I will be forever grateful for the indelible mark they have left on me. —Kate Farinacci A number of women have had a positive impact on my life, personally and professionally, and have helped me get to this point in my life.

Julie Chandler, the former Marketing Director of the National Repertory Orchestra, took a chance on me—a master’s student in orchestra performance with no background in marketing (not to mention I also interviewed for a different position)—and hired me as the Marketing & Communications Intern. She saw something in me that I didn’t see in myself at the time, and she gave me freedom to learn. My experience there was really what set me on this path. I’m also grateful to have worked for three wonderful female supervisors during my time at the CSO—Katie Murry, Amy Catanzaro and Sherri Prentiss. As a new staff member, Katie’s supportive coaching allowed me to build confidence and grow into my own at the CSO. Amy’s mentorship sparked new skills in ticketing and ignited my passion for data; she also nudged me gently out of my comfort zone to present what I’ve learned on a national scale. And Sherri remains one of my biggest role models in leadership, as she herself is a supportive, strong, empathetic, inspiring and service-minded leader who always was an advocate for her team. —Michelle Lewandowski Karla Williams was an expert in the field of fundraising, and she taught me how to manage a board room of mostly men (at the time) to achieve stated goals. —Mary McFadden Lawson When I was young, my first flute teachers, Karen Whitford and Trudy Daniels Whitford, were huge influences in my decision to pursue a degree in performance. When I got to Butler University, I studied with Karen Evans Moratz, the Principal Flutist of the Indianapolis Symphony Orchestra and she helped me excel tremendously; but, ultimately, I realized that I wanted to work on the other side of the stage and Susan Zurbuchen, my Arts Administration professor, is the one who guided me in that decision.

Over the years, she has been a guiding ear for me as have mentors Diane Syrcle and Tania Castroverde Moskalenko. All of these women have been strong influences in my life and wonderful role models for me over the years. —Leslie Hoggatt I didn’t start my career in Arts Admin, but in corporate retail management.

I was looking for something new, and a friend who was a board member at an arts organization and very passionate about what they did, got me excited to look into it. There just so happened to be a position open, an Educational Sales position. I interviewed and got the job. I fell in love with

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From top: Michelle Lewandowski, Director of Marketing. Leslie Hoggatt, Director of Individual Giving and Donor Services (Credit: Corinne Wiseman).

Tiffany Copper, Director of Community Engagement and Diversity (Credit: Roger Mastroianni).

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SPOTLIGHT: Women’s History Month

the idea of bringing the arts to children, especially those who haven’t had any exposure. I was hooked! I learned more about the organization and took on more responsibilities—sometimes not by choice—and haven’t left.

I’ve just moved to a different type of art now, from theatre to orchestra. I still have the passion of sharing the arts with our community. Something I hope I’ve given to my children, exposing them to every aspect of the arts and creating new patrons. —Tina Marshall When I entered this field, I looked to Tracy L. Wilson with Cincinnati Opera for guidance and support. As the most tenured Black arts administrator in the city, Tracy has paved the way for other arts administrators like myself to enter this field. She continually pours into and mentors those who have come along after her. There are others, including Kathy Jorgenson-Finley who was the first community engagement person at the CSO, and many more who have inspired me and provided a safe space for me to learn and grow in this field. —Tiffany Cooper, Director of Community Engagement and Diversity I had the benefit of starting in orchestra administration under a wonderful boss and mentor, Anna Ross, with my hometown orchestra, the Fort Wayne Philharmonic. Anna had been the Director of Operations and Education for a number of years when they created a new position of Assistant Operations Manager, which I was fortunate enough to land. Not only did she allow, and encourage, me to continue pursuing my degree while simultaneously working full time for the orchestra, she also taught me so much about the inner workings of orchestras. Her mantra was: In Operations, we have done our job right if the orchestra musicians, conductors, and guest artists are able to walk onto the stage, do their job, and leave without any (major) complaints or issues. She continues to be a sounding board and mentor, when I need it, to this day. —Laura Bordner Adams, Director of Operations I am very fortunate to have had a number of mentors and role models in my life who saw something in me at each step of my career. They are my cheering squad of people who support me unconditionally, people who mention my name in a room full of opportunities. Within the industry, they include Kathy Carroll (retired President & CEO, Toledo Symphony), Ashley Mirakian (Vice President of Marketing & Communications, Atlanta Symphony Orchestra), and Merwin Siu (Artistic Administrator and Principal Second Violin, Toledo Symphony). They are my brain trust, and I love reconnecting with them. —Felecia Tchen Kanney, Vice President of Communications

What drew you to working with orchestras and/or what drew you to the CSO? From top: Carol Dary Dunevant, Director of Learning.

Catherine Hann, Assistant Director of Individual Giving (Credit: Claudia Hershner).

Kate Farinacci, Director of Special Campaigns and Legacy Giving.

22 | 2022–23 SEASON

As I look back, I can say that LUMENOCITY was what drew me to the CSO and working with orchestras. I had attended the very first year in 2013 when no one really knew what to expect; I remember showing up and barely finding a space to stand on the lawn of Washington Park and there was just a sense of magic in the air. As someone who had studied visual arts, the combination of art, light and music was thrilling, and the number of people who showed up was electrifying. It truly changed my perspective of what an orchestra could be. I would have never guessed that in a few years time I would have the opportunity to join the CSO in 2016 to work on the final year of LUMENOCITY, and to continue working on the Orchestra’s many other innovative projects, such as CSO Look Around, CSO Proof and the Brady Neighborhood Concerts. —Amber Ostaszewski, Director of Audience Engagement

SPOTLIGHT: Women’s History Month

I have degrees in clarinet performance, but it became clear toward the end of my master’s program that pursuing the performance track was not the life for me. I still loved the artform though, so it really was my love of the music, of orchestras and of sharing that with people that drew me to working on the other side of the curtain. —Michelle Lewandowski I’ve long admired the skill, dedication and confidence of professional musicians since my humble attempts to be a good flute player. I’m hooked on the fast-paced environment where time is not only a valuable resource but also the element by which everything is measured. —Mary Mc Lawson I’ve always been involved with music and studied bass trombone in college. After graduation, I started working in nonprofit fundraising and orchestra administration. Years later, a job opened up at the Cincinnati Symphony Orchestra, and I eagerly applied. —Catherine Hann For personal reasons I needed to make a transition. My husband and I are CSO season subscribers. One evening, he noticed a position open at the CSO. My husband turned to me and said, “This is you. You should apply.”

And here I am! —Carol Dary Dunevant I have always had a great love for symphonic music and the musicians who bring this art form to life, and I strive to support the musicians of the Orchestra to the best of my ability so they have what they need to focus on creating the music that I love so much. One of my favorite parts of this job is that I am surrounded by exceptional colleagues in the Orchestra and the administrative staff, and it is my joy to collaborate with them every day. We all share a common goal of presenting great symphonic music for the community, and I feel extremely fortunate to be part of this amazing group of people. —Brenda Tullos, Director of Orchestra Personnel I am a classically trained dancer, and orchestral music was the backdrop for many memorable moments in my life. I had the opportunity to work for the Cleveland Orchestra early on in my career, and I knew if I ever had the chance to work for my hometown orchestra I would jump at said chance.

I knew I had to work for the CSO after I had a conversation with Jonathan Martin during the interview process about the Orchestra’s strategic efforts toward a more diverse, equitable, and inclusive Orchestra. That’s when I knew this was an opportunity to be a part of an orchestra that was positioning itself to be an orchestra for all people. —Kate Farinacci I wanted to work at a place where I was proud to be part of the organization. Being in the Accounting/Finance field, it is easy to just be a person behind the scenes and lose connection with the organization. I love how dedicated the CSO is to serving the community. —Kristina Pfeiffer, Director of Finance, CSO I was in graduate school pursuing my business administration degree when my husband and I decided to take an impromptu road trip to either Cleveland or Chicago—we would make the decision once we reached the I-90 Turnpike. In a split-second decision, we ended up going to Chicago and attended the Chicago Symphony Orchestra’s performance of Mahler’s Third Symphony. It was at that performance, while reading the program book, that I realized there were opportunities in a field that would put my music and business experiences to good use. My life could be surrounded by music every day, and the thought of that brought the fuzziness of the future into 20/20 vision. The Cincinnati Symphony Orchestra had been on my radar for a number of years, and I was well aware of its culture and company values. When an opportunity opened up, one of my mentors encouraged me to apply. The domino effect that ensued led me to meet

From top: Amber Ostaszewski, Director of Audience Engagement.

Laura Bordner Adams, Director of Operations. Brenda Tullos, Director of Orchestra Personnel.

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SPOTLIGHT: Women’s History Month

some of the most interesting, passionate, caring, and down-to-earth people who I now call my colleagues. —Felecia Tchen Kanney

Do you have any advice for up-and-coming orchestra administrators?

Be a sponge and soak up everything you can learn from everyone you work with, and volunteer for tasks you may not know how to do, but interest you. The Arts Administration world is vast, with many avenues to go down, and you may discover your path at any point along the way.

—Michelle Lewandowski If you find yourself on the path to being on the administrative side of an orchestra, embrace the journey. Bring your passion and vision and be ready to enjoy the results of your hard work. —Carol Dary Dunevant Non-profit is a tax status, not a business model. Whatever arts organization you find yourself working for, know that your donors are your shareholders and your colleagues each have a role to bring the mission (business plan) to life. —Mary Mc Lawson Be a sponge. The most successful professionals in our field soak up every experience and ask every question. This field exists at the intersection of nonprofit management and artistic excellence, and we can best fulfill our mission when everyone brings their knowledge, lived experience and creative thinking to the work. —Catherine Hann Don’t be afraid to show up as yourself. The orchestra field needs more diverse thoughts and perspectives in order to help prepare for the future.

The only way to get there is to bring your full self to your role and don’t be afraid to share new perspectives. —Tiffany Cooper My advice isn’t necessarily just for orchestra administrators, but I feel like you do your best work when you feel valued by your organization. Find a place that you connect with and, in return, you are valued and people are invested in you and your growth, both personal and professional.

—Kristina Pfeiffer It does help to have a passion for what you’re doing and belief in the organization you’re working for. I believe that for any career. In my experience, learning everything from the starting positions up has helped me understand how the organization works and how the decisions we make affect each group within the organization. Be a support for your team, motivate them, find out where their passions lie, and help support them in their growth. It’s motivating to bring something inspiring to your community. It’s also motivating to support your team and watch them grow. —Tina Marshall

From top: KC Commander, Director of Digital Content and Innovation. Kristina Pfeiffer, Director for Finance, CSO. Tina Marshall, Director of Ticketing and Audience Services.

My advice would be to think on a global scale and know that no matter where you start in the organization you can effect real change in the orchestral world. We are on the precipice of great change and will need future leaders to continue thinking big and moving the industry toward being music for all. —Kate Farinacci I’ve been fortunate enough to have worked with many women leaders in our field, which has been hugely inspirational and allowed me to see a future for myself working with symphony orchestras. If I had any advice for someone starting out in this field, especially a young woman, it would be to make sure your voice is heard and to not be afraid to take risks.

Someone else will, so why not you! —KC Commander, Director of Digital Content and Innovation

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SPOTLIGHT

Young People’s Concerts: Innovating for a New Generation

by WAJEEH KHAN

Students and teachers take part in the Sonic Architecture YPC. Credit: Charlie Balcom

Do you remember the first time you attended an orchestra concert? Or the first time you heard an orchestra live? For many people this influential first experience with an orchestra probably happened at a young age during a school assembly or class field trip.

These important touchstone moments that, hopefully, turn young people into lifelong music lovers continue today. Several mornings a year, young students from the Greater Cincinnati area arrive on buses, walk up the steps into the magnificent Music Hall, and take their seats for their first orchestra concert.

Many may recall (or have seen on YouTube) the iconic conductor and educator Leonard Bernstein’s televised series of Young People’s Concerts (YPCs) with the New York Philharmonic.

This series ran for 53 episodes from 1958 to 1972 and helped to popularize and introduce an entire generation to the wonders of classical music.

Like many YPCs today, these concerts were approximately an hour long, and they introduced viewers to a wide range of subjects, such as works of great composers, introductory music theory,

and musical philosophies. While Bernstein is often credited with the advent of these concerts, you may be surprised to know that the CSO has one of America’s longest-running YPC programs—in fact, the CSO has been holding YPCs featuring the full symphony orchestra since 1920!

100 years later, the CSO’s YPCs are still critical in establishing musical curiosity, appreciation and understanding in countless individuals—especially within musicians. As CSO violinist Stacey Woolley puts it, “If you go out in the community, most people will say that the first time they ever heard an orchestra was at a YPC.” Woolley, who has been a member of the CSO since 1989, credits YPCs in laying the groundwork for his musical journey. “The first time I heard live classical music was at a YPC, when I was around six or seven,” said Woolley. “After that, I went every year. They opened up a new world for me. I didn’t want them to stop playing! Looking back at it now, YPCs helped to kickstart my love for and association with classical music and Music Hall, which I’ve been going to for over 56 years now—more than a third of its existence!” Over the years, the CSO has continued to make new strides and developments in the presentation and experience of YPCs to further enhance their impact. CSO Associate Principal Cello Daniel Culnan, who has attended YPCs as a child and has been performing in them as part of the Orchestra for decades, notes that YPCs have changed dramatically over the years— An advertisement in a CSO program book for a February 1920 Young People’s Concert.

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SPOTLIGHT: Young People’s Concerts

Above, from top: CSO Violinist Stacey Woolley and CSO Associate Principal Cello Daniel Culnan

and have become far more poignant as a result. “When I was a kid, there was not a lot of connection between pieces,” said Culnan.

“Since I’ve been playing YPCs, though, we’ve tended to incorporate a lot more, such as soloists and dancing. It’s not just the Orchestra playing anymore…. It’s a lot more dynamic now.”

One of the core elements that has propelled the CSO’s YPCs to new heights is inventive programming that emphasizes audience participation and interactivity. “For a long time, there really wasn’t much audience participation, if at all.

We were expected to just sit there and be still,” said Culnan.

“Now, kids are so much more involved.

They’re clapping, stomping, singing, and actually come

up on stage sometimes! Seeing all of these kids that are involved and genuinely excited can be so rewarding.” Recently, YPCs such as Dots and Lines and Sonic Architecture have really pushed the envelope to move beyond a simple concert format.

YPCs are a project of the CSO’s Learning Department, where the Assistant Conductors work together with Director of Learning Carol Dary Dunevant to ensure that YPCs are meeting educational goals, trends and benchmarks.

Assistant Conductor Daniel Wiley, who conducted Sonic Architecture and hosted Dots and Lines, wanted students to see that musical inspiration and understanding can be found in all sorts of mediums. “All of our education concerts compared composers to other disciplines to establish relatability,” said Wiley. “If you can equate elements of music to elements of other disciplines, it doesn’t seem abstract to kids. It establishes a sense of realism—that music and composition is something that anyone and everyone can be a part of.”

For Dots and Lines, students from grades K–3 compared the music of iconic composers, such as Tchaikovsky and Beethoven, to the work of famous artists like Van Gogh and Matisse.

Students interacted with Wiley and visual artists to combine and layer “dots” (shorts sounds) with “lines” (long sounds) to explore how composers and painters use similar techniques.

In Sonic Architecture, students in grades 6–12 were able to watch as the Orchestra created visual displays of pitch, duration and amplitude.

Assistant Conductor Daniel Wiley conducts the Orchestra for the Sonic Architecture YPC. Credit: Charlie Balcom

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SPOTLIGHT: Young People’s Concerts

Visual artist Kelly Jo Asbury assists the Orchestra in the Dots and Lines YPC. Credit: Charlie Balcom

Example of a spectrogram.

They then compared the architectural elements of Music Hall to the elements of form used to construct the first movement of Beethoven’s Symphony No. 5. “We knew that form was the architecture of the piece, but then we wondered: what about the architecture we perform within?” reflected Wiley. “Cross-curricular connection is at the core of all YPCs, and we wanted to showcase how both of these concepts could be combined to create something special. We ended up piecing together Music Hall in a sort of ABA form—the left side of Music Hall was A; the center was B, which marks the musical development; and the right side was the return of A.” Sonic Architecture was particularly innovative for its use of a live spectrogram—a visual representation of sound that has time on the “x” axis, frequency on the “y” axis and different colors to represent amplitude. This sound blueprint was mapped onto a 3D rendering of Music Hall, adding vibrant color and visuals to an already dynamic and interactive experience.

The CSO’s upcoming YPC, Once Upon an Orchestra, will give students in grades 4–6 the opportunity to explore connections between creative writing and music composition. Literary devices such as settings, characters, conflicts and resolutions, along with their musical counterpoints, are explored in a way that culminates with a reading of John Lithgow’s The Remarkable Farkle McBride set to music by Bill Elliott.

The importance of Young People’s Concerts goes far beyond the preservation of classical and orchestral music. Young People’s Concerts have the ability to establish a foundation for appreciating art and the artistic experience as a whole. “You have to get people while they’re young and provide them with exposure,” stated Woolley. “Even if they don’t develop a deep appreciation for it, they can still have a fondness for the positive memories that was associated with their experience. And that can build recognition for the impact of music and art.” Culnan, who is retiring this season after 41 years with the CSO, echoed this sentiment as he reflected on being on both the listening and playing ends of the YPC experience: “It’s hugely important, especially as music programs in schools around the country are not thriving. Not only do YPCs build audiences and awareness for classical and orchestral music for the future, they also open up the minds of children. They can get children to see that there are more aspects to music and, more importantly, to being a human being.”

For more about the CSO’s Young People’s Concerts, visit cincinnatisymphony.org/ypc.

Fanfare Magazine | 27

SPOTLIGHT

Meet Our New Orchestra Musicians, Part III

by MEGHAN ISAACS

In this final installment of articles profiling the CSO’s new class of musicians in the 2022–23 season, we meet three string players who all seemed destined to become professional musicians. Not only are bassist Luis Celis, cellist Daniel Kaler and violist Gabe Napoli all just beginning their professional careers, they have each already found a wealth of inspiration during their first few months with the CSO. And, like many of their colleagues, for these three musicians the strong presence of music by Gustav Mahler on the Orchestra’s season programming only sweetens the deal.

Luis Celis, bass

Luis Celis

Born and raised in Venezuela, Luis Celis started his journey as a musician in utero, when his father would put headphones on his mother’s belly. Luis started at the local conservatory when he was four years old. At 15, he picked up the bass, knowing he wanted to play in an orchestra as well as have opportunities with other types of music. Luis earned a full scholarship to Berklee College of Music in Boston.

He followed his studies at Berklee with a year as a CSO-CCM Diversity Fellow. He also enjoyed a summer fellowship with the Boston Symphony Orchestra (BSO) at Tanglewood, working with BSO musicians and conductors like Andris Nelsons, John Williams and Thomas Adès. One of the perks for bass fellows is getting to sit in for one week with the BSO. Lucky for Luis, his week of playing coincided with the BSO’s performance of Debussy’s La Mer and the Elgar Cello Concerto with Yo-Yo Ma. In the BSO audience that night was CSO Principal Bass Owen Lee, who has become one of Luis’ most important mentors. Another mentor has been Benjamin Zander, who conducted an orchestra with which Luis played in Boston. “[Zander] gives assignments at the end of rehearsal, but they are connected with music in ways you wouldn’t normally expect.

One was to ‘stand up for something you believe in and be vocal about it.’ Another was ‘Be ambassadors for what the world needs—beauty, civility and connection.’ So we’d be busy getting music ready but, more importantly, we had life lessons,” said Luis. Zander crystalized these concepts in his book The Art of Possibility, of which Luis is a fan.

Another lesson from Zander was to be on the lookout for “shining eyes.” “There’s a look in someone’s eyes after you play something transformational—you can see in their eyes whether they are ‘shining’ or not. So, I keep as many shining eyes as I can in my life,” said Luis.

Luis enjoyed a serendipitous first concert as a member of the CSO, as the program included Mahler’s Second Symphony. Luis recalled the first time he performed the work, as a student in Venezuela. Throughout the months of rehearsal, the country was having electrical problems, so the orchestra members kept fingers crossed that the power would stay on

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SPOTLIGHT: New Orchestra Musicians III

for the performance. “We started playing and the lights went off, so we wondered what we were going to do. The conductor just turned to the audience and said, ‘We’re going to play this piece from memory.’ So we played Mahler 2 in a full cathedral from memory,” he said.

When he’s not rehearsing or performing, Luis is likely spending time with his family. He also likes to check out new restaurants (his favorite so far is Pepp & Delores), try new recipes, and keep up with the Venezuelan recipes from his mom. He’s enjoyed the warm welcome from his colleagues and other Cincinnatians: “Coming from Boston, Cincinnati was a downgrade in size, but not in terms of people’s hearts,” he said.

Daniel Kaler, cello

Daniel Kaler, ©Roger Mastroianni

Daniel Kaler was born in Rochester, New York. Both of his parents are violinists, and they started him on violin at the age of three. At the time, Daniel decided he disliked the E-string since it did not correspond to the kind of sound he imagined himself producing. Just before the age of four, Daniel recalls listening to a recording of Jacqueline du Pré performing the Elgar Cello Concerto under the baton of Daniel Barenboim, which sealed his fate: “It took my breath away. I was so amazed at how human du Pré made the cello sound.”

The family eventually moved to Chicago, where Daniel studied for three years with Gilda Barston, Stephen Balderston and Hans Jensen.

After graduating a year early from New Trier High School, Daniel continued his education at the Cleveland Institute of Music, where he studied with Mark Kosower. He completed master’s degree work under Brinton Smith at Rice University’s Shepherd School of Music. Winning an audition for the Cincinnati Symphony Orchestra immediately after his graduation from Rice University felt like a crowning achievement after many years of hard work.

Daniel’s parents have been some of his strongest supporters along the way, offering specialized insight as fellow musicians. “They’ve given me so much advice that is timeless, no matter the situation. When I’m 40 or 50 years old, it will be as relevant as when I was 20,” he said.

When not engrossed in music, Daniel loves bodybuilding. “I try to train several times a week to build some good muscle,” he said. He finds that weightlifting helps him strengthen the muscles he uses to play cello every day, thus helping him avoid injury. It also has taught him a lot about the importance of consistency, discipline, and having a growth mindset. Daniel relaxes with tea, movies, jigsaw puzzles, and playing with his two cats when he’s at home with his family.

One of Daniel’s mantras comes from Stephen Covey’s The 7 Habits of Highly Successful People: “Covey said, ‘Begin with the end in mind.’ I think about that particular habit a lot. When I think of my future, I try to work on building a life with long-term goals in mind,” Daniel said.

Gabe Napoli, viola Growing up just up the road in Cleveland, Gabe Napoli started playing violin when he was four years old. He played violin throughout his college years at Northwestern, where, at a certain point, he wanted to start a string quartet with his friends. “One of us had to play the viola, and that was me,” he said. Through his love of chamber music, Gabe grew to appreciate the instrument and, thankfully, his teachers Almita Vamos

30 | 2022–23 SEASON

SPOTLIGHT: New Orchestra Musicians III

and Robert Hanford were supportive (in part because of his large hands and arms!). While he finished his violin degree, he decided to take the viola seriously, and he returned to the Cleveland Institute of Music for master’s degree studies in viola with Robert Vernon and Mark Jackobs.

After graduate school, Gabe spent three seasons with the New World Symphony before winning the audition here in Cincinnati.

Along the way, Gabe has been fortunate enough to work with many strong mentors, from his youth orchestra coaches all the way through colleagues at the New World Symphony. One of his teachers from his youth, Dr. Stephen Sims, taught Gabe from the time he was nine years old through his formative teenage years. “He devoted so much time to me and gave me multiple lessons a week. I did a lot of growing up during that time,” said Gabe.

Gabe makes time for other art forms as well. “Film, theater and visual art are also hugely inspirational to me as a musician. I love going to museums or going to theaters and seeing actors and different kinds of performers,” he said. Aside from music and the arts, Gabe is working on his cooking skills, and he considers himself an “armchair philosophy student” through reading and taking in podcasts and other media.

While there are several pieces Gabe looks forward to performing one day (including Mahler’s Das Lied von der Erde [“The Song of the Earth”], he has also discovered that playing familiar music in a new environment can be just as exciting. “I’m surprised by how I’m never bored by performing, even when it’s the same music. I don’t think that will go away any time soon,” he said.

Gabe Napoli, ©Roger Mastroianni

The College of Art and Design for the Radiant and Radical MAJORS/AREAS OF STUDY Design To learn more, scan: Illustration Painting & Drawing Sculpture Photography Print Media Digital Arts Animation Creative Writing Art History* Film & Video* *available as minors only 1212 Jackson Street, Cincinnati, OH 45202

www.artacademy.edu Fanfare Magazine | 31

A SEASON 150 YEARS IN THE MAKING

May 19-27 • Music Hall Featuring: Excerpts from Dett’s The Ordering of Moses Mozart’s Requiem Mahler’s Symphony of a Thousand Bach’s Magnificat And the following world premieres: James Lee III’s Breaths of Universal Longingp James MacMillan’s Timotheus, Bacchus and Cecilia Julia AdolpheҾ New Work 25 for 25: A New Time for Choral Music Commissioning Project

+ More

150th Anniversary Season

Season tickets on sale now Individual tickets on sale MAR 1 mayfestival.com • 513.381.3300

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, Assistant 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

TIMPANI Patrick Schleker

Concertmaster Anna Sinton Taft Chair

Principal Irene & John J. Emery Chair

Principal Matthew & Peg Woodside Chair

Felicity James

Daniel Culnan*

Principal Emma Margaret & Irving D. Goldman Chair

Associate Concertmaster Tom & Dee Stegman Chair

Norman Johns**

Philip Marten 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 James Braid Marc Bohlke Chair given

by Katrin & Manfred Bohlke

Michelle Edgar Dugan Donald & Margaret Robinson Chair

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

Gerald Itzkoff Jean Ten Have Chair

Sylvia Mitchell Jo Ann & Paul Ward 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

Christopher Fischer

Ona Hixson Dater Chair Karl & Roberta Schlachter Family Chair

Daniel Kaler§

Hiro Matsuo

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

Ronald Aufmann

Laura Kimble McLellan Chair++

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

Alan Rafferty Ruth F. Rosevear Chair

BASSES Owen Lee Principal Mary Alice Heekin Burke Chair++

James Lambert* Thomas Vanden Eynden Chair

Stephen Jones** Trish & Rick Bryan Chair

Boris Astafiev§ Luis Arturo Celis Avila Gerald Torres Rick Vizachero

Martin Garcia* Hugh Michie

Julie Spangler+

Patricia Gross Linnemann Chair

FRENCH HORNS Elizabeth Freimuth Principal Mary M. & Charles F. Yeiser Chair

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

Molly Norcross**

Susanne & Philip O. Geier, Jr. Chair Mary & Joseph S. Stern, Jr. Chair

Charles Bell TRUMPETS Robert Sullivan Principal Rawson Chair Jackie & Roy Sweeney Family Chair

Steven Pride Otto M. Budig Family Foundation Chair++

OBOES Dwight Parry

Christopher Kiradjieff

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

TROMBONES Cristian Ganicenco

Lon Bussell* Stephen P. McKean Chair

Emily Beare

James P. Thornton Chair James P. Thornton Chair

CONTRABASSOON Jennifer Monroe

Douglas Lindsay* PICCOLO Rebecca Tutunick

Michael Culligan* Joseph Bricker *

KEYBOARDS Michael Chertock

Duane Dugger

Jane & David Ellis Chair

Principal Susan S. & William A. Friedlander Chair

Principal Emalee Schavel Chair++

Lisa Conway

Henrik Heide*† Haley Bangs

PERCUSSION David Fishlock

Morleen & Jack Rouse Chair

Principal Cynthia & Frank Stewart Chair

Principal Charles Frederic Goss Chair

Morleen & Jack Rouse Chair

Marc Wolfley+

HARP Gillian Benet Sella

FLUTES Randolph Bowman

Joseph Bricker*

BASSOONS Christopher Sales

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

CSO/CCM DIVERSITY FELLOWS~ Tyler McKisson, viola Luis Parra, cello Samantha Powell, cello 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 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 + Cincinnati Pops rhythm section ++ CSO endowment only ~ Funded by the Andrew W. Mellon Foundation

Principal Dorothy & John Hermanies Chair

Joseph Rodriguez** ENGLISH HORN Christopher Philpotts

Julian Wilkison** Rebecca Barnes§ Emilio Carlo† Stephen Fryxell

Principal Alberta & Dr. Maurice Marsh Chair++

Caterina Longhi Gabriel Napoli Denisse Rodriguez-Rivera Dan Wang Joanne Wojtowicz

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

Marvin Kolodzik & Linda S. Gallaher Chair for Cello Isabel Kwon† BASS CLARINET

Acting Associate Principal Grace M. Allen Chair

Melinda & Irwin Simon Chair

Joseph Morris*

Second/Assistant Principal Trombone

BASS TROMBONE [OPEN] TUBA Christopher Olka Principal Ashley & Barbara Ford Chair

Fanfare Magazine | 33

AND

ARTISTIC LEADERSHIP

LOUIS LANGRÉE, Music Director Louise Dieterle Nippert & Louis Nippert Chair Louis Langrée has been Music Director of the Cincinnati Symphony Orchestra since 2013, Music Director of the Mostly Mozart Festival at Lincoln Center since 2003, and was appointed Director of Théâtre national de l’Opéra Comique in Paris in Chris Lee 2021 November 2021. 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 multi-season Beethoven [R]evolution cycle has 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 2022–23 season, Langrée and the CSO will have commissioned or cocommissioned 42 new orchestral works and he will have conducted 32 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, LA 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 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 an 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.

©

34 | 2022–23 SEASON

JOHN MORRIS RUSSELL Cincinnati Pops Conductor Louise Dieterle Nippert & Louis Nippert Chair A master of American musical style, Grammynominated conductor John Morris Russell, a.k.a. “JMR,” has devoted himself to redefining the American orchestral experience. In his 11th year as conductor of the Cincinnati Pops Orchestra, Russell continues to reinvigorate the musical scene throughout Cincinnati and across the continent with the wide range and diversity of his work as a conductor, collaborator and educator. As Music Director of the Hilton Head Symphony Orchestra in South Carolina Russell leads the prestigious Hilton Head International Piano Competition, and as Principal Pops Conductor of the Buffalo Philharmonic Orchestra he follows in the footsteps of Marvin Hamlisch and Doc Severinsen. Guest conducting engagements have included many of the most distinguished orchestras in North America: the Los Angeles Philharmonic, Cleveland Orchestra, New York Philharmonic, Boston Pops, National Symphony, and the orchestras of Toronto, Vancouver, Dallas, Detroit and Pittsburgh.

With the Cincinnati Pops, Russell leads sold-out performances at Music Hall, concerts throughout the region, and domestic and international tours— including Florida in 2014 and China/Taiwan in 2017.

His visionary leadership at the Pops created the “American Originals Project,” which has garnered both critical and popular acclaim in two landmark recordings: American Originals (the music of Stephen Foster) as well as American Originals: 1918. In 2020 the American Originals Project: The Cincinnati Sound, featuring Late Night with David Letterman musical director Paul Shaffer, celebrated the beginnings of bluegrass, country, rockabilly, soul and funk immortalized in recordings produced in the Queen City. Russell’s other recordings with The Pops include Home for the Holidays, Superheroes, Carnival of the Animals and Voyage.

Recent collaborations with artists around the world include Aretha Franklin, Emanuel Ax, Amy Grant and Vince Gill, Common, Garrick Ohlsson, Brian Stokes Mitchell, Jon Kimura Parker, Ann Hampton Callaway, Michael McDonald, Cho-Liang Lin, Sutton Foster, George Takei, Megan Hilty, Ranky Tanky, Steve Martin, Katharine McPhee, Brian Wilson, Cynthia Erivo and Leslie Odom, Jr.

CSO AND POPS ARTISTIC LEADERSHIP

MATTHIAS PINTSCHER CSO Creative Partner

DAMON GUPTON Pops Principal Guest Conductor

The 2022–23 season is Matthias Pintscher’s final season as Music Director of the Ensemble intercontemporain (EIC), the world’s foremost contemporary music ensemble, founded in 1980 by Pierre Boulez. In his decade-long artistic ©Franck Ferville leadership of the EIC, Pintscher continued and expanded the cultivation of new work by emerging composers of the 21st century, alongside performances of iconic works by the pillars of the avant-garde of the 20th century.

As a conductor, Pintscher maintains relationships with several of the world’s most distinguished orchestras, among them the Bavarian Radio Symphony Orchestra, the Los Angeles Philharmonic, Amsterdam’s Royal Concertgebouw Orchestra, and the BBC Scottish Symphony Orchestra. As guest conductor in Europe, he makes debut appearances this season with the Wiener Symphoniker and Gürzenich Orchester of Cologne, and he returns to the Royal Concertgebouw, BRSO, BBC Scottish SO, Barcelona Symphony, and Berlin’s Boulez Ensemble. In North America, he makes prominent debuts with the Philadelphia Orchestra and Kansas City Symphony, in addition to regular visits to the Cincinnati Symphony Orchestra and repeat guest engagements with the Detroit Symphony, Baltimore Symphony, Los Angeles Philharmonic and New World Symphony.

Pintscher has also conducted several opera productions for the Berliner Staatsoper, Wiener Staatsoper, and the Théatre du Châtelet in Paris.

He returns to the Berliner Staatsoper in 2023 for Der fliegende Holländer.

Pintscher is well known as a composer, and his works appear frequently on the programs of major symphony orchestras throughout the world.

In August 2021, he was the focus of the Suntory Hall Summer Festival—a weeklong celebration of his works with the Tokyo Symphony Orchestra, as well as a residency by the EIC with symphonic and chamber music performances. His newest work, Assonanza, a violin concerto written for Leila Josefowicz, was premiered in January 2022 with the Cincinnati Symphony Orchestra. Another 2021–22 world premiere was neharot (“rivers”), a co-commission of Suntory Hall, Staatskapelle Dresden, Orchestre Philharmonique de Radio France, Orchestre de la Suisse Romande and Los Angeles Philharmonic. matthiaspintscher.com

Damon Gupton is the first-ever Principal Guest Conductor of the Cincinnati Pops. A native of Detroit, he served as American Conducting Fellow of the Houston Symphony and held the post of assistant conductor of the Kansas City Symphony. His ©Damu Malik conducting appearances include the Boston Pops, Orchestra of St. Luke’s, Detroit Symphony, San Francisco Symphony, Atlanta Symphony, Baltimore Symphony, National Symphony Orchestra, Toledo Symphony, Fort Worth Symphony, Florida Orchestra, San Diego Symphony, Long Beach Symphony, San Antonio Symphony, Princeton Symphony, Orchestre Philharmonique de Monte Carlo, NHK Orchestra of Tokyo, Orquesta Filarmonica de UNAM, Charlottesville Symphony, Brass Band of Battle Creek, New York University Steinhardt Orchestra, Kinhaven Music School Orchestra, Vermont Music Festival Orchestra, Michigan Youth Arts Festival Honors Orchestra, Brevard Sinfonia, and Sphinx Symphony as part of the 12th annual Sphinx Competition. He led the Sphinx Chamber Orchestra on two national tours with performances at Carnegie Hall and conducted the finals of the Seventh Cliburn International Amateur Piano Competition and the 2021 Classic FM Live at Royal Albert Hall with Chineke!.

Gupton received his Bachelor of Music Education degree from the University of Michigan, where he delivered the commencement address to the School of Music, Theatre and Dance in 2015. He studied conducting with David Zinman and Murry Sidlin at the Aspen Music Festival and with Leonard Slatkin at the National Conducting Institute in Washington, D.C. Awards include the Robert J. Harth Conducting Prize and The Aspen Conducting Prize. He is the inaugural recipient of the Emerging Artist Award from the University of Michigan School of Music and Alumni Society and a winner of the Third International Eduardo Mata Conducting Competition.

An accomplished actor and graduate of the Drama Division of the Juilliard School, Gupton has had roles in television, film and on stage, most recently in series regular roles on the upcoming Big Door Prize for Apple TV, as well as The Last Days of Ptolemy Grey starring Samuel L. Jackson. damongupton.com

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Fanfare Magazine | 35

CSO AND POPS ARTISTIC LEADERSHIP

SAMUEL LEE Assistant Conductor

DANIEL WILEY Assistant Conductor

Samuel Lee, first prize winner of the BMI International Conducting Competition in Bucharest and the International Conducting Competition in Taipei, has recently been appointed Assistant Conductor of the Cincinnati Symphony Orchestra, beginning in the 2022–23 season.

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.

Since 2016 Samuel Lee has been the chief conductor of the C.P.E. Bach Musikgymnasium orchestra Berlin. He and the orchestra have been regularly invited to the Berlin Philharmonie and Konzerthaus Berlin for subscription concerts. He also served as a viola professor at Hochschule für Musik und Theater “Felix Mendelssohn-Bartholdy” in Leipzig, Germany until 2022.

As a violist, Lee was invited to perform with orchestras throughout Europe and Asia. From 2009 until 2017, he was the violist of Novus String Quartet, and he was the second prize winner of the 61st International Music Competition of ARD Munich and first prize winner of the Salzburg International Mozart Competition.

Lee is an alumnus of Hochschule für Musik “Hanns Eisler” Berlin, where he studied viola with Prof. Tabea Zimmermann (BM, MM, Konzertexamen), and orchestral conducting with Prof. Christian Ehwald (BM, MM). Lee completed Konzertexamen in orchestral conducting from Hochschule für Musik und Theater Hamburg (Prof.

Ulrich Windfuhr).

Daniel Wiley has quickly become a notable young conductor on the rise, having made guest appearances with ensembles throughout North America, as well as the University of North Florida’s Opera Department.

Beginning with the 2022–23 season, Wiley joined the Cincinnati Symphony Orchestra and Pops as an Assistant Conductor.

Prior to his tenure in Cincinnati, he held numerous conducting posts, including Assistant Conductor of the Jacksonville Symphony, Music Director of the Jacksonville Symphony Youth Orchestras, Associate Conductor of the Windsor Symphony Orchestra, Music Director of the Windsor Symphony Youth Orchestras, Music Director of the Windsor Symphony Community Orchestra, Wind Ensemble Conductor at the School of Creative Arts at the University of Windsor, Education Conductor/Consultant for London Symphonia, Conductor for the Windsor Abridged Opera Company, Music Director of Texas Academy of Mathematics and Science Youth Orchestra, and Assistant Conductor for the Meridian Symphony Orchestra.

In 2019, Wiley was the second prize recipient of both the Smoky Mountain International Conducting Institute and Competition and the Los Angeles International Conducting Competition.

He also has spent time conducting new music ensembles, including for the Musicbed Music and Film Corporation based in Fort Worth, Texas, as well as participating in the Composing in the Wilderness program as part of the Fairbanks Summer Arts Festival in Alaska.

As a former public school music teacher, Wiley has a unique passion for music education, and he frequently donates his time as a guest clinician to support students and teachers in music programs across North America.

For full-length biographies of the CSO and Pops Artistic Leadership, visit cincinnatisymphony.org/about/artistic-leadership

36 | 2022–23 SEASON

CSO & POPS GUEST ARTISTS: March 4–April 8, 2023 CSO MAR 4–5: Death & Transfiguration ELIZABETH FREIMUTH, horn Elizabeth Freimuth is the Principal Horn of the Cincinnati Symphony Orchestra and Cincinnati Pops. Her chair is endowed by the late Charles and Mary Yeiser.

Before joining the CSO in 2006, Freimuth was principal horn of the San Francisco Ballet Orchestra (2005–06), principal horn of the ©Roger Mastroianni Kansas City Symphony (2000–05) and assistant principal/utility horn of the Colorado Symphony (1998–2000).

Freimuth has performed as featured soloist with the Cincinnati Symphony Orchestra, Kansas City Symphony, Butler County Symphony (PA), Johnson City Symphony Orchestra (TN), Overland Park Orchestra (KS) and the Lakewood Symphony Orchestra (CO). She has also performed as a guest principal horn with several U.S. orchestras and the KBS Symphony Orchestra (Korea). She was a featured artist at the International Horn Symposium at Ball State University in 2018 and in Memphis in 2013, and a featured artist at the International Women’s Brass Conference, Northern Kentucky 2014.

Elizabeth Freimuth has taught as Adjunct Horn faculty at the University of Cincinnati CollegeConservatory of Music and at the University of Missouri in Kansas City Conservatory of Music.

She has given numerous masterclasses and has done guest teaching throughout the U.S. During many summers, she has been principal horn and faculty member at the Brevard Music Center in North Carolina. Since 2019, she has been a cohost of the Summer Horn Institute at the Eastman School of Music.

Freimuth is a graduate and recipient of the coveted Performer’s Certificate from the Eastman School of Music (B.M. Horn Performance and B.M. Instrumental Music Education), where her horn teachers were Verne Reynolds and W. Peter Kurau, and she is a graduate of the Rice University Shepherd School of Music (M.M.), where her horn teacher was William VerMeulen.

POPS MAR 10–12: Marvel’s Black Panther Film in Concert DAMON GUPTON, Principal Pops Conductor Turn to p. 35 for a biography of Pops Principal Guest Conductor Damon Gupton.

MASSAMBA DIOP, drums Massamba Diop is one the most renowned masters of the tama, a talking drum from Senegal, West Africa, known for its abilities to replicate the sounds of human speech. Before the advent of telephones and radio, it was the tama that was called upon to announce important events and send messages from village to village. Recognizing the central role talking drums play in many African cultures, composer Ludwig Göransson decided to put it, and Diop, front-and-center for his Grammy- and Oscar-winning score for Marvel’s Black Panther and in Avengers: Endgame.

By the time of Black Panther, Diop was already a seasoned figure on the music scene. He first came into the limelight as lead percussionist and founding member of Daande Lenol (“The Voice of the People”), the band of Senegalese superstar Baaba Maal. Over the past 40 years, the group has toured the world, working with many notable musicians and releasing dozens of albums, including Firin’ in Fouta, which was nominated for a Grammy in 1996. Diop has also performed and recorded with the likes of James Brown, Mumford & Sons, Carlos Santana, Herbie Hancock, Peter Gabriel, Harry Belafonte, Playing for Change, and Angelique Kidjo. He has been part of many major international diplomatic events, such as the 2004 Nobel Peace Prize Ceremony and the 2012 Olympics in London, and he joined Stevie Wonder and a star-studded cast in 2009 to perform “Happy Birthday” for Nelson Mandela to close out Mandela Day at Radio City Music Hall in New York.

Diop is also a Remo Percussion, Inc. endorsed artist, and in 2016 he helped them design and launch the “Tamani Talking Drum,” the first massproduced tama available to the public.

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MAR–APR GUEST ARTISTS

In 1993, Diop and American percussionist Tony Vacca co-founded the Senegal-America project, a grass-roots cultural exchange program that has sponsored various educational, health care and artistic initiatives in Senegal, and has provided an important venue for African musicians in the States. Diop has several other regular collaborators, including Surabhi Ensemble in Chicago, Walo Walo in Portland, Oregon, and Total Rhythm in San Francisco. He currently calls Columbus, Ohio home.

LUDWIG GÖRANSSON, composer In a career spanning less than 15 years, Ludwig Göransson has amassed an impressive resume in both the recording and motion picture industries, earning an Academy Award, an Emmy Award, multiple Grammy Awards and countless other nominations. After working as an assistant to composer Theodore Shapiro, Göransson got his first big break writing music for the NBC television series Community.

This led to a friendship and collaboration with Donald Glover, who performs under the stage name Childish Gambino, on several studio albums; Göransson has been nominated for six Grammys with Childish Gambino and won two in 2019 for This is America.

While pursuing his master’s degree in film scoring at USC, Göransson met his other longtime collaborator, director Ryan Coogler.

Göransson has scored four of Coogler’s feature films, Fruitvale Station, Creed, Black Panther and Black Panther: Wakanda Forever.

In 2019, Göransson earned multiple awards and nominations for his score for Black Panther, including a Golden Globe nomination, a Grammy Award for Best Score Soundtrack, and an Academy Award for Best Original Score.

Göransson composed the critically acclaimed score and produced the hit song “The Plan” (performed by Travis Scott) for Christopher Nolan’s Tenet (2020) and received many accolades for his score, including a Golden Globe nomination and a Broadcast Film Critics Association Award nomination. Göransson co-wrote and co-produced the songs for DreamWorks’ Trolls World Tour with Justin Timberlake. This follows his unique Emmy Awardwinning score for The Mandalorian on Disney+.

38 | 2022–23 SEASON

CSO MAR 17–18: The Mermaid KEVIN JOHN EDUSEI, conductor German conductor Kevin John Edusei is sought after the world over, dividing his time equally between the concert hall and opera house. He is deeply committed to the creative elements of performance, presenting classical music in new formats, cultivating audiences, introducing music by underrepresented composers, ©Marco Borggreve and conducting an eclectic range of repertoire from the Baroque to the contemporary.

In the 2022–23 season, Edusei debuts with the London Philharmonic, BBC Symphony, Hallé, Utah Symphony, Cincinnati Symphony and National Symphony (Washington, D.C.) orchestras, among others, and he returns to the London Symphony, City of Birmingham Symphony, Baltimore Symphony and Colorado Symphony orchestras.

With the Chineke! Orchestra he returns to the BBC Proms for a televised performance of Beethoven’s Symphony No. 9 and also performs at festivals in Snape, Hamburg, Helsinki and Lucerne. He is the former Chief Conductor of the Munich Symphony Orchestra, and 2022–23 marks the start of his tenure as the Principal Guest Conductor of the Fort Worth Symphony Orchestra (Texas).

This season, Edusei also debuts with the Royal Opera House conducting La bohème. He recently debuted with the English National Opera and previously has conducted at the Semperoper Dresden, Hamburg State Opera, Hannover State Opera, Volksoper Wien and Komische Oper Berlin. During his time as Chief Conductor of Bern Opera House, he led many new productions including Britten’s Peter Grimes, Strauss’ Salome, Bartók’s Bluebeard’s Castle, Wagner’s Tannhäuser and Tristan and Isolde, Janáček’s Kátya Kábanová, and a cycle of the Mozart–Da Ponte operas.

In 2004, David Zinman awarded Edusei the fellowship for the American Academy of Conducting at the Aspen Music Festival; in 2007, he was a prize winner at the Lucerne Festival conducting competition; and in 2008, he won the first prize at the International Dimitris Mitropoulos Competition.

MAR–APR GUEST ARTISTS

SIMONE LAMSMA, violin

CSO MAR 24–26: Beethoven’s Fifth

Dutch violinist Simone Lamsma is respected by critics, peers and audiences as one of classical music’s most striking and captivating musical personalities. With an extensive repertoire, she has performed with many of the world’s leading orchestras and a long list of eminent conductors.

In the 2022–23 season, ©Otto van den Toom Lamsma debuts with the Los Angeles Philharmonic, Beethoven Orchester Bonn, and Gulbenkian Orchestra, and she returns to the Hessischer Rundfunk Sinfonieorchester, MDR Sinfonieorchester, San Diego Symphony Orchestra, Cincinnati Symphony Orchestra, Orchestre Philharmonique du Luxembourg and the BBC National Orchestra of Wales. She tours with the NordWest Deutsche Philharmonie and music director Jonathon Heyward and gives the world premiere of a violin concerto by Dutch composer Mathilde Wantenaar as part of the ZaterdagMatinee series at the Concertgebouw with the Netherlands Radio Philharmonic and Karina Canellakis.

Lamsma’s most recent recording was released in the spring of 2022 to great acclaim and featured late works by Rautavaara, including a world premiere, with the Malmö Symphony and Robert Treviño (Ondine). Other recordings include Shostakovich’s first violin concerto and Gubaidulina’s In Tempus Praesens with the Netherlands Radio Philharmonic, and a recital album of works by Mendelssohn, Janáček and Schumann, both on Challenge Classics.

In 2019, Lamsma was made a Fellow of the Royal Academy of Music in London, an honor limited to 300 former Academy students and awarded to musicians who have distinguished themselves within the profession.

Lamsma plays the “Mlynarski” Stradivarius (1718), on generous loan to her by an anonymous benefactor.

ANNA RAKITINA, conductor Following a series of highly acclaimed appearances with orchestras such as the Chicago Symphony Orchestra, New York Philharmonic and Boston Symphony Orchestra in the 2021–22 season, Anna Rakitina established herself firmly as one of the most exciting and sought-after conductors of the new generation. ©Robert Torres Rakitina remains assistant conductor of the Boston Symphony Orchestra (BSO) under its Music Director Andris Nelsons until summer 2023. She is only the second woman in the orchestra’s history to hold this position.

The 2022–23 season sees Rakitina’s muchanticipated return to the Tanglewood Music Festival, as well as to Boston’s Symphony Hall as part of the Boston Symphony Orchestra’s subscription series. Further highlights of the season include debuts with the Swedish Radio Symphony Orchestra, Orchestre Philharmonique de Radio France, the Tonkünstler-Orchester at the Musikverein, Yomiuri Nippon Symphony Orchestra at Suntory Hall, Cincinnati Symphony Orchestra, Baltimore Symphony Orchestra, Indianapolis Symphony Orchestra, Musikkollegium Winterthur, Nürnberger Symphoniker, NDR Radiophilharmonie (Hannover), Orchestre Philharmonique du Luxembourg and Orquestra Sinfónica do Casa da Musica Porto.

Rakitina was a 2019–20 Dudamel Fellow of the Los Angeles Philharmonic and conducted the Los Angeles Philharmonic’s youth concerts at Walt Disney Concert Hall as well as the LA Phil’s education and community programs.

Born in Moscow to a Ukrainian father and a Russian mother, Rakitina began her education as a violinist before she studied conducting at the Moscow Tchaikovsky Conservatory. From 2016 to 2018 she studied conducting in Hamburg, Germany with Prof. Ulrich Windfuhr. annarakitina.com

``

Fanfare Magazine | 39

MAR–APR GUEST ARTISTS

STERLING ELLIOTT, cello Acclaimed for his stellar stage presence and joyous musicianship, cellist Sterling Elliott is a 2021 Avery Fisher Career Grant recipient and the winner of the Senior Division of the 2019 National Sphinx Competition. In his young career, he has already appeared with major orchestras throughout the U.S., with noted conductors Yannick NézetSéguin, Thomas Wilkins, Jeffrey Kahane, Bramwell Tovey, Mei-Ann Chen and others. In the summer of 2022, and he made his Aspen Festival debut and his German debut in Munich in May 2022.

The 2022–23 season sees his debuts with the Colorado Symphony, Cincinnati Symphony Orchestra, North Carolina Symphony and Ft. Worth Symphony, among others, with return appearances including the Buffalo Philharmonic.

He appears in recital under the auspices of the San Francisco Symphony, the New York Philharmonic, Shriver Hall in Baltimore, the Tippett Rise Festival and Capitol Region Classical in

Albany, New York. In October, he participated in the Caramoor Music Festival’s prestigious Evnin Rising Stars series.

As the youngest of three siblings, Elliott did not want to play the cello; he instead wanted to play the violin like his older brother and sister. After a bit of encouragement, he completed The Elliott Family String Quartet by learning to play the cello at the age of three under the direction of Suzuki cello teacher Susan Hines.

He went on to make his concerto debut at the age of 7 after winning the Junior Division of the Peninsula Youth Orchestra Concerto Competition.

Elliott is a two-time alumnus of NPR’s From the Top, where he was named a recipient of its Jack Kent Cooke Young Artist Award. He also performed several concerts in Switzerland at the 2019 World Economic Forum. He is a Young Strings of America ambassador for SHAR Strings.

In spring 2022, Elliott participated in Performance Today’s Young Artist Residency, which featured educational events, interviews and a feature on the nationally syndicated radio program.

Sterling Elliott is a Kovner Fellow at the Juilliard School, where he is pursuing his Master of Music degree, studying with Joel Krosnick and Clara

Bring more musicc into your ur life, and get mor re out of it. more

Queen City Connections

New York, New York

March 19/20, 2023

April 2/3, 2023

Renowned pianist Sandra Rivers performs

The distinguished New York Philharmonic

with CSO principals Stefani Matsuo and Ilya

String Quartet returns to Cincinnati. Opening

Finkelshteyn in a program that features

with Mozart’s innovative Dissonance quartet,

Schumann’s dramatic and triumphant piano

this program explores a range of emotions

trio, a neo-romantic sonata by Barber, and a

through Thompson’s stream-of-consciousness

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response to political mayhem and Schubert’s deeply melancholic and powerful work written as he faced his own mortality.

LintonMusic.org | 513.381.6868 40 | 2022–23 SEASON

MAR–APR GUEST ARTISTS

Kim. He completed his undergraduate degree in cello performance at Juilliard in May 2021.

He currently performs on a 1741 Gennaro Gagliano cello on loan through the Robert F. Smith Fine String Patron Program, in partnership with the Sphinx Organization. sterlingelliott.com

LOLLIPOPS FAMILY CONCERT MAR 25: Sherlock Holmes and the Case of the Missing Maestro SAMUEL LEE, conductor Turn to p. 36 for a biography of CSO and Pops Assistant Conductor Samuel Lee.

CHRISTIAN BARE, actor Christian Bare is thrilled to be working with the Cincinnati Pops Orchestra! He has been working as an actor for several years, with his previous credits including A-440 in Symphony in Space, Jetsam in The Little Mermaid, Ren in Footloose, Robbie (swing) in Footloose, and Adam/Noah in Children of Eden.

CSO APR 7–8: Shostakovich Symphony No. 5 STEPHEN HOUGH, piano Named by The Economist as one of Twenty Living Polymaths, Sir Stephen Hough combines a distinguished career as a pianist with those of composer and writer.

He was the first classical performer to be awarded a MacArthur Fellowship, was made a Commander of the Order of the British Empire (CBE) in the New Year Honours ©Sam Canetty-Clarke 2014, and was awarded a Knighthood for Services to Music in the Queen’s Birthday Honours 2022.

In the 2022–23 season, Hough performs more than 90 concerts across five continents.

Concerto highlights include returns to the Concertgebouworkest, Detroit, Cincinnati and Washington’s National symphony orchestras; BBC Symphony and Philharmonia orchestras; and the National Symphony Orchestra, Taiwan.

He is also Artist-in-Association with the Iceland Symphony Orchestra, with whom he tours the UK in spring 2023.

Hough is a regular guest at festivals such as Salzburg, Mostly Mozart, Edinburgh, La Roqued’Anthéron, Aldeburgh, and the BBC Proms, where he has made 29 appearances. 2022–23 highlights include New York (The 92nd Street Y), Paris, Sydney, Atlanta and Sage Gateshead.

Hough’s extensive discography of around 70 CDs has garnered international awards including the Diapason d’Or de l’Année, several Grammy nominations, and eight Gramophone Awards, including Record of the Year and the Gold Disc.

Recent releases for Hyperion include Beethoven’s complete piano concertos (Finnish Radio Symphony Orchestra/Hannu Lintu), “The Final Piano Pieces” of Brahms, Chopin’s Nocturnes, a Schumann recital, Schubert Piano Sonatas, and Elgar’s Violin Sonata with Renaud Capuçon (Warner Classics). His recording of Mompou’s Música callada will be released in 2023 (Hyperion).

His award-winning iPad app, The Liszt Sonata, was released by Touch Press in 2013.

As a composer, Hough’s song cycle, Songs of Love and Loss, co-commissioned by Wigmore Hall, The 92nd Street Y in New York, and Tippet Rise in Montana, received its world premiere in January 2023. He wrote the commissioned work for the 2022 Van Cliburn International Piano Competition, and his String Quartet No. 1, Les Six Rencontres, commissioned for the Takács Quartet, received its world premiere in Costa Mesa, California in 2021 and was recorded for release in January 2023 (Hyperion). His music is published

by Josef Weinberger Ltd. Hough’s memoir Enough: Scenes from Childhood will be published by Faber & Faber in spring 2023. It follows his collection of essays Rough Ideas: Reflections on Music and More (Faber & Faber, 2019) as well as his first novel, The Final Retreat (Sylph Editions, 2018). He has also been published by The New York Times, The Telegraph, The Times, The Guardian and the Evening Standard. Hough is on the faculty of The Juilliard School in New York. stephenhough.com

Fanfare Magazine | 41

FORT WASHINGTON INVESTMENT ADVISORS PROUD PARTNER OF THE CINCINNATI SYMPHONY ORCHESTRA

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

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

DEATH & TRANSFIGURATION | 2022–23 SEASON SAT MAR 4, 7:30 pm SUN MAR 5, 2 pm Music Hall

LOUIS LANGRÉE, conductor ELIZABETH FREIMUTH, horn Richard STRAUSS (1864–1949)

Concerto No. 1 in E-flat Major for Horn and Orchestra, Op. 11 Allegro Andante Allegro

Samuel ADAMS

Variations WORLD PREMIERE, CSO CO-COMMISSION

(b. 1985)

Richard STRAUSS

Tod und Verklärung (“Death and Transfiguration”), Op. 24

These performances are approximately 70 minutes long. There is no intermission.

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

The Cincinnati Symphony Orchestra is grateful to Paul and Anna Isaacs for their support of the CSO co-commissioned world premiere of Samuel Adams’ Variations.

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. 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.

Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

Listen to this program on 90.9 WGUC June 11, 2023 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

Fanfare Magazine | 43

MAR 4–5 PROGRAM NOTES RICHARD STRAUSS Born: June 11, 1864 in Munich, Germany Died: September 8, 1949 in Garmisch-Partenkirchen, Germany

Concerto No. 1 in E-flat Major for Horn and Orchestra, Op. 11

Richard Strauss

Composed: 1882–83 Premiere: March 4, 1885

in Meiningen, conducted

by Hans von Bülow with Gustav Leinhos as soloist Instrumentation: solo horn, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings CSO notable performances: First CSO Performance: March 1978, Carmon DeLeone conducting and Barry Tuckwell, horn; the Orchestra also performed the work in December 1915 on a Pops concert, with Ernst Kunwald conducting and Gustav Albrecht, horn.

Most Recent Performance: November 1992, Jesús López Cobos conducting and Hermann Baumann, horn.

Duration: approx. 15 minutes

44 | 2022–23 SEASON

Franz Strauss, Richard’s father, was one of the outstanding instrumentalists of his day. For over 40 years as principal horn he was a chief adornment of the Munich Court Orchestra, a post he held until the age of 69; he was especially renowned for the power and artistry of his solos in Mozart’s concertos, Beethoven’s symphonies and Wagner’s operas. The eminent pianist and conductor Hans von Bülow dubbed him “the Joachim of the horn” (Brahms wrote his Violin Concerto for Joseph Joachim), and Wagner, whose personality and music Franz detested, grudgingly admitted, “Strauss is an unbearable fellow, but when he plays his horn, one cannot be cross with him.” Franz was also a composer, mainly of horn music, as well as the conductor of an amateur orchestra and a capable player of guitar and viola.

The sound of Franz’s horn playing was a fixture in the Strauss household: it is said that Richard as a baby would coo and smile when he heard the horn, but cry at the sound of a violin. It is hardly surprising, then, that the boy wrote for the horn when his talent began to blossom. Two such early works are a song called Alphorn with horn obbligato and the Introduction, Theme and Variations for horn and piano, both with writing difficult enough to give the young composer’s virtuoso father pause. Late in 1882, while he was a student at Munich University, Richard began a concerto for the horn and completed it early the next year. (His Second Horn Concerto came 60 years later, in 1942.) Franz played through the work and found it filled with such difficulties that he refused to perform it in public, though he occasionally tackled the piece for family concerts. The public premiere was given in 1885 by conductor Hans von Bülow and the principal horn of his Meiningen Orchestra, Gustav Leinhos, who, Strauss assured his father, was a player of “colossal sureness,” a mandatory virtue for any performer of this challenging Concerto. The composer could not attend, but his uncle Carl Hörburger reported that the performance was presented and received “obviously with great commitment and interest.”

The First Horn Concerto was soon taken up by other performers and remains the earliest of Strauss’ works in the orchestral repertory.

Father Franz saw that Richard was trained strictly in the classical style of Mozart, Beethoven and Mendelssohn, with Wagner and Liszt treated more like anathema than mere composers. During the time of the First Horn Concerto, Richard shared his father’s reactionary tastes (this changed radically after 1885, when the young musician left home) and the piece is in Strauss’ most untroubled classical vein. The Concerto opens with a brilliant fanfare-flourish from the soloist that becomes the main theme of the first movement. A more lyrical (though, for the soloist, no less demanding) section serves as a complement to the vigorous opening theme. A spirited orchestral tutti, gradually softening, leads without pause to the Andante, a sad, sweet song in three parts, the central section of which is marked by agitated, repeated-note figures in the accompaniment.

The finale is a bounding Rondo whose theme is a transformation of the principal melody of the opening movement.

—Dr. Richard E. Rodda

PROGRAM NOTES

SAMUEL ADAMS Born: 1985 in San Francisco, California

Variations Samuel Adams is an American composer whose music weaves acoustic and digital sound into “mesmerizing” (New York Times) orchestrations.

Adams grew up in the San Francisco Bay Area (his father is the composer John Adams), where he studied and performed improvised and electronic music. In 2010, he received a master’s degree in composition from The Yale School of Music and moved to Brooklyn, NY, where he taught and performed in various contemporary music ensembles before returning to his native California in 2016.

Sought after by orchestras and contemporary ensembles alike, he has received commissions from a broad range of organizations, including the San Francisco Symphony, Carnegie Hall, New World Symphony, Australian Chamber Orchestra and Spektral Quartet, and he has collaborated with performers and conductors such as Esa-Pekka Salonen, David Robertson and Michael Tilson Thomas; violinists Anthony Marwood, Jennifer Koh and Karen Gomyo; and pianists Emanuel Ax, Sarah Cahill, David Fung and Joyce Yang.

The 2022–23 season highlights several world premieres, including Echo Transcriptions, a new work for electric violin and orchestra commissioned by the Australian Chamber Orchestra for Richard Tognetti. The work was presented on a national tour of Australia in late 2022 and will receive its North American performances in California and Toronto this spring.

In February, pianist Conor Hanick and the San Francisco Symphony premiered No Such Spring under the baton of Esa-Pekka Salonen, and this weekend, the Cincinnati Symphony Orchestra premieres Adams’ Variations, a 2020 orchestral work co-commissioned by the CSO and the Netherlands Radio Philharmonic. Other season highlights include a performance of Adams’ 2017 Chamber Concerto with violinist Karen Gomyo and the release of a new record featuring the Chicago-based Spektral Quartet.

Adams was Mead Composer-in-Residence with the Chicago Symphony Orchestra from 2015 to 2018 and, in the 2021–22 season, he was the Composer-in-Residence with Het Concertgebouw in Amsterdam. He has held residencies at Civitella Ranieri (Umbria, Italy), Djerassi Resident Artists Program (California), Ucross (Wyoming), and Visby International Centre for Composers (Gotland, Sweden). He is a 2019 Guggenheim Fellow and lives and works in Seattle, WA. For more information about Samuel Adams, visit samuelcarladams.com.

Of his Variations, Samuel Adams says:

Samuel Adams, ©Lenny Gonzalez

Composed: 2020,

co-commissioned by the Cincinnati Symphony Orchestra and the Netherlands Radio Philharmonic.

Premiere: These CSO performances are the work’s world premiere.

Instrumentation: 3 flutes (incl. alto flute, piccolo), 3 oboes, 3 clarinets (incl. 2 bass clarinets), 3 bassoons (incl. contrabassoon), 4 horns, 4 trumpets, 3 trombones, tuba, vibraphone, glockenspiel, sandpaper blocks, triangles, crotales, suspended ride cymbal, paper on table, sizzle cymbal, whip, marimba, aerosol can of compressed air, tuned gongs, ratchet, almglocken, tam-tam, 2 pianos, sine wave bass keyboard, strings Duration: approx. 18 minutes

I started work on Variations in the summer of 2020, after briefly relocating to Nevada, and completed the score the following January.

It was during this period of isolation that emerged a consistent pattern to my life: starting each day at the piano to compose and ending each day with the same long walk in my temporary desert neighborhood.

The only variations during this time were found in my environment: the gradual change in the landscape, the swelling number of migrating birds in the fall, and the angle of light on the eastern slope of the Sierra Nevada.

In many ways, Variations became a mirror of this lived experience.

The organic texture and the flow of the music reflect the steely grey expanses of Western Nevada and the rhythmic, almost rippling quality

Fanfare Magazine | 45

PROGRAM NOTES

of the peaks and valleys as they roll out east. Yet, while composing the piece—as the light gradually left the northern hemisphere, and the world during the first pandemic winter seemed to gradually close in on itself—the music seemed to, conversely, open up. The 18 minutes uncoil like the fronds of a fern. Each variation grows in duration so that the first variation lasts about a minute and the last about seven, and each variation begins with the same ascending Phrygian scale before venturing into increasingly vast landscapes. The final variation reaches a high plateau, with ecstatic waves of sound cresting and falling to the most extreme ranges of the orchestra before arriving at a brief, ringing coda.

This is the first work I’ve written for the Cincinnati Symphony Orchestra, and it was a total joy to create.

STRAUSS: Tod und Verklärung Composed: 1888–89 Premiere: June 21, 1890

in Eisenach, conducted by the composer Instrumentation: 3 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, tam-tam, 2 harps, strings CSO notable performances: First Performance: March 1899, Frank Van der Stucken conducting. Most Recent Performance: February 2008, John Adams conducting. Other: April 1904, Richard Strauss conducting.

Duration: approx. 25 minutes

RICHARD STRAUSS

Tod und Verklärung (“Death and Transfiguration”), Op. 24 Richard Strauss completed Death and Transfiguration just in time for his 26th birthday. It is a remarkable achievement, both in conception and execution, for such a young musician, especially since composition was really just a second career for Strauss at the time. By 1887, Strauss was one of the fastest-rising stars in the European conducting firmament, having taken up his first podium engagement, at the tender age of 19, as assistant to the renowned Hans von Bülow at Meiningen. Appointments at the opera houses of Munich, Bayreuth and Weimar, as well as a guest visit to conduct the greatest orchestra of the time, the Berlin Philharmonic, all preceded the June 1890 premiere of Death and Transfiguration. Strauss’ schedule was hectic, and it is a tribute to his stamina and ambition that he was able to balance two full-time careers with such excellent success.

Throughout his life he remained one of the most highly regarded and sought-after conductors in the world, reaching the pinnacle of his acclaim when he was appointed director of the Vienna Opera in 1919.

It was at his first conducting post that Strauss met Alexander Ritter, an artistic jack-of-all-trades who made his living as a violinist but also considered himself a poet and composer. Ritter introduced Strauss to the operas of Wagner, and Strauss was overwhelmed. Strauss’ training under the watchful eye of his father, an excellent musician and the best horn player in Europe, had been confined to the classic literature of Mozart, Beethoven and the early Romantic composers—Papa Strauss stubbornly refused to let the impressionable Richard investigate the turbulent Romanticism of Wagner and Liszt. Once Strauss made the inevitable discovery of Wagner’s Tristan and The Ring, however, they proved a decisive influence on his work as a composer and conductor.

Ritter also convinced the young composer that a literary idea could inspire an instrumental work, and Strauss responded with a series of brilliant symphonic (or tone) poems for orchestra. Death and Transfiguration was the third of these, following Macbeth (1887) and Don Juan (1888).

The literary inspiration for Death and Transfiguration originated with Strauss himself, as he noted in a letter to his friend Friedrich von Hausegger in 1894: It was six years ago when the idea came to me to write a tone poem describing the last hours of a man who had striven for the highest ideals, presumably an artist. The sick man lies in his bed breathing

46 | 2022–23 SEASON

PROGRAM NOTES

heavily and irregularly in his sleep. Friendly dreams bring a smile to his face; his sleep grows lighter; he awakens. Fearful pains once more begin to torture him, fever shakes his body. When the attack is over and the pain recedes, he recalls his past life; his childhood passes before his eyes; his youth with its strivings and passions; and then, when the pain returns, there appears to him the goal of his life’s journey—the idea, the ideal he attempted to embody in his art, but which he was unable to perfect because such perfection could be achieved by no man. The fatal hour arrives. The soul leaves his body, to discover in the eternal cosmos the magnificent realization of the ideal that could not be fulfilled here below.

Strauss’ composition follows his literary program with almost clinical precision. It is divided into four sections. The first summons the vision of the sickroom and the irregular heartbeat and distressed sighs of the man/ artist. The second section, in a faster tempo, is a vivid and violent portrayal of his suffering. The ensuing, slower section, beginning tenderly and representing the artist’s remembrance of his life, is broken off suddenly when the anguished music of the second part returns. This ultimate, painful struggle ends in death, signified by a stroke of the gong. The final section, hymn-like in mood, depicts the artist’s vision of ultimate beauty as he is transfigured into part of “the eternal cosmos.”

At the end of his long life, Strauss looked back to Death and Transfiguration and borrowed one of its themes for inclusion in the last work he wrote, Im Abendrot (“In the Twilight”) from the Four Last Songs.

Only a few months later, on his deathbed, he whispered, “Dying is just as I composed it in Death and Transfiguration.”

—Dr. Richard E. Rodda

Check out our NEW DIGITAL PROGRAM! For even more enriching content including full-length biographies, digital content and more, text PROGRAM to 513.845.3024*, visit cincinnatisymphony. org/digital-program, or point your phone’s camera at the QR code.

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KNOWN, NURTURED, AND INSPIRED.

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. Few schools are better equipped to connect students both academically and personally. Whether in the classroom or on our 62-acre campus, we are designed to help cultivate a passion for learning, independent thinking, and self-discovery that guides students to be scholars, athletes, artists, innovators, and leaders.

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Fanfare Magazine | 47

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

MARVEL’S BLACK PANTHER: FEATURE FILM WITH ORCHESTRA 2022–2023 SEASON FRI MAR 10, 7:30 pm SAT MAR 11, 7:30 pm SUN MAR 12, 2 pm Music Hall There will be one intermission

DAMON GUPTON, conductor

Starring CHADWICK BOSEMAN • MICHAEL B. JORDAN • LUPITA NYONG’O DANAI GURIRA • MARTIN FREEMAN • DANIEL KALUUYA LETITIA WRIGHT • WINSTON DUKE with ANGELA BASSETT • with FOREST WHITAKER and ANDY SERKIS Music by: LUDWIG GÖRANSSON Executive Producers LOUIS D’ESPOSITO • VICTORIA ALONSO • NATE MOORE JEFFREY CHERNOV • STAN LEE Produced by: KEVIN FEIGE, p.g.a.

Written by: RYAN COOGLER & JOE ROBERT COLE Directed by: RYAN COOGLER This film is rated PG-13.

Today’s performance lasts approximately 2 hours and 45 minutes, including a 25-minute intermission.

The performance is a presentation of the complete film Black Panther with a live performance of the film’s entire score. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the end credits.

DOLBY®

IMAX®

Original Score Album available on MARVEL MUSIC/HOLLYWOOD RECORDS at Disneymusicemporium.com.

Presentation licensed by Disney Concerts in association with Marvel Studios.

All rights reserved. ©2021 MARVEL. 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. 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.

Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

Fanfare Magazine | 49

THE MERMAID | 2022–23 SEASON FRI MAR 17, 7:30 pm SAT MAR 18, 7:30 pm Music Hall

KEVIN JOHN EDUSEI, conductor SIMONE LAMSMA, violin Felix MENDELSSOHN (1809–1847)

Erich Wolfgang KORNGOLD

Märchen von der schönen Melusine (“The Fair Melusine”) Overture, Op. 32 Concerto in D Major for Violin and Orchestra, Op. 35 Moderato nobile Romance: Andante Finale: Allegro assai vivace

(1897–1957)

INTERMISSION

Alexander ZEMLINSKY (1871–1942)

Die Seejungfrau (“The Mermaid”) Fantasy Sehr mässig bewegt Sehr bewegt, rauschend Sehr gedehnt, mit schmerzvollem Ausdruck

These performances are approximately 105 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor 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. 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.

Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

Listen to this program on 90.9 WGUC April 30, 2023 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

50 | 2022–23 SEASON

MAR 17–18 PROGRAM NOTES FELIX MENDELSSOHN Born: February 3, 1809 in Hamburg, Germany Died: November 4, 1847 in Leipzig, Germany

Märchen von der schönen Melusine (“The Fair Melusine”) Overture, Op. 32 The story of the “Little Mermaid,” which received the full-blown tragic treatment in Alexander Zemlinsky’s tone poem Die Seejungfrau (heard after intermission), has roots in European literature going back all the way to the Middle Ages. The figure of a woman caught between the human world and a mystical parallel universe, hidden in the depths of the sea, captured the imaginations of several early 19th-century writers, including Hans Christian Andersen, Franz Grillparzer and others.

Grillparzer, the most celebrated Austrian poet of his time, originally intended his opera libretto about the mermaid, whom he called Melusine, for Beethoven, but nothing came of the project. A minor composer named Conradin Kreutzer picked up the libretto and wrote a three-act opera based on it. Felix Mendelssohn went to see this opera but was less than enthusiastic. As he told his sister Fanny in a letter, he liked the overture least of all. He decided that he could do much better and composed his own overture on the subject. Unfortunately, he stopped there and did not rewrite the entire opera.

Grillparzer based his Melusine on an old French legend in which the protagonist is married to Raimund, a handsome knight who is utterly unaware that Melusine had been born a mermaid. She marries him on the condition that he must never enter her room on Saturdays—on that day she disappears to visit her father’s underwater kingdom. The day Raimund breaks his vow marks the end of their marriage, and Melusine is forced to give up her human existence and has to return to her native realm forever.

The first section of Mendelssohn’s overture depicts the water with a musical figure that was later appropriated by Wagner to serve a similar purpose at the beginning of Rheingold. (The entire Melusine story has a Wagnerian parallel in Lohengrin, where Elsa is similarly prohibited from inquiring about her spouse’s origins.) A second, stormier motif represents the fundamental conflict between the two people and their respective worlds, while a third theme, more lyrical, portrays the doomed love between Raimund and Melusine. The water theme returns at the end, as Melusine disappears beneath the waves for good.

—Peter Laki

©Camilla Jessel Panufnik

Felix Mendelssohn, painting by Eduard Magnus

Composed: 1833–35 Premiere: April 7, 1834,

London Philharmonic Society, Ignaz Moscheles conducting; revised version—November 23, 1835, Gewandhaus Leipzig, C.G. Miller conducting Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings CSO notable performances: First Performance: December 1902, Frank Van der Stucken conducting. Most Recent Performance: April 1934, Eugene Goossens conducting. Other: This piece was played on a May 2000 Lollipops Concert conducted by Alastair Willis.

Duration: approx. 10 minutes

ERICH WOLFGANG KORNGOLD Born: May 29, 1897, Brno, Czechia Died: November 29, 1957, Hollywood, California

Concerto in D Major for Violin and Orchestra, Op. 35 When Erich Wolfgang Korngold was nine years old, his father—who happened to be Julius Korngold, the most influential music critic in Vienna—showed the boy’s first compositions to Gustav Mahler, who exclaimed: “A genius!” Mahler’s reaction was understandable. The young Korngold was a unique composing prodigy who had an instinctive grasp of the most modern musical styles of the day. He grew up to be an extremely successful opera composer—he wrote his most talked-about work, Die tote Stadt (“The Dead City”), when he was 20. Yet, he was equally attracted to operetta and was considered an expert on Johann

Fanfare Magazine | 51

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PROGRAM NOTES

Strauss, Jr. His involvement with new productions of Die Fledermaus (“The Bat”) and other Strauss operettas (as arranger and conductor) became legendary and brought him into contact with Max Reinhardt (1873–1943), the foremost German stage director of the time. This meeting literally saved Korngold’s life, as it was with Reinhardt that Korngold first went to Hollywood, where he soon became the star among film composers. After the Nazi occupation of Austria in 1938, Korngold lost his original home base and settled permanently in Los Angeles.

His father, music critic Julius Korngold, who in his 70s was forced to flee Austria and joined his son in Southern California, was deeply disappointed that Erich had given up “serious” composition in favor of the movies. To his last day, the old man kept exhorting his son to return to concert music.

His advice went unheeded for years, yet toward the end of Julius’s life, Erich wrote a string quartet (his third) and, after his father’s death, he returned to a project started years earlier but never completed: a concerto for violin and orchestra.

The great violinist Bronislaw Huberman—an old family friend since Vienna days—had long been asking Korngold for a violin concerto. When the work was finally completed, however, Huberman found himself unable to commit to a performance date. (The Polish violinist was in poor health and died in June 1947 at the age of 64). Korngold showed the concerto to Jascha Heifetz, who learned it within a few weeks and, with Huberman’s blessing, gave the world premiere in St. Louis on February 15, 1947.

At this point in Korngold’s career, the two aspects of his creative world—concert and film music—had become completely intertwined.

His movie scores (of which the most famous are Captain Blood and The Adventures of Robin Hood) were symphonic, even operatic, in their scope.

The Violin Concerto, conversely, owes much to Korngold’s work in the film industry. Many of the major themes were taken over from movie scores, and there are moments where the instrumentation and the thematic development also bring back Hollywood memories.

The opening theme of the concerto comes from a score written for a film that failed and was quickly forgotten (Another Dawn, 1937), the second from the historical movie Juarez (1939). The folk-dance theme of the last movement originated in the film adaptation of Mark Twain’s The Prince and the Pauper (1937) and became the starting point for a set of brilliant variations. These different sources come together to form a completely new entity in the Violin Concerto, quite independent from the screen originals. (The beautiful melody of the second movement “Romance” seems to have been written especially for this concerto.)

In Korngold’s personal style, elements inherited from Mahler and Richard Strauss are treated with the light touch perfected at the Warner Brothers studios. This approach brought Romantic concerto-writing to new life at a time when most modern composers and critics were ready to bury it.

Korngold himself never had any doubts about the vitality of this tradition.

His rich melodic invention, his “spicy” harmonies that nevertheless remain firmly anchored in tonality, and his perfect understanding of the virtuoso violin idiom enabled him to make an important contribution to the repertoire. Yet at first, the concerto found little favor with violinists, despite Heifetz’s strong advocacy. (Heifetz recorded the work twice: once with the New York Philharmonic and once with the Los Angeles Philharmonic.) Since the 1970s, Korngold’s Violin Concerto has enjoyed a spectacular comeback, with numerous recordings and frequent concert performances all over the world.

—Peter Laki

Erich Wolfgang Korngold

Composed: 1937–1945 Premiere: February 15,

1947, St. Louis, Vladimir Golschmann conducting the St. Louis Symphony; Jascha Heifetz, violinist Instrumentation: solo violin, 2 flutes (incl. piccolo), 2 oboes (incl.

English horn), 2 clarinets, bass clarinet, 2 bassoons (incl. contrabassoon), 4 horns, 2 trumpets, trombone, timpani, bass drum, bell, crash cymbals, glockenspiel, suspended cymbals, tuned gongs, vibraphone, xylophone, harp, celeste, strings CSO notable performances: First Performance: February 2000, John Morris Russell conducting with Timothy Lees, violin. Most Recent Performance: February 2015, Han-Na Chang conducting with Simone Lamsma, violin.

Duration: approx. 24 minutes

Fanfare Magazine | 53

PROGRAM NOTES

ALEXANDER ZEMLINSKY Born: October 14, 1871 in Vienna Died: March 15, 1942 in Larchmont, New York

Die Seejungfrau (“The Mermaid”) Fantasy

Alexander Zemlinsky

Composed: 1901–02 Premiere: January 25,

1905 in Vienna, Alexander Zemlinsky conducting the Wiener Konzertverein Orchestra Instrumentation: 4 flutes (incl. 2 piccolos), 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, 6 horns, 3 trumpets, 4 trombones, tuba, timpani, chimes, crash cymbals, glockenspiel, suspended cymbals, triangle, 2 harps, strings CSO notable performances: These performances are the CSO premiere of Die Seejungfrau.

Duration: approx. 40 minutes

54 | 2022–23 SEASON

Composers after Mendelssohn discovered many additional layers of meaning in the Melusine story. In Antonín Dvořák’s opera Rusalka (1900), a late Romantic treatment of the topic, it is only a small step from the fairytale to the passions of mad love, jealousy and betrayal. A couple of years later, Alexander Zemlinsky could identify with some of these emotions on a personal level. After all, he had been in a passionate relationship with the beautiful and gifted Alma Schindler, who left him to marry the powerful director of the Court Opera in Vienna, Gustav Mahler.

Zemlinsky was ready to write a “symphony of death,” as he confided to his friend Arnold Schoenberg, formerly his pupil and now his brother-in-law.

He poured his most personal feelings into this lushly romantic, 45-minute score, his most important artistic statement to date.

In his early 30s, Zemlinsky was already a noted presence on the Viennese musical scene. He had earned Brahms’ approval with an early string quartet; the old master even offered him financial support. His Symphony in B-flat won the prestigious Beethoven Prize in 1897; his opera Es war einmal (“Once Upon a Time”) was premiered at the Court Opera under Mahler’s direction in 1900. Yet, in Die Seejungfrau, based on the Hans Christian Andersen version of the tale, Zemlinsky wanted to try something he had never done before (and would never do again), namely to write a symphonic poem in response to Richard Strauss. Zemlinsky had been studying Strauss’s recent Heldenleben (“A Hero’s Life”) and was fascinated, but he thought Strauss had gone too far. He felt that the violently dissonant section of “The Hero’s Adversaries” could “no longer be taken seriously.” His approach was to be different. The harmonic language had to be less extreme, and the thematic unity of the work much stronger.

Therefore, Zemlinsky organized the entire composition around a few recurrent themes that gave the symphonic poem a clear sense of form.

In his sketches, Zemlinsky labeled these themes by descriptive names (a practice inspired by Wagnerian leitmotifs) like “Home,” “World of Humans,” “Pain, Despair,” or “Man’s Immortal Soul.” Zemlinsky’s intended program has not come down to us in its entirety, and we only have a brief summary that he gave in a letter to Schoenberg.

Considering how much this composition meant to Zemlinsky, it may come as a surprise that he withdrew it after only a few performances, and the score was lost to the world for decades. One reason for this may be that, at the 1905 premiere, Die Seejungfrau shared the program with Schoenberg’s Pelleas und Melisande and, although Zemlinsky’s work was better received that night, it was soon overshadowed by his brother-inlaw’s bolder vision. In a way, the two works are very similar: both are huge, post-Wagnerian tone poems; even their subjects are related. Melisande, the heroine of Maurice Maeterlinck’s drama and Debussy’s opera of the same name, is, like Melusine, a young female of mysterious origin who meets a prince, with equally disastrous consequences.

Having put his Mermaid to sleep in her palace deep in the ocean, Zemlinsky started a new life in Prague. For unknown reasons, he detached the first movement from his manuscript and gave it to his friend Marie Pappenheim, who had written the libretto for Schoenberg’s one-act opera Erwartung (“Expectation”). This movement is in the possession

PROGRAM NOTES

of Pappenheim’s heirs to this day. Zemlinsky kept the second and third movements and brought them with him when he immigrated to the United States in 1938. After the composer’s death in 1942, these untitled pages ended up at the Library of Congress with the rest of his papers. It wasn’t until the early 1980s that researchers examined the manuscripts in Vienna and Washington, D.C. They established that the two belonged together and formed the symphonic poem Die Seejungfrau. (There were many telltale signs, but the most direct evidence is found at the very end of the third movement, which contains a literal repeat of the first movement’s opening theme.) This musicological detective work made it possible for the piece to come back to life; it has been performed with increasing frequency since 1984.

There was one passage in the piece, however, which was still unknown: the scene where the Mermaid visits the Sea Witch to ask for her help.

This scene had been cut by the composer and was restored only recently.

The full original version of the piece was not performed until 2013. The publisher has written about this fuller version: “[It] builds to a wild climax, bordering on hysteria, and disrupts the formal balance of the work.”

Although the new passage is rather brief—about two minutes long—it adds significantly to the overall effect and makes this lush late Romantic masterpiece sound even more powerful.

—Peter Laki

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vaecinci.com 513 . 381. 330 0 *World premiere of the chamber orchestration.

Fanfare Magazine | 55

Of Note The Cincinnati Symphony Orchestra’s Multicultural Awareness Council (MAC) awarded four Cincinnati Symphony Youth Orchestra (CSYO) members with the Norman E. Johns Chair Award.

Established in 1995 in honor of Norman E. Johns, the award is given annually to support African American, Latine and Native American students in their pursuit of music and to cover the cost of their tuition in the CSYO. This year’s winners are: Gabriel Caal, viola Gabriel is a senior at Mason High School and is a member of the CSYO Philharmonic and Nouveau Chamber Players. Gabriel studies viola with Dylan Firlie. Gabriel plans on majoring in viola performance at The Ohio State University.

Left to Right Christina Lehmann, Adolphus McCullom II, Andria Carter (MAC Chair), Norman E. Johns, Ari Peraza-Webb and Gabriel Caal. Credit: Mark Lyons

56 | 2022–23 SEASON

Christina Lehmann, viola Christina is a homeschooled senior and is a member of the CSYO Philharmonic and Nouveau’s Apprentices. Christina studies viola with Rebecca Flank at Immanuel School of Music.

Ari Peraza-Webb, cello Ari is a senior at Wyoming High School and is a member of the CSYO Philharmonic and Nouveau Chamber Players. Ari studies cello with Dr. Sarah Kim and Alan Rafferty.

Ari was the winner of the CSYO Concerto Competition and will perform on the annual Side-by-Side concert on April 23. Ari plans on majoring in cello performance.

Adolphus McCullom II, percussion Adolphus is an eighth grader at SCPA and is a member of the CSYO Concert Orchestra. He is also a Carlson-Berne scholarship recipient. He studies percussion with John Gardner.

NIMAN & CSO SIDE-BY-SIDE CONCERT | 2022–23 SEASON

SUN MAR 19, 7 pm Music Hall KEVIN JOHN EDUSEI, conductor NATIONAL PATHWAYS FESTIVAL ORCHESTRA CINCINNATI SYMPHONY ORCHESTRA Brian Raphael NABORS

Pulse

(b. 1991)

Antonín DVOŘÁK (1841–1904)

Symphony No. 9 in E Minor, Op. 95, From the New World Adagio. Allegro molto Largo Molto vivace Allegro con fuoco

There is no intermission.

NIMAN and the CSO are grateful to the Paul M. Angell Family Foundation for their ongoing support and sponsorship of the National Pathways Festival.

Special thanks to the National Pathways Collective for their partnership and continued support for pre-college musicians of color.

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.

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.

Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

Fanfare Magazine | 57

BEETHOVEN’S FIFTH | 2022–23 SEASON FRI MAR 24, 11 am SAT MAR 25, 7:30 pm SUN MAR 26, 2 pm Music Hall

ANNA RAKITINA, conductor STERLING ELLIOTT, cello Antonín DVOŘÁK

Concerto in B Minor for Cello and Orchestra, Op. 104

(1841–1904)

Allegro Adagio ma non troppo Allegro moderato. Andante. Allegro vivo

INTERMISSION

Richard AYRES (b. 1965)

“Saying Goodbye” from No. 52: Three Pieces about Ludwig van Beethoven

Ludwig van BEETHOVEN

Symphony No. 5 in C Minor, Op. 67

(1770–1827)

Allegro con brio Andante con moto Allegro Allegro

These performances are approximately 105 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor 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. 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.

Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

Listen to this program on 90.9 WGUC May 7, 2023 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

58 | 2022–23 SEASON

MAR 24–26 PROGRAM NOTES ANTONÍN DVOŘÁK Born: September 8, 1841, Nalahozeves, Bohemia Died: May 1, 1904, Prague

Concerto in B Minor for Cello and Orchestra, Op. 104 During the three years that Dvořák was teaching at the National Conservatory of Music in New York City, he was subject to the same emotions as most other travelers away from home for a long time: invigoration and homesickness. America served to stir his creative energies, and during his stay from 1892 to 1895 he composed some of his greatest scores: the “New World” Symphony, Op. 96 String Quartet (“American”), E-flat major String Quintet, and Cello Concerto. He was keenly aware of the new musical experiences to be discovered in the land far from his beloved Bohemian home when he wrote, “The musician must prick up his ears for music. When he walks he should listen to every whistling boy, every street singer or organ grinder. I myself am often so fascinated by these people that I can scarcely tear myself away.” But he missed his home and, while he was composing the Cello Concerto, eagerly looked forward to returning. He opened his heart in a letter to a friend in Prague: “Now I am finishing the finale of the Violoncello Concerto. If I could work as free from cares as at Vysoká [site of his country home], it would have been finished long ago. Oh, if only I were in Vysoká again!” The Concerto might just as well have been written in a Czech café as in an East 17th Street apartment.

Elements of both Dvořák’s American experiences and his longing for home found their way into the Cello Concerto, the last of his works composed in this country. The inspiration to begin what became one of the greatest concertos in the literature was a performance by the New York Philharmonic in March 1894 at which Victor Herbert (the Victor Herbert of operetta fame, who was then also teaching at the National Conservatory) played his own Second Cello Concerto. That work convinced Dvořák that the cello was a viable solo instrument, something about which he had been unsure, despite the assurances of Hanuš Wihan, cello professor at the Prague Conservatory, who had long been urging his fellow faculty member to write a piece for the instrument.

(Apparently Brahms, Dvořák’s friend and mentor, had a similar mistrust of the cello as a solo instrument. When he first saw Dvořák’s score he wondered, “Why on earth didn’t I know that one can write a violoncello concerto like this? If I had only known, I would have written one long ago!”) Dvořák had tried to mollify Wihan in 1891 with two recital numbers—the Rondo in G minor and Silent Woods, an arrangement of a piano piece from 1884—but the cellist continued to pester him for a full-scale concerto until his request finally bore fruit four years later.

Dvořák asked Wihan for his comments on the score (which Dvořák largely ignored) and they read through the piece together privately in September 1895, soon after Dvořák had returned home, but Wihan, despite the composer’s pleading, was unable to give either the work’s world or Prague premiere because of already-scheduled conflicts. Those privileges fell instead to the young English virtuoso Leo Stern, who introduced the work on March 19, 1896 with the London Philharmonic and gave its first performance in Dvořák’s home city three weeks later with the Czech Philharmonic, both conducted by the composer. Wihan first played the Concerto publicly at The Hague in January 1899 and regularly thereafter, including a performance in Budapest under the composer’s direction on December 20, 1899.

Antonín Dvořák

Composed: 1894–95 Premiere: March 19, 1896

in London, conducted by the composer with Leo Stern as soloist Instrumentation: solo cello, 2 flutes (incl. piccolo), 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, 3 trombones, tuba, timpani, triangle, strings CSO notable performances: First Performance: March 1911, Leopold Stokowski conducting with Boris Hambourg, cello. Most Recent Performances: (CSO subscription) September 2008, Paavo Järvi conducting with Gautier Capuçon, cello; (CSO special, Taft Theatre) October 2016, Louis Langrée conducting with Yo-Yo Ma, cello. Other: Pablo Casals played this concerto twice with the CSO—November 1915 (Ernst Kunwald conducting) and January 1928 (Fritz Reiner conducting).

Duration: approx. 40 minutes

Fanfare Magazine | 59

PROGRAM NOTES

With its wealth of melodic ideas, glowing orchestration and emotional immediacy, Dvořák’s Cello Concerto occupies the pinnacle of the solo literature for the instrument. The opening movement is in sonata form, with both themes presented by the orchestra before the entry of the soloist. The first theme, heard immediately in the clarinets, not only contains the principal melody but also serves to establish the importance given to the wind instruments throughout the work, their tone colors serving as an excellent foil to the rich sonorities of the cello. “One of the most beautiful melodies ever composed for the horn” is how Sir Donald Tovey described the D major second theme. The cello’s entrance points up the virtuosic yet songful character of the solo part. The effect of the music for the soloist is enhanced by the use of the instrument’s burnished upper register, a technique Dvořák had learned from Victor Herbert’s concerto.

Otakar Šourek, the composer’s biographer, described the second movement as a “hymn of deepest spirituality and amazing beauty.” It is in three-part form (A–B–A). A poignant bit of autobiography is attached to the composition of this movement: While working on its middle section, Dvořák received news that his beloved sister-in-law, Josefina Kaunitzová, who had aroused in him a secret passion early in his life, was seriously ill. He showed his concern by using one of Josefina’s favorite pieces as the theme for the central portion of this Adagio—his own song, “Let Me Wander Alone with My Dreams,” Op. 82, No. 1. She died a month after he returned to Prague in April 1895, so he revised the finale to include another reference to the same song in the autumnal slow section just before the end of the work.

The finale is a rondo of dance-like nature. Following the second reprise of the theme, in B major, an Andante section recalls both the first theme of the opening movement and Josefina’s melody from the second. A brief, rousing restatement of the rondo theme led by the brass closes this majestic Concerto.

—Dr. Richard E. Rodda

RICHARD AYRES Born: October 29, 1965, Cornwall, England

“Saying Goodbye” from No. 52: Three Pieces about Ludwig van Beethoven

Richard Ayres, ©Hanya Chlala

Composed: 2019 Premiere: September 10,

2020 during the BBC Proms at the Royal Albert Hall in London, Nicholas Collon conducting the Aurora Orchestra Instrumentation: bass drum, sampler, strings CSO notable performances: These performances are the work’s CSO premiere.

Duration: approx. 7 minutes

60 | 2022–23 SEASON

Richard Ayres, born in 1965 in Cornwall, England’s southwestern tip, studied composition, electronic music and trombone at Huddersfield Polytechnic and during the summers participated in American composer Morton Feldman’s classes at Darmstadt and Dartington. After graduating in 1989, Ayres moved to The Hague for postgraduate study in composition with Louis Andriessen at the Royal Conservatoire, graduated in 1992, and taught at that school from 2004 to 2006 before joining the faculty of the Amsterdam Conservatoire. He still makes his home in The Netherlands.

Ayres’ prominence in Dutch music has been recognized with two of the country’s most prestigious music awards—the International Gaudeamus Prize for Composition (1994) and Vermeulen Prize (2003). His works for orchestra, chamber ensembles and opera have also been commissioned and performed across the U.K. and Europe and, increasingly, in America; he was Featured Composer at both the Aldeburgh Festival and Huddersfield Contemporary Music Festival, and is Visiting Professor at the Royal Conservatoire in Birmingham.

Ayres began suffering hearing loss before he was 40, a condition that has worsened as he ages. Of his No. 52: Three Pieces about Ludwig van

PROGRAM NOTES

Beethoven (2019; Ayers numbers his works consecutively instead of giving them traditional opus numbers), he said: More than other pieces of mine, this one is all about hearing loss. I have focused it on Beethoven’s hearing loss and its effect on him.

Writing it was a kind of therapy for me and a way for me to understand Beethoven, how he suffered so much and had such a hard time….

[That realization] has given me a stronger sense of urgency and purpose, since every sound has to be special because it might be the last I create. Like Beethoven, I have to rely on my imagination to understand what I’m doing. It becomes much more vivid, much more three-dimensional and lively in my mind, but I also realize I’m not going to hear all that in performance. I made the piece in three movements.

Saying Goodbye is a melody played by a solo cello but gradually amplified by strings and distorted as a sort of tinnitus [ringing or other noise in the ear], appearing like a fog.

—Dr. Richard E. Rodda

LUDWIG van BEETHOVEN Born: December 16, 1770, Bonn, Germany Died: March 26, 1827, Vienna

Symphony No. 5 in C Minor, Op. 67 Surprisingly, for this Symphony that serves as the locus classicus of orchestral music, little is known about its creation. There are vague hints that it may have been occasioned by an aborted love affair with either Therese von Brunswick or Giulietta Guicciardi. The theory has been advanced that it was influenced by a surge of patriotism fueled by an Austrian loss to the Napoleonic juggernaut. Even the famous remark attributed to Beethoven about the opening motive representing “Fate knocking at the door” is probably apocryphal, an invention of either Anton Schindler or Ferdinand Ries, two young men, close to the composer in his last years, who later published their often-untrustworthy reminiscences of him.

It is known that the time of the creation of the Fifth Symphony was one of intense activity for Beethoven. The four years during which the work was composed also saw the completion of a rich variety of other works: Piano Sonatas Op. 53, 54 and 57; Fourth Piano Concerto; Fourth and Sixth symphonies; Violin Concerto; the first two versions of Fidelio; Razumovsky Quartets, Op. 59; Coriolan Overture; Mass in C Major, Op. 86; and Cello Sonata No. 3, Op. 69. As was his practice with many of his important works, Beethoven revised and rewrote the Fifth Symphony for years.

So completely did composition occupy Beethoven’s thoughts that he sometimes ignored the necessities of daily life. Concern with his appearance, eating habits, cleanliness, even his conversation, all gave way before his composing. There are many reports of his trooping the streets and woods of Vienna humming, singing, bellowing, penning a scrap of melody, and being, in general, oblivious to the people or places around him. (One suspects that his professed love of Nature grew in part from his need to find a solitary workplace free from distractions and the prying interest of his fellow Viennese.) This titanic struggle with musical tones produced such mighty monuments as the Fifth Symphony.

With it, and with the Third Symphony completed only four years before, Beethoven launched music and art into the world of Romanticism.

In the history of music, Beethoven stands, Janus-faced, as the great colossus between two ages and two philosophies. The formal perfection of the preceding Classical period finds its greatest fulfillment in his works,

Ludwig van Beethoven

Composed: 1804–1808 Premiere: December 22,

1808 in Vienna, conducted by the composer Instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, strings CSO notable performances: First Performance: February 1895 (the CSO’s first season) at Pike Opera House, Anton Seidl conducting. Most Recent: March 2020, Louis Langrée conducting as part of the re-creation of the Beethoven 1808 Akademie program. Other: This symphony has been conducted by every CSO Music Director and Pops conductor; also, March 1955, Herbert von Karajan conducting.

Duration: approx. 31 minutes

Fanfare Magazine | 61

PROGRAM NOTES

This Symphony was the work that won for Beethoven international renown. Despite a few early misunderstandings undoubtedly due to its unprecedented concentration of energy, it caught on very quickly, and was soon recognized in Europe, England and America as a pathbreaking achievement.

Its popularity has never waned.

62 | 2022–23 SEASON

which at the same time contain the taproot of the cathartic emotional experience from which grew the art of the 19th century. Beethoven himself evaluated his position as a creator in the following way: “Music is the mediator between intellectual and sensuous life...the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend.” The Fifth Symphony is indeed such a “mediator.” Its message of victory through struggle, which so deeply touches both heart and mind, is achieved by a near-perfect balance of musical technique and passionate sentiment unsurpassed in the history of music. This Symphony was the work that won for Beethoven international renown. Despite a few early misunderstandings undoubtedly due to its unprecedented concentration of energy, it caught on very quickly, and was soon recognized in Europe, England and America as a pathbreaking achievement. Its popularity has never waned.

Beethoven’s Fifth Symphony is the archetypal example of the technique and content of the form. Its overall structure is not one of four independent movements linked simply by tonality and style, as in the typical 18th-century example, but is rather a carefully devised whole in which each serves to carry the work inexorably toward its end.

The progression from minor to major, from dark to light, from conflict to resolution is at the very heart of the “meaning” of this Symphony.

The triumphant, victorious nature of the final movement as the logical outcome of all that preceded it established a model for the symphonies of the Romantic era. The psychological progression toward the finale— the relentless movement toward a life-affirming close—is one of the most important technical and emotional legacies Beethoven left to his successors. Schumann, Brahms, Tchaikovsky, Mahler—their symphonies are indebted to this one (and to the Ninth Symphony, as well) for the concept of how such a creation could be structured and in what manner it should engage the listener.

The opening gesture is the most famous beginning in all of classical music. It establishes the stormy temper of the Allegro by presenting the germinal cell from which the entire movement grows. Though it is possible to trace this memorable four-note motive through most of the measures of the movement, the esteemed English musicologist Sir Donald Tovey pointed out that the power of the music is not contained in this fragment, but rather in the “long sentences” Beethoven built from it. The key to appreciating Beethoven’s formal structures lies in being aware of the way in which the music moves constantly from one point of arrival to the next, from one sentence to the next. It is in the careful weighting of successive climaxes through harmonic, rhythmic and instrumental resources that Beethoven created the enormous energy and seeming inevitability of this monumental movement. The gentler second theme derives from the opening motive and gives only a brief respite in the headlong rush through the movement. It provides the necessary contrast while doing nothing to impede the music’s flow. The development section is a paragon of cohesion, logic and concision. The recapitulation roars forth after a series of breathless chords that pass from woodwinds to strings and back. The stark hammer-blows of the closing chords bring the movement to its powerful close.

The form of the second movement is a set of variations on two contrasting themes. The first theme, presented by violas and cellos, is sweet and lyrical in nature; the second, heard in horns and trumpets, is heroic. The ensuing variations on the themes alternate to produce a movement by turns gentle and majestic.

PROGRAM NOTES

The following Scherzo returns the tempestuous character of the opening movement, as the four-note motto from the first movement is heard again in a brazen setting led by the horns. The fughetta, the “little fugue,” of the central trio is initiated by the cellos and basses. The Scherzo returns with the mysterious tread of the plucked strings, after which the music wanes until little more than a heartbeat from the timpani remains. Then begins another accumulation of intensity, first gradually, then more quickly, as a link to the finale, which arrives with a glorious proclamation, like brilliant sun bursting through ominous clouds.

The finale, set in the triumphant key of C major, is jubilant and martial.

(Robert Schumann saw here the influence of Étienne-Nicolas Méhul, one of the prominent composers of the French Revolution.) The sonata form proceeds apace. At the apex of the development, however, the mysterious end of the Scherzo is invoked to serve as the link to the return of the main theme in the recapitulation. It also recalls and compresses the emotional journey of the entire Symphony. The closing pages repeat the cadence chords extensively to discharge the work’s enormous, accumulated energy.

Concerning the effect of the “struggle to victory” symbolized by the structure of the Fifth Symphony, a quote that Beethoven scribbled in a notebook of the Archduke Rudolf, one of his aristocratic piano and composition students, is pertinent:

Check out our NEW DIGITAL PROGRAM! For even more enriching content including full-length biographies, digital content and more, text PROGRAM to 513.845.3024*, visit cincinnatisymphony. org/digital-program, or point your phone’s camera at the QR code.

*By texting to this number, you may receive messages that pertain to the organizations and its performances. msg & data rates may apply. Reply HELP to help, STOP to cancel.

Many assert that every minor [tonality] piece must end in the minor.

Nego! On the contrary, I find that…the major [tonality] has a glorious effect. Joy follows sorrow, sunshine—rain. It affects me as if I were looking up to the silvery glistening of the evening star.

—Dr. Richard E. Rodda

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Fanfare Magazine | 63

CHERRY CORDIAL

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

SHERLOCK HOLMES & THE CASE OF THE MISSING MAESTRO | 2022–23 SEASON SAT MAR 25, 10:30 am Music Hall

Samuel Lee, conductor Christian Bare, Actor Overture to Russlan and Ludmilla

Mikhail Glinka

Sherlock’s Entrance

Douglas A. Richard

“Superman March” from Superman

John Williams

Scherzo from A Midsummer Night’s Dream

Felix Mendelssohn

Theme from The Pink Panther

Henry Mancini

Waltz from Serenade for Strings

Piotr Ilyich Tchaikovsky

El Cumbanchero

Rafael Hernández

“Dance of the Hours” from La Gioconda

Amilcare Ponchielli

Thunder and Lightning Polka

Johann Strauss, Jr.

Allegro con fuoco from Symphony No. 4

Piotr Ilyich Tchaikovsky

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

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

a proud sponsor of Lollipops presents

ONE HUNDRED YEARS OF HARMONY APRIL 13, 2023 | Kenwood Country Club This year 2023, The Cincinnati Symphony Club is celebrating our 100th Anniversary!

On April 13, our annual fundraiser will be held at the Kenwood Country Club to raise funds for Cincinnati Symphony Orchestra and Cincinnati Pops Orchestra.

For more visit bit.ly/CSC_100

Fanfare Magazine | 65

SATURDAY 6:30PM CET SUNDAY 8:30PM CET ARTS Join Barbara Kellar as she showcases artists and cultural leaders from the Greater Cincinnati community.

Em mmy Award Win nner www.CETconnect.org

Regional - In Re nterrview ew/D /Discu cussio i n Program m

SHOSTAKOVICH SYMPHONY NO. 5 | 2022–23 SEASON FRI APR 7, 7:30 pm SAT APR 8, 7:30 pm Music Hall

LOUIS LANGRÉE, conductor STEPHEN HOUGH, piano New Work, Part I

Daníel BJARNASON (b. 1979)

Sergei RACHMANINOFF Concerto No. 1 in F-sharp Minor (1873–1943) for Piano and Orchestra, Op. 1 Vivace Andante Allegro vivace

INTERMISSION

Dmitri SHOSTAKOVICH (1906–1975)

Symphony No. 5 in D Minor, Op. 47 Moderato. Allegro non troppo. Largamente. Moderato Allegretto Largo 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 CSO Show Sponsor Thompson Hine.

The Cincinnati Symphony Orchestra is grateful to Ann and Harry Santen for their support of the CSO co-commissioned U.S. Premiere of Daniel Bjarnason’s new work.

The appearance of Stephen Hough is made possible by an endowed gift from the Fund for Great Artists by Fred L. & Katherine H. Groll.

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. 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.

Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

Listen to program selections on 90.9 WGUC May 28, 2023 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

Fanfare Magazine | 67

APR 7–8 PROGRAM NOTES DANÍEL BJARNASON Born: February 26, 1979 in Iceland

New Work, Part I

©Camilla Jessel Panufnik

Daníel Bjarnason, ©Saga Sig

Composed: 2022–

Among Iceland’s leading musical figures is conductor, composer and curator Daníel Bjarnason, born in 1979 and trained in Reykjavík before taking his advanced studies in conducting at the Hochschule für Musik in Freiburg, Germany. Bjarnason’s compositions—works for chamber ensembles and for orchestra, songs, choruses, film scores, music for dance, and the opera Brothers, based on Susanne Bier’s 2004 film—have been performed by the major Scandinavian orchestras and in London, Paris, New York, Cincinnati, Detroit, Ottawa, Hamburg and other music centers across Europe and America. Bjarnason has had an especially close association with the Los Angeles Philharmonic, whose “Reykjavik Festival”—an eclectic, multi-disciplinary, 17-day event in which he was featured as conductor and composer—he curated in 2017.

This season sees the premiere of his Concerto for Percussion and Orchestra, written for Martin Grubinger, presented by the Helsinki Philharmonic Orchestra. Last season saw the world premiere of his Concerto for Piano and Orchestra, Feast, written for Víkingur Ólafsson and performed at the Walt Disney Concert Hall in Los Angeles by Ólafsson and Esa-Pekka Salonen.

The new work to be performed this weekend was co-commissioned by the Cincinnati Symphony Orchestra and is the first part of a multi-year work by Bjarnason.

SERGEI RACHMANINOFF Born: March 20 [April 1, New Style], 1873 in Oneg, near Semyonovo, Russia Died: March 28, 1943 in Beverly Hills, California Check out our NEW DIGITAL PROGRAM! For even more enriching content including full-length biographies, digital content and more, text PROGRAM to 513.845.3024*, visit cincinnatisymphony. org/digital-program, or point your phone’s camera at the QR code.

*By texting to this number, you may receive messages that pertain to the organizations and its performances. msg & data rates may apply. Reply HELP to help, STOP to cancel.

68 | 2022–23 SEASON

Concerto No. 1 in F-sharp Minor for Piano and Orchestra, Op. 1 In Russian schools, the highest grade a student can receive is a five, to which, in exceptional cases, a plus sign can be added. Therefore, the incident that took place at a harmony examination at the Moscow Conservatory in 1887 can certainly be called unusual. The committee, which included Piotr Tchaikovsky, had just heard a 14-year-old student named Sergei Rachmaninoff who had by far exceeded the requirements of the class. In addition to the simple harmonic exercises called for, the boy played some original compositions he had written. Professor Tchaikovsky took the examination book and added three more plus signs to the “5+” already there—one on top, one below, and one behind.

“My fate as a composer was, as it were, officially sealed”—Rachmaninoff recalled many years later. The youngster entered Sergei Taneyev’s class as a student of composition and soon became the star of the conservatory, even though he had the equally brilliant Alexander Scriabin as one of his classmates. The year Rachmaninoff graduated with the highest honors (1893), his one-act opera Aleko was performed in a double bill shared with Tchaikovsky’s Iolantha. Having his work on the same program with the leading Russian composer, at the Bolshoi Theater no less, was enough to launch the 20-year-old’s career. The former star student soon became the most prominent Russian musician of his generation, much sought after as

PROGRAM NOTES

a composer, pianist and conductor until his departure from Russia in the wake of the October Revolution of 1917.

The First Piano Concerto was Rachmaninoff’s first large-scale work, and the first composition he deemed worthy of an opus number. It was written while Rachmaninoff was still a student at the Conservatory, in 1890–91. Rachmaninoff performed the first movement with the school orchestra in 1892, but there is no evidence that he ever played any part of the concerto again until he revised it in 1917, although others did so over the years. In fact, in 1899 Rachmaninoff turned down an invitation to play the work in London as he thought it was not good enough. (Henry Wood, the director of the Proms, disagreed and performed the work anyway with another pianist.)

For his part, Rachmaninoff preferred to write two more concertos in 1900–01 and, in 1909, his universally popular Second and Third. Yet he did not forget about the First and continued to entertain plans of revising it.

On April 12, 1908, he wrote to a friend: “I have three pieces that frighten me: the First Concerto, the Capriccio, and the First Symphony. I should very much like to see all these in a corrected, decent form.”

The Capriccio on Gypsy Themes is a weak and now entirely forgotten work, and the premiere of the First Symphony was a fiasco that left deep scars. Rachmaninoff never touched these two works again. He did eventually get around to revising the First Concerto, however. The moment came 26 years after the original version, during the politically turbulent and artistically fallow year of 1917. This revision, his last major undertaking before he left Russia for good at the end of the year, was rather extensive, involving recomposition of a large portion of the work, partial reorchestration, and a great many changes of detail. In the new version, the youthful energy of the 17-year-old is combined with the experience of a mature composer whose catalog had in the meantime reached Op. 39. The writing, although clearly influenced by the concertos of Schumann, Tchaikovsky and Grieg, nevertheless bears the unmistakable stamp of Rachmaninoff’s own personality. Virtuoso brilliance and lyrical expansiveness go hand in hand in this concerto.

Rachmaninoff is usually described as a conservative composer, yet innovation is not entirely absent, as in the changing meters of the last movement, introduced in the 1917 revision.

Rachmaninoff hoped that, in its revised form, the concerto might share in the success of his Second and Third concertos. As he later wrote in a letter to Alfred Swan, a musicologist and friend:

Sergei Rachmaninoff, ©Library of Congress

Composed: 1891, revised 1917 Premiere: November 9, 1901 in Moscow, with the composer as soloist and his teacher and first cousin Alexander Siloti conducting Instrumentation: solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, crash cymbals, triangle, strings CSO notable performances: First Performance: January 1950, Thor Johnson conducting with Benno Moiseiwitsch, piano. Most Recent: January 2002, Jun’ichi Hirokami conducting with Cristina Ortiz, piano.

Duration: approx. 22 minutes

I have rewritten my First Concerto; it is really good now. All the youthful freshness is there, and yet it plays itself so much more easily.

And nobody pays any attention. When I tell them in America that I will play the First Concerto they do not protest, but I can see by their faces that they would prefer the Second or Third.

Still, as Rachmaninoff biographer Geoffrey Norris observed: The First is a very different piece [from the Second or the Third]; the characteristic melodies, if less remarkable, are there, but they are combined with a youthful vivacity and impetuosity which were soon to be replaced by the more sombre melancholy and wistfulness of the later works.

—Peter Laki

Fanfare Magazine | 69

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PROGRAM NOTES

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

Symphony No. 5 in D Minor, Op. 47 Shostakovich wrote the Fifth Symphony in what was certainly the most difficult period in his life. On January 28, 1936, an unsigned editorial in the Pravda, the daily paper of the Soviet Communist Party, brutally attacked his opera Lady Macbeth of the Mtsensk District, denouncing it as “muddle instead of music.” This condemnation resulted in a sharp decrease of performances of Shostakovich’s music for about a year. What was worse, Shostakovich, whose first child was born in May 1936, had to live in constant fear of being deported to one of the infamous, deathly labor camps in Siberia. These were the days of the “Great Terror” that claimed the lives of some of the country’s greatest artists, such as the poet Osip Mandelstam, the novelist Isaac Babel, and the theater director Vsevolod Meyerhold. It is said that Shostakovich kept a suitcase with a change of clothes under his bed, in case they would come for him in the middle of the night.

Yet the composer was miraculously spared: the Party decided that the country’s musical life couldn’t afford to lose its greatest young talent.

Shostakovich was granted a comeback. Less than a year after being forced to withdraw his Fourth Symphony, he heard his Fifth premiered with resounding success in Leningrad on November 21, 1937.

Could it be that the qualities in the Fifth Symphony that are so admired today were the same ones that saved the composer’s life then?

Shostakovich clearly made a major effort to write a “classical” piece here, one that would be acceptable to the authorities and was as far removed from the avant-gardistic Fourth as possible. Whether that makes it “A Soviet Artist’s Creative Response to Just Criticism,” as it was officially designated at the time, is another question. The work is so profound and sincere as to transcend any kind of political expediency. The symphony was definitely a response to something, but not in the sense of a chastised schoolboy mending his ways—rather as a great artist reacting to the cruelty and insanity of the times.

The energetic dotted motif at the beginning of the Fifth Symphony is, no doubt, dramatic and ominous. A second theme, played by the violins in a high register, is warm and lyrical but at the same time eerie and distant.

The music seems hesitant until the horns begin a march theme that leads to motivic development and a speeding up of the tempo. It is not a funeral march, but it is not exactly triumphant either. Reminiscent of some of Mahler’s march melodies but even grimmer, its harmonies modulate freely from key to key, giving the march an oddly sarcastic character. At the climactic point of the march, the two earlier themes return. The dotted rhythms from the opening are even more powerful than before, but the second lyrical theme, now played by the flute and the horn to the soothing harmonies of the harp, has lost the edge it previously had and brings the movement to a peaceful, almost otherworldly close.

The brief second movement Scherzo brings some relief after the preceding drama. Its Ländler-like melodies again bespeak Mahler’s influence, both in the Scherzo proper and the Trio, whose theme is played by a solo violin and then by the flute.

The third movement is an expansive Largo in which the brass is silent and the violins are divided into three sections, not the usual two. After an espressivo melody, scored for strings only, two flutes and harp transform the first movement’s march rhythm into a lament. The oboe, the clarinet and the flute intone desolate solo melodies, interspersed with a near-quote

Dmitri Shostakovich

Composed: 1937 Premiere: November 21,

1937, Evgeny Mravinsky conducting the Leningrad Philharmonic Instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, crash cymbals, glockenspiel, snare drum, tam-tam, triangle, xylophone, 2 harps, celeste, piano, strings CSO notable performances: First Performance: October 1942, Eugene Goossens conducting. Most Recent: September 2016, Louis Langrée conducting.

Duration: approx. 44 minutes

Fanfare Magazine | 71

PROGRAM NOTES

from a Russian Orthodox funeral chant played by the strings. The tension grows and finally erupts about two-thirds through the movement; the opening melody then returns in a passionate rendering by the cello section in a high register. At the end, the music falls back into the lament mode of the earlier woodwind passages.

Generally accepted as the emotional high point of the symphony, the Largo was widely understood as a lament for the Soviet Army marshal Mikhail Tukhachevsky, who fell victim to the Stalinist purges in 1937. Tukhachevsky had been a benefactor and a personal friend of the composer’s. At the first performance, many people wept openly during the Largo, perhaps thinking of their own loved ones who had disappeared.

The last movement finally resolves the tensions that have built up in the first three movements (or so it seems at first) by introducing a march tune that is much simpler and more straightforward than most of the symphony’s earlier themes. Yet, after an exciting development, the music suddenly stops on a set of harsh fortissimo chords, and a slower, more introspective section begins with a haunting horn solo. The late musicologist Richard Taruskin pointed out that this section quotes from a song for voice and piano on a poem by Alexander Pushkin (“Vozrozhdenie” or “Rebirth,” Op. 46, No. 1) Shostakovich had written just before the Fifth Symphony. (“Delusions vanish from my wearied soul, and visions arise within it of pure primeval days....”) This quiet intermezzo ends abruptly with the entrance of the timpani and snare drum ushering in the recapitulation of the march tune, which is played at half its original tempo. Merely a shadow of its former self, the melody is elaborated contrapuntally until it suddenly alights on a bright D-major chord in full orchestral splendor, which then remains unchanged for more than a minute, until the end.

—Peter Laki

— APR 28-30, 2023 FRI & SAT 7:30 pm; SUN 2 pm MUSIC HALL John Morris Russell conductor cincinnatipops.org • 513.381.3300

72 | 2022–23 SEASON

2022–23 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.

SERIES SPONSORS

Pops Season

Lollipops Series

CSO Season

PLATINUM BATON CIRCLE ($50,000+)

ArtsWave Charles H. Dater Foundation The Carol Ann and Ralph V. Haile, Jr. Foundation Hamilton County David C. Herriman Fund of Greater Cincinnati 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 US Small Business Administration Western & Southern Financial Group Anonymous GOLD BATON CIRCLE ($25,000–$49,999)

City Of Cincinnati Coney Island The Cincinnati Symphony Club Fifth Third Bank Foundation Jeffrey & Jody Lazarow and Janie & Peter Schwartz Family Fund of Greater Cincinnati Foundation George and Margaret McLane Foundation The Ladislas & Vilma Segoe Family Foundation United Dairy Farmers & Homemade Brand Ice Cream The Wohlgemuth Herschede Foundation SILVER BATON CIRCLE ($15,000–$24,999)

Drive Media House HORAN The Jewish Federation of Cincinnati The Jewish Foundation of Cincinnati Jewish Cincinnati Bicentennial Johnson Investment Counsel League Of American Orchestras The Rendigs Foundation

Taft Stettinius & Hollister LLP Scott and Charla Weiss Wodecroft Foundation CONDUCTOR’S CIRCLE ($10,000–$14,999) Bartlett Wealth Management Chemed Corporation The Crosset Family Fund of Greater Cincinnati Foundation Kelly Dehan and Rick Staudigel Graeter’s Ice Cream Peter E. Landgren and Judith Schonbach Landgren Mariner Wealth Advisors Messer Construction Co. Ohio National Financial Services Oliver Family Foundation The Daniel & Susan Pfau Foundation The Procter & Gamble Company CONCERTMASTER’S CIRCLE ($5,000–$9,999) Levin Family Foundation Metro 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. Mayerson Jewish Community Center Charles Scott Riley III Foundation

BUSINESS & FOUNDATION PARTNERS (up to $2,499) African American Chamber of Commerce Visit Cincy Classics for Kids Foundation Albert B. Cord Charitable Foundation D’Addario Foundation Earthward Bound Foundation Susan Friedlander Hixson Architecture Engineering Interiors Integrity Development Robert A. & Marian K. Kennedy Charitable Trust PricewaterhouseCoopers LLP The Voice of Your Customer Toi and Jay Wagstaff

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.

2022 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 the Fifth Third Foundation $500,000 to $999,999 GE $300,000 to 499,999 altafiber Western & Southern Financial Group

$100,000–$299,999 Cincinnati Business Courier Cincinnati Children’s Hospital Medical Center The Cincinnati Insurance Companies Cincinnati Reds The E.W. Scripps Company and Scripps Howard Foundation The Enquirer | Cincinnati.com Great American Insurance Group The H.B., E.W. and F.R. Luther Charitable Foundation, Fifth Third Bank, N.A., Trustee The Kroger Co. Messer Construction Co. Ohio National Financial Services PNC U.S. Bank Duke Energy

Fanfare Magazine | 73

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 Chair Family Foundation Chair Mary Alice Heekin Burke Chair Peter G. Courlas–Nicholas Tsimaras Chair Ona Hixon 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 and Andrea M. Wilson Chair for First Violin Charles Frederic Goss Chair Jean Ten Have Chair Dorothy & John Hermanies Chair Lois Klein Jolson Chair Michael L. Cioffi & Rachael Rowe— the Honorable Nathaniel R. Jones Chief Diversity & Inclusion Officer Josephine I. & David J. Joseph, Jr. Chair Harold B. & Betty Justice Chair Marvin Kolodzik and Linda S. Gallaher Chair for Cello+ Al Levinson Chair Patricia Gross Linnemann Chair+ Alberta & Dr. Maurice Marsh Chair Stephen P. McKean Chair Laura Kimble McLellan Chair The Henry Meyer Chair Louise Dieterle Nippert & Louis Nippert Chairs Ida Ringling North Chair Rawson Chair The Vicky & Rick Reynolds Chair in honor of William A. Friedlander+ 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+ Anna Sinton Taft 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 Brenda & Ralph Taylor Chair James P. Thornton Chair Nicholas Tsimaras–Peter G. Courlas Chair Thomas Vanden Eynden Chair Jo Ann & Paul Ward Chair Matthew & Peg Woodside Chair Mary M. & Charles F. Yeiser Chair

Educational Concerts

ENDOWED PERFORMANCES & PROJECTS

OTHER NAMED FUNDS

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 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** 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+

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)+

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 Fred L. & Katherine H. Groll Trust Music Director Fund for Excellence

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* 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

MORNING SUN by Simon Stephens REGIONAL PREMIERE

DRAMA An 25 enchanting FEB – MAR 19 mystery is afoot!

APRIL 8 – 30

REGIONAL PREMIERE

DRAMEDY

WHO ALL OVER THERE?

by Torie Wiggins SEASON FUNDER

www.ensemblecincinnati.org

74 | 2022–23 SEASON

OPERATING SUPPORT

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

Mr. and Mrs. Frederick E. Bryan, III § Michael L. Cioffi Sheila and Christopher C. Cole Susan Friedlander § Healey Liddle Family Foundation, Mel & Bruce Healey Patti and Fred Heldman Harold C. Schott Foundation, Francie & Tom Hiltz Dr. Lesley Gilbertson and Dr. William Hurford Florence Koetters Mr. and Mrs. Robert W. McDonald Jo Anne and Joe Orndorff Marilyn J. and Jack D. Osborn § In Memory of Laura Gamble Thompson Vicky and Rick Reynolds Dianne and J. David Rosenberg Mike and Digi Schueler Irwin and Melinda Simon Tom and Dee Stegman Jackie and Roy Sweeney Family Fund* Mr. Randolph L. Wadsworth Jr. § Scott and Charla Weiss

GOLD BATON CIRCLE Gifts of $25,000–$49,999 Dr. and Mrs. Carl G. Fischer Karlee L. Hilliard § Edyth B. Lindner Calvin and Patricia Linnemann Mr. and Mrs. Timothy Maloney Mrs. Susan M. McPartlin G. Franklin Miller and Carolyn Baker Miller Moe and Jack Rouse § Ann and Harry Santen § Mrs. Theodore Striker Mr. and Mrs. Jonathan Ullman Nancy C. Wagner and Patricia M. Wagner § Anonymous (1)

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

Michael P Bergan and Tiffany Hanisch Dr. and Mrs. John and Suzanne Bossert § Mr. and Mrs. Larry Brueshaber Mr. Gregory D. Buckley and Ms. Susan Berry-Buckley Ms. Melanie M. Chavez Robert and Debra Chavez Stephen J Daush

Dianne Dunkelman Mr. and Mrs. John C. Dupree Mrs. Charles Fleischmann Ashley and Bobbie Ford § L. Timothy Giglio Tom and Jan Hardy § Mr. and Mrs. Joseph W. Hirschhorn § Mr. and Mrs. Paul Isaacs Patrick and Mary Kirk Marvin P. Kolodzik § Mrs. Erich Kunzel Peter E. Landgren and Judith Schonbach Landgren John and Ramsey Lanni Will and Lee Lindner Alan Margulies and Gale Snoddy Joseph A. and Susan E. Pichler Fund* Elizabeth Schulenberg Kelly Dehan and Rick Staudigel Sarah Thorburn Dale Uetrecht Mr. and Mrs. JD Vance DeeDee and Gary West § Mrs. James W. Wilson, Jr. Mr. and Mrs. James M. Zimmerman §

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

Mr. and Mrs. Lars C. Anderson, Sr. Martha G. Anness § Robert D. Bergstein Mrs. Thomas E. Davidson § Dr. and Mrs. Alberto Espay Mr. and Mrs. Tom Evans CCI Design, Molly and Tom Garber Anne E. Mulder and Rebecca M. Gibbs Mrs. Michael H. Giuliani Mr. and Mrs. Scott Gruner Mr. and Mrs. Stephen Hone Whitney and Phillip Long Mark and Tia Luegering Holly and Louis Mazzocca In memory of Bettie Rehfeld Mr. Bradford Phillips III Mr. Michael E. Phillips David and Jenny Powell Bill and Lisa Sampson Mark S. and Rosemary K. Schlachter § Mr. Dennis Schoff and Ms. Nina Sorensen In memory of Mary and Joseph S. Stern, Jr Ralph C. Taylor § Tomcinoh Fund* Mr. and Mrs. David R. Valz Anonymous (1)

Brianna and Stuart Wilkins, and their children, Franklin and Molloy, meeting Santa and Mrs. Claus during the Merry & Bright event on Dec. 10. Photo by Claudia Hershner

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

Drs. Frank and Mary Albers Heather Apple and Mary Kay Koehler Thomas P. Atkins Mrs. Thomas B. Avril Joe and Patricia Baker Kathleen and Michael Ball Robert and Janet Banks Dava Lynn Biehl § Louis D. Bilionis and Ann Hubbard Mr. Henry Boehmer Robert L. Bogenschutz Dr. Ralph P. Brown The Otto M. Budig Family Foundation Gordon Christenson Sally and Rick Coomes K.M. Davis Dennis W. and Cathy Dern Laura Doerger-Roberts & Peter Roberts Jean and Rick Donaldson Nancy and Steve Donovan Connie and Buzz Dow Mrs. Diana T. Dwight In Loving Memory of Diane Zent Mr. Shaun Ethier and Empower Media Marketing Mr. and Mrs. James T. Fitzgerald Marlena and Walter Frank Dr. and Mrs. Harry F. Fry Kathy Grote in loving memory of Robert Howes § Mr. and Mrs. Lawrence Hamby John B. and Judith O. Hansen Ms. Delores Hargrove-Young William and Jo Ann Harvey Dr. James and Mrs. Susan Herman Mr. and Mrs. Bradley G. Hughes Mr. Marshall C. Hunt, Jr. Mr. and Mrs. Geoffrey Keenan Mr. and Mrs. Lorrence T. Kellar Michael and Marilyn Kremzar Richard and Susan Lauf Mrs. Jean E. Lemon § 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 George and Sarah Morrison III Mr. and Mrs. David W. Motch David and Beth Muskopf Mr. Arthur Norman and Mrs. Lisa Lennon Norman Dr. Manisha Patel and Dr. Michael Curran Ms. Thienthanh Pham Drs. Marcia Kaplan and Michael Privitera Mr. Aftab Pureval Terry and Marvin Quin Mr. and Mrs. Thomas H. Quinn, Jr. Melody Sawyer Richardson § Ellen Rieveschl § Elizabeth and Karl Ronn § James and Mary Russell Dr. E. Don Nelson and Ms. Julia Sawyer-Nelson Martha and Lee Schimberg Brent & Valerie Sheppard Sue and Glenn Showers § Rennie and David Siebenhar Elizabeth C. B. Sittenfeld § Mr. and Mrs. Gerald Skidmore § Michael and Donnalyn Smith Dr. Jean and Mrs. Anne Steichen Nancy Steman Dierckes § Brett Stover § Christopher and Nancy Virgulak

Dr. Barbara R. Voelkel Mr. and Mrs. Daniel Wachter Mrs. Ronald F. Walker Mrs. Paul H. Ward § Jonathan and Janet Weaver Donna A. Welsch Cathy S. Willis Andrea K. Wiot Irene A. Zigoris Anonymous (2)

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

Dr. Charles Abbottsmith Mr. and Mrs. Richard N. Adams William Albertson Mr. Nicholas Apanius Mr. and Mrs. Gérard Baillely Ms. Marianna Bettman Glenn and Donna Boutilier Thomas A. Braun, III § Peter and Kate Brown Janet and Bruce Byrnes Susan and Burton Closson Dr. Thomas and Geneva Cook Peter G. Courlas § Mr. and Mrs. John Cover Mr. and Mrs. James Dealy George Deepe and Kris Orsborn Bedouin and Randall Dennison Jim and Elizabeth Dodd Mrs. Jack E. Drake Patricia Dudsic Dr. and Mrs. Stewart B. Dunsker David and Kari Ellis Fund* Ann A. Ellison Hardy and Barbara Eshbaugh Mr. and Mrs. Richard Fencl Yan Fridman Frank and Tara Gardner Naomi Gerwin Dr. and Mrs. Ralph A. Giannella Thomas W. Gougeon Lesha and Samuel Greengus Dr. and Mrs. Jack Hahn Dr. Donald and Laura Harrison Mr. and Mrs. Robert R. Heidenreich Mr. and Mrs. Stephen Hicks Ruth C. Holthaus In Memory of Benjamin C. Hubbard § Mr. and Mrs. Michael C. Hughes Karolyn Johnsen Dr. Richard and Lisa Kagan Dr. Robert W. Keith and Ms. Kathleen Thornton Don and Kathy King Lynn Keniston Klahm Jeff and Mary Ann Knoop Marie and Sam Kocoshis Mr. Frank P. Kromer Mr. Shannon Lawson Dr. and Mrs. Lynn Y. Lin Merlanne Louney Mr. and Mrs. Donald Marshall Allen-McCarren Ms. Amy McDiffett Mary Ann Meanwell Ms. Sue Miller Mrs. Patricia Misrach Mr. and Mrs. David E. Moccia § Jennifer Morales and Ben Glassman Ms. Mary Lou Motl Phyllis Myers and Danny Gray Mr. and Mrs. John Niehaus Dr. and Mrs. Richard Park § Poul D. and JoAnne Pedersen Alice Perlman Alice and David Phillips Mark and Kim Pomeroy Michael and Katherine Rademacher Beverly and Dan Reigle Sandra Rivers James Rubenstein and Bernadette Unger Mr. & Mrs. Peter A. Schmid

`` Fanfare Magazine | 75

FINANCIAL SUPPORT

Guests of The Willard & Jean Mulford Charitable Fund with Pops Principal Guest Conductor Damon Gupton and guest artist Quiana Lynell after the New Year’s Eve concert. Credit: CSO Staff

Rev. Dr. David V. Schwab Sandra and David Seiwert Mr. Rick Sherrer and Dr. Lisa D. Kelly 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. and Mrs. Galen R. Warren Jim and George Ann Wesner Jo Ann Wieghaus Sheila Williams Ronna and James Willis Matt and Lindsay Willmann Steve and Katie Wolnitzek Carol and Don Wuebbling Anonymous (2)

SYMPHONY CIRCLE Gifts of $1,500–$2,999

Jeff and Keiko Alexander § Dr. Rob and Ashley Altenau Beth and Bob Baer Mrs. Gail Bain William and Barbara Banks Mr. Randi Bellner and U.S. Bank David and Elaine Billmire Mr. and Mrs. Rodd Bixler Dorothy Anne Blatt Towne Properties Dr. and Mrs. William Bramlage Mrs. Jo Ann C. Brown Ms. Jaqui Brumm Rachelle Bruno and Stephen Bondurant Chris and Tom Buchert Dr. Leanne Budde Ms. Deborah Campbell § Mr. and Mrs. Thomas Carothers Tom Carpenter and Lynne Lancaster Dr. Alan Chambers Catharine W. Chapman § James Clasper and Cheryl Albrecht Carol C. Cole § Dr. George I. Colombel Randy K. and Nancy R. Cooper Ms. Andrea Costa Marjorie Craft 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 § Kathleen Gibboney Mrs. Jay N. Gibbs Donn Goebel and Cathy McLeod Dr. and Mrs. Glenn S. Gollobin Drew Gores and George Warrington Mr. and Mrs. Gary Greenberg Jim and Jann Greenberg Bill and Christy Griesser John and Elizabeth Grover Esther B. Grubbs §

76 | 2022–23 SEASON

Mr. and Mrs. Byron Gustin Mrs. Jackie Havenstein Donald and Susan Henson Mr. Fred Heyse Mr. Joe Hoskins Mr. Bradley Hunkler Heidi Jark and Steve Kenat Barbara M. Johnson Ms. Sylvia Johnson Holly H. Keeler Mr. and Mrs. Woodrow Keown, Jr. John and Molly Kerman Bill and Penny Kincaid Juri Kolts Mr. and Mrs. Richard Kovarsky Carol Louise Kruse Mrs. John H. Kuhn § Jo Ann and George Kurz Evelyn and Fred Lang Charles and Jean Lauterbach Mary Mc and Kevin Lawson Dr. Carol P. Leslie Mr. Peter F. Levin § Elizabeth Lilly* Drs. Douglas Linz and Ann Middaugh Mrs. Marianne Locke Mr. and Mrs. Clement H. Luken, Jr. Edmund D. Lyon Mr. Gerron McKnight Stephanie and Arthur McMahon Stephanie McNeill Becky Miars John and Roberta Michelman Terence G. Milligan Dr. Stanley R. Milstein § Ms. Laura Mitchell Mrs. Sally A. More Susan E. Noelcke Rick Pescovitz and Kelly Mahan Sandy Pike § James W. Rauth § Drs. Christopher and Blanca Riemann Stephen and Betty Robinson Ms. Jeanne C. Rolfes Nancy and Raymond Rolwing Jens G Rosenkrantz Marianne Rowe § Nancy Ruchhoft Dr. and Mrs. Michael Scheffler George Palmer Schober Tim and Jeannie Schoonover James P. Schubert Jacqueline M. Mack and Dr. Edward B. Silberstein Stephanie A. Smith Stephen and Lyle Smith Albert and Liza Smitherman Bill and Lee Steenken Christopher and Meghan Stevens Mrs. Donald C. Stouffer Mr. and Mrs. Richard Stradling, Jr. Rich and Nancy Tereba Linda and Nate Tetrick Susan and John Tew Janet Todd Mr. William Trach Barbie Wagner Dr. and Mrs. Matthew and Diana Wallace Michael L. Walton, Esq

Cincinnati Symphony Club members meet guest conductor Michael Francis after the Oct. 29 CSO performance.

Credit: CSO Staff

Ted and Mary Ann Weiss David F. and Sara K. Weston Fund Virginia Wilhelm Rev. Anne Warrington Wilson Robert and Judy Wilson David and Sharon Youmans Andi Levenson Young and Scott Young Mr. and Mrs. Dan Zavon Mr. and Mrs. Robert L. Zierolf Ms. Nancy Zimpher Anonymous (12)

CONCERTO CLUB Gifts of $500–$1,499

Christine O. Adams Judith Adams Romola N. Allen § Mr. and Mrs. Jay Allgood Lisa Allgood Mr. Thomas Alloy and Dr. Evaline Alessandrini Paul and Dolores Anderson Mr. and Mrs. Frank Andress Dr. Victor and Dolores Angel Nancy J. Apfel Mr. and Mrs. Keith Apple Judy Aronoff and Marshall Ruchman Ms. Laura E. Atkinson Mr. David H. Axt and Ms. Susan L. Wilkinson Ms. Patricia Baas Dr. Diane S. Babcock § Nate and Greta Bachhuber Mrs. Mary M. Baer Jerry and Martha Bain Mr. and Mrs. Carroll R. Baker Mr. Sean D. Baker Jack and Diane Baldwin Peggy Barrett § Mrs. Polly M. Bassett Ms. Glenda Bates Michael and Amy Battoclette Ms. Shirley Bear Dr. and Mrs. Thomas E. Bell Mr. Oliver Benes Ms. Doris Bergen Fred Berger Dr. Allen W. Bernard Dr. David and Cheryl Bernstein Glenda and Malcolm Bernstein Melanie Garner and Michael Berry Sharon Ann Kerns and Mike Birck Randal and Peter Bloch Dr. and Mrs. Jeffrey Bloomer Ava Jo Bohl Ms. Sandra Bolek Ron and Betty Bollinger Mr. and Mrs. Kenneth Borisch Dr. Carol Brandon Marilyn and John Braun Briggs Creative Services, LLC Robert and Joan Broersma Marian H. Brown Mr. and Mrs. Robert S. Brown Jacklyn and Gary Bryson Bob and Angela Buechner Alvin W. Bunis, Jr. Donald L. and Kathleen Field Burns Daniel A. Burr

Jack and Marti Butz John J Byczkowski Ms. Cindy Callicoat Mr. and Mrs. Christopher Canarie Dr. Julia H. Carter Mike and Shirley Chaney Dee and Frank Cianciolo Fund* James Civille Bob and Tisha Clary Mr. David Clodfelter Beverly Kinney and Edward Cloughessy Mr. Robert Cohen and Ms. Amy J. Katz Fred W. Colucci Dr. Pearl J. Compaan Marilyn Cones Dr. Margaret Conradi Janet Conway Jack and Janice Cook § Robin Cotton and Cindi Fitton Dennis and Patricia Coyne Martha Crafts Bev and Bob Croskery Tim and Katie Crowley Jacqueline Cutshall Mr. and Mrs. Henry F. Dabek, Jr. Mr. Joseph and Mrs. Lori Dattilo Diane and Wayne Dawson Loren and Polly DeFilippo Stephen and Cynthia DeHoff Robert B. Dick, Ph.D. Ms. Rhonda Dickerscheid John and Maureen Doellman Drs. Gerald Dorn and Deborah Hauger Robert W. Dorsey § George Dostie Jack and Diane Douglass Meredith and Chuck Downton Mr. James Doyle Jim and Karen Draut Emilie and David Dressler 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 Joseph and Kristi Echler Mr. and Mrs. Dale Elifrits Mr. Daniel Epstein Barbara Esposito-Ilacqua Walter & Mary Ann Feige Ms. Barbara A. Feldmann Mrs. Michelle Finch Richard and Elizabeth Findlay Dr. and Mrs. Thomas Fischer Michael and Bonnie Fishel Anne and Alan Fleischer 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 Mr. and Mrs. Fred Friedman Michael and Katherine Frisco Mr. and Mrs. James Fryman Marjorie Fryxell Dudley Fulton

FINANCIAL SUPPORT Ms. Bianca Gallagher Christophe Galopin Mrs. James R. Gardner Ms. Jane Garvey Mark S. Gay Dr. Michael Gelfand David J. Gilner Dr. and Mrs. Charles J. Glueck Mr. and Mrs. Jim Goldschmidt Ms. Arlene Golembiewski Robert and Cynthia Gray Carl and Joyce Greber Dr. Anthony and Ann Guanciale Dr. Janet C. Haartz and Kenneth V. Smith Alison and Charles Haas Mrs. R. C. Haberstroh Mary and Phil Hagner Peter Hames Ham and Ellie Hamilton Walter and Karen Hand In memory of Dr. Stuart Handwerger James and Sally Harper Dr. Catherine 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 Kyle and Robert Hodgkins Ms. Leslie M. Hoggatt Mr. and Mrs. Sam R. Hollingsworth Richard and Marcia Holmes Ms. Sandra L. Houck Melissa Huber Deanna and Henry Huber Mrs. Carol H. Huether Dr. G. Edward & Sarah Hughes Mr. Gordon Hullar Dr. Maralyn M. Itzkowitz Mrs. Charles H. Jackson, Jr. Mark and Caitlin Jeanmougin Marcia Jelus Linda Busken and Andrew M. Jergens § David & Penny Jester Mr. and Mrs. Paul H. Johnson Mrs. Marilyn P. Johnston Elizabeth A. Jones Scott and Patricia Joseph Lois and Kenneth Jostworth Jay and Shirley Joyce Mr. and Mrs. Robert Judd Dr. Jerald Kay Dr. James Kaya and Debra Grauel Arleene Keller Dr. and Mrs. Richard Kerstine Mr. and Mrs. Dave Kitzmiller Georgianne and Tom Koch Paul and Carita Kollman Carol and Scott Kosarko Mr. Robert Kraus Mr. and Mrs. Jonathan Kregor Kathleen B. and Michael C. Krug Fund* Matt & Diane Krumanaker Mark & Eliisabeth Kuhlman

Patricia Lambeck Asher Lanier Karen Larsen Ms. Sally L. Larson Mrs. Julie Laskey Mr. and Mrs. John C. Layne Mr. Alvin R. Lee Mrs. Judith A. Leege in memory of Philip B. Leege Patricia E. Leo Mr. and Mrs. Lance A. Lewis Mrs. Maxine F. Lewis Iris Libby Ms. Presley Lindemann Mr. Arthur Lindsay Paula and Nick Link Mr. Ajene Lomax Mr. Steven Kent Loveless Dr. and Mrs. Robert R. Lukin Timothy and Jill Lynch Mrs. Mary Reed Lyon Marshall and Nancy Macks Mr. and Mrs. Julian A. Magnus Jenea Malarik Dr. and Ms. Mark Mandell-Brown Ms. Cheryl Manning Andrew and Jean Martin Ms. Cynthia Mason David Mason § Mr. and Mrs. Dean Matz Tim and Trish McDonald Robert and Heather McGrath Mr. Bernard McKay Mark McKillip and Amira Beer Mrs. Karin McLennan Charles and JoAnn Mead Ms. Carol M. Meibers Ms. Nancy Menne Dr. and Mrs. Richard A. Meyer Michael V. and Marcia L. Middleton Rachel and Charlie Miller Mr. Roger Miller Sonia R. Milrod Mr. Steven Monder Eileen W. and James R. Moon Regeana and Al Morgan Vivian Kay Morgan Mrs. Ivan Morse Mr. Scott Muhlhauser Miami University College of Creative Arts Mrs. and Mr. Katie Murry Kevin and Lane Muth Alan Flaherty and Patti Myers § Mr. William Naumann Mr. and Mrs. Norman Neal Mr. Ted Nelson and Ms. Ixi Chen Mr. Gerald Newfarmer Jim and Sharon Nichols Jane Oberschmidt § Maureen Kelly and Andrew O’Driscoll Mr. Gerardo Orta Nan L. Oscherwitz Elizabeth Osterburg Ms. Sylvia Osterday Eric Paternoster Don and Margie Paulsen The Pavelka Family John and Francie Pepper * Mr. Mark Phillips

Ann and Marty Pinales Patsy & Larry Plum Mr. and Mrs. Richard Post Mrs. Stewart Proctor Mr. Robert Przygoda Dr. Aik Khai Pung Ms. Mary Redington Mrs. Angela M. Reed Dr. and Mrs. Robert Reed Mrs. Hera Reines Dr. Robert Rhoad and Kitsa Tassian Rhoad Stephanie Richardson Mr. David Robertson Laurie and Dan Roche Mr. and Mrs. Samuel A. Rodner Mr. and Mrs. Ian Rodway Dr. Anna Roetker Stanley & Shannon Romanstein Bob and Mary Ann Roncker Dr. and Mrs. Gary Roselle Amy and John Rosenberg Mr. and Mrs. G. Roger Ross Patricia Rouster Dr. Deborah K. Rufner J. Gregory and Judith B. Rust Dr. Richard S. Sarason and Ms. Anne S. Arenstein Mr. Christian J. Schaefer Mr. Joseph A. Schilling Ms. Carol Schleker Jane and Wayne Schleutker Dr. and Mrs. Michael Schmerler Frederick R. Schneider Glenda C. Schorr Fund* Carol J. Schroeder § Mary D. Schweitzer Joe Segal and Debbie Friedman Mr. and Mrs. Thomas P. Semancik Drs. Mick and Nancy Shaughnessy The Shepherd Chemical Company Michael Shepherd Hal and Sandy Shevers Alfred and Carol Shikany Ms. Joycee Simendinger Mr. and Mrs. Kenneth Skirtz Ms. Martha Slager Susan and David Smith Ms. Margaret Smith Mark M. Smith (In memory of Terri C. Smith) Phillip and Karen Sparkes Mrs. John A. Spiess Paula Spitzmiller Marian P. Stapleton Mr. and Mrs. Timothy Stautberg Ms. Ruth M. Stechschulte 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 § Ms. Judi Sturwold Mr. and Mrs. Robert J. Sullivan Dr. Alan and Shelley Tarshis Mr. Fred Tegarden Carlos and Roberta Teran Dr. Rachel Thienprayoon

George and Pamela Thomas Pamela and Paul Thompson Dr. Ilse van der Bent Mr. D. R. Van Lokeren William and Bonnie VanEe Dr. Judith Vermillion Ms. Barbara Wagner Mary and Jack Wagner § Mr. and Mrs. James L. Wainscott Jane A. Walker Sarella Walton Mrs. Louise Watts Mr. Gerald V. Weigle, Jr. Mr. and Mrs. Frank Welsh Maryhelen West Mr. Donald White Ms. Elizabeth White Janice T. Wieland Ms. Desiree Willis Mr. Dean Windgassen and Ms. Susan Stanton Windgassen § Craig and Barbara Wolf Mrs. Ann Wolford Don and Karen Wolnik Rebecca Seeman and David Wood Mr. and Mrs. Robert Wylly III Mr. John M. Yacher Jeff Yang Mrs. Darleen Young Judy and Martin Young Mr. David Youngblood and Ms. Ellen Rosenman David A. and Martha R. Yutzey Dr. and Mrs. Daryl Zeigler Meg Zeller and Alan Weinstein Ms. Joan Zellner Moritz and Barbara Ziegler Thomas and Joyce Zigler Mr. Richard K. Zinicola and Ms. Linda R. Holthaus David and Cynthia Zink John and Mary Ann Zorio Ms. Jayne Zuberbuhler Anonymous (22)

GIFTS IN-KIND Mrs. Katherine Anderson Ms. Melanie M. Chavez Drive Media House William & Anna Fluke Graeter’s Ice Cream Harris Media Co. Jones Day The Voice of Your Customer Wegman Company, Inc. List as of January 10, 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.

GIFT OF MUSIC: November 15–December 31, 2022 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 Betty S. Glover Ms. Marie Speziale

In Memory of James Baldwin Pamela Daniels

In Honor of T. Douglas Mast Astrid R. Mast

In Memory of Bettylu M. Bryan Douglas Flaker

In Honor of Michael Schmerler Mr. and Mrs. Tom Ziggler

In Memory of Dr. Felix Canestri Belle Tire Purchasing Team

In Memory of Sue Friedlander Mr. and Mrs. Joseph W. Hirschhorn Mr. and Mrs. Douglas M. Magenheim Alfred Cohen and Ann Pappenheimer Gary and DeeDee West

In Memory of Theresa and John Holubeck Bruce and Deborah Humphrey In Memory of James R. Peacock Ann Peacock

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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 Mrs. Charles William Anness Carole J. Arend Donald C. Auberger, Jr. Dr. Diane Schwemlein Babcock Henrietta Barlag Peggy Barrett Jane* & Ed Bavaria Dava Lynn Biehl* 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 Norma L. Clark* Lois & Phil* Cohen Leland M.* & Carol C. Cole Grace A. Cook Jack & Janice Cook Mr. & Mrs. Charles Cordes Andrea D. 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 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 Mrs. Philip O. Geier* Kenneth A. Goode

78 | 2022–23 SEASON

Clifford J. Goosmann & Andrea M. Wilson Mrs. Madeleine H. Gordon J. Frederick & Cynthia Gossman Kathy Grote Esther Grubbs, Marci Bein & Mindi Hamby William Hackman Vincent C. Hand & Ann E. Hagerman Tom & Jan Hardy William L. Harmon Bill Harnish* & John Harnish Dr. & 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. and Mrs. Paul Isaacs Julia M. F. B. Jackson Michael & Kathleen Janson Andrew MacAoidh Jergens Jean C. Jett Frank Jordan* Margaret H. Jung Mace C. Justice Karen Kapella Dr. & Mrs.* Steven Katkin Rachel Kirley & Joseph Jaquette Carolyn Koehl Marvin Kolodzik Randolph & Patricia Krumm Theresa M. Kuhn Warren & Patricia Lambeck Owen and Cici Lee Steve Lee M. Drue Lehmann Mrs. Jean E. Lemon Mr. Peter F. Levin George & Barbara Lott Janice* and 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 Patricia Grignet Nott* Jane Oberschmidt Marja-Liisa Ogden Julie & Dick* Okenfuss Jack & Marilyn Osborn Dr. & Mrs. Richard E. Park, MD Mr. & Mrs. Charles H. 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 and 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 and 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 and 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 Susan Stanton Windgassen Mrs. Joan R. Wood Alison & Jim Zimmerman * Deceased New Schippers members are in bold

WELCOME TO MAR–APR GROUPS! (as of February 1, 2023) CSO Death & Transfiguration: Mar. 4–5 Ludlow High School Murray State University Pops Black Panther: Mar. 10–12 Cincy MENtors Friends & Family of Analise Ingraham Friends & Family of Jasmine Artikova Friends & Family of Jennifer Palmer Friends & Family of Laura Borsky Friends & Family of Michael Charnay Hanover College Mount Washington Schools Springboro High School Waynedale High School CSO The Mermaid: Mar. 17–18 National Instrumentalist Mentoring and Advancement Network (NIMAN) Ohio Christian University CSO Beethoven 5: Mar. 24–26 Barrington of Oakley Bellevue High School Breathitt County High School Christian Village at Mason Gamble Montessori High School George Rogers Clark High School Gray Middle School Luda Gikhman and Friends

Maple Knoll Village Otterbein Retirement Community St. Ursula Academy The Kenwood by Senior Star The Knolls of Oxford Twin Lakes at Montgomery Wyoming Middle School Lollipops Family Concert: Mar. 25 Cincinnati Boy Choir Daisy Troop 4048 Friends and Family of Amanda Olton Friends and Family of Ashley Knollman Friends and Family of Caroline Streicher Girl Scout Troop 4436 Witt Family

ENJOY THE MUSIC, TOGETHER! • Groups of 10+ save 25% 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 | 79

ADMINISTRATION OFFICE OF THE PRESIDENT & CEO Jonathan Martin President & CEO Andrea Maisonpierre Hessel Executive Assistant to the President and CEO ARTISTIC PLANNING & PRODUCTION Robert McGrath Chief Operating Officer Shannon Faith Assistant to the Chief Operating Officer Artistic Planning Nate Bachhuber Vice President of Artistic Planning Anthony Paggett Director of Artistic Planning Laura Ruple Assistant, Artistic Planning and Music Director Nick Minion Artist Liaison Sam Strater Senior Advisor for Cincinnati Pops Planning Shuta Maeno Artistic Planning Intern Production Paul Pietrowski Vice President of Orchestra & Production

Learning Carol Dary Dunevant Director of Learning

Catherine Hann, CFRE Assistant Director of Individual Giving

Kyle Lamb Learning Programs Manager

[Open] Individual Giving Manager

Hollie Greenwood Learning Coordinator

Emma Steward Donor Engagement Coordinator

Ian McIntyre Sound Discoveries Teaching Artist Emily Jordan Sound Discoveries Teaching Assistant

Kate Farinacci Director of Special Campaigns and Legacy Giving

MARKETING Michael Frisco Vice President of Marketing

Jaysean Johnson Education Programs Intern

Ashley Coffey Foundation and Grants Manager

Michelle Lewandowski Director of Marketing

Elizabeth Reyna CCM Arts Administration Graduate Assistant

D’Anté McNeal Special Projects Coordinator

Jon Dellinger Copywriter/Marketing Manager

Quinton Jefferson Research Grants Administrator

Alexis Shambley Marketing & Audience Insight Coordinator

COMMUNICATIONS Felecia Tchen Kanney Vice President of Communications Tyler Secor Director of Publications & Content Development Charlie Balcom Social Media Manager Wajeeh Khan Communications Intern

Naomi Sarchet Orchestra Personnel & Operations Manager

Tiffany Cooper Director of Community Engagement and Diversity

Laura Bordner Adams Director of Operations

Amanda Franklin Community Engagement Manager

Digital Content & Innovation KC Commander Director of Digital Content & Innovation Lee Snow Digital Content Technology Manager Corinne Wiseman Digital Content Manager Kaitlyn Driesen Digital Production Manager

80 | 2022–23 SEASON

Megan Inderbitzin-Tsai Payroll Manager Natalia Lerzundi Payroll Specialist

Brenda Tullos Director of Orchestra Personnel

Carlos Javier Production Manager, Pops

Jenny Ryan Human Resources Manager

Penny Hamilton Philanthropy Assistant

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

Alex Magg Production Manager, CSO & May Festival

HUMAN RESOURCES Kyle Wynk-Sivashankar Vice President of Human Resources

Pamela Jayne Volunteer and Community Engagement Coordinator Nicole Ortiz Community Engagement Intern PHILANTHROPY Mary McFadden Lawson, CAP® Chief Philanthropy Officer Sean Baker Director of Institutional Giving Bhavya Nayna Channan Corporate Relations Manager Kristin Hill Institutional Giving Coordinator Leslie Hoggatt, CFRE Director of Individual Giving and Donor Services

Patrick Koshewa Philanthropy Intern FINANCE & DATA SERVICES Richard Freshwater Vice President & Chief Financial Officer Finance Kristina Pfeiffer Director of Finance, CSO Elizabeth Engwall Accounting Manager, CSO Judy Mosely Accounting Clerk, CSO Laura Van Pelt Accounting Clerk, CSO Judy Simpson Director of Finance, MEMI Marijane Klug Accounting Manager, MEMI Deborah Benjamin Accounting Clerk, MEMI Matthew Grady Accounting Manager, MEMI Sydney Mucha Accounting Clerk, MEMI Data Services Sharon D. Grayton Data Services Manager Tara Williams Data Services Manager Kathleen Curry Data Entry Clerk

Carmen Granger Subscriptions Marketing Manager Stephanie Lazorchak Graphic Designer Amber Ostaszewski Director of Audience Engagement Abigail Karr Audience Engagement Manager Tina Marshall Director of Ticketing & Audience Services Nic Bizub Group Sales Manager Elaine Hudson Assistant Box Office Manager Hannah Kaiser Assistant Box Office Manager Djenaba Adams Marketing Intern PATRON SERVICES REPRESENTATIVES Rebecca Ammerman, Lead Ellisen Blair, Lead Drew Dolan, Lead Wendy Marshall, Lead Erik Nordstrom, Lead Craig Doolin Mary Duplantier Ebony Jackson Grace Kim Hayley Maloney CINCINNATI SYMPHONY ORCHESTRA & CINCINNATI POPS Music Hall, 1241 Elm Street, Cincinnati, OH 45202 Administrative Offices: 513.621.1919 | hello@cincinnatisymphony.org

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