MSO 15-16 Program Book

mso 2014-2015 season

yoichi udagawa , music dir ec t or & conduc t or melrosesymphony.org | memorial hall | 590 main street, melrose ma 02176

ADMINISTRATION Yoichi Udagawa

Sean Going

Randy O’Keefe

Music Director & Conductor

Stage Manager

Librarian

Jessi Eisdorfer

Mary Weeks

General Manager

Personnel Manager

BOARD OF DIRECTORS Kathy Radley

Mary Ann Charlton

Nick Quinci

President

Denise Gaffey

Karen Sawyer

Anne Fremont-Smith

Sean Going

Cathleen Schaad

Richard Iascone

Richard Weeks

Vice President

Deb Walsh Treasurer

Eileen Lyle

Myron F. Dittmer, Jr.

Joseph D. Messina

Secretary

PO Box 760715

General Inquiries

Melrose, MA 02176

Jessi Eisdorfer, General Manager jessi@melrosesymphony.org

info@melrosesymphony.org 781-662-0641

Table Seating

@MelroseSymphony

Kathy Radley, President ktradley@verizon.net

ABOUT THE CONDUCTOR "Udagawa took the orchestra on an astonishing and fearless musical flight..." wrote one reviewer about the dynamic conductor, YOICHI UDAGAWA. His performances have been hailed as "powerful and emotionally evocative," and his relaxed manner and ability to speak from the podium have helped new audiences as well as enthusiasts gain a greater appreciation for symphonic music. Music Director and Conductor of the Melrose Symphony Orchestra , the Cape Ann Symphony Orchestra and the Quincy Symphony Orchestra, Mr. Udagawa leads an active season of rehearsals and concerts full of diverse and varied programs. He is also a cover conductor with the Boston Pops Orchestra.

Frequently invited to guest conduct, Mr. Udagawa has worked with many different orchestras including the Boston Pops Esplanade Orchestra, the Nobeoka Philharmonic Orchestra, the Pro Arte Chamber Orchestra of Boston, the University of Texas Symphony Orchestra, the Indian Hill Symphony, the Garden State Philharmonic, the Brown University Orchestra, the Syracuse Society for New Music, the Boston Conservatory Orchestra, the Midcoast Symphony Orchestra, the Newton Symphony, the Austin Civic Orchestra, and the Mid-Texas Symphony.

A fan of many different styles of music, Mr. Udagawa is at home in the standard symphonic repertoire as well as popular and contemporary music. His concerts for the 2015-16 season include Beethoven's Symphony No. 5, Brahms' Symphony No. 3, Gershwin's An American in Paris, Mussorgsky's Pictures at an Exhibition, Nielsen's Symphony No. 1, Ravel's Bolero, and several world premieres as well as special education, holiday and pops programs.

Yoichi Udagawa, the son of a nuclear physicist father and singer/artist mother, was born in Tokyo, Japan in 1964. His family immigrated to the United States soon thereafter. He began playing the violin at age four and made his conducting debut at the age of fifteen. After receiving a music degree from the University of Texas at Austin, he continued advanced studies in conducting with Gunther Schuller, Seiji Ozawa, Morihiro Okabe, and Henry Charles Smith. He is an avid fan of exercise and yoga and continuous self-education.

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MSO HISTORY

The Melrose Orchestral Association is the oldest continuously performing, volunteer orchestra in the United States.

The Orchestra was founded in 1918 by a dedicated group of citizens led by Frank B. Gray and Harold A. Sewall. They asked Elmer Wilson to become the first conductor and he led the thirteen players who attended the first rehearsal at the YMCA. Forty-five players participated in the first concert on December 10, 1918 at Memorial Hall.

The Melrose Symphony’s first conductor, Mr. Wilson, was followed by the distinguished conductor George Brown who led the Orchestra for 32 years. Mr. Brown was followed

by Jeronimas Kacinskas, David Sonnenschein, William Maloof, Christopher Blair, and Peter Hazzard. In 1997 Yoichi Udagawa was chosen to be the eighth music director of the Melrose Symphony Orchestra.

During the MSO’s long history, many illustrious names have appeared with the Orchestra including Arthur Fiedler, actress Maureen O’Hara, cellist Martha Babcock, soprano Sharon Baker, jazz artist Gary Burton, baritone Robert Honeysucker, the West Point Chorus, the New Black Eagle Jazz Band, Boris Goldovsky, and Boston Symphony Orchestra’s musicians Lucia Lin, Richard Svoboda, and Owen Young.

The mission of the Melrose Symphony is to provide the citizens of Melrose and surrounding areas an opportunity to participate in the joy of music. The Melrose Symphony Orchestra’s success and vitality are a testament to the invaluable and enthusiastic support it receives from the community.

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2015-2016 SEASON SUPPORTERS Cumulative Giving: June 1, 2015 – October 13, 2015 We are especially grateful to the following donors for supporting the Melrose Symphony Orchestra for the 2015-2016 concert season.

Contributions were made to the following funds: General Operating Support, 100th Anniversary Season, Music Education Fund, and gifts in honor of Ed Cassidy (Friends of the Melrose Symphony are listed on the following page).

FOUNDERS

ARTIST CIRCLE $1,000 +

Victor & Nellie Friend Endowment

AEW Capital Management Joan Cassidy

SEASON SPONSOR

Anne & Thayer Fremont-Smith

Melrose Cooperative Bank

David Halpert Sean & Julie O’Brien

CONCERT SPONSORS

Qian Chen & Dahong Qian

ABC Home Healthcare

Brian & Deb Walsh

Brad Hutchinson Real Estate Cruz Electric, Inc.

SYMPHONY SUPPORTER $250-$499

Melrose Rotary Club

Denise Gaffey & Jason Webb

St. Mary of the Annunciation School

Jeanne & Michael Henry Robert Hughes

FOUNDATION SUPPORT

Paul Rutz & Sandra Henry

Melrose Cultural Council

Lester Szarkowski

Melrose Messina Fund for the Arts $100 - $249 Scott & Caroline Blackman Richard Braun & Ainsley Donaldson Donald & Lorraine Amerault George Hickey Christopher Kelly Kramer + Marks Architects Lalloo Associates Jeffery Luxemberg Janice and Joseph Marini Paul & Susan McGowan Melrose Daycare Center & Preschool

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SYMPHONY SUPPORTERS Melrose Sharing and Caring

Ann & Lester Haddock

Carl Richard Mockler

David Hartman

Nancy, Russell & Ross Smith

Daniel & Suzanne Hornbarger

Albert & Joyce Rodenhiser

John & Regina Kaufman Thomas & Denise Kracz

UP TO $100

Michael & Emily Margolis

Melrose Friends of The Aging

Mary Beth McAteer Margolis

Action Apparel, Inc.

David & Nancy Mouradian

Julia & Kent Aston

Susan & John Nadworthy

Robert L. Bell, Jr.

Mr. & Mrs. Charles B. Wills

Elaine & Jeffrey Bemis

Daniel & Mary Rita O’Shea

Keith Bowden

Kathy & Dan Radley

Candy Brower & James Sugrue

Elizabeth & Keneth Ricci

Daniel Burke

Emily & Eli Rubenstein

Donna-Marie & Graham Cross

Beth Schaefer

Diane DeVivo

Miryim Shortlidge

Jessi Eisdorfer

Anne Swenson

Lori Feinberg

Berge Tatian

Joesph S. Gulino, CPA

Richard & Elizabeth Valliere Richard & Mary Weeks

EVERY GIFT MATTERS! The MSO is a 501(c)3 and relies on the generosity of donors to continue presenting great music.

Gifts are welcome throughout the year; our fiscal year ends May 31, 2016.

Donations can be made online at www.melrosesymphony.org/donate or mailed to: Melrose Symphony, PO Box 760715, Melrose, MA 02176 Thank you for your support!

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FRIENDS OF THE MELROSE SYMPHONY Friends of the Melrose Symphony was established as a separate 501(c)3 to enhance the concert experience by providing linens, fresh flowers, and other behind-the-scenes operations.

2015-2016 Friends of the Melrose Symphony Anonymous

Joe & Cathy Gulino

Steve & Debbie Anderson

Kathy & Rob Harlow

Hank & Peg Botte

James & Ellen Herrington

Caroline & Richard Boutwell

Geroge S. Hickey

Kathy Pigott Brodeur & Andy Brodeur

Bob Hughes

Mr. & Mrs. Lester H. Burnham

Bruce & Maureen Kearnan

George & Susan Cann

Nancy & Phil Kukura

Gerard X. Cargill

Gladys M. Latshaw

Michael & Barbara Cassavoy

VeAnn & Tom Leach

Joan Cassidy

Bob & Sara Linnehan

Dan & Phyllis Cerys

Dr. Paul & Linda Lysiak

Rich & Judy Clark

Melrose Animal Clinic

Ellen & Rich Connolly

Richard Mockler

Richard & Anne Crawford

Rita Mongeau Moore

William J. Deane

Leonore Monsein

Douglas Dick & Ann Easterbrooks

Carole Nania & Dr. F. Fallen

Centry 21 Sexton & Donohue

Lucille T. Omogrosso

Paul L. Downey

James & Lisa Oosterman

Dr. Phyllis J. Dragonas

A. Thomas Pawlina

David & Kathy Driscoll

Lynne Reveno

In memory of Margaret Dwyer

Charles & Louise Sheridan

Jessi Eisdorfer

Richard & Ann Spataro

Michele & Daniel Fabricant

Sally & George Stubbs

Pat Fitzgerald, Brad Hutchinson Real Estate

Barbara & Jim Tierney

Robert & Arleen Frasca

Nancy Toney

Anne & Thayer Fremont-Smith

Rick & Beth Valliere

Martha Grover & Jim Donohue

Deb & Brian Walsh

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FRIENDS OF THE MELROSE SYMPHONY

Friends of the

Melrose Symphony Orchestra Please join us in our ongoing support; a $50 donation makes you a Friend of the MSO. Contributions to the Friends have provided an elegant atmosphere for our concerts, enhancing the hall with linens and fresh flowers. We continue to support many of the behind-the-scene concert operations that keep our Symphony alive and thriving.

Contributions are welcome throughout the season, please send to: Joan Cassidy, Financial Chairman c/o Friends of the MSO 61 Clifton Park Melrose, MA 02176

Counting to Our Centennial | 9

THANK YOU TO OUR LOYAL SUBSCRIBERS! BENEFACTOR

David & Katherine Driscoll

Richard Braun & Ainsley Donaldson

Sylvia A. Fleming

Marie Botte & Daniel Weissman

Thomas Foth

Joan Cassidy

David & Katherine Foulser

Dan & Phyllis Cerys

Robert & Arleen Frasca

Susan Collins

Noelle Fries

Mr. & Mrs. Myron F Dittmer Jr.

Ryan Fuller

The Honorable & Mrs. Thayer Fremont-Smith

Steve & Jill Geisler

Beverly Hinckley

Lois G. Goddard

Janet & Michael Lento

Jennifer Grigoraitis

Rita Mongeau Moore

Martha Grover & James Donohue

Lisa and Avi Nagar

Ronald & Deborah Harding

Laura Paladino

David Hartman

Sofia Quinci

Robin Hartwell

Doreen Rosenzweig

Jeanne & Michael Henry

Lester Szarkowski

George & Wescott Hickey

Mary & Richard Weeks

Robert G. Hughes Priscilla & Lynn Hunt

SPONSOR

John & Regina Kaufman

Denise Gaffey & Jason Webb

Barbara Kenworthy Philip & Nancy Kukura

ASSOCIATE

Paul & Susan McGowan

George & Ann Ahlin

Sandra & Raymond Mears

Victor & Glenda Amirault

Mr. & Mrs. Joseph D. Messina

Julia & Kent Aston

Richard Mockler

Edward & Kristi Bach

Joe & Judy Murphy

Lois M. Brenton

Robert & Mary Rose Muti

Susan & George Cann

Sean & Julie O’Brien

Gerard X. Cargill

Dinah Olanoff

David & Amy Cesar

Chuck O’Leary & Suzanne Merenda

Phyllis Clarke

Daniel & Mary Rita O’Shea

Janet & James Collins

Julianne & Michael Powers

Donald & Maribeth Darwin

Kathy & Dan Radley

Doris DeAmicis

Albert & Joyce Rodenhiser

Douglas Dick & Ann Easterbrooks

Carl & Linda Rutkowski

Dr. Phyllis J. Dragonas

Paul Rutz & Sandra Henry

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2015-2016 SYMPHONY SUBSCRIBERS John D. Santamaria

Diane DeVivo

Beth Schaefer

Andrea Donovan

Terri and Josh Shortlidge

Rebecca Kahler-Reis

Lenore Gauthier Smith

Constance Lewis

Jim & Barbara Tierney

Robert & Sara Linnehan

Luke and Antoinette Volpe

Diane Lipczynski

Deb & Brian Walsh

Leonore Monsein

Carol Webb

Susan Murray

Mary Werler & Gary Pzegeo

Peggy Serino

Bernie Wideman & Mary Clark

Barbara Smith

Mary Ellen & Kurt Zwirner

Edwin Vickery Joyce B. Zeiner

SINGLE Joan V. Cutter Ginny Concannon

WANT TO BECOME A SUBSCRIBER? Subscriptions are a great way to show your support for the Melrose Symphony! As a subscriber you’ll receive exclusive advance notice of Holiday Pops ticket sales prior to public release (as well as recognition in the annual program book).

CONCERTS INCLUDED: Opening Night | Saturday, November 7, 2015 March Masterworks | Saturday, March 5, 2016 May Pops “Fiddle & Film” | Saturday, May 7, 2016 SUBSCRIPTION LEVELS: Benefactor (4 tickets per concert)

$328

Sponsor (3 tickets per concert)

$246

Associate (2 tickets per concert)

$169

Single (1 ticket per concert)

$86

Subscriptions can be prorated at anytime. For more information please e-mail info@melrosesymphony.org or call 781.662.0641.

Counting to Our Centennial | 11

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BestWishes Wishesfor for Best Best Wishes forSuccess Continued Continued inSuccess your in Continued Success your 98th Season 94th Season in Your 93rd Season

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Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.

- Plato

SULLIVAN & CLARK Attorneys at Law

781-665-1446

106 West Foster Street MELROSE

"Music is the universal language of mankind.”

– Henry Wadsworth Longfellow

Enjoy the Performance!

FRANK WRIGHT Ward 3 Alderman

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Attorney at Law 80 Upham Street Melrose, MA 02176 Phone 781-662-2813| Fax 781-662-2614 mcnelis.melroselaw@comcast.net

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Congratulations to our local treasure, the Melrose Symphony Orchestra on its 98th Season

Eileen Hamblin RE/MAX Leading Edge www.TeamHamblin.com 781.820.6020 16 | MSO 98th Season

Melrose Rotary Club Service Above Self ro·ta·ry [roh-tuh-ree] 1. To bring together business and professional leaders to provide humanitarian service, encourage high ethical standards in all vocations, and help build goodwill and peace in the world and the Melrose community.

Past & Present Melrose Rotary Club Projects include: • • • • • • • • • • • •

$6,000 towards Heating Oil Emergency Fund Handicap Pool Lift, YMCA High School Robotics Club Youth Exchange Students Rotary Skate Board Park Handicapped Doors, Milano Senior Center Handicapped Access Ramp, YMCA Immersion Suits, Melrose Fire Department Chimes, Melrose Symphony Orchestra “Lifeline” Equipment, Melrose-Wakefield Hospital Furniture, Children’s Library, Melrose Library Kids Zone play area, Melrose -Wakefield Hospital

Interested in joining us?

Visit www.melroserotary.org for more information Counting to Our Centennial | 17

ABOUT THE SOLOIST At the young age of four, KADAR QIAN began to learn the piano, inspired by his older brother, Kevin. Since then, he has given over one hundred concerts in the U.S. and China in venues such as Carnegie Hall, Boston Symphony Hall, Jordan Hall, and Sanders Theatre. At the age of eleven, he debuted as a soloist with the Quincy Symphony Orchestra performing Chopin’s Concerto No. 2, and at the age of fifteen, he debuted with the Boston Pops performing Prokofiev’s Concerto No. 3.

All together, he has appeared as a soloist over 10 times with orchestras such as the Boston Civic Symphony, Boston Landmarks, Cape Ann Symphony, Melrose Symphony, Merrimack Valley Philharmonic, Metrowest Symphony, Lowell Philharmonic, Rivers Symphony, and the Salem Philharmonic.

Qian claimed first prize in the Chopin International Piano Competition in Hartford, receiving special prizes for the Best Bach Performance and the Best Chopin Performance. He was also a prizewinner at the Arthur Fraser International Piano Competition as well as the MostArts International Piano Competition. In addition, he was also the first prize winner of the Harvard Musical Association High School Achievement Award and the Steinway Society of Massachusetts piano competition.

For the past four years, he has been a recipient of the Chopin Foundation of the United States Scholarship. Qian has won many Young Artist Competitions, including the Boston Civic, Boston Pops, Lowell, Metrowest, Quincy, and Rivers Young Artist Competitions. He was heard performing on NPR’s From the Top and WGBH’s Drive Time Live. He was also seen on WHDH’s Asian Focus TV program, and in 2013, he released his first album for Naxos Records.

Kadar studies piano with Angel Ramón Rivera at the New England Conservatory Prep School and the Rivers School Conservatory. He also studies conducting with Yoichi Udagawa and is currently the Assistant Conductor of the Melrose Symphony Orchestra. Since June 2014, he has been the music director and conductor of the Fusion String Ensemble. A high honor roll student at Westford Academy, Kadar strives to make a difference in the community as the president of his class. A huge fan of Apple products, Kadar also enjoys programming and math.

This soloist is generously underwritten by the Melrose Rotary Club 18 | MSO 98th Season

RUSSIAN PORTRAITS Opening Night | Saturday, November 7, 2015, 8 pm Ruslan and Ludmilla Overture

Mikhail Glinka

(1804-1857) In the Steppes of Central Asia

Alexander Borodin

(1833-1887)

Capriccio Espagnol

Nikolai Rimsky-Korsakov

(1844-1908) ~ Intermission ~ Dawn on the Moscow River

Modest Mussorgsky

(1839-1881) Rhaposdy on a Theme of Paganini

Sergei Rachmaninoff

(1873-1943) Kadar Qian, piano

This concert is dedicated to Edward F. Cassidy (1943-2015), Melrose Symphony board member for over 10 years, ardent cultural supporter, and dedicated Melrose resident.

This concert season is underwritten by the generosity of the Melrose Cooperative Bank Counting to Our Centennial | 19

RUSLAN AND LUDMILLA OVERTURE Mikhail Glinka (1804-1857) Glinka was one of the first Russian composers to gain wide recognition within his own country. For the first time, music was being composed specifically based on Russian literature and history. His compositions had an important influence on future Russian composers such as Tchaikovsky, Mussorgsky, and Rimsky-Korsakov.

The music of Haydn, Mozart, and Beethoven played by his uncle’s orchestra had a profound effect on him growing up. After his studies, he took the position of assistant secretary of the Department of Public Highways, still composing some of his most memorable works. He left this post and traveled to Italy, Germany, Switzerland, and Milan, all the while continuing his musical studies. And although becoming very cultured in the works by Italian composers of the time, he decided it was time to return to Russia.

With one successful opera in his past, he decided to begin writing a new opera entitled Ruslan and Ludmilla. This opera was composed between 1837 and 1842 and is based on a poem of the same name by Alexander Pushkin (1799-1837), a Russian author who is considered by many to be the greatest Russian poet and founder of modern Russian literature. The untimely death of Pushkin in a duel, prevented him from writing the words of the opera. As a result, the words were written by other Russian librettists of the time.

The opera is written in five acts and is a fantasy story about Ludmilla and three suitors.

At a ball, Ludmilla is abducted by the evil sorcerer, Chernomor. Her three suitors then embark on a magical expedition to save her. One of the suitors, Ruslan, defeats the evil sorcerer and collects a magic ring that will wake Ludmilla from the trance put upon her by the evil Chernomor. Ludmilla is rescued, awakens, and is wed to Ruslan.

Ruslan and Ludmilla was not well-received by the audience, perhaps as a result of the disorganized storyline written by several librettists or the possibility that it was overpowered by the Italian Opera of the time. Nonetheless, The Overture (the

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P R O G R A M N OT E S beginning of the opera that introduces the themes and ideas) remains the best known music from the opera. Ironically, like many operas, this overture was written last and consists of two main themes - a driving, fast, rhythmic opening and ending, and a more lyrical theme reminiscent of courtly dances.

Although the premiere was performed in November 1842 at St. Petersburg, it wasn’t given its first staged performance in the U.S. until March 1977 by Sarah Caldwell’s Opera Company of Boston.

IN THE STEPPES OF CENTRAL ASIA Alexander Borodin (1833 - 1877) Alexander Borodin was a Russian composer, doctor, and chemist. He was part of the group of influential Russian composers dedicated to producing music specific to Russian history and literature known as “The Five.”

Although he was illegitimately born to a Russian nobleman and peasant, he received a good education - including piano lessons. He earned much respect in his primary careers as a chemist and a physician. He was also an advocate for women’s rights and a huge proponent of education in Russia, founding the School of Medicine for Women in St. Petersburg. Music, however, remained a secondary profession for Borodin as he managed to study composition during the same time he was working as a chemist.

In the Steppes of Central Asia is a symphonic poem (a piece of orchestral music usually in a single movement that evokes a poem, story, painting, or other non-musical source). In a note to the conductor, Borodin provided the following description: “In the silence of the monotonous steppes of Central Asia is heard the unfamiliar sound of a peaceful Russian song. From the distance we hear the approach of horses and camels and the bizarre and melancholy notes of an oriental melody. A caravan approaches, escorted by Russian soldiers, and continues safely on its way through the immense desert. It disappears slowly.

The notes of the Russian and Asiatic melodies join in a common harmony, which dies away as the caravan disappears in the distance.”

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The work was dedicated to Franz Liszt and was originally intended to be presented as one of several to celebrate the 25th anniversary of the reign of Alexander II of Russia, who made many lasting positive changes to improve Russia and it’s relationship with other influential European countries. The intended production never occurred, but the piece has been a concert favorite ever since the first performance in 1880 in St. Petersburg.

Borodin’s fame as a composer outside of the Russian Empire was made possible by Franz Liszt who arranged performances for Borodin’s Symphony No. 1 in Germany, Belgium, and France. His music is noted for being filled with strong emotion and beautiful melodies. In spite of his influence as a Russian composer and to the younger composers Debussy and Ravel, he was not very prolific in his output of pieces, perhaps constrained by the demands of his other careers and family. He was not in good health. Overcoming cholera and several minor heart attacks, he died suddenly during a ball.

CAPRICCIO ESPAGNOL Nikolai Rimsky-Korsakov (1844 - 1908) Nikolai Rimsky-Korsakov was another influential composer dedicated specifically to Russian music. Not only are Capriccio Espangnol, Russian Easter Overture, and Scheherazade his best-known orchestral compositions, but they are staples in the classical music repertoire.

Capriccio Espagnol is a five movement orchestral suite was written in 1887 and literally translates to Capriccio on Spanish Themes, or folk melodies. Capriccio is a musical term which means lively in character and typically is a piece that is fast, intense, and often virtuosic in nature. A suite refers to music composed in an ordered arrangement often presenting extracts from a ballet, opera, or as in this case, entirely original movements.

1.

The first movement is a festive and exciting dance to celebrate the rising of the sun.

2.

The second movement begins with a melody in the horn section.

Throughout the remainder of this movement, variations of this melody are

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P R O G R A M N OT E S repeated by other instruments and sections of the orchestra.

3.

The third movement presents the same dance as the first movement. The two movements are nearly identical except in this movement the melodies are assigned to different instruments and are played either higher or lower in pitch (note sound).

4.

The fourth movement is titled Scene and Gypsy Song. It opens with five different cadenzas (music that is played by a solo instrument usually in a free rhythmic style and often allowing for virtuosic display) by the horns and trumpets, violin, flute, clarinet, and then the harp. It is followed by a dance that leads, without a pause (attacca), into the final movement.

5.

The final movement is an energetic dance that originates from a region in northern Spain. The piece finishes with an even more rousing statement of the theme in the first movement.

From this, it could be noticed that while there are separate movements, the movements are linked thematically and melodically, as is typical of a Suite.

Rimsky-Korsakov wrote a considerable amount of music during his lifetime. In general he revised his compositions more than once and experimented with whole tones and octatonic tones (notes that are separated from one another by a certain distance between tones). This type of notation not only earned him his stature as a Russian composer, but also influenced non-Russian composers such as Maurice Ravel, Claude Debussy, Paul Dukas (Sorcerer’s Apprentice), and Ottorino Respighi.

DAWN ON THE MOSCOW RIVER Modest Mussorgsky (1839-1881) Modest Mussorgsky was another major contributor to the innovation of Russian historical music. Much of his music was inspired by Russian history, folklore, and other nationalist themes.

Musical structure has been developing for hundreds of years by composers such as Bach, Mozart and others. Traditionally, musical tones and chords are supposed to move to certain other musical tones and chords which presumably make the music sound

Counting to our Centennial | 23

good, finished and correct. Mussorgsky did not follow these “rules” and many critics of the time describe his music as sounding raw or crude, however, undeniably beautiful in its own way.

Mussorgsky was born to a wealthy family and was hugely talented pianist and began composing at a young age. However, at the age of 20, he suffered from a nervous breakdown. Shortly after that, his family estate was struck by misfortune and his mother died. He turned to alcoholism to console his depression. And although he continued to compose, his drinking and depression deprived him of making the most of his success. As a result, he died, leaving many of his greatest works unfinished.

His music didn’t become famous until after he died when Nikolai Rimsky-Korsakov polished his pieces and then published them, as is the case with Dawn on the Moscow River. This piece is an introduction to the five act Opera, Khovanshchina, Mussorgsky began between 1872 and 1880. It was revised by Rimsky-Korsakov between 1881 and 1882, but not performed until 1886.

Khovanshchina deals with the point of Russian history at the time of 1682 with the untimely death of Tsar Fyodor III. Fyodor had no children to take over the Tsardom so the responsibility was passed to Fyodor’s sickly half brother Peter. Peter was leading Russia down a cultural revolution. He replaced some of the more traditional and medieval social and political systems with ones that were more modern and scientific.

A group of decommissioned elite soldiers and a group of Russian Orthodox Christians challenged Peter and his reforms unsuccessfully. Peter succeeded and the rebellion was defeated. His reforms made a lasting impact on Russia and he became known as Peter the Great.

Dawn on the Moscow River is the orchestral introduction to the Opera. It sets the stage in the morning in Red Square, Moscow where the planned rebellion of the soldiers and Christians is learned and announced to a crowd.

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P R O G R A M N OT E S

RHAPSODY ON A THEME OF PAGANINI Sergei Rachmaninoff (1873 - 1943) Rachmaninoff was one of the last of the Russian composers and conductors to contribute to Russian-specific music. In addition, he was widely considered as one of the finest pianists of his time and the piano is featured in many of his compositions.

It was his piano playing that made him a popular figure in the United States in 1909 when he scheduled his first U.S. tour. In 1918, he came back to the U.S. and took on an extensive performing career. During this time, he composed few works - due partly to his busy concert career and partly because of his homesickness. In 1932, he built himself a new home on Lake Lucerne in Switzerland where he spent the summers. It was during this time in 1934 in the comfort of his villa that he composed Rhapsody on a Theme of Paganini.

Rhapsody on a Theme of Paganini was written for piano and orchestra and encompasses several different musical forms (a musical form tells how a piece of music is organized). It is both a “theme and variation” and a “sinfonia concertante.” A “theme and variation” begins with a main melody that is followed by one or more variations of the main melody, in this case twenty four. Often parts of the main melody can be heard, but the variations are different enough to sound distinct on their own. A “sinfonia concertante” is not that different from a piano concerto in that there is a solo piano. However, in a “sinfonia concertante,” the piano is not necessarily preeminent but more a part of the whole ensemble.

After a brief, vivacious introduction played by orchestra and piano, the first variation is played by the orchestra alone. The main theme of the piece is then played by the strings and piano accompaniment followed by its variations. The eighteenth variation is by far the most well-known and is often performed by itself.

The last variation represents considerable technical difficulty for the pianist.

Rachmaninoff himself performed the premiere of the piece, upon which, he confessed anxiety over his ability to play the last variation. His performance ended up being a spectacular success and the piece went on to be one of his most well-known works.

Its popularity resulted in a ballet entitled Paganini and is featured in several films - The Story of Three Loves (1953), Somewhere In Time (1980), and Groundhog Day (1993).

– Rosemarie Hinkle Counting to our Centennial | 25

The Melrose Chamber of Commerce Congratulates the Melrose Symphony Orchestra on its 98th Season!

The Melrose Chamber of Commerce promotes doing business locally, supporting nearly 350 business members through a variety of events, programs and services.

Among the services offered by the Chamber are: • • • • •

Monthly networking opportunities; Advertising through event sponsorships, print or web ads; Communications through e-newsletters; City and state government advocacy; Benefits, including access to health insurance, member to member discounts, and special rates at large community events such as the Victorian Fair.

ARE YOU READY TO BECOME A MEMBER? Simply visit www.melrosechamber.org or call 781-665-3033 to apply.

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“Music expresses that which cannot be said and on which it is impossible to remain silent.“ – Victor Hugo

Enjoy the Concert!

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Counting to Our Centennial | 31

ABOUT THE SOLOIST RENESE KING’s array of musical talents have taken her from spiritual and gospel singing at the church podium to timpani playing on the Carnegie Hall stage. Recently appointed Interim Artistic Director of the renowned New England Gospel Ensemble, she is recognized regionally as a talented instrumentalist, choral director and arranger who has appeared throughout the East Coast and internationally as an accompanist, vocalist, director, and percussionist with many Massachusetts based choral and orchestral ensembles. Her soulful and moving voice, described by the Boston Globe as “resplendent,” “thrilling,” and a “phenomenal, wide-ranging” instrument has piqued growing national attention, and garnered her the 2011 Boston Music Award “Gospel/Inspirational Artist of the Year.”

Ms. King has made featured and guest solo appearances in several concerts, national television broadcasts, a national tour, and a CD release (Sleigh Ride) with the Boston Pops Orchestra and Tanglewood Festival Chorus. Often singing her own arrangements for orchestra, gospel chorus and soloist, she has appeared with many ensembles in the New England area and across the nation. Her voice is featured on the soundtracks of two documentary films entitled “Freedom Riders”, which won three Emmy awards in 2012, and “Freedom Summer,” which premiered on PBS to critical acclaim in 2014.

Ms. King holds a position in Student Affairs at her alma mater, Berklee College of Music, is the Music Director at the Waymark Seventh Day Adventist Church, Dorchester, MA, Director of the Re-Union Choir, and Associate Director of Music at Union United Methodist Church, Boston, MA. She remains committed to the unifying and uplifting message at the heart of gospel music.

Soloist generously underwritten by Brad Hutchinson Real Estate

32 | MSO 98th Season

ANNUAL HOLIDAY POPS “Song & Dance� | December 11 & 12, 2015, 8 pm Christmas Festival

Leroy Anderson

Selections from the Nutcracker

Piotr Ilyich Tchaikovsky

with members of the Melrose Youth Ballet Hansel and Gretel Prelude

Engelbert Humperdinck

Hanukah Celebration

Kenji Kikuchi

Christmas Eve/Sarajevo

Bob Philips ~ Intermission ~

Vocal Selections with Renese King, soprano ~ Intermission ~ Have Yourself a Merry Little Christmas

arr. John Whitney

Winter Wonderland Christmas Sing Along

arr. Calvin Custer arr. John Finnegan

This concert season is underwritten by the generosity of the Melrose Cooperative Bank Counting to Our Centennial | 33

CHRISTMAS SING ALONG JINGLE BELLS

IT CAME UPON THE

(Refrain)

MIDNIGHT CLEAR

Jingle, bells! jingle, bells!

It came upon the midnight clear

Jingle all the way!

That glorious song of old,

Oh! what fun it is to ride

From angels bending near the earth

In a one-horse open sleigh!

To touch their harps of gold;

Jingle, bells! jingle, bells!

“Peace on the earth, good will to men,

Jingle all the way!

From heav’n’s all gracious King,”

Oh! what fun it is to ride

The world in solemn stillness lay

In a one-horse open sleigh!

To hear the angels sing.

Dashing thro’ the snow,

HARK! THE HERALD ANGELS SING

In a one-horse open sleigh;

Hark! the herald angels sing,

O’er the fields we go,

Glory to the newborn King!

Laughing all the way;

Peace on the earth and mercy mild,

Bells on bobtail ring,

God and sinners reconciled!

Making spirits bright;

Joyful all ye nations rise,

What fun it is to ride and sing

Join the triumph of the skies;

A sleighing song tonight! (Oh,)

With th’ angelic host proclaim,

(Repeat refrain)

Christ is born in Bethlehem!

Hark! the herald angels sing

JOY TO THE WORLD

Glory, to the newborn King.

Joy to the world! the Lord is come; Let earth receive her King;

SILENT NIGHT

Let ev’ry heart prepare Him room,

Silent night, holy night,

And heav’n and nature sing,

All is calm, all is bright

And heav’n and nature sing,

Round yon Virgin Mother and Child.

And heaven, and heaven and nature sing.

Holy infant so tender and mild, Sleep in heavenly peace, Sleep in heavenly peace.

34 | MSO 98th Season

AWAY IN A MANGER

O COME, ALL YE FAITHFUL

Away in a Manger

O come, all ye faithful,

No crib for a bed,

Joyful and triumphant,

The little Lord Jesus

O come ye, O come ye to Bethlehem;

Laid down His sweet head.

Come and behold Him,

The stars in the sky,

Born the King of angels;

Looking down where He lay, The little Lord Jesus

(Refrain)

Asleep in the hay.

O come, let us adore Him, O come, let us adore Him,

DECK THE HALL

O come, let us adore Him,

Deck the hall with boughs of holly,

Christ the Lord.

Fa la la la la la la la la. ‘Tis the season to be jolly, Fa la la la la la la la la.

Don we now our gay apparel, Fa la la la la la la la la.

Troll the ancient Yuletide carol, Fa la la la la la la la la.

Counting to Our Centennial | 35

CHRISTMAS FESTIVAL Leroy Anderson (1908 - 1975) Leroy Anderson was born in Cambridge, Massachusetts and studied at the New England Conservatory and Harvard University. John Williams describes Leroy Anderson as “one of the great American masters of light orchestral music.” His music is of a less serious nature, shorter in duration, and designed to appeal to wider audiences.

A Christmas Festival was completed in 1950 and, like many of his pieces, was introduced by the Boston Pops Orchestra under the direction of Arthur Fiedler. Arthur Fiedler asked Anderson, who was working for the Boston Pops at the time, to create a special holiday piece of music. So he took the best known Christmas songs and gave them “instrumental treatment.”

The piece was originally about eight minutes long and at that time single records still dominated the market. To get around this, Leroy had to make a split in the piece after four minutes where you could logically stop the piece and pick it up unseemingly on the other side of the recording. He eventually shortened the piece himself, not wanting conductors to make their own “makeshift cuts.”

NUTCRACKER SELECTIONS March, Trepak, Chinese Dance, Reed pipes, Waltz Piotr Tchaikovsky (1840 - 1893) The Nutcracker is a two act ballet composed by Tchaikovsky in 1892. It is based on the story The Nutcracker and the Mouse King written by E.T.A.Hoffmann (1776 - 1822).

Hoffmann’s stories were very influential in the 19th century, many having gone on to be the basis for other ballets, operas, and other musical forms.

Tchaikovsky extracted a selection of eight musical numbers from the ballet before its premiere. The suite instantly became popular with almost every number encored at the first concert. The ballet did not achieve its popularity until the 1960’s when George Balanchine’s (1904 - 1983) staging became a hit in New York City. Balanchine is considered one of the most prolific 20th century choreographers (the art or practice of designing sequences of movement).

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P R O G R A M N OT E S The Nutcracker story begins with Christmas Eve festivities. The March is played as presents are distributed. After nightfall, the Nutcracker defeats the mouse king and, with Clara, returns back to his Land of Sweets as a Prince again. They are welcomed with a celebration of sweets from around the world (Trepak: Russia, Chinese Dance, and Reed Pipes: Denmark). A final Waltz of the Flowers is performed before Clara and the Prince are crowned rulers of the Land of Sweets.

HANSEL AND GRETEL PRELUDE Engelbert Humperdinck (1854 - 1921) In the late 1700s to early 1800s, Jacob and Wilhelm Grimm were brothers who collected and published folklore consisting of legends, oral history and fairy tales including some of the best known stories such as Cinderella, Rapunzel, and Snow White.

Among them is the story of Hansel and Gretel. The idea for the opera, written by Humperdinck, was actually proposed by his sister. She approached him about writing music for songs she had written for her own children for Christmas based on the story.

Becoming best known for this opera, it was first performed on December 23rd, 1893 and is still most often performed at Christmas time.

The story is about two poor children who are caught in the woods by an evil gingerbread witch. Not wanting to get cooked, they devise a plan to coax the witch into her own oven, then they are rescued by Mother and Father.

The Prelude is the instrumental arrangement written as the introduction to the opera.

HANUKKAH CELEBRATION Kenji Kikuchi (b. 1964) There are several songs associated with Hanukkah to celebrate the rededication of the Jewish temple to God. Some of the songs you may hear in this piece center around lighting the menorah candles each night. Some titles, such as Rock of Ages, are sung after lighting the festival lights and tell the events of Jewish history.

Counting to our Centennial | 37

Hanukkah, Oh Hanukkah and I Have a Little Dreidel are well know English versions of popular Hanukkah songs that are playful in nature in an upbeat tempo. They center around dancing the horah (a type of upbeat circle dance that has become a symbol of the reconstruction of Israel), eating latkes (potato pancakes), and playing Dreidel (a Hebrew game played with a four-sided spinning top).

According to Jewish tradition, Dreidel was a game played by the Jews while hiding in caves from the Babylonians. Whenever Babylonian soldiers approached, the children were instructed to hide their Torah scrolls and take out their dreidels instead.

CHRISTMAS EVE/SARAJEVO Bob Philips Christmas Eve/Sarajevo is an instrumental combination of God Rest Ye Merry Gentlemen and Carol of the Bells. The song was first recorded by Savatage, a heavy metal rock band in 1995 and then re-released by the Trans-Siberian Orchestra, consisting of several members of Savatage, in 1996 on their debut Christmas album.

It is about a cello player, Vedran Smailovic, born in Sarajevo, Bosnia who leaves the country at a young age to become a well-trained classical instrumentalist. He returns during the height of the Bosnian War to find his city in complete ruins. Despite the destruction, disaster, and bombing that was taking place around him, every night he would take his cello to the town square, climb on the rubble that had once been a fountain and play Mozart, Beethoven, and Christmas carols.

The two Christmas melodies chosen for this piece are among the oldest and originated from Ukraine, a region near Bosnia. The orchestra represents one side, the rock band the other and the single cello represents Vedran Smailovic. He now lives in Northern Ireland.

HAVE YOURSELF A MERRY LITTLE CHRISTMAS arr. John Whitney Have Yourself A Merry Little Christmas is a popular tune introduced by Judy Garland in the 1944 musical Meet Me in St. Louis. The song first appeared in the scene during which the Smith family is distraught by the father’s plans to move to New York City for a job promotion, leaving behind their beloved home in St. Louis just before the 38 | MSO 98th Season

P R O G R A M N OT E S 1904 World’s Fair, the largest international public exhibition to date, promoting agriculture, science, history, travel, entertainment, consumer goods, and popular culture. Judy Garland’s character, Esther, sings the song on Christmas Eve to cheer up her discouraged five-year-old-sister.

The song was written by American theater and film composer Hugh Martin. Some of the words that Martin wrote for the song were rejected before filming began, seen as harsh and depressing by the actors. With some resistance, he made several changes to make the song more upbeat.

The song instantly became popular, rising to the third most performed Christmas song during that time. Judy Garland’s performance of the song at the Hollywood Canteen, a popular club offering food, dancing, and entertainment for servicemen usually on their way overseas, brought tears to many of the soldiers.

WINTER WONDERLAND Calvin Custer (1939 - 1998) Winter Wonderland is a winter song treated as a popular Christmas time standard.

Even though the holiday is never mentioned in the words, the mention of sleigh bells several times implies that the song is related to the Christmas period. The music and words were written by Felix Bernard and Richard B. Smith, respectively.

In 1932 Richard Himber, an American bandleader, composer, and violinist, formed an orchestra with some top-notch professionals such as Benny Goodman, Tommy Dorsey, and Artie Shaw. They performed at New York’s Essex House Hotel which received NBC radio exposure. At the end of one of the recording sessions in 1934, there was time to spare. It was suggested that an arrangement of Winter Wonderland be tried out.

The song has received enormous popularity, being recorded by over 200 different artists such as Guy Lombardo’s Orchestra, Johnny Mercer, and Perry Como.

Counting to our Centennial | 39

CHRISTMAS SINGALONG John Finnegan The first carols were pagan songs sung in Europe thousands of years ago at the Winter Solstice, the shortest day of the year usually occurring around December 22nd. Early Christians took over the pagan solstice celebrations and introduced Christian songs to sing, but these were sung in Latin and nobody understood them so the interest was lost.

In 1223 however, St. Francis of Assisi started to put on Nativity plays and introduced songs that told the Christian story. These carols spread to France, Spain, Germany and other European countries.

Carols and caroling have evolved since then and even they were abolished for a time when Oliver Cromwell and the Puritans came to power in England as he wanted the Christmas celebration to remain religious rather than festive.

During the Victorian Era, through the late 1800’s and early 1900’s, two men, William Sandys and Davis Gilbert, published a collection of Christmas Carols containing ancient carols and carols still used today. This marked the first appearance of such a collection. Many orchestras and choirs were being set up in cities around England and there was a desire for Christmas songs to sing and thus caroling became popular once more.

– Rosemarie Hinkle

40 | MSO 98th Season

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42 | MSO 98th Season

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44 | MSO 98th Season

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Yoichi Udagawa | Music Director & Conductor FIRST VIOLIN Alan Hawryluk Luke Miller Priscilla Hunt Jason Webb Heather Luhn Megan Chalek Mary Yacovone Janet Luan Lauren Caso Maureen Burke Elizabeth Gagakis Irene Leamon Kassie Snowden Judy Takata Lyudmila Maslyakova SECOND VIOLIN Karen Sawyer Mike Olivo Johanna Port Deborah Wall Nancy Dixon Sonia Voskuil Ilan Millstrom Deborah Zimon Christine Tighe Elizabeth Hirsch Amanda Aherrera Danielle Curran Joseph Brach Ari Faro Marie Svoboda

VIOLA Mary Weeks Carren Webber Joanna Ostrander Paul Zagieboylo Nathan Faro Robert Kennedy Oliver Chang Dorcas McCall Sofia Quinci CELLO Daniel Kurz Maureen Carroll Meena Murthy Maria Muti Erica Finn John Bumstead Cheryl Campbell Sassan Haghighi Johann Soults Tara O’Shea

FLUTE Rosemarie Hinkle Barbara Clement OBOE Carl Schlaikjer Alden Hayashi Carol Louik CLARINET David Halpert Melissa Collins Yanko Sheiretov BASSOON Shu Satoh Kevin King Lauren Landry TRUMPET Randy O’Keefe Matthew Repucci Chris Nelson

DOUBLE BASS Eric Lane John Santamaria David Matayabas Nancy Mizen Richie Garceau Lello Molinari

FRENCH HORN Anna Lisa Peterson Leslie Zobel Laura Tempesta Stephanie Clark

PICCOLO Lorrie Hassan

TROMBONE Justin Callahan Kevin Webb David Hall

TUBA Jerry Cadden TIMPANI Mark Pilkanis PERCUSSION Frank Kumiega Beth Munn Griffin Derek Hayden Michael Dettorre Yumiko Watanabe Sam Schmetterer HARP Carrie Kourkoumelis ASSISTANT CONDUCTOR Kadar Qian LIBRARIAN Randy O’Keefe PERSONNEL MANAGER Mary Weeks STAGE MANAGER Sean Going

Counting to Our Centennial | 45

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48 | MSO 98th Season

Counting to Our Centennial | 49

ABOUT THE SOLOISTS LUCIA LIN made her debut performing Mendelssohn’s Violin Concerto with the Chicago Symphony Orchestra at the age of 11. Since then, she has been a prizewinner of numerous competitions, including the 1990 International Tchaikovsky © Michael Lutch

Competition in Moscow.

She has performed many solo recitals throughout the U.S., making her New York debut at Carnegie Recital Hall in March 1991, and has appeared with the Boston Pops Orchestra, St. Louis Symphony Orchestra, Oklahoma Symphony Orchestra, Cincinnati Chamber Orchestra and Festival Orchestra in Graz, Austria.

Ms. Lin is a member of the Muir String Quartet, the quartet in residence at Boston University. She is also a founding member of the Boston Trio and the chamber group Innuendo. Ms. Lin joined the Boston Symphony Orchestra in 1985 and served as assistant concertmaster from 1988-1991 and 1996-1998.

Cellist OWEN YOUNG joined the BSO in August 1991. He is a frequent collaborator in chamber music concerts and festivals, he has also appeared as concerto soloist with numerous orchestras. He has appeared in the Tanglewood, Aspen, Banff,

© Betsy Bassett

Davos, Sunflower, Gateway, Brevard, and St. Barth’s music festivals and is a founding member of the innovative chamber ensemble Innuendo.

He has performed frequently with singer/songwriter James Taylor, including the nationally televised concert “James Taylor Live at the Beacon Theatre” in New York City.

Mr. Young was formerly on the faculties of the Boston Conservatory, the New England Conservatory Extension Division, and the Longy School of Music; is currently on the faculty of Berklee College of Music; and is active in Project STEP (String Training and Education Program for students of color).

Soloists generously underwritten by Cruz Electric, Inc. 50 | MSO 98th Season

MARCH MASTERWORKS Saturday, March 5, 2016, 8 pm

Parade of the Charioteers from “Ben Hur”

Miklós Rózsa

(1907-1995) Sinfonia Concertante, Op. 29

Rózsa

1. Allegro non troppo 2. Theme and Variations: Andante 3. Allegro con brio Lucia Lin, violin & Owen Young, cello ~ Intermission ~ Symphony No. 5 in C minor 1. Allegro con brio

Ludwig van Beethoven (1770-1827)

2. Andante con moto 3. Scherzo, Allegro 4. Allegro

This concert season is underwritten by the generosity of the Melrose Cooperative Bank This program is supported in part by a grant from the Melrose Cultural Council, a local agency which is supported by the Massachusetts Cultural Council, a state agency

Counting to Our Centennial | 51

PARADE OF THE CHARIOTEERS FROM “BEN HUR” Miklós Rózsa (1907-1995) Miklos Rózsa was a Hungarian-born composer best known for his nearly 100 film scores. Rózsa was introduced to the concept of composing for films in 1934 by his friend Arthur Honegger, a Swiss composer. He became greatly impressed by the opportunities in this field and soon after, he joined London Films and composed his first film scores Knight Without Armour, Thunder in the City, and the studio’s epic The Four Feathers.

It was the film the Thief of Bagdad, however, in 1940 that brought him to Hollywood.

His film composing career took off, working on such projects as the Jungle Book, the Humphrey Bogart film Sahara, Double Indemnity, and The Woman of the Town. Other notable film scores include Alfred Hitchcock’s Spellbound, The Killers, A Double Life, Song of Scheherazade, and The Naked City.

In 1949 he began composing film scores for MGM. It was during this time he composed Madame Bovary, Lust for Life, King of Kings, and the American epic historical drama Ben Hur in 1959. This production was a remake of the 1925 silent film of the same name, originally adapted however, from Lew Wallace’s 1880 novel Ben Hur: A Tale of the Christ, in which a nobleman (Ben Hur) is falsely accused of an assassination attempt by a childhood friend. Ben Hur survives years of slavery under the Romans and attempts to get revenge. With a budget of $15.175 million, it is credited with the largest budget, as well as the largest sets built of any film produced at the time. Winning eleven Academy Awards and three Golden Globe Awards, it is widely considered to be one of the greatest films ever made.

Rózsa composed more than three hours of music and until 2001, it was the longest score ever composed for a motion picture. Conducting the MGM orchestra himself, the Ben Hur score is considered to be the best of Rózsa’s career and highly influential into the mid 1970’s when film music was becoming more popular among composers and film-goers.

52 | MSO 98th Season

P R O G R A M N OT E S The chariot race scene alone was a massive production, costing more than $1 million to construct, nearly a year to plan, and nearly five weeks to shoot. Although not historically accurate, the Parade of Charioteers scene, which we will hear tonight, was added to impress the audience with the grandeur of the arena.

SINFONIA CONCERTANTE, OP. 29 Miklรณs Rรณzsa (1907-1995) Rรณzsa was a talented young musician and began to perform publicly and compose by the age of eight. He studied composition at the Leipzig Conservatory where he remained after graduation for a short time to assist his composition teacher. In 1932 he moved to Paris where he composed the Theme, Variations, and Finale, which was especially well-received and performed by such leading conductors as Charles Munch, Karl Bohm, George Solti, Eugene Ormandy, and Leonard Bernstein.

Beginning in 1937, Rรณzsa took an interest in film music composing some of the most prominent and popular film music of all time. By 1952, his film score work was so successful that he was able to negotiate a clause with MGM to allow three months off per year so that he could focus on composing concert music.

It was during this time that Rรณzsa was able to complete three major concert pieces in his repertoire, the Violin Concerto in 1954, the Cello Concerto in 1968 and our piece today, the Sinfonia Concertante for Violin, Cello and Orchestra in 1961. The piece was written for Russian violinist Jascha Heifetz, widely considered the finest violinist of modern times, and Russian cellist Gregor Piatigorsky, also considered a magnificent string musician of his time.

Heifetz and Piatigorsky, who have performed together many times before, argued so much about the number and length of solos for each other, they never ended up performing the piece in its entirety. These commissioning artists only performed the second movement at a chamber, or small group concert in 1963. The first performance of the complete work was in 1966 by the concertmaster, Victor Aitey, and principal cellist, Frank Miller, of the Chicago Symphony Orchestra.

Counting to our Centennial | 53

SYMPHONY NO. 5 IN C MINOR Ludwig van Beethoven (1770 - 1827) Ludwig van Beethoven was a German composer and pianist. He was a critical figure during his time period of composing, transitioning between two eras of music. He remains one of the most famous and influential of all composers. His best known compositions include the nine symphonies, five concerti for piano, one violin concerto, 32 piano sonatas, and 16 string quartets.

Beethoven was born in Bonn, Germany. His musical talent was obvious at a young age and he began studying the piano with his father and other local teachers. At about the age of nine, his teacher began teaching him composition and soon after Beethoven started to publish pieces.

In 1792, he traveled to Vienna, but did not immediately set out to establish himself as a composer, but rather devoted himself to study and performance. It was during this time that he studied with Joseph Haydn, furthering his study in composition. By 1793 he had established himself as a piano virtuoso. With the premieres of his first and second symphonies in 1800 and 1803, Beethoven became regarded as one of the most important generations of young composers following Haydn and Mozart. His compositions during this time revealed a strength in character, depth of emotion, and a new level of originality.

Symphony No. 5 was composed between 1804 and 1808. It is not only one of the best known compositions in classical music, but it is one of the most frequently played symphonies. The piece was first performed in Vienna in 1808, and achieved its prodigious reputation soon afterward.

The symphony is in four movements, or sections. The first movement opens with the distinctive four note “short-short-short-long� musical idea that is known worldwide.

The second movement has two themes that are introduced, then consists of variations of those themes. The third movement consists of a scherzo (a piece of music described as fast-moving and humorous), and a trio (a method of instrumentation using three different sounds to make up the melody). The third movement is also notable for its

54 | MSO 98th Season

P R O G R A M N OT E S transition into the fourth movement. There is no pause between these movements, which is widely considered one the of greatest transitions of all time. The fourth movement is triumphant and exhilarating, and consists of a very long ending on the three tones that make up the c-chord in a sequence of rests and outbursts.

Beethoven dedicated the Fifth Symphony to his two patrons, Prince Franz Joseph von Lobkowitz and Count Razumovsky. – Rosemarie Hinkle

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Counting to Our Centennial | 55

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MELROSE DAY CARE AND PRESCHOOL NAEYC Accredited since 1997 Involved in the State QRIS process since 2010 Caring for and Teaching Infants through Pre-K since 1971 Melrose Day Care Center and Preschool strives to offer all children a diverse, high quality program that emphasizes the whole child. Our curriculum is developmental and the teachers have been trained to adapt this curriculum to the individual child as well as the entire group. We are fortunate in that the majority of our teachers have their Bachelor’s degrees. The average length of employment of our staff is 10 years, with many staff having tenure of 15 to 20 years.

We provide breakfast, lunch and two snacks daily as part of our tuition. The Center went through an extensive nutrition overhaul in 2007. All food served is whole grain, low in sugar and balanced according to the Bureau of Nutrition guidelines.

MDCC offers Spanish, music and yoga classes. Additionally, extras are offered to the children on a regular basis. These are also included in our tuition. These include but are not limited to, trips to local museums, cultural enhancement offered at the school, special events for families, and parent trainings and speakers on a variety of early childhood topics. These are funded through a combination of fundraising and regular program budget expenditures.

We offer an unlimited day to our families at one set price. Melrose Day Care Center and Preschool encourages parent involvement. Parents serve on our board and various committees as well as volunteer in the classrooms as they are able.

MDCC was the first early childhood program in Melrose to achieve NAEYC accreditation in 1997. We have renewed several times since then and we are up for renewal again in 2015.

The Center has received a total of $25,000 in grant funds through the QRIS (Quality Rating Improvement System) created and managed by the Department of Early Education and Care.

These funds have been used toward program improvements, which included teacher training and courses, playground upgrades, classroom materials and curriculum education and materials. The Center is currently at a self-assessed Level 2 in the QRIS system and working toward a Level 3.

MDCC is active in the Melrose and surrounding communities and is involved in an array of community services organizations such as the Melrose Rotary Club and the Melrose Public School Curriculum committee.

121 West Foster Street Melrose, MA 02176 |781.662.6539 www.melrosedaycarecenter.com Counting to Our Centennial | 57

Oosterman’s Rest Homes, Inc. 781-665-3188

Our family caring for your family since 1946.

Oosterman’s Rest Homes of Melrose and Wakefield provide personalized care in the comfort of a home-like environment.

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781.721.2950 winchestermusic.org

Instruction in all instruments and voice, as well as jazz, rock, and chamber ensembles for kids, teens, and adults Serving Winchester and surrounding communities for 35 years

Save the date!

15th Annual

Let this year be the year you become a Melrose School volunteer! www.melroseschools.com/bridge | 781-979-2299

TRIVIA BEE March 19, 2016 Memorial Hall

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ST. MARY OF THE ANNUNCIATION SCHOOL A Tradition of Excellence A Century of Success

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Faith based education

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SmartBoards & iPads in

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Before & After School Activities

Grades PreK-8

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Enrichment Program

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Full-Day Preschool

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Fine Arts Instruction

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Full-Day Kindergarten

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Active Parent Support Groups

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Uniforms and Dress Code

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Social Events for Parents & Families

www.stmaryschoolmelrose.org 4 MYRTLE STREET, MELROSE | 781-665-5037 This concert is generously underwritten by St. Mary of the Annunciation School

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CARTOON CLASSICS Family Concert | April 3, 2016, 3 pm Star Spangled Banner

Francis Scott Key

Fanfare for the Common Man

Aaron Copland

William Tell Overture Finale

Gioachino Rossini

Fanfare

Paul Dukas

Typewriter

Leroy Anderson

Bugler’s Holiday Instruments of the Orchestra Demonstration Overture 1812 Finale Star Wars

Piotr Ilyich Tchaikovsky John Williams

This concert is generously underwritten by St. Mary of the Annunciation School This concert season is underwritten by the generosity of the Melrose Cooperative Bank Counting to Our Centennial | 61

STAR SPANGLED BANNER Francis Scott Key (1779 - 1843) Fort McHenry was built during the War of 1812, the war between the United States and the United Kingdom that resolved many issues left over from the American Revolution. It sits on land that juts out into the opening of the Baltimore Harbor and was constructed in the form of a five point star. It is surrounded by a dry moat to serve as shelter so that infantry could defend the fort from a land attack.

On September 13th in 1814 during the Battle of Baltimore, the Fort resisted attacks from Britain for 25 hours. And it was during these attacks that Francis Scott Key was inspired to write a poem, Defense of Fort Mc Henry. The poem was set to the tune of a popular British song written by John Stafford Smith for a men’s club in London entitled To Anacreon in Heaven. The tune was already popular in the U.S. and eventually became known as the Star Spangled Banner.

The Star Spangled Banner was recognized for official use by the United States Navy in 1889 and was made the National Anthem by President Woodrow Wilson in 1916.

FANFARE FOR THE COMMON MAN Aaron Copland (1900 - 1990) Fanfare for the Common Man was composed by American composer Aaron Copland in 1942. It is written for only the brass and percussion sections of the orchestra. The idea for a fanfare began with the English composer and conductor, Eugene Goossens (1893 - 1962). During World War I, he had asked British composers for a fanfare to begin each orchestral concert. It was so successful that during his post as conductor of the Cincinnati Symphony Orchestra (1931 - 1946), he thought he would repeat the procedure. A total of 18 fanfares were written at Goossens request, but only Copland’s remains in the standard repertoire.

The piece was inspired in part by a speech Vice-President Wallace delivered in 1942 upon entry into World War II and in response to an article in Life Magazine entitled The American Century written by Henry Luce (one of the most influential journalists of his day). Henry Luce envisioned a more dominant America, but for Wallace, the outcome

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P R O G R A M N OT E S of the war was not only to regain social structure, but to provide a more equitable world spread out through all the people. The speech originally entitled The Price of Free World Victory, became known as The Century of the Common Man and thus became the inspiration of Copland’s title.

WILLIAM TELL OVERTURE FINALE Gioachino Rossini (1792 - 1868) An overture is an instrumental introduction to an opera, in this case the opera William Tell (1829). William Tell is a renowned archer who avenges the oppression of Switzerland by killing the ruthless governor representative of the Austrian emperor.

The structure of this overture is in four parts. Although each part is generally played without a pause in between, today only the fourth part will be performed entitled “Finale, March Of The Swiss Soldiers.”

The finale begins by introducing a fast dance (gallop), represented dynamically by the trumpets. It alludes to the final act of the opera which recounts the Swiss soldiers’ victorious battle to free their homeland from Austrian repression.

Although there are no horses in the opera, this music is most famous for its use as the theme song for The Lone Ranger, a popular 1933 radio show, then 1949 television show.

FANFARE Paul Dukas (1865 - 1935) La Peri is a 1912 one act ballet that was written by the French composer Paul Dukas.

He was considered a studious and shy individual, but intensely self-critical. He abandoned and destroyed many of his compositions. Among his best known works is The Sorcerer’s Apprentice, an opera, a symphony, two substantial works for solo piano, and this ballet, La Peri.

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Although the music for La Peri is not as famous as The Sorcerer’s Apprentice it is considered one of his most-skilled pieces. La Peri translates to The Flower of Immortality and is about a man’s search for immortality and encounter with a mythical winged fairy. The ballet is preceded by this brilliant fanfare and is often performed separately from the ballet.

Fanfares have been used in music as early as the 14th century. They are constructed as short musical pieces serving as introductions to larger pieces of music that are typically played by the brass and percussion, in this particular fanfare the brass section alone.

TYPEWRITER AND BUGLER’S HOLIDAY Leroy Anderson (1908 - 1975) Leroy Anderson was born in Cambridge, Massachusetts and studied at the New England Conservatory and Harvard University. John Williams describes Leroy Anderson as “one of the great American masters of light orchestral music.” His music is of a less serious nature, shorter in duration, and designed to appeal to wider audiences.

Leroy Anderson spent his early career working as an organist and composing in the Boston area. In 1936 his arrangements came to the attention of Arthur Fiedler, conductor of the Boston Pops. Much of Anderson’s music since that time was debuted by the Boson Pops.

Anderson is known for his creative instrumental effects and employs the use of an actual typewriter for the performance of Typewriter. Keystrokes, the typewriter bell and the carriage return mechanism are a major component of the piece. Many listeners have suspected that stenographers are enlisted to “play” the typewriter, but Anderson has reported that only drummers have the sufficient wrist flexibility.

The Typewriter was first performed by the Boston Pops in 1950 and has been called “the wittiest and most clever piece in the orchestral repertoire.”

Bugler’s Holiday is a piece that features the trumpet section of the orchestra. It was written in 1954 and portrays three military buglers having a good time and playing in anything but strict regulation style.

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P R O G R A M N OT E S It is a difficult, technical piece for trumpets in that they must use a technique called double tonguing in order to play notes as quickly as required. This calls for the use of the tongue to dictate a “to” and “gu” sound alternating very fast.

Leroy Anderson has a star on the Hollywood Walk of Fame for his contribution to the recording industry. His music continues to be a staple of the “pops” orchestra repertoire. The 1946 Boston Pops recording of Sleigh Ride, also composed by Anderson, was the first pure orchestral piece to reach No. 1 on the Billboard Pop Music chart. His house in Woodbury, Connecticut has been placed on the National Register of Historic Places.

OVERTURE 1812 FINALE Piotr Ilyich Tchaikovsky (1840 - 1893) The 1812 Overture was written by Russian composer Piotr Ilyich Tchaikovsky in 1880 to commemorate Russia’s defense against the seemingly invincible French Army led by Napoleon in 1812.

The term overture typically means an opening or introduction to a larger piece of work. However, during this time period, composers began to use the term to refer to independent, self-existing instrumental works. This form of writing eventually evolved into the symphonic poem (music that is written to evoke the content of a poem, story, painting, or other non-musical form).

The finale of the Overture begins slightly before the five cannon shots which mark the turning point for the Russians. Shortly after these first five cannon shots, the music represents the victorious Russian Imperial Army and villagers and the retreat of the French army.

There is usually at least some deliberation regarding how the cannon shots will be performed. A live outdoor performance of the piece requires either precision shots delivered by well-drilled, military crew using modern cannons, the use of sixteen pieces of muzzle-loading artillery from the 1812 era, or simulated shots.

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STAR WARS John Williams (b. 1932) American composer, conductor, and pianist, John Williams has a popular career spanning six decades composing some of the most popular and recognizable film scores in cinematic history. With 49 Academy Award nominations, he is the second most-nominated individual, after Walt Disney. Having already established himself as a successful film composer, Steven Spielberg approached Williams to compose music for his directorial debut, Jaws.

It was Steven Spielberg who recommended Williams to his friend and fellow director George Lucas in 1977, who needed a composer for Star Wars. The themes, or melodies associated with specific characters, are among the most widely recognized. Both the film and soundtrack are immensely successful and Williams received the Academy Award for Best Original Score. A seventh movie in the series entitled Star Wars: The Force Awakens is scheduled for release in December of 2015. The soundtrack still remains the highest non “pop style� grossing music recording of all time. – Rosemarie Hinkle

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P R O G R A M N OT E S

Melrose Family YMCA For Youth Development For Healthy Living For Social Responsibility 497 Main Street, Melrose | www.ymcaofmetronorth.org

Funerals | Parties | Corporate | Everyday Occasions Fresh Flowers ~ Plant Gardens ~ Gift Baskets Home and Garden Gifts

Official florist of the Melrose Symphony 539 Main St. Melrose s 781-979-0444 s pepperberryflorist.com

MATH TUTORING

Middle and High School Math · SAT, ACT, H.S. Entrance Exams

Patricia McConville · 781-665-8217

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Melrose Family Chiropractic & Sports Injury Centre, Inc. Gentle Chiropractic Care for the Pediatric, Adult, and Senior Body

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DEANNA L. O’DWYER, DC Doctor of Chiropractic Webster Technique Certified 653 MAIN STREET, MELROSE 781-665-1497 www.melrosefamilychiropractic.com 68 | MSO 98th Season

Orthotics and “A-Line” Prothotics Sports Injuries Webster Technique Work and Auto Injuries *Licensed Muscular Therapists on Staff

DAVID M. SWENSEN, DC, MS APP, FACO Doctor of Chiropractic Masters Applied Science Fellow Academy of Chiropractic Orthopedists

Melrose oriental rug Co. Free Home Decorating Assistance Cleaning, Appraising, Restoring and Purchasing Old Rugs Since 1978 David Mouradian davem@MelroseOrientalRug.com 937 Main Street, Melrose MA 781.665.8885

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Christopher C Cinella Financial Advisor .

502 Main St Melrose, MA 02176 781-665-0135

Member SIPC

Best of luck in your 93rd season!

Best of Luck in your 98th Season!

Gail M. Infurna Board of Aldermen Ward 5

For more information on Artist Demonstrations at the Beebe, Window Art Walk or the Melrose Arts Festival on April 29-May 1, 2016, please visit www.melrosearts.com

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Wishing the Melrose Symphony Orchestra another fabulous season! – Sincerely, Juliet

www.JulietLeydon.com JulietLeydon@remax.net 781.979.0100

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ABOUT THE SOLOIST KATIE MCNALLY was first introduced to fiddle music by her classical violin teacher at age 10 and immediately found in the Celtic traditions her musical home. She has studied Scottish Fiddle with Hanneke Cassel, winning several US National Junior titles and in 2009, the New England Scottish Fiddle Championship. She first appeared at the legendary folk venue, Club Passim at age 13, and debuted her first CD, “Flourish,” to a sold out audience in 2013.

Katie has been a member of the cross genre fiddle super-group, Childsplay, since 2009 and appears on their CD “As the Crow Flies” produced by legendary Irish fiddler, Liz Carroll. She performs regularly as a soloist, as part of a duo with guitarist Eric McDonald, and is a member of all-woman group, Long Time Courting. In the fall of 2012, she accompanied famed Galician bagpiper Carlos Núñez on his North American tour to promote the release of his Sony Masterworks double album, “Discover.”

She has played at the Newport Folk Festival, the Barns at Wolf Trap, The Freight and Salvage, Symphony Space, Benaroya Hall, as well as various folk venues throughout North America. Katie attended both The University of Glasgow and The National Piping Centre in Glasgow Scotland where she studied ancient and modern Scottish Literature and Scottish traditional music. Katie graduated Magna Cum Laude from Tufts University in 2012 with concentrations in Music, English and Child Development where she earned The Etta and Harry Winokur Award for Outstanding Contribution to Performance.

Soloist generously underwritten by ABC Home Healthcare

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FIDDLE & FILM May Pops | Saturday, May 7, 2016, 8 pm Jupiter from “The Planets”

Gustav Holst

Selections from the Irish Suite

Leroy Anderson

Hooray for Hollywood

John Williams

Duke Ellington

arr. Custer

Selections from Carmen Suite No. 1

Georges Bizet

~ Intermission ~ Selections for Fiddle and Orchestra with Katie McNally, fiddle ~ Intermission ~ Olympic Fanfare

John Williams

Star Trek Through the Years Symphony No. 6

arr. Custer Piotr Ilyich Tchaikovsky

III. Allegro Molto Vivace

This concert season is underwritten by the generosity of the Melrose Cooperative Bank Counting to Our Centennial | 73

JUPITER (FROM “THE PLANETS”) Gustav Holst (1874 - 1934) The Planets, is a seven movement orchestral suite (music composed to be played in a certain order and often linked by themes or melodies) that was composed between 1914 and 1916.

Each movement of the suite is named after a planet of the Solar System (except Earth); its astrological character depicted by Holst. While astronomy is a natural science which is the study of stars, galaxies, planets, moons, and other celestial objects, to astrologers, the planets represent basic drives or urges in the unconscious that are expressed through the zodiac signs.

The idea of the work was suggested by Clifford Bax, a versatile English writer, who introduced Holst to astrology while holidaying together in 1913. Holst became quite a devotee to the subject of astrology and would cast horoscopes for fun. The book What is a Horoscope? written by Alan Leo (1860 - 1917), a prominent British astrologer, was a springboard for Holst’s ideas to use subtitles for the movements.

Although only Jupiter, the Bringer of Jollity will be performed tonight, the entire suite is immensely popular. The work is very imaginative and colorful and remains Holst’s most popular composition. Later in life, he complained that its popularity was taking away from his other works, however, he did remain partial to his own favorite movement, Saturn, the Bringer of Old Age.

SELECTIONS FROM THE IRISH SUITE Leroy Anderson (1908 - 1975) Leroy Anderson was born in Cambridge, Massachusetts and studied at the New England Conservatory and Harvard University. John Williams describes Leroy Anderson as “one of the great American masters of light orchestral music.” His music is of a less serious nature, shorter in duration, and designed to appeal to wider audiences.

The Irish Suite was commissioned by the Eire Society of Boston, a society to promote Irish culture. Four movements of the piece were composed in 11 or 12 days in 1947.

Later, in 1949, Anderson added two movements and rearranged the order. The piece was dedicated to Arthur Fiedler and, like many of Anderson’s compositions, was first performed by the Boston Pops under Fiedler’s direction.

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HOORAY FOR HOLLYWOOD Richard A. Whiting (1891 - 1938) Hooray for Hollywood first appeared in the 1937 romantic musical comedy Hollywood Hotel. The film was based on the popular radio show, also entitled Hollywood Hotel, created by gossip columnist Louella Parsons, in which Hollywood stars recreated scenes from their latest movies.

It was performed in the film by Benny Goodman and his Orchestra. The film is now best remembered for this feature song Hooray for Hollywood, which has now become a standard part of the soundtrack to movie and award ceremonies, including the Academy Awards. The song is even used as the opening and exit to Disney’s Hollywood Studio’s The Great Movie Ride.

Although the music was composed by Whiting, the words were written by Johnny Mercer, whose lyrics contain numerous references to the movie industry and the path to film stardom in an often sarcastic and mocking tone.

DUKE ELLINGTON Calvin Custer (1939 - 1998) Calvin Custer was an American composer and arranger. Attending Carnegie Mellon and Syracuse Universities, he spent much of his career associated with the Syracuse Symphony Orchestra both as a member and staff arranger. He was prolific in his arrangements for orchestra, many of which were performed by orchestras across the country.

Duke Ellington (1899-1974) is known as the Jazz Legend. A major figure in the history of jazz music, his career spanned more than half a century composing thousands of songs for stage, screen, and contemporary songbooks. In the 1940’s Ellington’s fame rose enormously after he composed Concerto for Cootie, Cotton Tail, and KoKo. In this brilliant arrangement, four of Duke Ellington’s most popular songs are featured: Don’t Get Around Much Anymore; Do Nothin’ Till You Hear From Me; Sophisticated Lady, and It Don’t Mean A Thing (If It Ain’t Got That Swing).

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P R O G R A M N OT E S

SELECTIONS FROM CARMEN SUITE NO. 1 Georges Bizet (1838 - 1875) George Bizet was a French composer best known for his operas. He had a brilliant student career, however, his adult work acheived little success before his final opera Carmen.

Carmen takes place in Seville, Spain around the time of 1820 and tells of the love tale between the gypsy, factory worker, Carmen, and Don Jose, a corporal in the calvary.

Don Jose is set to marry another but Carmen charms and enchants Jose and convinces him that she is the one for him. However, unconvinced of his love for her, Carmen grows bored with Jose and sets him free, becoming more interested in the handsome toreador. Jealous with rage, Jose kills Carmen at the end of the toreador’s victorious bullfight.

Even after its initial performance in 1875, Bizet was convinced the work was a failure.

Bizet died of a heart attack three months later, unaware that it would prove to be a spectacular and enduring success. After his death, many of his works were lost and revised by others. It wasn’t until the 20th century that Bizet’s work became increasingly popular, many critics recognizing its brilliance and individuality. It is believed that his untimely death was the shortcoming of what would have been an influential career.

OLYMPIC FANFARE (1984) John Williams (b. 1932) Having already established himself as a prolific film composer, composing some of the most popular and recognizable film scores in cinematic history, John Williams was commissioned by the Los Angeles Olympic Organizing Committee to produce a fanfare to be used during the Games.

Even for the experienced John Williams, producing such a piece would have its challenges. It would not only compete with Leo Arnaud’s fanfare that had become synonymous with the Olympics since 1968, but it had to be written to allow playing of the piece during medal ceremonies, official Olympic events, and it needed to be broken in small chunks to be used as “bumpers” before and after commercial breaks.

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Williams met these challenges and produced a piece intended to musically represent “the spirit of cooperation, of heroic achievement, of all the striving and preparation that go before the events, and all the applause that comes after them.�

STAR TREK THROUGH THE YEARS Calvin Custer (1939 - 1998) Star Trek Through the Years is an arrangement of themes for the popular American science fiction series Star Trek. Since the debut of the first television series in 1966, 726 episodes have been produced spanning across 30 seasons and 12 feature films have been created with a 13th scheduled for 2016.

Most of the Star Trek stories depict the adventures of humans and aliens who serve in Starfleet, the space-born humanitarian and peacekeeping armada of the United Federation of Planets. Many of the conflicts and political dimensions of each series convey hidden meanings of the contemporary cultural realities of their respective decades. Issues regarding war and peace, the value of personal loyalty, authoritarianism, imperialism, class warfare, economics, racism, religion, human rights, sexism, feminism, and the role of technology have been portrayed in various episodes.

The piece begins with the recognizable opening from the original 1966 television series and presents the title themes composed for the later Star Trek television series and movies including, The Next Generation, Deep Space Nine, The Inner Light, Star Trek Generations, Star Trek Voyager, and Star Trek The Motion Picture.

SYMPHONY NO. 6, III. ALLEGRO MOLTO VIVACE Piotr Ilyich Tchaikovsky (1840 - 1893) Tchaikovsky was the first Russian composer whose music made lasting impressions internationally. He became the first full-time Russian composer and his career included guest conducting appearances throughout Europe and the United States.

He conducted his 1812 Overture at the inaugural concert of Carnegie Hall in 1891 and in 1884 he was honored and awarded by the Emperor of Russia, Alexander III, with a lifetime pension.

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P R O G R A M N OT E S Symphony No. 6 entitled “Pathetique,” meaning passionate or emotional was Tchaikovsky’s last symphony, completed between February and August in 1893. It was premiered nine days before his death conducted by Tchaikovsky himself. The third movement begins as a scherzo (fast moving, light-hearted and humorous), and ends in a cheerful march.

This symphony, was dedicated to his nephew Vladimir “Bob” Davydov. Vladimir remained an important part of Tchaikovsky’s life, not only for his aptitude for music and drawing, but later in life he became Tchaikovsky’s confidant. Vladimir also inherited all of the royalties and copyrights to Tchaikovsky’s musical works.

– Rosemarie Hinkle

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POLYMNIA CHORAL SOCIETY • 2015–2016 For the Holidays • Luminous Night

An evening of gorgeous choral works celebrating the season SATURDAY, DECEMBER 5 • 7:30 pm St. Mary’s Church, 46 Myrtle St., Melrose

SUNDAY, DECEMBER 6 • 3:00 pm First Parish Congregational, Wakefield

The Life and Times of Anne Frank

SATURDAY, MARCH 12, 7:30 pm • St. Mary’s Church, 46 Myrtle St., Melrose

Jesus Christ Superstar • Andrew Lloyd Webber FRIDAY, JUNE 3, 7:30 pm

•

SATURDAY, JUNE 4, 7:30 pm

Memorial Hall, 590 Main Street, Melrose

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Joan Cassidy Consultant

61 Clifton Park Melrose, MA 02176 781-662-7611

APPLY FOR A GRANT WITH THE MELROSE CULTURAL COUNCIL ANNUAL DEADLINE: OCTOBER 15 The MCC’s grants support a variety of artistic projects and activities in Melrose including exhibits, festivals, short-term artist residencies or performances in schools, workshops, lectures and field trip programs for schools and youth groups.

FOR MORE INFORMATION VISIT WWW.MELROSECULTURE.ORG

82 | MSO 98th Season

To the best .............. From the best

PERSONAL AND BUSINESS INSURANCE 781-665-7000 Scott Alley Ronald Alley

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2014-2015 CUMULATIVE GIVING June 1, 2014 – May 30, 2015 Many thanks to the following donors who contributed to the following funds: •

General Operating Support

•

Season & Concert Sponsors

•

100th Anniversary Season

•

Foundation Grants

•

Music Education Fund

$2,500 + Goldman Sachs Gives (F)^ Melrose Cooperative Bank * $1,000 + ABC Home Health Care * Joan Cassidy Anne & Thayer Fremont-Smith David Halpert Brad Hutchinson Real Estate * Melrose Cultural Council (F) Melrose Rotary Club * Qian Chen & Dahong Qian Karen Sawyer * Brian & Deb Walsh

$100 - $249 Donald & Lorraine Amerault ^ Jonathan Bass Christine & Timothy Carlson Bill and Margie Cohen Marianne Dwyer Electric Supply Center Fidelity Charitable Gift Fund Frank & Deborah Giso Joseph Gulino, CPA + David Hartman Dr. Kathlee Hull & Ernest Jacob Law Office of Myra Lyons Janet & Michael Lento James & Roberta Maloney

Diane DeVivo Mary DiLuca Dr. Phyllis Dragonas + Felice Glennon George & Shirley Hayes Diane Johansen Bruce & Maureen Kearnan Barbara Kenworthy Gladys M. Latshaw Robert & Sara Linnehan Mr. & Mrs. Charles B. Wills + Joe & Judy Murphy Carole Nania & Cito Faller Gary & Carol Phillips Jim & Barbara Tierney

$500 - $999 Mark & Cheryl Brunini Digitas Jeanne & Michael Henry Kathy & Dan Radley +

Dr. Salil & Mrs. Madhu Midha Mr. & Mrs. Richard W. Crawford + Dr. Joseph Pennacchio Albert & Joyce Rodenhiser + Ruthanne & David Schoetz Kevin & Madeline Stone

Nancy & Bradley Toney Luke and Antoinette Volpe + Jack Welch & Jean O’Toole Charles & Cynthia Wright

$250 - $499 Michael & Susan Collins Douglas Dick & Ann Easterbrooks In Memory of Martin J. Forest, Jr. ^ Denise Gaffey & Jason Webb Karen Hall Robert Hughes Melrose Messina Fund (F) Paul Rutz & Sandy Henry Lester Szarkowski

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Up to $100 Claire Arakaki Kenneth Boyer Richard Braun Gerard X. Cargill Eileen Cianci Philip B. Conti, DMD

+ 100th Anniversary Season ^ Music Education Fund * Season & Concert Sponsors (F) Foundation Support

2014-2015 CUMULATIVE GIVING

YES! I WANT TO HELP! Help Keep Music Alive in Melrose The Melrose Symphony Orchestra is a non-profit organization that relies on donations to continue presenting high-caliber music. All gifts are fully tax-deductible.

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Please mail this page or bring it to the box office after the concert Counting to Our Centennial | 85

ACKNOWLEDGEMENTS

SPECIAL THANKS We gratefully acknowledge the following individuals who share their time and talents to help the Melrose Symphony: •

The musicians of the MSO who rehearse weekly throughout the year to bring the highest quality music to our community

•

Jim, Faith, and Dan at Miter Biter Frame Co.; and Paula and Robin at Buckalew’s for graciously selling tickets in their stores and introducing new patrons to the Symphony

•

Cathleen Schaad for her creative design experience with our marketing materials

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Rosemarie Hinkle for her intriguing and insightful program notes

•

Julie Crowley from Bobby C’s Ristorante for providing refreshments and appetizers during our concerts

•

Joan Cassidy for serving as the Financial Chairman for the Friends of the Melrose Symphony

•

Bob Boisselle and MMTV for recording our performances

•

Kathy Pigott-Brodeur and the Memorial Hall Board of Trustees for maintaining an elegant building to share with the City

•

Our irreplaceable stage manager, Sean Going, for setting up the stage every week, serving as the “Voice of the Melrose Symphony,” and making everything happen smoothly from backstage ... and of course, all of our business advertisers, donors, and subscribers, whose generosity keeps the Symphony alive and thriving!

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