Hilton Head Symphony Orchestra 2015-16

3 4 TH S E A S O N

PA S S I O N A N D M U S I C I N T H E LOWC O U N T RY

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TABLE OF CONTENTS Welcome to our 34th Season!

From the Mayor . . . . . . . . . . . . . . . . . . .

Mary Briggs Education Fund / Music Bridges . . .

From the Chairman . . . . . . . . . . . . . . . . .

HHI Boys & Girls Club / Westin Resort & Spa . .

From the President and CEO . . . . . . . . . . .

About the Vice President . . . . . . . . . . . . . .

From the Music Director & Principal Conductor .

Board and Administrative Staff . . . . . . . . . . .

From the President of the LHHSO . . . . . . . .

From the Director of the HHIPC . . . . . . . . .

HHSO Legacy Society . . . . . . . . . . . . . . .

Meet the Orchestra . . . . . . . . . . . . . . . . .

Youth Concerto Competition / Endowed Chairs.

Donors Supporting the Music . . . . . . . . . . .

Businesses Supporting the Music . . . . . . . . . .

Conductor Profile . . . . . . . . . . . . . . . . . .

2016 International Piano Competition. . . . . . .

Carnegie Hall. . . . . . . . . . . . . . . . . . . . .

Enhance Your Experience . . . . . . . . . . . . . .

Cultural Arts Thank You . . . . . . . . . . . . . . .

Gloria Daly: In Recognition . . . . . . . . . . . . .

League of the Hilton Head Symphony Orchestra Musicale Program . . . . . . . . . . . . . . . . . .

Where Are they Now . . . . . . . . . . . . . . .

Symphony Under the Stars . . . . . . . . . . . . .

Art League of Hilton Head . . . . . . . . . . . . .

League Luncheon and Fashion Show . . . . . . .

League Kitchen Tour . . . . . . . . . . . . . . . .

Chefs & Clefs . . . . . . . . . . . . . . . . . . . .

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34, 35 . . . 36 . . . 37 . . . 69 . . . 84 . . . 85 . . . 93 . . 101 . . 105 . . 109 112-113 . . . . 117 118-119 . . . . 123 . . . . 125 . . . . 128

INTERESTED IN UPDATES? The Symphony periodically emails its concert-goers with updates and reminders of upcoming events. If you are not currently on our email list, and wish to receive updates by email, please call our office at 843-842-2055 or go online at www.hhso.org and send us a message with your email address. All email addresses are for the sole use of the orchestra.

Concerts 39 Meet the Artist: Pianist Jon Kimura Parker. . . . . . . . 40 About the Music . . . . . . . . . . . . . . . . . . . . . 41 Dvorˇák in America . . . . . . . . . . . . . . . . . . . . . . 45 Meet the Artist: Baritone Roger Moss . . . . . . . . . . 46 About the Music . . . . . . . . . . . . . . . . . . . . . 47 Polar Express . . . . . . . . . . . . . . . . . . . . . . . . . 51 Berlioz Symphonie Fantastique . . . . . . . . . . . . . . . 55 Meet the Artist: Pianist Elliot Wuu . . . . . . . . . . . . 56 About the Music . . . . . . . . . . . . . . . . . . . . . 57 Strauss & Beethoven . . . . . . . . . . . . . . . . . . . . . 63 Meet the Artist: Violinist Paul Huang . . . . . . . . . . . 64 About the Music . . . . . . . . . . . . . . . . . . . . . 65 Valentine Romance . . . . . . . . . . . . . . . . . . . . . . 71 Meet the Artist: Violinist Goeun Melody Sim . . . . . . 72 About the Music . . . . . . . . . . . . . . . . . . . . . 73 Gilbert & Sullivan. . . . . . . . . . . . . . . . . . . . . . . 79 Meet the Artists: Chorus Master Tim Reynolds / HHSOC 80 About the Music . . . . . . . . . . . . . . . . . . . . . 81 JoAnn Falletta Conducts . . . . . . . . . . . . . . . . . . . 87 Meet the Conductor: JoAnn Falletta . . . . . . . . . . . 88 Meet the Artist: Guitarist Celil Refik Kaya . . . . . . . . 89 About the Music . . . . . . . . . . . . . . . . . . . . . 90 Brahms Symphony No. 1. . . . . . . . . . . . . . . . . . . 95 Meet the Artist: Tubist Christopher Page Bluemel . . . . . 96 About the Music . . . . . . . . . . . . . . . . . . . . . . 97 Gala Opening Night . . . . . . . . . . . . . . . . . . . . .

Performance Sponsors Platinum, Gold, Silver & Bronze Sponsor Logos . . . . . . . . . . . . .

Inside Back Cover

Hilton Head Symphony Orchestra • 2 Park Lane, Suite 300/301 • Hilton Head Island, SC 29928 843-842-2055 • www.hhso.org All concerts are held at the First Presbyterian Church, Hilton Head Island.

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WELCOME TO THE HHSO’S 34TH SEASON

GREETINGS FROM THE

MAYOR

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ongratulations to the Hilton Head Symphony Orchestra! As it performs what will undoubtedly be a magnificent 34th season, I commend its remarkable successes.

Musical Director and Conductor John Morris Russell has been a bountiful blessing to our community. Not only does he create masterpieces to enthrall his concert audiences, but his passion for the arts extends into his heartfelt commitment to our area youth with outreach performances and instruction sessions at the Boys & Girls Club and our local schools.

Under the capable guidance of HHSO President and CEO, Mary Briggs, together with the enlightened and diligent Board of Directors, our symphony orchestra, its talented musicians and dedicated patrons have made a wonderfully positive impact on the quality of life here on Hilton Head Island. Thank you for sponsoring the world-renowned International Piano Competition hosted here annually, and for the recent addition of the HHSO Youth Concerto Competition. In so doing, this organization continues to make a significant positive impact on many young lives by showcasing fresh talent and creating new horizons in music and the arts.

Just as our symphony orchestra combines numerous instruments to create captivating music, I believe our Town must harmonize the profusion of arts organizations of Hilton Head Island to serve a greater purpose in our community.

Such an endeavor will surely produce meaningful economic and cultural enrichment appealing to visitors and residents alike and I am pleased that our Town Council is committed to this effort.

So, “bravo” to the Hilton Head Symphony Orchestra and all who support it. I fully expect this 17-concert season invitingly entitled “Passion and Music in the Lowcountry” will be the best ever.

DAVID BENNETT Mayor Hilton Head Island

...our symphony orchestra, its talented musicians and dedicated patrons have made a wonderfully positive impact on the quality of life here on Hilton Head Island.

Warmest wishes,

David Bennett, Mayor The Town of Hilton Head Island

ORCHESTRA THANKS THE TOWN OF HILTON HEAD The Hilton Symphony Orchestra wishes to thank the Town of Hilton Head for its support of the Arts in the Lowcountry. We are especially grateful for the support The Symphony Orchestra receives through Accommodations Tax and thank the members of that committee for their appreciation of what our Symphony Orchestra brings to the public.

2015–2016

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WELCOME TO THE HHSO’S 34TH SEASON

HHSO MARY BRIGGS MUSIC EDUCATION FUND

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he Mary Briggs Education Fund has been established by the Hilton Head Symphony Orchestra Board of Directors in honor of President and CEO Mary Briggs to recognize her leadership and contribution to the HHSO and community.The mission of the HHSO Mary Briggs Music Education Fund is to encourage and support charitable giving to provide financial support to aid current needs in the areas of Music Education. With Mary’s committed focus on music education, new youth programs have been initiated in our local community, including programs at the Hilton Head Boys & Girls Club and the new Music Bridges program in local schools. Annually the orchestra offers scholarships to promising musicians.

Under her initiative, the orchestra has been engaging talented young musicians with reputations nationwide as concert soloists. Many of them were represented by The Sphinx Organization. For the past two years, she has been invited to attend the Sphinx Medals of Excellence event at the United States Supreme Court, and previously invited to attend the Carnegie Hall Youth Program training.

MUSIC BRIDGES

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he HHSO began a new program this past season entitled Music Bridges.

The goal of this program is to bring musicians to the 3rd, 4th and 5th graders in the Beaufort County School District, over 10,000 students, and give them an opportunity to meet professional musicians, learn about musical instruments, and hear an orchestra perform. If time and resources allow, students in private schools may be included. The program will be continuing and expanded this season and for each season to follow until all schools are included.

Musicians, under the leadership of Conductor John Morris Russell, will visit each 3rd, 4th and 5th grade class at Red Cedar Elementary School in Bluffton, and the Hilton Head Elementary School on Hilton Head Island three times throughout the season culminating in a fourth time to hear the HHSO in an orchestral concert under the direction of conductor John Morris Russell – for a total of 8 performances.

Various students will be given the opportunity to conduct the orchestra during the concerts. This program will include 30 musicians on six different days and 55 musicians on concert day.

This season the musical training will last for six months of our season and will focus on three areas: tonal/melodic skills, sound intensity, characteristics of instruments and instrument families, musical forms, and the works of stylist periods. It is our intent to “bridge the gap” in local elementary music education.

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WELCOME TO THE HHSO’S 34TH SEASON

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elcome to the 34th Season of the Hilton Head Symphony Orchestra (HHSO). I am delighted to serve as Chairman of the Board of this great organization. I view my position as a wonderful opportunity to serve with a very diverse and talented Board, a dedicated staff led by Mary Briggs, CEO, the outstanding music direction and conducting of John Morris Russell, the vital support of the 440 members of our Orchestra League, and the many talented musicians and vocalists who travel here to “bring the music to life” in Hilton Head and the Lowcountry.

The business plan for the HHSO is built around our Vision and Mission which is: “To inspire, enrich, and unite the Lowcountry though music”. Embedded in our plan, is a strong commitment to the following: • Commitment to excellence in music and programming so that we create a great concert experience for the audience.That experience begins with the preconcert talk, the concert, and the reception after each concert for social interaction with the Maestro, musicians and Board members.

• Commitment to youth to nurture a love for music through music education and creating opportunities for youth to perform and be recognized.The International Piano Competition (IPC) and the Youth Concerto Competition play key roles in providing performance opportunities for youth and young adults.

• Commitment to our community through music and music education that unites our community and is a vital part of the Arts & Culture in the Lowcountry. The Arts are key assets that greatly complement the area’s reputation as a beach and golf destination and promote Hilton Head and the Lowcountry as a desired place to visit and to live.

• Commitment to the Future to fulfill our Vision & Mission, to reach financial stability, to be wisely lead, to support and benefit our community, and have a clear view of the opportunities for growth.

The HHSO is a wonderful asset in our community, and we continue to grow in our number of concerts, music offerings, and educational programs. However, none of this is possible without your support as ticket subscribers and most importantly, donors and sponsors.

If you are a donor or sponsor, we thank you for your support and, if you are not, we would hope you would consider a donation to support the many programs of the HHSO.Also, there are other ways you can get involved, and we would welcome your participation through our volunteer organization, the HHSO League, or one of the orchestra committees. Your involvement will be most appreciated so that we can “keep the music playing”.

JIM WILLIARD Chairman of the Board

The HHSO is a wonderful asset in our community, and we continue to grow in our number of concerts, music offerings, and educational programs.

Jim Willard Chairman of the Board Hilton Head Symphony Orchestra The real winners of the RBC Heritage are the thousands of people the tournament helps each year through The Heritage Classic Foundation. Since it was founded in 1987, the Foundation has distributed to a wide variety of charitable organizations. As one of the recipients of the Foundation’s charity, the Hilton Head Symphony Orchestra offers a heartfelt “Thank You”!

2015–2016

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WELCOME TO THE HHSO’S 34TH SEASON

NO STRINGS ATTACHED

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TANIA RAMIREZ Article by Pam Freedman Photo by Arno Dimmling

f Tania Ramirez had a dream, it might be sailing Calibogue Sound playing the “Harry Potter and the Goblet of Fire” theme on her grown up violin. These are favorite experiences she has had at the Boys & Girls Club of Hilton Head Island.

Inspired by her teachers, Na You and Aija Salinas, violinists from the Hilton Head Symphony, 11-year-old Tania has been exposed to creating beautiful sounds on her violin for the past three years.This amazing experience has even led to private lessons with the help of both Symphony and Club.

Tania has enjoyed memorable Symphony concerts and practices hard, 30 minutes to two hours daily, depending on her homework.This high achiever and straight “A” student wants everyone to know that “The Boys & Girls Club is a safe place to go while my mom is working. I needed a place to learn. In third grade, I got C’s, and the Club is the reason why I brought my grades up.”

Tania plays a terrific repertoire on the violin: “Gauntlet” by Doug Spata, “Starfleet”

by Richard Meyer and “Allison Waltz” by Bob Phillips are among her favorites. But like any cool kid, she also loves the pop sounds of Ariana Grande, Thinking out Loud and Sam Smith.

This young starlet started with a tiny violin and has matured to a full size, 4/4 instrument.

And she has just returned from competing again in the Music USA Festival with the HHI Middle School Honors Orchestra.

When looking into the future,Tania wants to continue playing but also is interested in acting, mathematics, engineering and computer sciences.And college? Clemson of course.

Greatness grows here at the Boys & Girls Club of Hilton Head Island.

THE OFFICIAL HOTEL OF THE HHSO AND THE HHIPC

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he Westin Hilton Head Island Resort & Spa is honored to be the new Official Hotel of the HHSO and the HHIPC! Special offers for Symphony attendees.

• SUP & SYMPHONY – Enjoy a pre-Symphony dinner at The Carolina Room and join your fellow symphony enthusiasts. Present your concert ticket to receive 15% off your food tab.

• STAY THE NIGHT – After the performance, relax in a luxurious Westin guest room and enjoy a special $179 rate on concert night.

• MONTHLY SYMPHONY DINNERS – Support the HHSO all month long and dine at The Carolina Room while enjoying complimentary performances from Symphony members. The Westin will contribute 10% of the evening’s dining revenue back to the HHSO. Visit westinHHI.com/HHSO or call us at 843-681-4000 to make guestroom or dining reservations.

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WELCOME TO THE HHSO’S 34TH SEASON

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elcome to the 34rd season of the Hilton Head Symphony Orchestra!

It is such a pleasure to begin the season knowing that we have just completed a season of soaring artistic and solid financial success.

Last year the orchestra again made great strides in performance and enjoyed a financially successful year. Surplus funds from last season continue to rebuild depleted reserves.

Subscriptions and single ticket sales continue to outstrip previous years. Income from ticket sales exceeded budget.

Young guest artists continue to delight our audience and musicians with their skills and artistry throughout the season.

• The orchestra Holiday Pops is a Lowcountry favorite that heralds the holiday season.

• Youth programs are healthy and growing at the Boys and Girls Club and schools.

A new program, Music Bridges brought orchestra musicians to over 700 students in two schools on three occasions.

• Guest artists, competitors of the Hilton Head International Piano Competition, and our Music Director, John Morris Russell worked with and performed for several thousand public and private school students throughout the year.

• The Hilton Head International Piano Competition will hold its 21st annual competition in March. The first two rounds (Monday-Thursday) will be held at the Arts Center of Coastal Carolina then it will return to First Presbyterian Church for the Semifinal and Final Rounds with the orchestra conducted by Maestro John Morris Russell.

• The HHSO Concerto Competition attracts applicants from the nine southeastern states. Finalists compete for cash prizes and the opportunity to perform for the orchestra and other recital opportunities.

• Symphony Under the Stars brought out the stars and hundreds of attendees with the music of Bond-James Bond. The orchestra was joined by two Broadway stars for this exciting event.This season’s program will feature the music of Broadway’s greatest hits. You won’t want to miss it.

• You will note the beautiful artwork that enhances this program. It is compliments of our partnership with the Art League of Hilton Head, one of many partnerships with our Lowcountry arts organizations.

The excitement of last season did more than promised. It lit the stage for a bigger, brighter season this year. We’re pleased you have joined us for Passion and Music in the Lowcountry!

MARY M. BRIGGS President and CEO

The excitement of last season did more than promised. It lit the stage for a bigger, brighter season this year.

Mary M. Briggs President and CEO

The HHSO wishes to “THANK” the Bargain Box for their generous contributions that have made our music education programs at the Hilton Head Boys & Girls club so successful. We couldn’t have done it without your help!

2015–2016

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WELCOME TO THE HHSO’S 34TH SEASON

WELCOME TO THE NEW

VICE PRESIDENT

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t is a delight to introduce Mario Incorvaia as the newest full-time member of our orchestra staff.

Mario Incorvaia joins us as full-time Vice President for Operations. In this role he works with music director John Morris Russell and the preeminent classical musicians from within the region to bring excellent music to the Lowcountry through concert series performances, in-home recitals, and school educational outreach initiatives. This current appointment builds on his role of Outreach and Operations Director last season and as Orchestra Personnel Manager the 14 prior seasons. He has served on the HHSO Board of Directors as Musician Representative since 2009 and has recently joined the Rotary Club of Hilton Head Island. Mario also has assumed the responsibility of securing sponsorships and support from our business community.

Originally from Cleveland, Ohio, Mario is a violinist and arts administrator who advocates music in everyone’s lives. Previously the Arts Marketing Director and Auditorium Manager at Armstrong State University, where he received the 2015 Savannah Winds Outstanding Service Award and 2014 Staff Council Volunteer Service Award, he actively promoted artistic engagement in the visual and performing arts ranging from youth outreach to professional event production.

In 2010 he served on the University’s presidential inauguration committee and in 2008 served on the Jenkins Hall/Fine Arts Auditorium renovation committee.

He has instructed the arts management course sequence at Armstrong for over a decade where he also taught the college violin studio for five years. During his time at Armstrong, he served a two-year term on the Savannah Dance Festival Board of Directors.

In addition, Mario is a member of the American Federation of Musicians, Phi Mu Alpha Sinfonia Fraternity, League of American Orchestras, Omicron Delta Kappa National Leadership Honorary and Mu Phi Epsilon International Music Honorary.

Some of his recent performance experience includes work with The Historic Savannah Theatre, Hilton Head Symphony Orchestra, Charleston Symphony Orchestra, Hilton Head Choral Society, and Savannah Philharmonic Chorus and Orchestra and is often scheduled for chamber ensemble engagement bookings.

Mario holds a Master of Arts degree in liberal and professional studies from Armstrong State University in addition to his Bachelor of Music degree from Baldwin Wallace University Conservatory of Music (Ohio).

MARIO INCORVAIA Vice President for Operations

He has instructed the arts management course sequence at Armstrong for over a decade where he also taught the college violin studio for five years. During his time at Armstrong, he served a two-year term on the Savannah Dance Festival Board of Directors.

2015–2016

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WELCOME TO THE HHSO’S 34TH SEASON

WELCOME TO THE 34TH SEASON OF THE HILTON HEAD SYMPHONY ORCHESTRA –

PASSION AND MUSIC IN THE LOWCOUNTRY

From Beaufort and Bluffton to the islands of Hilton Head, the confluence of land, marsh and ocean has a sound all its own: the gossamer whispers of Spanish moss, accented by crow calls and chattering squirrels, the effervescent and melodious aviary of spring, the powerful tone-poem of late summer thunderstorms, autumn’s sparkling midnight chorus of crickets and katydids, and the hypnotic groove of the incoming tide, rustling salt grass and palmetto fronds.

This is the music of our Lowcountry and our Hilton Head Symphony Orchestra is in the heart of it all.

Passionate performances of the greatest orchestral masterpieces bring our region’s music lovers together to celebrate our unique corner of the world and we are thrilled that you have joined us. Majestic symphonies by Dvorˇák, Brahms, Beethoven and Berlioz; the dazzling virtuosity of young artists, internationally renowned soloists and an orchestra of ardent musicianship, await you. Acclaimed pianist Jon Kimura Parker, eminent conductor JoAnn Falletta and violin sensation Paul Huang are just a few of the remarkable performers who will be visiting. We will also feature exceptional regional soloists and ensembles including Roger Moss, Hilton Head Dance Theatre, Statesboro Youth Chorale, Charleston Southern Lyric Theatre Ensemble and HHSO Principal Tuba, Chris Bluemel. Festive presentations of the music-drama Polar Express, an evening of Gilbert & Sullivan and romantic Valentine classics will be season highlights you will not want to miss.

Our Hilton Head Symphony Orchestra has become a cultural phenomenon that few regions can boast, and your presence brings extra excitement at our performances. I look forward to sharing the transcendent sound of our orchestra and beloved Lowcountry together.

JOHN MORRIS RUSSELL Music Director & Principal Conductor

Passionate performances of the greatest orchestral masterpieces bring our region’s music lovers together to celebrate our unique corner of the world and we are thrilled that you have joined us.

See you at the Symphony,

John Morris Russell, Conductor

2015–2016

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2015 – 2016 BOARD OF DIRECTORS & STAFF As of September 1, 2015

BOARD OF DIRECTORS

Joan Dattelbaum

HHSO ADMINISTRATIVE STAFF

James Willard

Gordon Hassing

Mary M. Briggs

Chairman of the Board

James Collett

Vice-Chair of the Board Chairman Strategic Planning

Tim Ridge

Dorothy E. Holmes

President and CEO

Mario Incorvaia

Director of Marketing

Joseph Gimbel

Paul Lang

Secretary

Eric Magnin

Paul Moeri

Bob Mason

Treasurer, Chairman Finance Committee

Tarrant Putnam

Mary Briggs

Lavon C. Stevens

President and CEO

Sarah Bergin

HHSO Youth Concerto Comp. Dir.

Mona Huff

Hilton Head International Piano Competition Director

Mario Incorvaia

Vice-President for Operations

Gayle Lang

Lorene Thornbury

HHSO Project Editor

Hal Ashworth

William Thorpe

Wendy Baker

Lois Wilson

Assistant to the HHIPC Director

Sherman Barker

Kate Yachini

Mary Ann Rebish

Robert Cherichella Stan Cooke

Linda Neff

Executive Assistant

Susan Strange

John M. Jolley of Counsel

Chief Accountant

McNair Law Firm

Jim Way

Kathleen Corley

WHO WE ARE OUR VISION To inspire, enrich and unite the Lowcountry through music.

OUR MISSION Inspire ...audiences through outstanding and accessible orchestral music ...young musicians through opportunities to perform and be recognized Enrich the Community through ...youth programs ...community performances Unite the Lowcountry by ...collaborating with other cultural organizations ...celebrating our unique cultural heritage ...promoting the Lowcountry as an arts and cultural destination Strengthen Our Resources to Support Financial Sustainability and Growth

Administrative Manager

www.hhso.org PAST BOARD CHAIRMEN Frank Pape . . .

Gordon Gillette .

Willis Shay . . .

Charles Taylor . .

Ross Rutherford .

Charles Taylor . .

Robert Rada. . .

Walt Graver . . .

Charles Taylor . .

Fred Caswell . .

Margaret Arrington Edward Parrish . .

Darle Booher . .

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1982 – 1984 1984 – 1988 1988 – 1993 1993 – 1997 1997 – 1998 1998 – 1999 1999 – 2002 2002 – 2003 2003 – 2005 2005 – 2008 2008 – 2010 2010 – 2013 2013 – 2015

HHSO PROGRAM DESIGN: Publishing / Marketing Advisor: Marc Frey, Frey Media Design / Production: Hilton Head Monthly Jeremy Swartz, Charles Grace 2015–2016

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WELCOME TO THE HHSO’S 34TH SEASON

PASSION AND THE LEAGUE

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he League of the Hilton Head Symphony Orchestra is a group of volunteers that work behind the scenes to support the Hilton Head Symphony Orchestra’s 34th season of PASSION and MUSIC in the Lowcountry . Over a nine month period the League will be involved with twenty-two events. Some of these events are fundraising in nature and include the September 27th Kitchen of Note tour of six homes, the six Sunday Musicales from October through April and the Spring Fashion Show, March 23, 2016. Other activities support orchestra events; such as the after-concert receptions, the International Piano Competition, the Youth Concerto Competition, Symphony under the Stars and the Concours.

Last orchestra season league members devoted over two thousand hours of volunteer effort and were able to donate seventy thousand dollars to our orchestra.

This year the League-sponsored concert receptions are introducing a new approach by asking League members in our neighborhoods to host a reception.

This is not a competition, but a challenge. Our first plantation to host will be Hilton Head Plantation, followed by Moss Creek, then Port Royal/Palmetto Hall, Sea Pines, Long Cove/Windmill Harbour and our members at The Cypress and Tide Ponte. If your neighborhood would like to host a reception, please contact Sue Forrest of Phyllis Patterson, our concert reception chairs.

Probably one of the most rewarding aspects of being a League member is having the opportunity to meet and work with the four hundred plus wonderful dedicated individuals who are passionate about supporting our orchestra. The League Board, which is comprised of twenty individuals, meets monthly, while many committees meet as needed to keep the activities on target. Select an event that you are comfortable with and volunteer.

If you are not already a member, please join us for this season to show your passion for music in the Lowcountry. Applications are at “will call” and may be downloaded from the HHSO web site. Membership entitles you to receive the first invitations to events such as the Sunday Musicales, the Spring Fashion Show, the Kitchen Tour and, of course, our Spring Fling.

Enjoy Passion and Music in the Lowcountry.

STAN COOKE President League of the Hilton Head Symphony Orchestra

Probably one of the most rewarding aspects of being a League member is having the opportunity to meet and work with the four hundred plus wonderful dedicated individuals who are passionate about supporting our orchestra.

Stan Cooke, President League of the Hilton Head Symphony Orchestra

The League of the Hilton Head Symphony Orchestra “THANKS” The Concours d’ Elegance for their commitment and dedication to assisting us in funding the Youth Programs of the HHSO.

2015–2016

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WELCOME TO THE HHSO’S 34TH SEASON

WELCOME TO THE

2015-16 MUSICAL SEASON!

This year we have a wonderful lineup of programs focusing on the piano, culminating in the 2016 Hilton Head International Piano Competition.Internationally acclaimed pianist Jon Kimura Parker will start off the season on October 19th.

Then, on January 17th and 18th Elliot Wuu, First Prize winner of the 2015 Hilton Head International Piano Competition for Young Artists will return as a soloist with the HHSO. The Hilton Head International Piano Competition is busy preparing for the next competition which will be held from March 7–14. We are all looking forward to once again being amazed at the musicianship and artistry of the 20 pianists, ages 18–30, who will grace our stage for the Competition.

Our fifth offering in the Musical Feast series will occur on November 6th, for the first time this year at the Long Cove Club. Our guest artist this year will be Konstantin Soukhovetsky, winner of the 2002 HHIPC. The benefit will feature Konstantin’s brilliant arrangements of well-known opera themes. This year’s conversation will focus on the life of the concert pianist after winning a Competition. The wine dinner promises to be a delicious part of the evening. You will certainly want to join us for this lively evening.

We have other piano “surprises” scheduled around the time of the Competition, including a special opening event at the Westin, the official hotel of the HHSO and HHIPC. Keep an eye out for our “piano-paloozas” around town during the weeks before the Competition!

Rounds I and II, held on March 7th through 10th, will once again be held at the Arts Center of Coastal Carolina. The Semifinals (Round III) will be held at the First Presbyterian Church. And, we are thrilled to have our very own John Morris Russell here to conduct the Finals on March 14th also to be held at the First Presbyterian Church!

MONA HUFF Director Hilton Head International Piano Competition

Keep an eye out for our “piano-paloozas” around town during the weeks before the Competition!

Mark your calendars so that you are sure to join us for a fun-filled year of piano!

Mona Huff Director Hilton Head International Piano Competition

2015–2016

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The Hilton Head Symphony Orchestra Music Well Played.

Life Well Planned.

Your Financial Advisor

JAMES C. MOORE Vice President, Investments

5 Dunmore Court, Suite 100 // Hilton Head Island, SC 29926 D 843.342.8211 // O 843.342.8200 // TF 866.212.0559 // F 843.342.8825 By appointment: 27 Towne Drive, Suite 202 // Bluffton, SC 29910 james.moore@raymondjames.com // raymondjames.com/jamescmoore @2015 Raymond James & Associates, Inc., member New York Stock Exchange/SIPC Raymond James is a registered trademark of Raymond James Financial, Inc. 14-BR3LE-0027 EG 7/14

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WELCOME TO THE HHSO’S 34TH SEASON

HILTON HEAD SYMPHONY ORCHESTRA LEGACY SOCIETY

P IS A LEGACY GIFT FOR YOU? WHY NOT! “I’M STILL YOUNG.” In fact, 65% of charitable bequests are made by people ages 18-64.

“WE’RE NOT THAT WEALTHY.” 58% of legacy gifts are established by people with incomes under $75,000

“I DON’T HAVE A COMPLICATED ESTATE PLAN.” 80% of legacy gifts are made by listing an organization as a beneficiary of a will, retirement plan or insurance policy.

“WE DON’T REALLY SEE THE NEED.” 97% of people establish legacy gifts because they love an organization and want to be sure its work continues.

“MY FAMILY WON’T APPROVE.” 75% of family members surveyed say sharing their inheritance with their loved ones’ gifts to a charitable organization is a reasonable choice.

From a recently published article from the Stelter Donor Insight Report, A Partnership for Philanthropic Planning.

lanned Giving – your legacy for beautiful music!

Create Your Legacy. Discover the many ways you can help secure the future of the HHSO and keep the music playing for generations of music lovers to come.

These donations will be placed in an endowment fund to meet the future needs of the HHSO. There are many ways you can maximize the impact of your gift to the orchestra: Outright Gifts: cash, securities, real estate, business and partnership interests or personal property.

Life-Income Gifts: charitable gift annuities, charitable remainder trusts and charitable lead trusts.

Gifts through Your Estate: Name the HHSO as a beneficiary in your will of specific assets, such as a 401K, IRA, or life insurance policy; or you can give a portion of your residual estate.

Please consider strengthening the HHSO with your planned gift to keep classical music alive in the Lowcountry.

By becoming a member of the HHSO Legacy Society, your name will forever be inscribed in the annals of the orchestra.

Let us know if you have already included us in your estate plan so that we can thank you and welcome you as a member of the HHSO Legacy Society. For more information, call or email Mary Briggs at mbriggs@hhso.org or at 843-842-2055.

CHARTER MEMBERS OF THE HILTON HEAD SYMPHONY ORCHESTRA LEGACY SOCIETY: Darle & Robert Booher Mary & Michael Briggs Cary & Peter Fleming Robert & Margaret Gallagher Bradley Jacobs Mary Ann & Tarrant Putnam 2015–2016

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2015-2016 HHSO ORCHESTRA PERSONNEL (Section Strings Rotate Seating)

MUSIC DIRECTOR AND CONDUCTOR John Morris Russell Robert and Margaret Gallagher Memorial Chair VIOLIN I Terry Moore, Concertmaster Aldine W. Schroeder Memorial Chair Jean S. Wolff Chair in memory of Alfred W. Wolff VIOLIN II Frances Hsieh, Principal Essena Setaro, Acting Principal SECTION VIOLIN Barbara Borg Ann Cafferty Jason Economides Micah Gangwer Rafe Goldman Kellen Gray Mario Incorvaia Tomas Jakubek Catherine Klimoff Angela Loizides Erica Monkman Mayumi Nakamura Jadde Nolty* Ricardo Ochoa

Arline Rosen Melinda Rubin Kerri Sellman C. Gerome Stewart Marina Volynets Olive Warrenfeltz Jonathan Wright Na You Yang VIOLA Lizhou Liu, Principal Arkady Agrest Hannah Brown Yuri Kholodov Jeffery Watson CELLO Sarah Schenkman, Principal Ellen & Charles Taylor Chair Barbara Altman Charmaine Leclair Joshua Teague Mary Ann Watson BASS Peter Berquist, Principal Thomas Bresnick Joseph Farley Cod Rex Vadim Volynets

FLUTE Lorraine Jones, Principal Erna B. Graver Memorial Chair Tacy Edwards OBOE Lauren Stuligross, Co-Principal Patty & Dave Ekedahl Chair Kelly Odell CLARINET Charles Messersmith, Principal Marge & Paul Coble Chair in memory of Don E. Coble Russell Floyd, Co-Principal BASSOON Katherine St. John, Principal Doris & Willis Shay Chair Raymond Patricio HORN Stephanie Furry, Principal Liz & Walt Schymik Chair in memory of Catherine B. Kaufman Brandon Nichols Debra Sherrill-Ward Anne Holmi TRUMPET Paul Lott, Principal Nancy & John Diamond Chair Phil Ehrmann Todd Jenkins

TROMBONE Carl Polk, Principal Lin & Robert Rada Chair Kate Jenkins Mark Sellman TUBA Christopher Bluemel, Principal Dr. William P. and Judy F. Thorpe in honor of Richard B. Heyman, MD TIMPANI Ray McClain, Principal Marianne and George Krall PERCUSSION Stephen Primatic, Principal Sandy & Fred Caswell Chair Mathew Fallin Ryan Leveille HARP Patricia Anderson, Principal League of Hilton Head Symphony Orchestra Chair KEYBOARD Michael Braz, Principal Mary Ellen & Jack McConnell Chair * on leave of absence

A sincere “Thank You” to the following members of our orchestra family who have generously supported our efforts by naming Orchestra Chairs: Fred and Sandy Caswell . . . . . . . . . . . Principal Percussion

Mary Ellen and Jack McConnell . . . . . . . . Principal Keyboard

Marge and Paul Coble . . . . . . . . . . . . . Principal Clarinet

Lin and Bob Rada . . . . . . . . . . . . . Principal Trombone

Nancy and John Diamond . . . . . . . . . . .Principal Trumpet

Estate of Adline W Schroeder. . . . . . . . . . Concertmaster

Patty and David Ekedahl . . . . . . . . . . . . .Principal Oboe

Liz and Walt Schymik . . . . . . . . . . . . . .Principal Horn

Robert and Margaret Gallagher . . . . . . . . . .Music Director

Willis and Doris Shay . . . . . . . . . . . . Principal Bassoon

Walter Graver

. . . . . . . . . . . . . . . . Principal Flute

Charles and Ellen Taylor . . . . . . . . . . . . . Principal Cello

Marianne and George Krall . . . . . . . . . . . . . . Timpani

Dr.William P. and Judy F.Thorpe (in honor of Richard B. Heyman, MD) . Principal Tuba

Hilton Head Orchestra League . . . . . . . . . .Principal Harp

Jean S. Wolff (in memory of Alfred W. Wolff) . . . . . . . . . Section Violin

2015–2016

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WELCOME TO THE HHSO’S 34TH SEASON

SECURING THE FUTURE HHSO ENDOWED CHAIR PROGRAM

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our support of the Hilton Head Symphony Orchestra’s endowment is the ticket to a secure stable financial future for the Symphony. When you make an endowed chair gift, the principal of your gift is invested and grows over time. Annual distributions from the endowment fund insure our mission – to inspire, enrich and unite the community through music. Your donation is never touched – and it builds a legacy that provides a stable, constant resource that we can count on every year.

Endowed Chairs also help us to attract and retain distinguished musicians and help the orchestra to grow in musical stature. Chairs are offered for either a 10-year or 20-year period.

CONCERTMASTER . . . . . . . $125,000/$200,000 STRING PRINCIPALS: VIOLIN II, VIOLA, CELLO & BASS . . . . . . . . . $35,000/$50,000 OTHER PRINCIPALS: FLUTE, OBOE, CLARINET, BASSOON, HORN,TRUMPET,TROMBONE,TUBA HARP & KEYBOARD . . . . . . . $25,000/$40,000 SECTION CHAIRS . . . . . 20% less than corresponding principal chairs.

The following chairs are available for endowing: Violin II and Viola Principal Chairs plus numerous section chairs.

All endowed Chairs are tax deductible.They may be paid over a period of up to three years. Endowed Chair funds are invested to maximize the potential for future return.

For information on endowments please contact Mary Briggs at the HHSO office, 843-842-2055.

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SUPPORTING THE MUSIC As of September 1, 2015

DIAMOND BATON CIRCLE $25,000+

CONCERTMASTER’S CIRCLE $2,500+

Mary & Michael Briggs

Winifred Baker Vickie & Herwig Baumann Judy & Stewart Brown Sally & William Brown Sally & Austin Brown Vivian & Fred Burt Clair & Ted Craver Lois & James Delligatti Ann & Tony Di Iorio Carol & Dennis Draeger Trish & Jay Elliot Susan & Michael Harter Helen & William Heberton Connie & Mike Hellman Dorothy & Raymond Holmes Marie & John James Nancy & James Johns Linda & George Johnson Edith & Peter Korda Darlene & Brian Marlowe David McClintock & Mary Milligan Holly & Paul Moeri Carolyn & Bob Moore Lois & Roy Plekenpol Mary Princing Lin & Bob Rada Margaret & Gene Rainville Doris & Willis Shay Doris & Ray Stickel Judy & William Thorpe Judith & Heinn Tomfohrde, III Donna Zorge

PLATINUM BATON CIRCLE $20,000+ Alice & Juergen Brockmann Carol & Tom Tucker

GOLD BATON CIRCLE $15,000+ Betsy & Dan Brown Nan & Charles Strauch

SILVER BATON CIRCLE $10,000+ Anonymous Robert & Darle Booher Patty & Dave Ekedahl Bettina & Christoph Guenther Vickie & Kevin Halloran Susan & Edward Parrish Doreen & Fred Prince Florence & James Willard

CHAIRMAN’S CIRCLE $7,500+ Peggy & Hal Ashworth Sandy & Fred Caswell Liz & Todd Clist Nancy & John Diamond Anuska & Marc Frey Marianne & George Krall Louise & Paul Lang Janine & David Nelson Mary Ann & Terry Putnam Elizabeth & Brock Rowley Connie & Jerry Voight Jim Way Nancy & Harold Winch

CONDUCTOR’S CIRCLE $5,000+ Suzie & Ned Allen Clair & Ted Craver Joan & Charles Dattelbaum Sandy & Ralph Drayer Cary & Peter Fleming Lois & Walter Graver Eloise & Robert Mason Joanne & Paul Stillman Barbie & Spence Stouffer Lorene & Tom Thornbury 34

ARTIST’S CIRCLE $1,000+ Opal & Hans Abbink Marilyn & Arthur Althans Mary Anne & James Baehr Barbara & Wayne Baumgardner Barbara & Karl Becker Wilma & Bob Benson Jillian & Malcolm Binks Nancy & David Borghesi Homer Boynton & Patsy Scruggs Carol Brown Mary & Roger Coe Marcia & James Collett Linda & Bill DeArment Jane & Anthony DeFail Sandra & Fred Eberting Wayne Effron & Gail Kaess

Mimi & Peter Elder Beverly & Charles Farley Patricia & Dennis Foley Jean & John Gehrett Jill & Pat Graybeal Carol & Frederick Hack Sara & George Hall Michael Harris Midge & Mike Haworth Mona & Charles Huff Patsy & Ford Hutchinson Jennifer & Mario Incorvaia Joan Israel Marian & E. Rogers Jackson Carol & Tom Jones Betty Ann & Kevin Keane Linda & John Kellom Sandra & John Kenny Dick & Peggy Knowlton Margie & Jake Kriney Myla Lerner & Larry Kramer Dot & Jim Loughlin Mary Jane Major Ellie & John McLauchlin Sansing & Terry McPherson Patricia & Carl Miller Linda & Ray Moloney Mary Noonan Diana & John Norlander Pam & Mike Pasquale Penny & Bo Pearson Betty & Richard Pilsbury Sylvia & Bill Richards Mona & Tim Ridge Ann & John Runnette Judy & David Russert Sigi & Bob Rutherford Pamela & Bob Savage Walt Schymik Susette & Charles Stone Gary Tauscher Ellen Taylor Grace & Bill Tiernay Judy & Terry Tolerton Mary & Tom Tracy Kathy & Jon VerHagen Judy & Bob Walker Joyce Weidenkopf Beth & John Weymouth Robin & Kim Whiting Lois Wilson Ruth & Lee Wilwerding Barbara Wolf Judy & Phil Wright

HILTON HEAD SYMPHONY ORCHESTRA

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PRINCIPAL $500+ Peggy & Vic Arrington Patricia & Donald Bennett Bonnie & Richard Burnette Ethel & Richard Collins Janet & Edward Ehrlich Linda Ellis Paula & Marc Feinberg Barbara & Hudson Fesche Mrs. Ruth B. Fraser Barbara & Matthew Gates Lawrence Hazzard Patricia & Howard Hornstra Sheila & Donald Jemella Kryl & Ken Kerr Juliana & Sam Kim Carol & John Lang Ruth & Joseph Liedtke Ingrid Low Judy McCracken & John McLaughlin Uschi & Marsh Niner Emily & Wilson Oelkers Andrea & Bruce Siebold Patricia Sinatra Jane & Phillip Sine Beverly & Robert Stahl Susan & Allan Strange Julie Williams & Len Croft Marti Willits & Doug Nabholz Lyman Wooster Penny & Ted York Phyllis & Paul Zaffaroni Ingrid & Rolf Zenker

SUPPORTER $250+ Anonymous Stephen Alfred & Rita Hungate Alice & Ernest Ambler Sheila & Jim Baden Estie & Dom Bonanno Nancy & Bob Breckinridge Sue & Nelson Britt Judy & Stuart Brown Pat & John Canzano Ginny & Dan Castro Carmen & William Cunningham Joan Deery & Paul Capron Rhoda Dix Pam Dyer James Fannon Bonnie & Roland Finch Susan & Thomas Forrest Susan Giattino Lesley & John Gilbert Ann & Larry Gunn James Hales Mary Ellen & Harry Hannan Ann & Charlie Harrison Joanne & Donald Heyboer Nancy Hudak Bradley Jacobs Karen & Ward Kirby Rebecca & Kenneth Kleyn

Joan & Robert Koenig Rosemary & Gary Kratz John Miller Kathie & Gordon Miller Lucia Mueller Carol & Richard Monahan Gracia Muller Jeffrie & Louis Natale Beth Newman Hannah & Alan Obstler Lucy & Robert O’Flaherty Anne & Zig Palagyi Linda & Joseph Palmiero Sue & John Parsons Kathie & John Patten Judy & Dale Peters Ruth Ellen & Richard Phillips Connie Randall Patricia & Richard Rapp Nona & Walt Robertson Lynne Shira Meike & Henrich Smit Barbara Smith Lisa Snider Barbara & Neil Snow Angela & Joseph Sommers Barbara & Michael Sorkin Eleanor & John Staub Kathryn & William Taylor Barbara & Richard Wiles Anne & Allan Yard Jacqueline & Richard Young

FRIEND Up to $249 Betty & Patrick Amer Margaret Atwood Linda & Frank Babel Prisca Bagnell Carol & Sherman Barker Mary & John Baumann Harvey Beefferman Jordan Berliner & Maria Velez Pamela & James Bernard Marilyn & Robert Black Dukene & James Brady Eileen & Milton Brenner Susan & Mark Britanisky Meg Brogan Nancy & Henry Brown Carl Canzanelli & Linda Tente Sondra Catts Barbara & Iue Cho Nerina & Ron Clark Vickie & William Clark Karla & Russell Collins Eileen & Bud Cowell Frederick Darnell Richard Dillard & Claudia Bristow Jeanette & Joe Dister Marilyn Eddy Karen & Buck Edwards Mary & Bryce Edwards Dorothy & Robert Englund Dodi & Henry Eschenbach

Helen Evans Michael Farnham Dorothy Feind Ann & Mike Finson Diane & Gabriel Fornari Nancy Frankland Helen Gilbert Barbara & Don Grubba Rhoda Haight Una Jackson Laurel & Richard Johnson Felix Kent Marietta Kerr Eleanor & Thomas Krebs Elizabeth Krise Ann & Joe Lapchick Elizabeth & Jack Loda Elizabeth & Klaus Loehr Carol & Lee Lopez Nancy & Joe LoPresti Ellena Lucas Judy & John Lundin Carolyn & Lloyd Martin Mary Ann Matijasic Marguerite & Peter Miletic Darlene Miller James Miller Jen & Jack Mooney Mary Moser Dorothy & David Murphy Diane & John Myers Diana Nadanyi Barbara & Bill Newby Carol & Craig Pickering Shirlene & Neal Post Mary Anne Raye-Rowles Lorraine & Edward Regenye Joan Reusswig Evelyn & Robert Richardson Janet & William Rivers Margita Rockstroh Eva & Morton Rollnik Mary Ann Root Joan Saalfrank Sudee Sanders Nancy & Richard Schulman Alice Sewall Joan Shea & Dan Zally Linda & John Sheppard Judi & Steven Siegelbaum Lois & Russell Southwick Barbara & Fred Spencer Sheila & Bill Standen Polly Sten Barbara Swift Doris Teter Murray Turka Karyl & Walter Tyler Art Villani & Pam Rapp Judy & Pat Walsh Carol Walters Jo & Bill Wayne Julia & Thomas Whelan Barbara & William Whitman Sally & Jon Wormley Kate & John Yachini 2015–2016

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WELCOME TO THE HHSO’S 34TH SEASON

BUSINESSES SUPPORTING THE MUSIC As of September 1, 2015

PLATNIUM SPONSORS Westin Hilton Head Resort and Spa

Merrill Lynch, The Stuckart Ruckno Group

Tanner-Doncaster Outlet

Rice Music*

Wells Fargo Advisors

GOLD SPONSORS

St. John’s Church, Episcopal

Boys, Arnold & Company

Savannah Music Festival

The Village of Wexford

CHEFS & CLEFS Hinoki Restaurant

Charter I Realty Coligny

SUPPORTERS

Hudson’s Seafood Corp.

Custom Audio Video, LLC*

843 Restaurant

Frey Media Group 3/pyramids

Bishop Gadsden Episcopal Retirement Community

The Jazz Corner / The Junior Jazz Foundation Mangiamo Hilton Head Pizza Co.

Hilton Head BMW

BlueCross BlueShield of South Carolina

Sea Grass Grille

SERG Restaurant Group

Carolina Realty Group Carolina Volvo*

BUSINESS DONATIONS Coastal Discovery Museum of HHI

SILVER SPONSORS

Carson Realty

Bank of America

Coastal Plains Insurance*

The Cypress of Hilton Head

Law Office of Ferrene & Associates P.A.

Progressive Technology, Inc.

Fidelity Investments

The Greenery, Inc.

Ranco Tents

Forsythe Jewelers

Hilton Head Choral Society

Hilton Head Buick, GMC & Cadillac

Hilton Head Exterminators

GRANTS

TidePointe, A Vi Community

Hilton Head Honda

Town of Hilton Head - ATAX

Hilton Head Hospital

Beaufort County - ATAX

BRONZE SPONSORS

Hilton Head Lexus*

Concours d’Elegance

Goode Vacation Rentals

Kenneth Kowalyk, DMD

The Bargain Box

Hilton Head Dental Team

Jacksonville Symphony Orchestra

Youths’ Friends

James C. Moore of Raymond James

Mercedes-Benz of Hilton Head

South State Bank

Morgan Stanley

Heritage Classic Foundation IWL Photography

2015 HHIPC SPONSORS Great Frame-Up

Palmetto Electric Cooperative, Inc. LEADERS

Rollers Wine & Spirits

All My Sons Moving and Storage/Mosquito Nix

Charles Sampson Real Estate Group

Island Travel, Inc.

Gulfstream McNair Law Firm Savannah/Hilton Head International Airport

Sea Turtle Getaways Ernest M. Sewell, CPA, PA

Steinway & Sons

Sonesta Resort Hilton Head Island*

Businesses with * also sponsored the 2015 HHIPC

Check our website for a list of companies who provide matching gifts.

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WELCOME TO THE HHSO’S 34TH SEASON

JOHN MORRIS RUSSELL The 2015/2016 season marks John Morris Russell’s fifth season as Conductor of the Cincinnati Pops, one of Cincinnati’s most treasured assets and one of the world’s most respected pops orchestras. Consistently winning international praise for his extraordinary music-making and visionary leadership, he is also Music Director of the Hilton Head Symphony Orchestra, in South Carolina, where he leads the classical subscription series as well as the prestigious Hilton Head International Piano Competition. He completed his eleven-year tenure as Music Director of the Windsor Symphony Orchestra in Ontario, Canada in 2012, whereupon he was named that orchestra’s first Conductor Laureate. In December he assumes the role of Principal Pops Conductor of the Buffalo Philharmonic Orchestra following in the footsteps of Marvin Hamlisch and Doc Severinsen.

With his position at the Cincinnati Pops, Mr. Russell leads soldout performances at Music Hall and the Riverbend Music Center; additionally he conducts the orchestra in concerts throughout the Greater Cincinnati region as well as on tour—serving as a musical ambassador to cultivate the reputation of the Cincinnati region as one of the world’s leading cultural centers. Creator of the orchestra’s Classical Roots series, he also leads The Pops family concert series, the annual USO Tribute Cincinnati Gala, and recently shared the podium with CSO Music Director Louis Langree in the wildly successful “Lumenocity” performances in Cincinnati’s Washington Park. Mr. Russell’s recent collaborations include Amy Grant and Vince Gill, Brian Stokes Mitchell, Michael McDonald,Ann Hampton Callaway, George Takei, Megan Hilty, and Steve Martin, Edie Brickell and the Steep Canyon Rangers. In December 2013 John Morris Russell led the world concert premiere of Macy’s “Yes, Virginia” at Music Hall, an adaptation of the “Yes, Virginia The Musical.” The Cincinnati Pops recorded legacy continues under Mr. Russell’s leadership, including Home for the Holidays (2012), Superheroes! (2013), Carnival of the Animals (2014) and the first live recording of the Pops, American Originals which will be released in September 2015. In December 2014 he led the Cincinnati Pops on their first-ever Florida tour including performances in St. Petersburg, Ft. Lauderdale and Sarasota.

At the Hilton Head Symphony Orchestra, under John Morris Russell’s leadership, the orchestra’s concert attendance has blossomed; within his first three years the organization has doubled the number of concerts they present. Mr. Russell leads the orchestra in eight masterwork subscription concerts annually, and as with the Windsor Symphony Orchestra, he continues to reveal his passion for Classical and early Romantic orchestral literature. Under his guidance, there has been a renewed educational focus in Hilton Head and surrounding communities, and he has integrated the musical culture of Gullah and Lowcountry traditions into his presentations and programming.

For a complete biography of Maestro Russell visit www.hhso.org.

JOHN MORRIS RUSSELL Music Director & Principal Conductor

2015–2016

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SPONSORS MONDAY, OCTOBER 19, 2015 • 7:30PM

OCTOBER 19, 2015

GALA OPENING NIGHT

GALA OPENING NIGHT

Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

SEASON SPONSOR

Power of Oak | Gar y Mullane

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GALA OPENING NIGHT

GALA OPENING NIGHT John Morris Russell, Music Director and Conductor 2015-2016 • 34th Season Monday, October 19, 2015 • 7:30pm

John Morris Russell, Conductor Jon Kimura Parker, Piano

OCTOBER 19, 2015

PROGRAM TCHAIKOVSKY GERSHWIN

Capriccio italien, Op. 45 Rhapsody in Blue Jon Kimura Parker, Piano

RIMSKY-KORSAKOV

Capriccio espagnol, Op. 34 1. Alborada 2.Variazoni 3. Alborada 4. Scena e canto gitano 5. Fandango asturiano

POST-CONCERT RECEPTIONS Please join us in the Gathering Space after the concert to mix and mingle, have some punch and a cookie and the enjoyment of discussing the fine points of the music with your friends.

The League of the Hilton Head Symphony Orchestra is sponsoring a post concert reception in this new glorious location after every Monday night performance. Just turn right from the narthex and linger awhile to savor the joy of the evening a bit longer!

2015–2016

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OCTOBER 19, 2015

GALA OPENING NIGHT

MEET THE ARTIST

JON KIMURA PARKER

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JON KIMURA PARKER Piano Gala Opening Night October 19, 2015

His students have won international piano competitions, performed with major orchestras across the U.S., and given recitals in Amsterdam, Beijing, New York and Moscow.

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veteran of the international concert stage, Jon Kimura Parker has performed as guest soloist with the Philadelphia Orchestra and Wolfgang Sawallisch in Carnegie Hall, toured Europe with the Royal Philharmonic Orchestra and Andre Previn, and shared the stage with Jessye Norman at Berlin’s Philharmonie. He has recently worked with conductors including Teddy Abrams, Pablo Heras-Cassado, Claus Peter Flor, Hans Graf, Jeffrey Kahane, Carlos Kalmar, Peter Oundjian, Larry Rachleff, Xu Zhong and Pinchas Zukerman. A true Canadian ambassador of music, Mr. Parker has given command performances for Queen Elizabeth II, the U.S. Supreme Court, and the Prime Ministers of Canada and Japan. He is an Officer of The Order of Canada, his country’s highest civilian honor.

Mr. Parker performs as duo partner regularly with James Ehnes, Aloysia Friedmann, Lynn Harrell, Jamie Parker, Orli Shaham, and Cho-Liang Lin, with whom he has given world premieres of sonatas by Paul Schoenfield, John Harbison and Steven Stucky. He performs regularly with the Miró Quartet, and is a founding member of the Montrose Trio with violinist Martin Beaver and cellist Clive Greensmith.

The Washington Post’s review of their first tour proclaimed them “poised to become one of the top piano trios in the world.” As a member of the outreach project Piano Plus, Mr. Parker toured remote areas including the Canadian Arctic, performing classical music and rock’n’roll on everything from upright pianos to electronic keyboards. In commemoration of his special performances in war-torn Sarajevo in 1995, he was a featured speaker alongside humanitarians Elie Wiesel and Paul Rusesabagina at the 50th Anniversary of the relief organization AmeriCares.

An unusually versatile artist, Mr. Parker has also jammed with Audra McDonald, Bobby McFerrin, and Doc Severinsen, and this season performed two piano tangos with Pablo Ziegler. This coming season Mr. Parker debuts his new project Off The Score in a quintet with legendary Police drummer Stewart Copeland, featuring both original compositions and fresh takes on music of Ravel, Prokofiev and Stravinsky.

A committed educator, Jon Kimura Parker is Professor of Piano at The Shepherd School of Music at Rice University. He has lectured at The Juilliard School, The Colburn School, The Steans Institute, New York University, and Yale University. Mr. Parker is also Artistic Advisor of the Orcas Island Chamber Music Festival.

Mr. Parker has recorded music of Tchaikovsky, Prokofiev, Chopin and PDQ Bach for Telarc, Mozart for CBC, and Stravinsky, Mozart, Schubert, Schumann, De Liberto and Hirtz under his own label.

He lives in Houston with his wife, violinist Aloysia Friedmann and their daughter Sophie.

HILTON HEAD SYMPHONY ORCHESTRA

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PROGRAM NOTES

GALA OPENING NIGHT

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

Rhapsody in Blue

Pyotr Ilyich Tchaikovsky (1840-1893)

George Gershwin (1898-1937)

Escaping his home surroundings and traveling in Western Europe was among the ways Tchaikovsky fought his frequent bouts of depression. He loved Italy in particular, and in early 1880, during Carnival in Rome, he found himself in a hotel next door to some army barracks. Worries about his siblings and niece so dampened his spirits that he was unable to sleep.The constant noise of the festival, which he saw as a “wild folly,” annoyed him and he was reluctant to participate.

But he could not escape the melodic richness that surrounded him. In spite of his misgivings, he sat down to compose the folksy Capriccio italien, in which he made use of these “...wonderful melodies I happened to pick up, in part from published collections and in part out in the street with my own ears.”

He finished the sketches in a week and the orchestration by May. The work premiered in Moscow in December of the same year.

The Capriccio opens with the brass fanfare, which Tchaikovsky heard every day from the adjacent barracks, answered by the strings with a melancholy theme picked up from street musicians. One catchy tune follows another in increasingly colorful orchestration.The refrain of the song that comprises the predominant theme, “Bella ragazza della treccia bionda,” (Pretty girl with the blond hair) laments: “Papa won't let us, and neither will Mama, so how are we going to make love." The brass fanfare and melancholy string theme return before the piece ends in a brilliant tarantella, a rapid dance in 6/8 time, supposedly originating in the Southern Italian city of Taranto.

The musical idiom of jazz evolved in New Orleans in the early part of the twentieth century from ragtime and the blues. The origin of the term jazz is obscure, but it first appeared in print in 1913 in a San Francisco newspaper, in reference to enthusiasm at a baseball game. The application of the term to a specific style of music occurred during World War I. It was in Europe, however, where American dance bands were popular, that classical composers first incorporated the new idiom into their compositions: Claude Debussy in Golliwog's Cakewalk (1908); Igor Stravinsky in Ragtime (1918); Maurice Ravel in the Piano Concerto in G major; and especially Darius Milhaud in the ballet La création du monde (1923).

George Gershwin was the first American composer to make jazz acceptable to the American classical music audience. The son of poor Jewish immigrants in lower Manhattan, he was a natural-born pianist and left school at 16 to become a pianist with a Tin-Pan Alley firm, plugging their new songs.

He soon commenced writing songs himself, eventually teaming up with his brother Ira as lyricist to become one of the most successful teams of song and musical comedy writers on Broadway. They created a string of immensely successful musicals from Lady be Good in December 1924 to Let ‘em Eat Cake in October 1933.The opening night of a George Gershwin musical comedy was a social and media event with Gershwin himself usually leading the orchestra.

OCTOBER 19, 2015

Capriccio italien, Op. 45

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GALA OPENING NIGHT OCTOBER 19, 2015

Gershwin received the commission for an extended jazz composition from a conductor of popular music, Paul Whiteman, who promoted concerts of jazz music in New York’s Aeolian Hall. Whiteman was the self-styled “King of Jazz” who attempted to make jazz more symphonic and respectable.

Whiteman’s commission followed an Aeolian Hall concert in the fall of 1923, at which Gershwin had played piano arrangements of a few of his songs.

Gershwin composed the Rhapsody in a mere three weeks early in 1924, in a two-piano version. Lacking the skills to orchestrate the work, he turned it over for piano and jazz orchestration to Ferde Grofé, a popular composer, pianist and arranger, who served as Whiteman’s factotum. Grofé practically lived in Gershwin’s house, orchestrating the work

page-by-page as it came from the composer’s pen. He also rescored the Rhapsody two years later for full symphony orchestra.

The premiere, on February 12 1924, was a smashing success. Although the critics – true to form – mostly panned it, the audience loved it. Virtually overnight, jazz became respectable. Gershwin himself played the piano part, becoming an instant celebrity.

Significant credit for the success must go to Grofé’s imaginative orchestration, which has ended up as his most enduring contribution to music, along with his Grand Canyon Suite.

Capriccio espagnol, Op. 34 Nikolay Rimsky-Korsakov 1844-1908 In the history of Russian nationalist music, Nikolay Rimsky-Korsakov occupies a place of

Look Beyond | Joy "Lillith" Hermann

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GALA OPENING NIGHT

Cool Exuberance | Mar y Lester

OCTOBER 19, 2015

honor. From 1871, when he joined the faculty of the St. Petersburg Conservatory, until his death, he taught and encouraged nearly every young Russian composer, from Glazunov and Arensky to Stravinsky and Prokofiev. After the death of Borodin and Mussorgsky, RimskyKorsakov edited, completed and “corrected” their manuscripts, especially their operas, and had them published. He also helped publish the works of many other less famous Russian composers.

Rimsky-Korsakov was particularly fond of “ethnic” pieces, creating compositions with a Russian, Central Asian, Italian or Spanish caste.

In spite of the fact that his acquaintance with Spain was minimal – as a naval cadet in 1864-65, he spent three days in Cadiz – he felt sufficiently comfortable with its folk idiom to compose the symphonic suite Capriccio espagnol. The work started life as a movement in a planned fantasia for violin and piano, but during the summer of 1887 he abandoned the idea, completely revising and orchestrating the sketches. He borrowed the themes and harmonies from a collection of authentic Spanish songs, transforming them with multi-textured orchestration. From its premiere in October 1887, it has been a particular favorite among orchestra players, who get hefty solo riffs.

The five movements begin with “Alborada” (a Spanish morning song), whose recurring theme serves as a kind of musical glue to give unity to the piece. There follows a set of five variations, which are more changes in mood than bravura showpieces. The “Scene and Gypsy Song” features a series of faux-improvisatory orchestral solos that serve as a workup for the principal theme.

The "Fandango," a couples’ dance in triple time traditionally accompanied by guitar and castanets, completes the group. At the end a presto reprise of the “Alborada” returns as the coda.

Rhapsody In Blue | Mark Maute

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DVORˇ ÁK IN AMERICA NOVEMBER 15-16, 2015

DVORˇÁK IN AMERICA AND THE NEW WORLD SYMPHONY

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DVORˇ ÁK IN AMERICA

DVORˇÁK IN AMERICA AND THE NEW WORLD SYMPHONY John Morris Russell, Music Director and Conductor 2015-2016 • 34th Season Sunday, November 15, 2015 • 4pm Monday, November 16, 2015 • 8pm

John Morris Russell, Conductor Roger Moss, Baritone

NOVEMBER 15-16, 2015

PROGRAM SOUSA FOSTER/Dvorˇák

Washington Post March Old Folks at Home Roger Moss, Baritone

BURLEIGH

Didn't it Rain Roger Moss, Baritone

TURPIN/Moore

Harlem Rag

W.M.COOK

Swing Along Roger Moss, Baritone

COPLAND ELLINGTON/Gould GERSHWIN/Hermann

Variations on a Shaker Melody Sophisticated Lady Gershwin Medley

Sewanne The Man I Love Strike Up the Band

INTERMISSION DVORˇ ÁK

Symphony No. 9 in E minor, Op. 95

I. Adagio - Allegro molto II. Largo III. Molto vivace IV. Allegro con fuoco

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DVORˇÁK IN AMERICA

MEET THE ARTIST

ROGER MOSS

R

ROGER MOSS Baritone Dvorˇák in America Sunday, November 15, 2015 Monday, November 16, 2015

“Singing is like breathing to me and if it’s music that I love, I just go with it.”

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oger Moss’s first memory was the sound of his grandmother’s church in rural Alabama where, devoid of musical accompaniment, the congregation in call and response lifted the rafters in three-part harmony.

Within his home in Chattanooga, Tennessee, Roger heard the strain of Beethoven, Bach, and Rachmaninoff played and sung by his musical siblings.

In church he heard and sang the early hymns of America, always taught the stories behind each hymn by parents who embraced and encouraged research and education.

Roger’s singing debut was at the tender age of 5. Roger went on to study privately. He attended Wheaton College, singing briefly in the Concert Choir and Men’s Glee Club.

Always in search of “the musical tones arranged to give a pleasing effect” Roger has spent several decades researching and performing the many strains that pulsate through America from the American Songbook to Jazz.

He is the co-founder of the Savannah Children’s Choir. Roger is a former finalist in the American Traditions Competition. His first operatic role was Jake in Porgy and Bess at the Memphis Opera. He has performed with the Savannah and Beaufort Symphony Orchestras and can be seen and heard in Savannah as part of the popular On Stage at the Lucas Cabaret series. In 2013 he recorded his first CD entitled Sentimental Strains.

His next project is collaborating with violinist and composer Ricardo Ochoa on a concert of spirituals for violin and voice.

HILTON HEAD SYMPHONY ORCHESTRA

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PROGRAM NOTES

DVORˇ ÁK IN AMERICA

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

Washington Post March John Philip Sousa 1854-1932

Old Folks at Home (Swanee River) Orch. Antonín Dvorˇ ák Stephen Foster 1826-1864

NOVEMBER 15-16, 2015

American Composer and bandmaster John Philip Sousa, known as the “March King,” was the most important figure in the history of band music. With his 135 marches that have dominated the field, he was the march equivalent of the “Waltz King,” Johann Strauss Jr. Born in Washington, DC, Sousa organized his first musical ensemble, an adult quadrille, at age 11. He was about to run off with a circus band at 13 when his father had him enlisted as an apprentice musician in the US Marine Band.

During those early Marine Band years, Sousa performed professionally as a civilian violinist with several Washington theatre orchestras, meanwhile trying his hand at composition.

His first successful march was The Gladiator in 1886. By 1892 he had organized his own band, known as Sousa’s Band, which annually toured North America, made four tours to Europe and one (1910-1911) around the world. During World War I Sousa volunteered to serve in the US Navy, organizing fleet bands at the Great Lakes Naval Training Center.After the war, he continued touring with his band until the Great Depression. The last concert was presented at Atlantic City’s Steel Pier in September 1931.

Sousa was a phenomenon of the entertainment world and an American institution. In its 40-year history, the band presented over 15,000 concerts, usually to huge audiences. In addition to his many marches, Sousa also composed fifteen operettas, of which The Smugglers (1882) and El Capitan (1895) were the most successful.

Sousa composed the Washington Post March in 1889, referring to the Marine contingent

posted in the capital at that time, although the newspaper the Washington Post claimed that it was composed at its owner’s request for the paper’s essay contest awards ceremony. It was used around the world to dance the two-step, a popular dance of the time.

An American songwriter of Scottish-Irish descent, Stephen Foster was one of the most popular American song writers of all times.Yet there is little documentary evidence about his life. Forster’s brother Morrison, the keeper of the family archives, destroyed embarrassing documents and letters and described the composer as a naïve genius, a dreamer and hopelessly inept in business.The picture stuck, although it is only sparsely supported by facts.

Foster was attracted to parlor ballads and the songs and dances of the black minstrel shows, publishing his first original “imitation” at age 18 and following it with a string of immensely popular sentimental ballads – including such perennial favorites as Lou’siana Belle and Oh! Susanna – and minstrel songs such as De Camptown Races, Massa's in de Cold, Cold Ground and My Old Kentucky Home. For all the reasons listed above, they enriched publishers but left him perpetually broke.

Foster composed Old Folks at Home in 1851.

It has long been condemned for romanticizing slavery, and over the years the text has gradually evolved to become more politically correct. It became very popular and Antonín Dvorˇák saw it as an example of American folk music, and made various arrangements for voice and orchestra.

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The “Swanee” of the song is actually the – combinations of comedy and reviews that Suwannee River of the Georgia-Florida border. emphasized and promoted black themes and Foster changed the name to fit the melody. culture for a mixed audience. At the time Broadway was all white, and Cook used his Didn’t it Rain musicals to break the color barrier on and Henry Burleigh 1866-1949 off stage. After overcoming many hurdles, Henry Burleigh was an African-American Clorindy, or The Origin of the Cakewalk, written composer, singer and arranger, who became in conjunction with poet Paul Lawrence a student of Antonín Dvorˇák when the latter Dunbar, opened on Broadway on July 5, 1898 became Director of the National Conservatory with a cast of twenty-six African-Americans. of Music in New York. Burleigh, in turn, exposed In some of the numbers, the performers sang and danced simultaneously, the first time such his teacher to African-American spirituals.

Burleigh was a great promoter of the gospel a feat had been performed on the stage. It was songs, many of them in his own arrangements. a smashing success.

Swing Along, first published in 1912, was Didn’t it Rain is an old gospel song, which Cook’s signature song, a paean to black pride. It Burleigh arranged in 1919 as an art song with rejected the stereotype in the minstrel shows piano accompaniment. where whites in blackface depicted bumbling, clownish blacks. No “Massa, dear” here!

Swing Along William Mercer Cook 1869-1944 The son of the dean of the Law School of Howard University, composer and violinistWill Marion Cook (né William Mercer Cook) grew up in Chattanooga, where he first experienced what he called “Real Negro melodies.” He majored in violin at Oberlin College in Ohio and may have studied for a while with famed violinist Joseph Joachim in Berlin. During 1894-95 he studied composition in New York with Antonín Dvorˇák, who advocated for an authentic American, multi-cultural national music style. Cook’s life work was to promote African-American music; he became a respected conductor, impresario and coach for some of America’s finest musicians.

Cook was known for his irascible temper and rigidity. According to Eubie Blake “he was trying to ape Richard Wagner.” But Duke Ellington called Cook “the master of all masters of our people.”

While Cook composed some music for the theater, he is best known for his songs, many of which first appeared in his musicals 48

Symphony No. 9 in E minor, Op. 95 “From the New World” Antonín Dvorˇák 1841-1904 Antonín Dvorˇák’s sojourn in the United States from 1892 to 1895 came about through the efforts of Mrs. Jeanette B. Thurber. A dedicated and idealistic proponent of an American national musical style, she underwrote and administered the first American music conservatory, the National Conservatory of Music in New York. Because of Dvorˇák’s popularity throughout Europe, he was Thurber’s first choice for a director.

The fact that he spoke no English was of little consequence since the language of musical discourse was German. He, in turn, was probably lured to the big city so far from home by both a large salary and convictions regarding musical nationalism that paralleled Mrs. Thurber’s own.

Thirty years before his arrival in New York, Dvorˇák had read HenryWadsworth Longfellow’s Song of Hiawatha in a Czech translation and was

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DVORˇ ÁK IN AMERICA NOVEMBER 15-16, 2015

eager to learn more about the Native American Which incidents, however, have never been and African-American music, which he believed definitively determined. Krehbiel posited the should be the basis of the American style of scene in which Hiawatha woos Minnehaha, composition. He also shared with Mrs.Thurber while others have suggested Minnehaha’s the conviction that the National Conservatory funeral. Incidentally, Dvorˇák had also intended should admit Negro students. One of them, to compose an opera on Hiawatha, which Henry Burleigh, who became an important never left the drawing board.

African-American composer in his own right, is The third movement as well, in its rhythmic credited with exposing his teacher to African- thumping, the pentatonic scale and the American spirituals. orchestration dominated by winds and While his knowledge of authentic Native percussion, is meant to portray an Indian American music is questionable – his exposure ceremonial dance described in Longfellow’s came through samples transcribed for him by poem. Dvorˇák’s symphonic use of what he American friends and through Buffalo Bill’s believed to be an authentic Native American Wild West Show – he became familiar with musical idiom may have reflected his initial African-American spirituals through Burleigh, ideas for the opera. as well as indirectly via the songs of Stephen Foster. He incorporated both of these styles into the Symphony No. 9, composed while he was in New York.

Just as Dvorˇák never quoted Bohemian folk music directly in his own nationalistic music, he did not use American themes in their entirety. Rather, with his unsurpassed gift for melody, he incorporated characteristic motives into his own themes. Nevertheless, any listener with half an ear can discern “Massa Dear” (also known as “Goin’ Home”) in the famous English horn solo in the second movement. We can deduce the importance of these musical motives from the fact that they appear as NWS to the Moon | Michael Nicastre reminiscences in more than one movement, One of the most important features of especially in the Finale. The symphony, the Symphony is its thematic coherence. however, is hardly an American pastiche; the Whatever the origin of the melodies, they second motive in the Largo movement is a all have a modular characteristic in that they phrase of wrenching musical longing that many can be mixed and matched in many different listeners interpret as the composer’s nostalgia ways. In the last movement, Dvorˇák brings for his native Bohemia. The New York music nearly all of the Symphony's themes together, critic and Dvorˇák’s friend, Henry Krehbiel, sometimes as one long continuous melody, claimed that the movement was inspired sometimes in contrapuntal relationship to by incidents from The Song of Hiawatha. each other.

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THE POLAR EXPRESS DECEMBER 6-7, 2015

THE POLAR EXPRESS A HOLIDAY CELEBRATION

SPONSORS SUNDAY, DECEMBER 6, 2015 • 4PM

MONDAY, DECEMBER 7, 2015 • 8PM

Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

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Power of Oak | Gar y Mullane

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THE POLAR EXPRESS

THE POLAR EXPRESS A HOLIDAY CELEBRATION John Morris Russell, Music Director and Conductor 2015-2016 • 34th Season Sunday, December 6, 2015 • 4pm Monday, December 7, 2015 • 8pm

DECEMBER 6-7, 2015

John Morris Russell, Conductor Hilton Head Symphony Orchestra Chorus Tim Reynolds, Chorus Master Members of the Southeast Bullock High School Advanced Chorus Brent Whitaker, Director Members of the Statesboro Youth Chorale Sarah Hancock, Guest Director

PROGRAM MOORE arr. WESTCOTT

In Dulci Jubilo, A Christmas Overture Kids Christmas Medley Statesboro Youth Chorale

HOLCOMBE

Festive Sounds of Hanukkah

HARRIS

We Three Kings

KUREK

Fairy Dreams Michael Braz, Celeste

TCHAIKOVSKY

Waltz of the Snowflakes Statesboro Youth Chorale

INTERMISSION BACH/Mancini SILVESTRI

FINNEGIN

Joy! The Polar Express

Hilton Head Symphony Orchestra Chorus Southeast Bullock High School Advanced Chorus Statesboro Youth Chorale

Christmas Sing-along 2015–2016

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THE POLAR EXPRESS DECEMBER 6-7, 2015

The Polar Express | Lyndsay Borja

The Polar Express | Kevin Maldonado

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THE POLAR EXPRESS

The Polar Express | Katie Ryan

DECEMBER 6-7, 2015

The Polar Express | Ashley Cerrato

2015–2016

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SPONSORS SUNDAY, JANUARY 17, 2016 • 4PM

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JANUARY 17-18, 2016

BERLIOZ SYMPHONIE FANTASTIQUE

BERLIOZ SYMPHONIE FANTASTIQUE

Thank you for your sponsorship of this evening’s performance.

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Mossy Oaks | Gar y Mullane

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BERLIOZ SYMPHONIE FANTASTIQUE

BERLIOZ SYMPHONIE FANTASTIQUE John Morris Russell, Music Director and Conductor 2015-2016 • 34th Season Sunday, January 17, 2016 • 4pm Monday, January 18, 2016 • 8pm

John Morris Russell, Conductor Elliott Wuu, Piano First Prize Winner, 2015 Hilton Head International Piano Competition for Young Artists

LEE RACHMANINOV

JANUARY 17-18, 2016

PROGRAM voca me cum benedictis Rhapsody on a Theme of Paganini, Op. 43 Elliott Wuu, Piano

INTERMISSION BERLIOZ

Symphonie fantastique, Op. 14

1. Rêveries - Passions 2. Un bal A Ball 3. Scène aux champs Scene in the Country 4. Marche au supplice March to the Scaffold 5. Songe d'une nuit du sabbat Dream of a Witches' Sabbath

2015–2016

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BERLIOZ SYMPHONIE FANTASTIQUE

MEET THE ARTIST

ELLIOT WUU

E

ELLIOT WUU Berlioz Symphonie fantastique Piano Sunday, January 17, 2016 Monday, January 18, 2016

In recent years, Elliot has performed in major venues in the U.S., Italy, Germany, United Kingdom, and China. His performances at the Merkin Concert Hall was aired on WQXR.

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lliot Wuu has won numerous state, national and international competitions and performed across the globe. In 2015, Elliot was awarded top prizes in four international competitions. He won First Prize in the 2015 Hilton Head International Piano Competition for Young Artists, Second Prize and special Schubert Prize in the International e-Piano Junior Competition, Third Prize and special Mozart Prize in the Cleveland International Piano Competition for Young Artists, Second Prize and special Best Performance of a composition by Russian Composers in the 7th Bösendorfer and Yamaha USASU International Piano Competition.

Other notable top prizes include First Prize and Klavierhaus award for best performance of Romantic piece in the Inaugural Kaufman International Youth Piano Competition, First Prize in the Young Musician Category and Second Prize in the Junior Category of the San Jose International Piano Competition, and First Prize of the ENKOR Piano and Violin International Competition.

Elliot was also a two-time First Prize winner of the Pacific Musical Society Competition of which Yehudi Menuhin, Leon Fleisher, and Ruth Slenczynska were among the past winners.At the Pacific Musical Society competition, Elliot also won the special Centennial scholarship award for the best performance of all categories in the centennial competition.

Elliot was the winner of 2013-2014 California MTNA Competition as well as the Southwest Division MTNA Competition, and he won Second Place in the MTNA National Competition. In 2012, he won the Junior Piano Award of the Mondavi Young Artists Competition and was a winner of the Marilyn Mindell Piano Competition of the Peninsula Symphony and El Camino Youth Symphony Concerto Competition.

In November 2013, he was selected as one of the twelve young pianists from around the world to participate in the Inaugural Lang Lang Junior Music Camp in Munich, Germany, where he performed and worked with Lang Lang in concert and masterclass. Since 2014, Elliot has been named a young scholar of the Lang Lang International Music Foundation with the mission of inspiring and educating the next generation of classical music lovers and performers.

In recent years, Elliot has performed in major venues in the U.S., Italy, Germany, United Kingdom, and China. His performances at the Merkin Concert Hall were aired on WQXR. In NYC, he has also performed at the WQXR Greene Space and the United Nations Headquarters with Lang Lang. Other notable venues include Holywell Music Room, and the Pavilion at the Ravinia Festival. Elliot made his solo recital debut in the Sherman Clay Steinway Young Pianist Recital in May 2012. In 2015, Elliot was featured in the NPR’s “From the Top” program and has been invited as a performing artist in the Chopin Festival in Poland in the summer.

Elliot is currently a San Francisco Conservatory of Music pre-college scholarship student.

HILTON HEAD SYMPHONY ORCHESTRA

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PROGRAM NOTES

BERLIOZ SYMPHONIE FANTASTIQUE

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

Dies irae

JANUARY 17-18, 2016

All three works on this program quote the Dies irae (Day of wrath) within the fabric of the music.Attributed to Thomas of Celano (c.1250), the sequence Dies irae was a late addition to the Catholic liturgy but quickly became the centerpiece of the Mass for the Dead. In the Catholic mass, the sequence began as a newly composed chant for particularly important feast days. Many composers have been unable to pass up this dramatic nugget, whose first eight notes have become universally recognized.

Others, like Mozart and Verdi, created their own melodies to the text.

The Dies irae is a long strophic poem with a pronounced trochaic pulse. Mozart established a tradition of dividing the Dies irae into several musical sections that correspond to the meaning of the text. Nearly a hundred years later,Verdi’s setting of the text was never surpassed as the expression of sheer terror on the Day of Judgment, as the soul awaits eternal salvation or damnation. Fauré and Duruflé simply did away with the poem altogether, deeming it insensitive to the feelings of mourners.

including his own Noiseborder Ensemble.

Lee composed voca me cum benedictis in 2003 on commission from the Windsor Symphony Orchestra, to complete a program of works that incorporate the Dies irae chant. The chant has its origin in the Gregorian Requiem Mass, opening with a description of the terrors of the “Day of Wrath,” and gradually moving to a prayer of supplication. Lee has used this idea of a desperate prayer and its merciful answer as a central metaphor in this work.

Lee writes: “The work begins with a fanfare whose opening motive is taken from the Dies irae theme.This is followed by an extended passage comprising a number of musical elements: a series of canonic melodies in the violins, shifting chords in the woodwinds, and repeating gestures in the timpani and other percussion.

As the passage becomes more agitated and insistent, the Dies irae theme appears in the trombones (albeit somewhat disguised); the passage culminates in a tumultuous climax.After this is heard the “call”; individual instruments answer the call one by one.”

voca me cum benedictis (Call me among the blessed) Brent Lee (b. 1964) Canadian composer Brent Lee studied music composition at McGill University in Montreal and received his doctorate in composition from the University of British Columbia. He is currently Professor of Music Composition at the University of Windsor.

Lee is interested in electroacoustic music and his compositions and improvisations often explore the relationship between acoustic instruments and digital sound processing.

He is a member of improvising ensembles,

Legend of the Crane | Maxine Oliver 2015–2016

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BERLIOZ SYMPHONIE FANTASTIQUE

Rhapsody on a Theme of Paganini, Op.43 as a composer at age 19 with his Prelude in Sergey Rachmaninov (1873-1943)

JANUARY 17-18, 2016

Sergey Rachmaninov grew up in a middleclass musical family, but under strained economic conditions. His gifts as a pianist were recognized early, but he had always wanted to compose and considered himself a composer first, pianist second. Already established as a performer in his teens, he gained instant fame

C-sharp minor, a work that haunted him all his life because audiences always expected – and demanded – it as an encore to his concerts.

The premiere performance of Rachmaninov's First Symphony took place in St. Petersburg in 1897. It was a dismal failure, in large part due to the shoddy conducting of Alexander Glazunov, who was drunk.The disappointment brought on a severe depression, and for three years Rachmaninov was unable to do any significant composing. Finally in 1900 he went for therapy and hypnosis to Dr. Nikolay Dahl. The result was one of the first well-known successes of modern psychotherapy. In 1901 Rachmaninov was consequently able to return to creative work on his Second Piano Concerto, which he dedicated to Dahl. Relapses into depression dogged Rachmaninov, however, for the rest of his life. And significantly, all his large instrumental compositions, as well as most of the rest of his oeuvre, are in minor keys.

For nearly two decades Rachmaninov managed to divide his time comfortably among composing, conducting and performing, with composing his priority. But this idyllic lifestyle changed drastically with the 1917 Russian Revolution, which, as a conservative and traditionalist, he viewed with horror.

That year, Rachmaninov left the country with his family never to return, eventually settling in the United States. His sources of income having dried up, he became a full-time pianist for the rest of his life, leaving him little time to compose.

One of Rachmaninov’s late works was the Rhapsody on a Theme of Paganini, composed in 1934. The work is a set of variations based on the 24th

Whimsy | Joan Ackerman

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BERLIOZ SYMPHONIE FANTASTIQUE

Rachmaninov provides two surprises that save the work from unrelenting repetitiveness so common with long sets of variations. One is in Variation 7 with the appearance of a second theme, the Dies irae chant from the Catholic Mass for the Dead that reminds mourners of the terrors of the Day of Judgment. It is a theme that recurs frequently in Rachmaninov’s music, usually in the most somber sections, but here it has a decidedly tongue-in-cheek flavor: While the piano plays the Dies irae, the orchestra continues to play the Paganini theme, with which it conveniently harmonizes perfectly. The Dies irae recurs in later variations, but always balanced by the main theme and never imposing its lugubrious atmosphere on the composition.

The second highlight occurs in Variation 18.

Nearly all of Rachmaninov’s music is in minor keys.Yet,“compelled” by tradition to compose at least one variation in the opposite mode,

JANUARY 17-18, 2016

Caprice from Niccoló Paganini’s Caprices for Violin Solo, Op. 1. This Caprice – itself a set of bravura variations – has also served such diverse composers as Chopin, Liszt, Schumann, Brahms, Schnittke and Lutoslawski.

Rachmaninov played the premiere with the Philadelphia Orchestra in Baltimore under the baton of Leopold Stokowski.

In the Rhapsody, Rachmaninov reveals an inventiveness – and even an uncharacteristic sense of humor. While Paganini’s variations concentrate on virtuosic pyrotechnics, Rachmaninov imbues the little tune with a wide array of clever harmonizations, eccentric rhythms and changing moods. But however much the variation appears to stray from the theme, the underlying harmonic structure remains constant.

The piece opens with an introduction that hints at the theme to come, followed by the first variation (which he labeled “precedente”), a skeletal version of the theme itself, using only the first note of each of Paganini’s measures – Beethoven had used a similar device to open the set of variations in the Finale of the Symphony No. 3 (Eroica), a stunningly novel approach for the time.

Only afterwards does Rachmaninoff present the theme in full, following it with 23 more variations and a mischievous twomeasure coda.

The Variations give the pianist the same kind of virtuosic workout as its model did for showman Paganini.

Catch Me If You Can | Vickie Jourdan

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BERLIOZ SYMPHONIE FANTASTIQUE JANUARY 17-18, 2016

he accentuated the contrast by not only Every one of his compositions is narrative, composing Variation 18 in the major mode, related in some way to a story or literary text. but inverting the theme as well.

This approach to art was the natural outcome of his belief in the inseparability of music and Symphonie fantastique, Op. 14 ideas. For Berlioz, music and literature were Hector Berlioz (1803-1869) inextricably connected as the quintessential Being a rebel without independent means expression of human imagination and emotion.

As if Romantic literature didn’t present makes life difficult for an artist. Hector Berlioz, the son of a physician, was sent by enough Sturm und Drang, Berlioz’s personal his family to Paris to study medicine, but at life added a subsequent entanglement. Around 21 gave it up to become a musician. To make 1827, he attended productions in Paris of ends meet as a composer, he became a prolific Romeo and Juliet and Hamlet, performed by writer on music, musicians, conducting and the great British actor, David Garrick, and the orchestration, as well as a sharp-tongued apparently somewhat less talented actress, Harriet Smithson. Despite the fact that the music critic for Paris newspapers.

Berlioz was a master of orchestration. He young composer didn’t know English, he fell freed the brass, making it the equal of the other madly in love with Smithson, developed an orchestral sections. He experimented with obsessive fixation on her that inspired the new instruments, including the bass clarinet Symphonie fantastique, and married her six and valve trumpet, and pioneered the use of years later, ultimately making both of them the English horn as one of the orchestra’s most miserable.

The Symphonie fantastique is the first expressive solo instruments. He paid only lip service to conventional musical form and was example of a narrative symphony. Berlioz the foremost advocate of program music. composed it in 1830 as a musical testament

Tropical Delight | Zach Grether

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BERLIOZ SYMPHONIE FANTASTIQUE

Old Tunes | Kendra Natter

By the fourth movement the artist's desperation grows, as does his irrationality.

In an opium-induced fantasy, he murders his beloved and is condemned to the guillotine.

Before the blade falls, the Idée fixe is imprinted on his memory.

The Finale describes an after-death experience, the Witches’ Sabbath. The Idée fixe now reappears in a grotesquely screeching clarinet solo, the ideal beloved now the object of ridicule. At this point Berlioz quotes the Dies irae, the Catholic chant for the dead describing the terrors of the Day of Judgment. He contrapuntally combines the witches’ dance with the plainchant melody in one of his signature musical devices, which he called “the reunion of two themes;” the two melodies are presented separately, then combined, no matter how musically incompatible they may be, to create a kind of musical irony, and the work ends in a wild orchestral climax.

JANUARY 17-18, 2016

to his infatuation. The symphony is united by what the composer himself termed an “Idée fixe,” a theme introduced in the first movement symbolizing the obsession with the beloved.The movement describes a young musician encountering his ideal woman for the first time. His fervor is so great that by the end of the movement the theme turns religious.

In the second movement, a lilting waltz, the artist attends a ball where among the dancing couples, he becomes conscious of his beloved’s presence, with the sudden reappearance of the Idée fixe.

In the third movement the artist goes for an outing in the pastoral countryside, in the midst of which he suddenly remembers his beloved.The movement opens with a haunting echo duet for English horn and oboe. There follows a violent storm, in which the thunder symbolizes and foreshadows the disastrous denouement of the affair.

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STRAUSS & BEETHOVEN JANUARY 31 - FEBRUARY 1, 2016

RICHARD STRAUSS TOD UND VERKLÄRUNG AND BEETHOVEN’S 8TH

SPONSORS SUNDAY, JANUARY 31, 2016 • 4PM

MONDAY, FEBRUARY 1, 2016 • 8PM

Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

SEASON SPONSOR

Power of Oak | Gar y Mullane

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STRAUSS & BEETHOVEN

RICHARD STRAUSS TOD UND VERKLÄRUNG AND BEETHOVEN’S 8TH John Morris Russell, Music Director and Conductor 2015-2016 • 34th Season Sunday, January 31, 2016 • 4pm Monday, February 1, 2016 • 8pm

JANUARY 31 - FEBRUARY 1, 2016

John Morris Russell, Conductor Paul Huang, Violin

PROGRAM SAINT-SAËNS

Violin Concerto No. 3 in B minor, Op 61

I. Allegro non troppo II. Andantino quasi allegretto III. Molto moderato e maestoso; Allegro non troppo Paul Huang, Violin

INTERMISSION BEETHOVEN

STRAUSS

Symphony No. 8 in F major, Op. 93

I. Allegro vivace con brio II. Allegretto scherzando III.Tempo di menuetto IV. Allegro vivace

Tod und Verklärung, Op. 24

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STRAUSS & BEETHOVEN

MEET THE ARTIST

PAUL HUANG

H

PAUL HUANG Strauss & Beethoven Violin Sunday, January 31, 2016 Monday, February 1, 2016

Hailed by the Washington Post as “an artist with the goods for a significant career” and praised

by The Strad for his “stylish and polished playing...”

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ailed by the Washington Post as “an artist with the goods for a significant career” and praised by The Strad for his “stylish and polished playing,” Taiwanese-American violinist Paul Huang is recognized for his intensely expressive music making, distinctive sound, and effortless virtuosity.

His busy season includes debuts with the Louisiana Philharmonic, Brevard Symphony, Seoul Philharmonic, as well as return engagements with the Detroit Symphony, Alabama Symphony, Hilton Head Symphony, Bilbao Symphony, National Symphony of Mexico, and National Taiwan Symphony. He has also appeared as soloist with the Orchestra of St. Luke’s at Lincoln Center, the Louisville Orchestra, the Budapest Dohnányi Symphony in Hungary, and the Taipei Symphony in Taiwan.

This season, Mr. Huang appears in recitals at the Phillips Collection in Washington, DC and the Chamber Music Society of Palm Beach; and performs chamber music on the Caramoor Festival’s Rising Stars series.

In addition to his sold-out recital at Lincoln Center on the Great Performers series, Mr. Huang has performed at the Morgan Library and Museum, the Isabella Stewart Gardner Museum, Jordan Hall, University of Florida Performing Arts, the Stradivari Museum in Cremona, Italy, the Seoul Arts Center in Korea, the National Concert Hall in Taiwan, and at the Louvre in Paris.

His first solo CD, a collection of favorite virtuoso and romantic encore pieces, is slated for a summer 2015 release on the CHIMEI label. He also recorded Four Songs of Solitude for solo violin for Camerata Pacifica’s album of John Harbison works, which was released on Harmonia Mundi last year.

Winner of the 2011 Young Concert Artists International Auditions and recipient of YCA’s 2012 Helen Armstrong Violin Fellowship, Mr. Huang made critically acclaimed recital debuts in the Young Concert Artists Series in New York at Merkin Hall and in Washington, D.C. at the Kennedy Center. Other honors include the 2015 Avery Fisher Career Grant, 2014 Classical Recording Foundation Young Artist Award, 2013 Salon de Virtuosi Career Grant, First Prize at the 2009 International Violin Competition Sion-Valais in Switzerland, 2009 Chi-Mei Cultural Foundation Arts Award for Taiwan’s Most Promising Young Artists, and the 2008 Juilliard Achievement Award.

An acclaimed chamber musician, Mr. Huang appears as a member of the Chamber Music Society of Lincoln Center’s CMS Two program for 2015-2018.

A frequent guest artist at music festivals worldwide, he has performed in Tokyo, Taipei, Beijing,Germany, Switzerland, London, Mexico City, Korea, New York, and throughout California.

Paul Huang is a proud recipient of a Kovner Fellowship at the Juilliard School, where he earned his Bachelor’s and Master’s degrees. He plays the Guarneri del Gesù Cremona, 1742 ex-Wieniawski on loan through the generous efforts of the Stradivari Society of Chicago.

HILTON HEAD SYMPHONY ORCHESTRA

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PROGRAM NOTES

STRAUSS & BEETHOVEN

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

Violin Concerto No. 3 in B minor, Op. 61 Camille Saint-Saëns (1835-1921)

JANUARY 31 - FEBRUARY 1, 2016

Composer, organist and pianist Camille SaintSaëns was a man of wide culture, well versed in literature, the arts and scientific developments.

He was phenomenally precocious and gifted in everything he undertook. As a child prodigy he wrote his first piano compositions at age three and, at age ten, made his formal debut at the Salle Pleyel in Paris, playing Mozart and Beethoven piano concertos. In his youth he was considered an innovator, but by the time he reached maturity he had become a conservative pillar of the establishment, trying to maintain the classical musical tradition in France and expressing open disdain for the new trends in music, including the “malaise” of Wagnerism. His visceral dislike of Debussy made endless headlines in the tabloid press.As a performer – he premiered his five piano concertos – his technique was elegant, effortless and graceful. But neither his compositions nor his pianism were ever pinnacles of passion or emotion. Berlioz noted that Saint-Saëns “...knows everything but lacks inexperience.”

Saint-Saëns was a consummate craftsman and compulsive worker. “I produce music the way an apple tree produces apples,” he commented. He was a proponent of “art for art's sake” but his views on expression and passion in art conflicted with the prevailing literary and emotive Romantic ideas. His large and diverse output includes chamber works for most orchestral instruments.

Although his music was often perceived as passé, he was the first composer to write an original film score in 1908 for L’assassinat du Duc de Guise (The Assassination of the Duke of Guise).

The Violin Concerto No. 3, composed in 1880, was dedicated to the violinist Pablo de Sarasate, who premiered it the same year. It is one of Saint-

Saëns’ most elegant works, a display of virtuosity without the excessive showmanship that dogged so many late-nineteenth-century violin concertos.

The opening movement is at times both dramatic and tender. Written in an abbreviated sonata form without a formal recapitulation, it opens with the soloist, rather than the orchestra. Saint-Saëns then spins out a series of new musical motives, some loosely based on the opening few notes, but he delays the traditional cantabile second theme. He reserves the pyrotechnics until the end of the development section but does not give the soloist a cadenza.

Perhaps the most conservative of the three movements is the second, a lovely Andantino, almost a lullaby. The second half of the theme sounds more in the style of Max Bruch’s Violin Concerto and Scottish Fantasy than French.

The Finale, Allegro non troppo, is the most dramatic and technically challenging movement.

It opens with an introduction in the form of a sparkling cadenza foreshadowing the principal theme of the movement and punctuated by menacing orchestral exclamations and timpani rolls. After a recapitulation of the three main themes, a lively coda with a rush to the finish allows the soloist to whip the audience into a mood for cheers and standing ovation.

Symphony No. 8 in F major, Op. 93 Ludwig van Beethoven (1770-1827) Premiered in Vienna at an all-Beethoven Musikalische Akademie (self-promoting concert) in February 1814, the Eighth Symphony suffered from comparison with the Seventh, which was very popular at the time and had preceded it on the program. Beethoven had a giant orchestra for the occasion: “At my last concert in the Large Redoutensaal there were 18 first violins,

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Six Oaks | Liz Rufenacht Bundy

18 second violins, 12 cellos, 7 double basses, 2 double bassoons” he noted in his diary.

After the rhythmic spree of the Seventh,the new symphony sounded tame and more traditional – not what the audience expected from Beethoven.

Unfortunately, this unfavorable comparison is still made today, although Beethoven insisted that the Eighth was the better of the two. The reviewer of the Allgemeine Musikalische Zeitschrift was perceptive in his appraisal of the symphony and its lukewarm reception: “This reviewer is of the opinion that the reason does not lie by any means in weaker or less artistic workmanship... but partly in the faulty judgment that permitted the symphony to follow the one in A Major, partly in the surfeit of beauty and excellence...if this symphony were performed alone, we have no doubt of its success.”

Beethoven began working on the Symphony in the summer of 1812, immediately after finishing the Seventh, while he was taking the cure at the baths of Teplitz and Carlsbad in 66

Bohemia. He was in a bitter mood at the time: nothing could be done at this point in his life to improve his hearing and he suffered unremitting digestive difficulties, which may have been caused by ulcers. Certainly, his personal life was in disarray; he was frustrated in love, and was involved in bitter family squabbles. Suicide and death were never far from his mind, as the following letter dated May 2, 1810 to his friend Dr. Franz Wegeler indicates:“A year or two ago my more quiet, restful life came to a halt, and I was dragged by force into worldly affairs…But who could be immune from the effect of the external storms? Yet I should be happy…had not the demon pitched his camp in my ears.

Had I not read somewhere that men must not part voluntarily from this life as long as they are capable of doing a single good deed, I should have ceased to exist long ago, and this by my own hand. Oh, life is so lovely, but for me it is poisoned forever…” But none of this misery is reflected in the Symphony.

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STRAUSS & BEETHOVEN

chattering opening becomes a rhythmic motto for the movement – something like the four opening notes of the Fifth Symphony.The highlight is a long coda bursting with energy and vitality. The prolonged and repeated final cadence, a counterweight to the sudden ending of the Scherzo, seems almost a parody of symphonic grandiosity.

Tod und Verklärung, Op. 24 (Death and Transfiguration) Richard Strauss (1864-1949) Richard Strauss came from an extremely conservative family. His father, Franz Joseph, the principal horn player in the Munich Court Orchestra, considered Brahms a radical and Wagner’s music beyond the pale, forbidding his son to listen to it. Richard assimilated the music of the early and middle nineteenth century in his early works, composing as a committed classicist. But he soon discovered that the musical language taught by his father was too confining for his own fertile mind.

In June 1888 when the young Richard attended

JANUARY 31 - FEBRUARY 1, 2016

The Eighth Symphony’s more traditional structure harks back to the composer’s earlier ones, in which he paid tribute to the spirit of his Viennese predecessors, especially Haydn.

The orchestration and development sections, however, belong to the mature Beethoven. And while the Seventh is powerful and dramatic, the Eighth is good-natured, cheery and even humorous – as if the composer needed a rest from the tension of the earlier symphony.

Of special interest has always been the second movement, which by tradition would normally be slow but which Beethoven marks an Allegretto scherzando (playful allegretto). Some musical historians claim that its rigid ostinato repeated chord is a tribute to the inventor of the metronome, Beethoven’s sometime friend and rival Johannes Nepomuk Mälzel.The movement ends with an unexpected abruptness.

Since one scherzo is enough, Beethoven wrote an old-fashioned minuet as the third movement, with prominent woodwinds in the Trio.The symphony ends with a Finale brimming with Haydnesque humor and surprises. The New Day, the Cotswolds | Alex Sharma

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a performance of Wagner’s Tristan und Isolde in Bologna, Italy – the first Italian production of the opera – he was totally captivated, much to the disgust of his father. A year later Richard composed Tod und Verklärung, a tone poem that paying homage to Tristan.

Strauss quickly found his voice through a unique development of the tone poem, or symphonic poem, a purely instrumental rendition of a text, usually poetic or narrative in nature.

The term “symphonic poem” had been coined

by Liszt in 1854 for compositions accompanied by a program that the audience was supposed to read before listening to the music. Although symphonic poems had become a standard genre for the nineteenth century Romantics, including Berlioz, Mendelssohn and Tchaikovsky, reaching its apex with Strauss, they did not all use Liszt’s term, nor his particular technique. Wagner had taken musical narrative to a different plane in his Gesamtkunstwerk fusion of the arts, epitomized in his music dramas. Strauss was to create his own take of this fusion, both in his purely instrumental tone poems and operas.

Strauss’s tone poems are far more detailed than Liszt’s, and often difficult to follow without a “road map.” The anecdotes about Strauss' attempts at narrative music are many: “I want to be able to describe a teaspoon musically,” he is said to have stated. In the ten years between 1888 and 1898, he produced a string of tone poems, beginning with Aus Italien and Macbeth.

Don Juan, completed in 1889, was the first to be publicly performed, catapulting him to international recognition.

Strauss tried to convey in music the minutest details of the story that underlies Tod und Verklärung. According to the composer, the tone poem describes the last hours of a man – presumably an artist – who has aimed to achieve the highest ideals. Strauss wrote: “The sick man lies in bed, asleep, with heavy, irregular breathing;friendly dreams conjure a smile on the face of the deeply suffering man; he wakes 68

up and is once again racked with horrible pain; his limbs shake with fever. As the attack passes and his pain subsides, his thoughts wander through his past life; his childhood passes before him, the time of his youth with its strivings and passion; then, as the pain begins to return, there appears to him the fruit of his life’s journey, the ideal which he strove to realize, to present artistically, but which he has not been able to complete, since it is not for man to accomplish such things.The fatal hour approaches, the soul leaves the body to find in everlasting space those things gloriously achieved which could not be fulfilled here below.”

Strauss considered this scenario vital to an understanding of the work; his friend and mentor Alexander Ritter expanded this description into a 62-line Romantic poem that was later printed with the published score.

Strauss’ homage to Wagner is readily apparent in his use of a specific Leitmotivs to represent each element in the program. As with Wagner, the listener must learn the musical code in advance in order to follow the plot, a feat that purely verbal program notes are ill equipped to provide. Without the roadmap, however, listeners must conjure their own imagery, which may or may not correspond with the composer’s intentions. Does it matter?

Some landmarks along the way: As the work opens, a throbbing ostinato in the violas, and later the timpani, suggests the rhythm of the dying man’s heartbeat and pulse. The strings portray the sufferer’s sighs, and a flute solo heralds his pleasant memories of childhood.The idyll is suddenly interrupted by a loud timpani crash representing the attack of pain.

The work is played as a continuous single movement; the numerous tempo and dynamic changes, many quite sudden, correspond to the elements of Strauss’s program. The tone poem’s “big theme,” representing the sick man’s ideal, does not materialize until more than halfway through the piece since it represents a culmination of his life experience.

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WELCOME TO THE HHSO’S 34TH SEASON

SUPPORTING THE HILTON HEAD INTERNATIONAL PIANO COMPETITION

T

here are several ways that patrons can help “keep the music playing.”

The 88 Key Society has been the most successful fund raising effort for the HHIPC. Membership in this exclusive Society is limited to a maximum of 88 members, each of whom “owns” one or more specific keys of the “competition piano”. One may become a member of the Society with an annual donation of $500 per key. Members enjoy special recognition and benefits both before and during the competition, including a sumptuous cocktail party and screening of “Imagine…

Being a Concert Pianist” hosted by Custom Audio Video, a special morning of coffee and conversation with the judges, as well as complementary tickets for the Master Classes.

For the past four years, the HHIPC has offered “A Musical Feast” benefit consisting of a three course wine dinner combined with a recital by a pianist or pianists who have been prize winners or judges from previous competitions. This year, A Musical Feast will take root at a new venue, the Long Cove Club, on November 6th, with “Rock Star Pianist” Konstantin Soukhovetski. Konstantin, First Prize winner of the 2002 Hilton Head International Piano Competition, will be providing a very entertaining program highlighting his own opera transcriptions. Our conversation will focus on “life after winning a competition”. A three course wine dinner is included in the admission cost of $95 per person. It promises to be a fun-filled event.

Businesses are also given the opportunity to support the HHIPC through sponsorship of each round of competition as well as the finals. The $1,000 Round Sponsor and the $2,500 Finals Sponsor provide a great marketing benefit and an opportunity for businesses to be associated with the Island’s premier cultural event.

Sponsors are acknowledged in many ways- on the HHSO and HHIPC websites and at the Competition. Don’t miss this limited opportunity!

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SPONSORS SUNDAY, FEBRUARY 14, 2016 • 4PM MONDAY, FEBRUARY 15, 2016 • 8PM

FEBRUARY 14-15, 2016

VALENTINE ROMANCE

VALENTINE ROMANCE

Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

SEASON SPONSOR

Mossy Oaks | Gar y Mullane

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VALENTINE ROMANCE

VALENTINE ROMANCE John Morris Russell, Music Director and Conductor 2015-2016 • 34th Season Sunday, February 14, 2016 • 4pm Monday, February 15, 2016 • 8pm

John Morris Russell, Conductor Goeun Melody Sim, Violin

FEBRUARY 14-15, 2016

First Prize Winner, 2015 HHSO Youth Concerto Competition

PROGRAM TCHAIKOVSKY SIBELIUS DEBUSSY

Romeo and Juliet Fantasy Overture Violin Concerto in D minor, Op. 47

I. Allegro moderato Goeun Melody Sim, Violin

Claire de lune

INTERMISSION RODGERS/Walker

Carousel Waltz

STITT & BROWN

Waiting for Wings

GARDEL/Williams

Tango por una cabeza

BERNSTEIN/Peress SAINT-SAËNS

West Side Story Overture Bacchanale

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VALENTINE ROMANCE

MEET THE ARTIST

GOEUN MELODY SIM

G

GOEUN MELODY SIM Valentine Romance Violin Sunday, February 14, 2016 Monday, February 15, 2016

“Ms. Sim is a confident, mature performer who plays with great lyricism at such a young age.”

— Joe Gimbel, Dir. HHSO Youth Concerto Competition

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oeun Melody Sim is a sophomore at Columbus High School Liberal Arts Preparatory Magnet. She started her piano studies at the age of three, and violin studies at age four. Goeun currently studies with Professor Sergiu Schwartz at Columbus State University.

Goeun has won numerous competitions, including a national second prize in the Junior Strings category at the Music Teachers National Association (MTNA) Conference in Anaheim, California. Additionally, she was named as the state winner in the Senior Strings category at the MTNA Competitions in Georgia. Goeun was selected as a Grand Prize winner of the Lois Pickard Scholarship Competition, where she appeared as a soloist with the Alabama Symphony Orchestra. During a performance of the Great Russian Nutcracker, she collaborated with the principal of the Moscow Ballet to perform the Dying Swan. In addition, she has presented as a soloist with the Montgomery Symphony Orchestra annually, and volunteered for the Montgomery Music Project while she was in Montgomery, Alabama.

In summer of 2013, she attended the Boston University Tanglewood Institute (BUTI) in Lenox, Massachusetts as a full scholarship recipient and a concertmaster of the Young Artists Orchestra. Goeun was also selected to perform during Tanglewood On Parade with her chamber group. Her orchestral experience also includes performing as a member of the first violin section of the Montgomery Symphony Orchestra for three years, along with concertmaster seats at the Alabama All-State Music Festival,Alabama Symphony Youth Orchestra, and Youth Orchestra of Greater Columbus.

HILTON HEAD SYMPHONY ORCHESTRA

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PROGRAM NOTES

VALENTINE ROMANCE

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

Romeo and Juliet Fantasy Overture Pyotr Ilyich Tchaikovsky (1840-1893)

Harmonic Harpist | Georgina Kimbell

FEBRUARY 14-15, 2016

The plays of William Shakespeare were one of the major literary influences on composers of the nineteenth century, including Tchaikovsky, who wrote fantasy overtures based on three of them.Two of these, Hamlet and The Tempest, are seldom heard today, but the third, the Romeo and Juliet Fantasy Overture, has become one of the most popular orchestral compositions ever.

The psychological drama of youthful passion and thwarted love consummated in death was an ideal theme for Tchaikovsky, resonating through many of his subsequent works.

Composed in 1869, Romeo and Juliet was one of Tchaikovsky’s earliest orchestral works, written at the suggestion of his friend and mentor, the composer Mily Balakirev, who wrote out a detailed scenario for the composer to follow.

But Balakirev criticized the results, especially the lack of any musical reference to Friar Lawrence: “You need something here along the lines of a Liszt chorale...with old Catholic character,” he wrote the composer, who sat down to rewrite the work to his mentor’s satisfaction.

A second version, published in 1871, still did

not satisfy Balakirev, and Tchaikovsky sat on the score for nearly ten years before bringing out the final version in 1880, the one we are most familiar with. Although Balakirev was still hypercritical, especially of the coda, by then Tchaikovsky had enough self-confidence to resist him. He always regarded the overture highly and once referred to it as his best orchestral work.

Tchaikovsky’s Overture is not a tone poem; there is no attempt to tell the story of the doomed lovers, only to present the major themes of the play, love and violence, in musical guise. The chorale-like introduction recalls the serenity of Friar Laurence’s cell, followed by the Friar’s theme. The composer transformed the ambience from the Roman Catholicism of the play into a Russian Orthodox modal melody in the woodwinds. But this serenity is broken by a fiery Allegro representing the recurrence of the old enmity between the warring families. Finally, muted violas and English horn introduce the love theme.

In the development, the tender love music is harshly interrupted by the furious outbursts of street brawls, combined and contrasted with Friar Lawrence’s theme. Although the love theme overcomes the violence, it ultimately fades away into a despairing lament.

Violin Concerto in D minor, Op. 47 First movement: Allegro moderato Jean Sibelius (1865-1957) Jean Sibelius’s first success as a composer came in 1892 with a nationalistic symphonic poem/cantata titled Kullervo, Op. 7.The work met with great praise but was never again performed in his lifetime. During the next six years he composed music for numerous nationalistic pageants, symphonic poems and vocal works,

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which was eventually released by the composer’s family in 1989, when it was finally recorded.Violinist Karl Halir, under the baton of Richard Strauss, premiered Sibelius’s thoroughly revised version in 1905 in Berlin.

The First movement is by far the weightiest. It explores Sibelius's particular take on sonata form with the themes evolving from one another without a true development section. The soloist introduces a stunning theme that is continually broken up into its motivic elements – particularly the opening three notes – and transformed throughout the movement. The orchestra introduces a second theme, which Sibelius subsequently uses as a refrain. Rather than constructing the movement as a continual dialogue between soloist and orchestra in the standard concerto style, Sibelius intersperses the movement with several cadenza-like passages, beginning Duet | Liz Rufenacht Bundy with the opening. The principal cadenza at the end of the movement is based mainly mostly based on the Finnish national epic, the Kalevala. In appreciation and in order to enable on the opening theme and requires spectacular him to compose undisturbed, the Finnish technical virtuosity. governing council gave Sibelius a pension for life in 1897. For the next 28 years he composed From Suite bergamasque the symphonies and other orchestral works Clair de lune that made him famous. In 1926, at the age of Claude Debussy (1862-1918) 60, he suddenly ceased composing for reasons Debussy composed the Suite bergamasque in never disclosed – although probably from the 1890 while he was still fairly unknown. After combined ravages of alcoholism and bipolar extensive revisions he published it after only in disorder. His pen remained silent until his death, 1905. By that time, after L’après-midi d’un faune, 31 years later.

Pelléas et Mélisande and the String Quartet, Sibelius wrote the Violin Concerto as a he had become famous – or notorious. The testimony to his failed ambition to become a order and number of movements in the Suite violinist, pouring into it every known technical was probably affected by publishing limitations, difficulty and then some. Composed on a rather than musical considerations; even the commission in 1903, it was premiered in Helsinki titles were not finalized until it went to print.The to mixed reviews and then withdrawn. Sibelius Suite belongs to a tradition of French keyboard forbade the performance of the first version, music dating back to the eighteenth century 74

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VALENTINE ROMANCE

Hart’s death, Rodgers teamed up with Oscar Hammerstein II in 1943 to create Oklahoma!, considered the first American vernacular opera.

This success was followed by Carousel, The King and I and South Pacific, ending with The Sound of Music in 1959, shortly before Hammerstein’s death. Ironically, the great team, Rodgers and Hammerstein, loathed each other personally and carried on their collaboration strictly in writing. But after Hammerstein’s death Rodgers never managed to light the spark he had had with his major collaborators.

Carousel, adapted from Frenec Molnár’s play Liliom, opened in April 1945. The Carousel Waltz opens Act I and evokes the sleazy carnival world of the anti-hero Billy Bigelow.

FEBRUARY 14-15, 2016

with the keyboard works of the Couperin family and especially Jean-Philippe Rameau. These are short pieces evoking a mood, an image or even the personality of a specific individual. Like so many of Debussy’s subsequent works, they are deliberately referential,containing programmatic, visual or musical allusions that would have been readily familiar to his audience.

The significance of the title bergamasque is uncertain. The city of Bergamo, about 25 miles northeast of Milan, is considered to be the traditional home of white-faced clown Harlequin of the commedia dell’arte, the street theater dating from the sixteenth century; Debussy had always been a fan of the tradition.

The third movement, the famous Clair de lune, is Debussy’s most used – and abused – composition. Because of its familiarity, it comes off as superficial salon music, unless played with great care.The movement was not born with this name; the original title was Promenade sentimentale, which Debussy changed just before publication.

From Carousel Carousel Waltz Richard Rodgers (1902-1979) Richard Rodgers is remembered today primarily for a string of spectacularly successful works for the Broadway musical stage. From 1919 to 1943, in collaboration with Lorenz Hart, he wrote songs and shows modeled on Tin Pan Alley style but with more up-todate and often cynical lyrics. His final collaboration with Hart was Pal Joey in 1940, which shocked audiences because of its theme of an extra-marital affair. After

Contemplation | Joy "Lillith" Hermann

2015–2016

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Tango por una cabeza (by a {Horse’s} Head) Arr. For Violin and Orchestra by John Williams

Overture to West Side Story Arr. Maurice Peress

Carlos Gardel (1890-1935)

West Side Story was Leonard Bernstein’s attempt to demonstrate that it was possible to write a serious musical, an attempt that succeeded beyond all expectations.With lyrics

by Stephen Sondheim and Jerome Robbins as director and choreographer, it opened on Broadway on September 26, 1957 and ran for over 1000 performances. The movie was just as spectacular a success, as was the recording.

But its birth was not easy. Originally, the show had been conceived six years earlier as a conflict between Jews and Catholics during the Easter-Passover celebrations and at one point was to be called East Side Story.Although Shakespeare’s archetypal “Montegue/Capulet” clan war was finally switched to Anglo/Puerto Rican gangs on the Upper West Side, still no backers could be found; it became notorious for having been turned down by nearly everybody because no one thought that such a tragic story was suitable material for a musical.

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Singer, songwriter and actor Carlos Gardel was born either in France or in Uruguay, and became one of the most prominent influences in the development of the tango.While he made his home in Argentina, he became through his music the adopted son of all of Latin America.

He died in a plane crash in Colombia 1935.

As is always the case with folk celebrities, myths around his life abound. In 1915 he was shot and wounded in a barroom brawl (fact), according to some by the father of Che Guevara (probably myth).

Gardel composed Tango por una cabeza in 1935 to lyrics by his long-time collaborator, the Brazilian Alfredo Le Pera, who died together with Gardel in the plane crash. It has become one of the most popular tangos, and has been used in many films and TV programs. John Williams incorporated it into the music of Schindler’s List and of Scent of a Woman, and in arrangements for violin and piano or orchestra for Itzhak Perlman.

Leonard Bernstein (1918-1990)

Until Tomorrow | Heather Wanamaker

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enemy. Dramatically, the music portrays the reckless abandon that always seems to precede calamity. For when the Philistines bring out the blind and shackled Samson to gloat over him, he calls upon the one God to give him a final burst of strength to destroy the Philistines and their false god. In a suicidal sacrifice he topples the pillars of Dagon’s temple, crushing the enemy.

In 1877, at the time the opera was written, all Europe was fascinated with the exotic, particularly the Orient (which included the Middle East). Homes were decorated like Chinese pagodas, and composers wrote “Arab” sounding music. As France was deeply involved in the colonization of North Africa, Saint-Saëns spent the years 1880-81 traveling to resorts in Algeria (then a French colony) and Egypt. The music he heard while abroad gave him first-hand knowledge of an entirely new musical language with its own scales, rhythms and theory, and he Bacchanale from Samson and Delilah, Act III made sincere attempts to integrate them into his own works (the Suite algérienne and the Fifth Camille Saint-Saëns (1835-1921) Samson et Delila, Camille Saint-Saëns’s best Piano Concerto “The Egyptian”). But the popular known opera, premiered at the behest of Bacchanale, written before his North African Franz Liszt in Germany – and in German – in sojourns, abounds with themes that frankly December 1877; it did not reach Paris until 1890. reflect exotic clichés rather than the real McCoy. The opera is a fanciful adaptation of the biblical story of Samson, lured by the Philistine seductress Delilah into revealing the source of his superhuman strength, his long hair. Delilah cut it off as he sleeps and blinds him for good measure.

The Bacchanale is the ballet – a requirement for all French opera – as the Philistines celebrate the power of their god, Dagon, and Delilah’s victory over their seemingly invincible Piano Odalisque | Frank Sullivan

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Casting was another problem. Robbins, a perfectionist, wanted a cast of 38 who could both dance and sing – a nearly impossible demand in those days, but now the rule rather than the exception. Being first and foremost a choreographer, he finally settled on dancers who could sing—as opposed to singers who could dance. When Bernstein, unencumbered by staging issues, re-recorded West Side Story in 1988, he used opera singers for the main roles: Kiri Te Kanawa, José Carreras, Tatiana Troyanos and Marilyn Horne.

The overture, which was not in the original score,encapsulates the central themes of the plot, although not in order of occurrence. Originally scored for 31 players, heavy on the winds and percussion in 1965, conductor Maurice Peress arranged the overture for symphony orchestra.

2014–2015

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GILBERT AND SULLIVAN NIGHT MARCH 20-21, 2016

GILBERT AND SULLIVAN NIGHT

SPONSORS SUNDAY, MARCH 20, 2016 • 4PM

MONDAY, MARCH 21, 2016 • 8PM

Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

SEASON SPONSOR

Power of Oak | Gar y Mullane

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GILBERT AND SULLIVAN NIGHT

GILBERT AND SULLIVAN NIGHT John Morris Russell, Music Director and Conductor 2015-2016 • 34th Season Sunday, March 20, 2016 • 4pm Monday, March 21, 2016 • 8pm

John Morris Russell, Conductor Hilton Head Symphony Orchestra Chorus Tim Reynolds, Chorus Master Hilton Head Dance Theatre John Carlyle, Director Charleston Southern Lyric Theatre Ensemble Jennifer Luiken, Stage Director

PROGRAM GILBERT AND SULLIVAN

arr. Mackerras

MARCH 20-21, 2016

The Mikado The Gondoliers H.M.S Pinafore The Pirates of Penzance

Overture Once more, gondolieri I'm called Little Buttercup Climbing over rocky mountain Oh! Is there not one maiden breast Poor wandr'ing one How beautifully blue the sky When the foemen bares his steel Pineapple Poll Suite

1. Overture 2. Jasper's Dance 3. Finale Hilton Head Dance Theatre

GILBERT AND SULLIVAN The Mikado

Three little maids from school are we Here's a how-de-do For he's gone and married Yum-Yum

INTERMISSION GILBERT AND SULLIVAN Trial by Jury 2015–2016

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GILBERT AND SULLIVAN NIGHT

MEET THE ARTIST

TIM REYNOLDS

TIM REYNOLDS Chorus Master Gilbert and Sullivan Night Sunday, March 20, 2016 Monday, March 21, 2016

He is founding director of the HHCS Chamber Singers, the HHCS Youth Choir and the Lowcountry Festival Chorus.

Tim Reynolds continues his work with the HHSO this season as Chorus Master.

Since arriving on Hilton Head he has become an integral part of the LowCountry music scene. He is in his 16th season as Artistic Director/Conductor of the Hilton Head Choral Society and his 11th year as Director of Music at St.Andrew By-The-Sea United Methodist Church, Hilton Head.

Reynolds is founding director of the HHCS Chamber Singers, the HHCS Youth Choir and the Low Country Festival Chorus as well as director of the HHCS Presents concert series, bringing world-renown choral ensembles to the island community, including Chanticleer (USA), The Vienna Choir Boys (Austria), The Swingle Singers, The King’s Singers, and VOCES8 (UK), Cantus (USA) and the American Boychoir.

He holds music degrees from Wittenberg University (OH) and the University of Oklahoma with post-graduate work at the University of Illinois and special studies certificates from Cambridge University (UK), the Britten Pears School for Advanced Musical Studies (UK) and the Hochschule fur Musik (Vienna,Austria).

Locally Reynolds has served as music director for numerous productions at the Arts Center of Coastal Carolina, and South Carolina Repertory Company as well as lending his musical and vocal technique skills to the Shore Notes, Main Street Youth Theater and Hilton Head High School.

THE HILTON HEAD SYMPHONY ORCHESTRA CHORUS

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he HHSOC is an auditioned chorus of professional and professionally trained vocalists from around the Lowcountry who are dedicated to performing diverse and challenging symphonic choral literature with the Hilton Head Symphony Orchestra.These singers have a wealth of experience, having performed extensively as soloists in opera and oratorio and as vocalists with major symphony orchestra choruses and choral societies all across the United States and abroad.

The chorus is skilled in a diverse range of repertoire from the opera and Broadway stages to classical works of the great masters including Mahler’s Second Symphony, Orff’s Carmina Burana, Brahms’ A German Requiem, Mozart’s Grand Mass in G minor, Tchaikovsky’s 1812 Overture, Holst’s The Planets and selections from Aida, Die Fledermaus, Macbeth, and Falstaff as well as popular works by Copland, Handel and Mendelssohn. Several years ago, the chorus added a slightly different twist to their diverse repertoire- by joining the popular Flash Mob phenomena with a performance at Shelter Cove!

Now entering their tenth season, this highly acclaimed ensemble continues to expand their repertoire and love of music, while striving to set the highest standard for performance and professionalism.

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PROGRAM NOTES

GILBERT AND SULLIVAN NIGHT

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

The Mikado The team’s biggest hit was The Mikado in 1885.

It remains so because its satire is more general, its plot and dialogue funnier and less dependent on a knowledge of nineteenth-century British political and social issues. The unbelievably silly and complicated plot hangs on two imperial decrees and their effect on the people of the town of Titipu and the Mikado’s son and heir masquerading as a wondering minstrel: Flirting is punishable by decapitation; and a person “cannot cut off another’s head until he’s cut his own off” (see Wikipedia.)

It is interesting musically because Sullivan used an authentic Japanese melody, first heard in the Overture and later as the song welcoming the Mikado to Titipu.The other numbers are typical G&S affairs, made funnier because the music sounds so incongruous coming from a cast done up in Japanese costumes: 1. Three little maids from school: The entrance of the heroine, Yum-Yum, and her two schoolmates (doing what was believed to be an authentic Japanese dance).

2. Here’s a how-de-do: The trio with Yum-Yum, Nanki-poo, the crown prince, and Koko, the lord high executioner, each bewailing the predicament caused by the Mikado’s edicts.

3. For he’s gone and married Yum-Yum: The final chorus after – believe it or not – everything gets sorted out.

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W. S. Gilbert (1836-1911) & Arthur Sullivan (1842-1900) created a string of operettas that dominated the English stage in the last decades of the nineteenth century.

The collaboration inspired a three-way business partnership with their impresario, Richard D’Oyly Carte, who established an opera company and built the Savoy theatre, which was largely dedicated to G & S operettas. Gilbert meticulously supervised each new production; every detail, including stage direction down to facial expressions and hand gestures, choreography and style of delivery were protected by a strict and lucrative licensing system. The venture was so successful that it spawned two touring companies and endured until 1982.

Like their cultural descendants, Rodgers and Hammerstein, however, the pair could never get along. Periodic disputes and reconciliations (one even went to court.) eventually marred the venture. Sullivan staked his success and reputation on his “serious” music – now forgotten. More of a proper Victorian than his partner, he never completely accepted Gilbert’s acid librettos. Queen Victoria knighted Sullivan in 1883, but Gilbert, who was an equal opportunity insulter, had to wait until 1907 because the Queen “was not amused” by his cheeky libretti. Edward VII was definitely more broadminded.

After 14 operettas, the last two being significantly inferior to the others, the pair split up in 1893. Sullivan’s collaboration with Gilbert gained him long-lasting, worldwide popularity, but it rankled him that he was “joined at the hip” to Gilbert. Gilbert was equally miffed, especially by his partner’s knighthood.

H.M.S. Pinafore A little less daunting in plot was H.M.S. Pinafore (1878), the operetta that put the team on the map, so to speak. A hawker of trinkets, Little Buttercup has in a former life been a onewoman adoption agency. In the classic dramatic device of infants exchanged in cradles, she

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has mixed up two orphans of opposite social stations: Ralph Rackstraw, a common sailor, and his commanding officer, Captain Corcoran.

After the captain’s daughter and Ralph have been caught attempting to elope, Buttercup ex machina reveals her dirty secret, thereby reversing the social station of the two men and rendering the marriage legitimate by British social standards. In Act 1, she introduces herself as the more innocent I’m called Little Buttercup.

The Pirates of Penzance

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Next up was Pirates (1879), which premiered in New York! Another swipe at the British class system and baby trafficking, Pirates recounts two fateful days in the life of Frederick, a young pirate, and Mabel, one of a chorus of Major General Stanley’s daughters.

Once again, a failed elopement is made right by the contralto, Frederic’s old, hearing impaired

nurse, Ruth, now a “piratical maid of all work.”

She inadvertently apprenticed Frederic to a pirate instead of a pilot. Turns out that the whole crew is made up of “noblemen who have gone wrong” and who, presumably, will be suitably reformed and married to General Stanley’s daughters. In Act 1, the girls fall into the hands of the pirates: 1. Climbing over rocky mountain: The chorus of daughters sings a hiking song.

2. Oh, is there not one maiden breast: They come upon Frederic hanging around on the beach, who tells them that he wants to get out if the pirating business and find a nice young lady.

3. Poor wand’ring one: Mabel takes pity on him – and more.

4. How beautifully blue the sky: The rest of the girls sing about the weather in order to give the pair some privacy.

Night at the Opera | Norma Deal

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The Gondoliers

Selections from Pineapple Poll Arr. by Charles Mackerras In 1950, when the 50-year copyright on Arthur Sullivan’s music expired, John Cranko, the choreographer of the Sadler’s Wells ballet, asked conductor Charles Mackerras (19252010) to make an arrangement of tunes from G & S operettas for a comic ballet based on W. S. Gilbert’s satirical ballad that was part of the source for the libretto of H.M.S. Pinafore.

Generally Mackerras’ quotes are broad and obvious, but the sources of short transitional

passages, sometimes only a few measures long, are tricky to identify even for aficionados.

The principal characters in the ballet are Pineapple Poll, a flower-seller, Jasper, the "pot boy" at the local tavern and the dashing Captain Belaye of the H.M.S. Hot Cross Bun, which has just docked in Portsmouth. All the girls in town vie for the attention of Captain Belaye, including Pineapple Poll – much to the dismay of Jasper, who has a serious crush on her. But Belaye's eye has been caught by Blanche, a local beauty chaperoned by her aunt, Mrs. Dimple. In the end, all the girls chasing the captain cross-dress as sailors and board the ship; after the usual mix up, everyone ends happy and Jasper gets Pineapple Poll.

Trial by Jury W. S. Gilbert & Arthur Sullivan (1836-1911) (1842-1900) Homo sapiens is a litigious species; Perhaps legal settlement is our way of “civilizing” the fight instinct. But fashions change across time and geography. A $750 thousand suit against Starbucks for burns from a spilled cup of coffee to damages sought for a jilted lover sum up the judicial differences between current and Victorian practice. Of course, it’s all about money. A prospective bride or groom seriously considered how much hard cash or lifetime income her family “settled” on her.

Trial by Jury was the first full scale musical satire created between librettist W. S. Gilbert and composer Arthur Sullivan. In one act, it shamelessly lampooned the British legal system. Angelina, the jilted fiancée, brings suit against Edwin for breach of promise of marriage. Before the trial commences, a chorus of courtroom mavens anxiously awaits, “with hope and fear” the arrival of the judge while the court Usher admonishes the jury in song with the refrain: “From bias free of every kind this trial must be tried.” The verses

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Although the pair collaborated on two more operettas, The Gondoliers (1889) was their final success. The baby-changing device still worked for them, although here with a little twist. Marco and Giuseppe, two gondoliers, think they are brothers, but the Grand Inquisitor, the Duke and Duchess of Plaza-Toro, their daughter Casilda and their drummer, Luiz, have come toVenice because one of them is actually the king of Barataria. But which one? The two decide to share the throne and immediately institute a socialist monarchy in which everyone is equal. In the midst of this chaos, Meanwhile, Casilda and Luiz have an impossible relationship because of the differences in their social status. It turns out, however, that the true king can be recognized by a birthmark.And guess who has the birthmark?Once more gondolieri is the final chorus of the operetta, in which Marco and Giuseppe go back to their girlfriends and their gondolas.

GILBERT AND SULLIVAN NIGHT

5. When the foeman bears his steel: In the finale to Act 1, the pirates, all parentless, however, have attempted to abduct the daughters, and General Stanley has managed to wheedle them back by claiming to be an orphan too. Regretting his non-soldierly ruse, he enlists a bunch of feckless policemen to arrest the pirates.

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are another story as he describes “the brokenhearted bride” and advises the jury to ignore anything the “ruffian” defendant says.

Before the gavel falls, the Judge gives an account of his career from starving barrister to Judge in a patter song, (a sub-genre requisite of all subsequent G & S librettos).

After all the principals have made their cases and an aborted settlement, the Judge slices through the Gordian knot and decides to marry Angelina himself – without, incidentally, consulting the jury.

Trial by Jury premiered in March 1875 and was an immediate success, with an initial run of 131 performances.

MARCH 20-21, 2016

Triplets | Billy Howe

WINNER’S RECITAL AT CARNEGIE HALL

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n 2001, the Hilton Head International Piano Competition introduced a debut recital at Weill Hall at Carnegie Hall as part of the first prize. It was anticipated that such an award would attract applicants who were qualified to perform on the New York stage.

It did just that.The number of applicants nearly doubled from 59 the previous year to 102 in 2002. The number continues to increase and the caliber of performers remains high. The recital and the resulting media exposure are extremely valuable for a pianist’s resume and enhance the possibilities for future performances.

Those who travel from Hilton Head to hear the recital enjoy attending this event. The opportunity to hear our winner perform in such a magnificent hall is very exciting. Attendees also enjoy the reception that follows, which has traditionally been held at Steinway Hall.

This past November many heard our 2014 First Prize Winner, Shen Lu, perform there.You are invited to join us in New York City in November, 2016.

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WELCOME TO THE HHSO’S 34TH SEASON

ENHANCE YOUR ORCHESTRA EXPERIENCE BY

HOSTING A MUSICIAN

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he Hilton Head Symphony Orchestra has the advantage of drawing excellent musicians from geographic areas well beyond Hilton Head – Savannah, Charleston, Macon, Augusta, Atlanta, Greenville, Jacksonville, and even as far away as Winston-Salem. With Sunday and Monday concerts and the preceding rehearsals, this means the musicians are in Hilton Head from Thursday or Friday to Tuesday. For years we have offered them the opportunity to stay in local hotels or in private homes of HHSO supporters.

Increasingly, musicians are choosing the private home experience. This means we need a increasing number of homes to accommodate our musicians.

Hosting responsibilities are minimal – a private bedroom and bath, a light breakfast, and perhaps a glass of wine or snack after a late night rehearsal or concert. Musicians provide their own transportation and are given a per diem to cover other meals and expenses. Sometimes hosts do invite their guests to join them for a meal or going out to dinner, but that is up to each family and the relationship they have developed with the musician.

The benefits far outweigh the responsibilities: • Those who regularly host the same musician(s) find that great friendships result; the musicians become “family.”

• Knowing the musicians personally provides a real appreciation for their talent and how hard they work to provide the professional performances we all enjoy.

• A musician practicing brings the “sound of music” to your home and provides a preview of the concert to come.

• During the concert, hosts find that they have a vested interest in the musician’s performance and the good feeling of having supported in some small way that performance.

• Hosting a musician provides an important way (beyond your subscription and financial support) of supporting the orchestra and the quality of music it provides.

• Musicians report that they give priority to HHSO when building their schedules because of the hospitality they receive here; this keeps the most talented pool of musicians available to us.

• And it’s fun!

As violinist Steve Karp (hosted by Phyllis Patterson since 2009) says: “All-in-all it’s been a great experience getting to know Phyllis!

I highly recommend it to other patrons...we musicians are a bit crazy, but we’re also a lot of fun!”

A special thank you to all the host families this past year:

Marilyn and Buzz Althans Kathy and David Alven Peggy and Hal Ashworth Peggy and Vic Arrington Darle and Bob Booher Mary and Mike Briggs Joan and Charlie Dattelbaum Scottie Davis Karen and Buck Edwards Linda Ellis Sharon and Gordon Hassing Beth Heyman Mona and Joe Huff Carol and John Lang Linda and Glenn Neff Mary Noonan Susan and Ed Parrish Kathie and John Patten Phyllis Patterson Mary Ann and Terry Putnam Andrea and Bruce Siebold Judy and Bill Thorpe If you want to join the fun and open your home to musicians during the 2015-16 orchestra season, please contact Mary Noonan at (843) 342-2030 or mkn.hhi@gmail.com.

Your support will be appreciated greatly!

Judy and Bill Thorpe regularly host bass players Joe Farley and Peter Berquist.

2015–2016

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JOANN FALLETTA CONDUCTS APRIL 24-25, 2016

JOANN FALLETTA CONDUCTS RODRIGO, PIAZZOLA AND MOZART

SPONSORS SUNDAY, APRIL 24, 2016 • 4PM

MONDAY, APRIL 25, 2016 • 8PM

FREY MEDIA

consult | create | connect

Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

SEASON SPONSOR

Mossy Oaks | Gar y Mullane

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JOANN FALLETTA CONDUCTS

JOANN FALLETTA CONDUCTS RODRIGO, PIAZZOLA AND MOZART John Morris Russell, Music Director and Conductor 2015-2016 • 34th Season Sunday, April 24, 2016 • 4pm Monday, April 25, 2016 • 8pm

JoAnn Falletta, Conductor Celil Refik Kaya, Guitar

APRIL 24-25, 2016

PROGRAM PIAZZOLLA RODRIGO

Tangazo Concierto de Aranjuez Celil Refik Kaya, Guitar

INTERMISSION MOZART

Symphony No. 41 in C major, K. 551 1. Allegro vivace 2. Andante cantabile 3. Allegretto 4. Molto allegro

2015–2016

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APRIL 24-25, 2016

JOANN FALLETTA CONDUCTS

MEET THE CONDUCTOR

JOANN FALLETTA

J

JOANN FALLETTA Joann Falletta Conducts Conductor Sunday, April 24, 2016 Monday, April 25, 2016

Acclaimed by The New York Times as “one of the finest conductors of her generation”, she serves as the Musical Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra and Principal Guest Conductor of the Brevard Music Center.

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oAnn Falletta is internationally celebrated as a vibrant ambassador for music, an inspiring artistic leader, and a champion of American symphonic music. An effervescent and exuberant figure on the podium, she has been praised by the Washington Post as having “Toscanini’s tight control over ensemble, Walter’s affectionate balancing of inner voices, Stokowski’s gutsy showmanship, and a controlled frenzy worthy of Bernstein.” Acclaimed by the NewYork Times as “one of the finest conductors of her generation”, she serves as the Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra and Principal Guest Conductor of the Brevard Music Center.

Ms. Falletta has guest conducted over a hundred orchestras in North America, and many of the most prominent orchestras in Europe, Asia, South America and Africa. She is the recipient of many of the most prestigious conducting awards including the Seaver/National Endowment for the Arts Conductors Award, the coveted Stokowski Competition, and the Toscanini, Ditson and Bruno Walter Awards for conducting, as well as the American Symphony Orchestra League’s prestigious John S. Edwards Award. She is an ardent champion of music of our time, introducing over 500 works by American composers, including more than 110 world premieres. She has also been honored with twelve ASCAP awards. Ms. Falletta serves as a Member of the National Council on the Arts.

Since stepping up to the podium as Music Director of the Buffalo Philharmonic Orchestra in the fall of 1999, Maestro Falletta has been credited with bringing the Philharmonic to a new level of national and international prominence. Under her direction, the BPO has become one of the most recorded orchestras in America, earning a double Grammy Award in 2009 for their recording with soprano Hila Plitmann of John Corigliano’s Mr.Tambourine Man, and six Grammy nominations on the Naxos label.

Ms. Falletta’s growing discography, which currently includes over 85 titles, consists of recordings with the London, Virginia, New Zealand, Long Beach, and Czech National symphonies; the Ulster, Netherlands Radio, Royal Scottish National, and English Chamber orchestras; and the Buffalo Philharmonic, Philadelphia Philharmonia and Women’s Philharmonic, among others.

In addition to her current posts with the Buffalo Philharmonic, the Virginia Symphony and the Brevard Music Center, Ms. Falletta has held the positions of Artistic Advisor to the Honolulu Symphony, Music Director of the Long Beach Symphony Orchestra, Associate Conductor of the Milwaukee Symphony Orchestra, Principal Guest Conductor of the Phoenix Symphony, and Music Director of the Denver Chamber Orchestra, the Queens Philharmonic and the Women’s Philharmonic.

Ms.Falletta received her undergraduate degree from the Mannes College of Music in New York and her master’s and doctorate degrees from The Juilliard School.

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MEET THE ARTIST

P

CELIL REFIK KAYA Joann Falletta Conducts Guitar Sunday, April 24, 2016 Monday, April 25, 2016

Praised as a “young genius of the guitar” reviewers have proclaimed, “The clean precision of Kaya’s playing, against the rushing sea of the orchestra, was spectacular and beautiful. It was a privilege to have been there.”

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raised as a “young genius of the guitar” reviewers have proclaimed, “The clean precision of Kaya’s playing, against the rushing sea of the orchestra, was spectacular and beautiful. It was a privilege to have been there.”

Celil Refik Kaya,2012 JoAnn Falletta International Guitar Concerto Competition First Prize winner and GFA International Concert Artist Competition Second Prize winner, has been receiving accolades for his accomplishments since an early age.

Kaya’s 2013 season included performances at Carnegie Hall’s Weill Recital Hall on the D’Addario Performance Series, New York Guitar Seminar at Mannes, the Brevard Music Festival, Round Top Music Festival, and Nevada County Guitar Festival, and as soloist with the Buffalo Philharmonic and the Brevard, Lake Placid, and Bilkent symphonies.

Born in Istanbul in 1991, Kaya began classical guitar studies at age six with his father, Dr. Mehmet Refik Kaya, and later withYusuf Dog˘an Büyükög˘üt.Throughout his career, he also studied advanced interpretation with Maestro Raffi Arslanyan and gave his first concert in the Cemal Resit Rey Concert Hall in Istanbul when he was 6 years old. Kaya went on to perform for numerous live television and radio programs in Europe and, at age 13, went on to win the 2004 Forum Gitarre Wien which is one of the most important guitar competitions in Vienna.

Kaya has received top prizes in numerous international competitions including the 2009 Sofia Bulgaria Young Virtuosos Competition, 2008 Istanbul Pera Guitar Festival and Competition, Philadelphia Guitar Society International Guitar Competition, The 30th International Classical Guitar Competition, Pearl and Julius Rising Young Stars Music Competition, Queens Symphony Young Soloist Competition, Louisville Guitar Competition and Columbus State University Guitar Competition.

He has also shown an impressive commitment to new music. He has presented the NewYork premiere of Roberto Sierra’s “Folias” with the Buffalo Philharmonic Orchestra, the World Premiere of both Derwyn Holder’s Guitar Concerto with the New Jersey Baroque Orchestra and Turkish composer Suleyman Alnitemiz’s Guitar Concerto with the Istanbul State Symphony Orchestra.

In 2011, Kaya graduated from the Mimar Sinan Fine Arts University State Conservatory with the Highest Honor Degree and ranked first in the entire conservatory that year.While attending the Mimar Sinan Conservatory, Kaya was granted the “Excellence” Scholarship from the Turkish Foundation of Education.

Kaya completed his Master of Music studies as a scholarship student of Michael Newman at Mannes College The New School For Music in New York City, as well as private studies with multiple Grammy award-winning guitarist Sharon Isbin, He has now entered the Doctor of Musical Arts program at University ofTexas’s Butler School of Music as a Harrington Fellow in the studio of Adam Holzman.

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PROGRAM NOTES

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

Tanganzo Astor Piazzolla (1921-1992)

APRIL 24-25, 2016

Everyone knows that it takes two to tango, but no one can agree on the origin of the dance. Whether it ultimately derived from African drumming, Spanish Roma (Gypsy) music or native Indian sources is still in dispute.

For 150 years, nearly every Spanish-speaking national culture has shaped and adapted its characteristic rhythm.

The arrabal, the squalid immigrant slums of the late nineteenth century outside Buenos Aires, bred its own version of the tango, a popular song laced with bitter urban protest. By the 1930s the lyrics had developed a fatalistic take on love and life in general, and into this world the parents of Astor Piazzolla arrived from Italy.The music of the arrabal shaped Piazzolla’s entire career.

During the Depression, Piazzolla’s family moved to New York, where he studied piano and bandoneón, a type of concertina with 38 keys, the predominant instrument in Argentine tango ensembles. After returning to Buenos Aires in 1937, he studied with Argentine Classical composer Alberto Ginastera.

After a stint in Paris in 1954-55, studying composition with no less an eminence than Nadia Boulanger – teacher at some point in their careers to nearly every well-known mid-twentieth century composer – Piazzolla returned to Argentina to form his first Tango Octet and later, his renowned Tango Quintet.

The Quintet featured bandoneón, violin, piano, electric guitar and bass.

Influenced both by his studies in Paris and classical forms, Piazzolla set his compositions a cut above the traditional tangos. No longer dance music, they became concert music, 90

although at first for the nightclub rather than the concert hall. Over the decades, his name has been inseparably associated with the tango, although the psychological intensity and sophistication of his music so infuriated the traditionalists that he was repeatedly physically assaulted and even threatened with a gun to his head during a radio broadcast.

Piazzolla took his influences from classical, folk and jazz music but he gave back as well, his tangos inspiring such jazz artists as Jerry Mulligan and Chick Corea. In the classical world, his tangos have been arranged for classical violinist Gidon Kremer and for the eclectic Kronos Quartet.

In Tangazo, composed in 1967, Piazzolla becomes the “Bach of Buenos Aires,” combining complex contrapuntal writing with the tango rhythm and jazz-like melodic spontaneity. The first five minutes of this 13-minute piece are a slow introduction with a long meandering melody in the basses. The cellos, violas and violins enter in order, each section spinning out its own contrapuntal line. The weighty buildup and conservative rhythm with no hint of the dance nor traditional Latin syncopation makes the sudden burst of the energetic tango rhythm all that more effective. The tango proper begins with a serpentine oboe solo over an accompaniment of rasp, pizzicato violins punctuated with brief, shrieking glissandos.

Another solo by the French horn shifts into a slower, sultry tango. After a return to the lively oboe theme, Piazzolla abandons melody altogether as the tango rhythm fades to silence.

Apparently Piazzolla was not happy with the 1970 premiere in Washington D.C. by The Ensemble Musical de Buenos Aires. “… [they] gave a good account of it but somewhere it

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the Spanish Civil War he traveled extensively in Europe, especially through France and Germany, finally returning home in 1939 to settle in Madrid.The premiere in 1940 of his Concierto de Aranjuez catapulted him to world recognition. In 1947 the Manuel de Falla chair was created for him at Madrid University where he composed and taught for the rest of his long life.

Rodrigo’s style is far removed from the major currents of European musical development in the twentieth century. Rather, it reflects Spain’s classical and folk music, art and literature, frequently using old Spanish melodies as his themes. His harmonic language is so conservative that the eighteenthcentury composer to the Spanish court, Domenico Scarlatti beats him hands down in the use of The Watcher | Michael Nicastre dissonance and adventurous harmonies. Rodrigo composed lost a pinch of salt and pepper. Those classical about 170 works, including eleven concertos, musicians are like that – they are from Buenos 60 songs and music for the ballet, theater Aires, Argentineans, and yet it seems that the and film. tango shames them.”

The Concierto de Aranjuez remains Rodrigo’s most popular work. While he maintained that Concierto de Aranjuez there was no program implied, the title refers to Joaquín Rodrigo (1901-1999) a famous royal enclave on the road to Andalusia Like his fellow Spanish composers Enrique on the Tagus river near Madrid. According to Granados and Manuel de Falla, Joaquín Rodrigo the composer, the music “…seems to bring to traveled to Paris to study composition and life the essence of eighteenth-century court piano. Although he lost his eyesight to a severe life, where aristocratic distinction blends with illness at age three, he became an accomplished popular culture. …The Concerto is meant pianist and a star composition student of Paul to sound like the hidden breeze that stirs the Dukas (composer of The Sorcerer’s Apprentice). In treetops in the parks; it should only be as strong the early 1930s Rodrigo had to return to Spain as a butterfly and as delicate as a veronica [a when the family’s wine business went bankrupt, pass with the cape at a bullfight].”

The guitar solo that opens the Concerto sets but he succeeded in obtaining a scholarship and returning to Paris for further studies. During up a series of strummed chords that promise,

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but delay, the arrival of the principal theme.

Only a full minute later, after the orchestra has repeated the pattern, does the theme actually appear, played by the violins with the orchestra and soloist engaging in a musical dialogue.

The Adagio is the heart of the Concerto, capturing for the concert hall the brooding Flamenco strains in a late-night bar. The guitar sinuously, even lovingly, embellishes a melody like an example of fine decorative Moorish calligraphy. The melody has morphed into everything from elevator music to the awardwinning jazz recording for trumpet and flugelhorn by Miles Davis.

The final movement comes like a splash of cold water on a sunburn.. The movement is a series of free variations based on a lively sixteenth-century folksong.

Symphony No. 41 in C major, K. 551 “Jupiter” Wolfgang Amadeus Mozart (1756-1791) Mozart composed his three last symphonies – or at least finished them – in the short span of six weeks in June-August 1788. In spite of the ceaseless flow of his musical output, he had composed no symphonies during the preceding two years, nor was he to write any in the following three, the last years of his life.

These three symphonies were not composed on commission but were probably written for a series of subscription concerts that Mozart planned for 1788-89 in Vienna but which apparently never materialized for lack of support. At this point, in Vienna at least, his star was already in decline despite the success of his two great operas in collaboration with Lorenzo da Ponte, Don Giovanni (premiered in Prague) and The Marriage of Figaro. He was desperately in need of money – in large part because he was constitutionally unable to curb his extravagant spending habit. However, 92

the notion that Mozart never heard these symphonies performed is the creation of nineteenth-century romanticism; in fact, Mozart probably scheduled the C major Symphony for a concert in Frankfurt in October 1790.

The three symphonies reflect very different moods, the darkest being No. 40. It is almost as if the tragedy of this symphony saw its resolution only the in triumph of No. 41.

The nickname "Jupiter" is a late addition in an unknown hand, inspired probably by the majestic-sounding first movement. Olympian it may sound to us, but according to Eric Blom, Mozart borrowed the little auxiliary G major theme in the first movement from his comic bass arietta “Un bacio di mano” (K.541); the text that accompanies this theme runs, “Voi siete un po' tondo, Mio caro Pompeo,” (You are a little chubby, my dear Pompeo).

Unlike No. 40, this symphony breaks no new ground either in form or content; its greatness lies not with its novelty but with its classic elegance. Despite the fact that Mozart composed 41 symphonies, this was not the vehicle he chose as an outlet for his greatest creative inspirations; many of the symphonies were among his earliest compositions. Haydn, on the other hand, was constantly tweaking the form throughout his long life to make each symphony different or innovative – often even quirky.

Of particular interest in Symphony No. 41 is Mozart’s use of the four-note opening motive of the final movement, which he then develops into a complex fugue. Mozart was partial to this motive and had previously used it in two masses and his B-flat Symphony K. 319 (No. 33). Other composers, mostly notably Felix Mendelssohn, used the motive as well, either in imitation of or tribute to the composer who was valued more after his death than during his lifetime.

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WELCOME TO THE HHSO’S 34TH SEASON

IN RECOGNITION T

he Hilton Head Symphony Orchestra would like to recognize and thank the numerous residents who volunteer, own or manage all the local cultural arts organizations that make Hilton Head and the Lowcountry a wonderful place to visit, live and work.

You are the artists, actors, musicians both jazz and classical, choral singers, members of the bands, dancers, painters, photographers, sculptors, gallery owners, and leaders who embrace the arts in the Lowcountry and make them such a success.

You are the thousands of local residents who volunteer for the Art League of Hilton Head, the Arts Center of Coastal Carolina, the Hilton Head Choral Society, the Mitchelville Preservation Project, the Coastal Discovery Museum at Honey Horn, Main Street Theatre, the Lean Ensemble Theater, the Heritage Library, the Jazz Corner, the Society of Bluffton Artists, Island School Council for the Arts, the Hilton Head International Piano Competition, and the Hilton Head Symphony Orchestra, among others.

Hundreds more of you work the Heritage, the Bargain Box and the Concours d’Elegance, and all the organizations who support the local arts organizations and nonprofits by giving back to the community in the form of grants and donations.

And many thanks to the members of the Arts & Cultural Council of Hilton Head who promote and showcase all these arts and cultural organizations of Hilton Head Island, Bluffton and the Lowcountry.

Where would we be without you!

THANK YOU We wish to thank our Sponsors and Advertisers for their commitment and loyalty to the Hilton Head Symphony Orchestra.

We ask our supporters to recognize the businesses who advertise in this program book by supporting them throughout the year. If you have the opportunity, please acknowledge their support with a resounding “ThankYou”!

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SPONSORS SUNDAY, MAY 8, 2016 • 4PM MONDAY, MAY 9, 2016 • 8PM

MAY 8-9, 2016

BRAHMS SYMPHONY NO. 1

BRAHMS SYMPHONY NO. 1

Thank you for your sponsorship of this evening’s performance.

We appreciate your commitment and generosity.

SEASON SPONSOR

Power of Oak | Gar y Mullane

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BRAHMS SYMPHONY NO. 1

BRAHMS SYMPHONY NO. 1 John Morris Russell, Music Director and Conductor 2015-2016 • 34th Season Sunday, May 8, 2016 • 4pm Monday, May 9, 2016 • 8pm

John Morris Russell, Conductor Christopher Bluemel, Tuba

MAY 8-9, 2016

PROGRAM FAURÉ

Pelléas et Mélisande, Op. 80

I. Prélude II. Fileuse III. Sicilienne IV. La mort de Mélisande

VAUGHAN WILLIAMS Tuba Concerto in F minor I. Allegro moderato II. Romanza: Andante sostenuto III. Finale- Rondo alla tedesca: Allegro Christopher Bluemel, Tuba

INTERMISSION BRAHMS

Symphony No. 1 in C minor, Op. 68

I. Un poco sostenuto; Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio; Più andante; Allegro non troppo, ma con brio

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BRAHMS SYMPHONY NO. 1

MEET THE ARTIST

CHRISTOPHER PAGE BLUEMEL

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CHRISTOPHER PAGE BLUEMEL Brahms Symphony No. 1 Tuba Sunday, May 8, 2016 Monday, May 9, 2016

His diverse professional musical experience includes performance, private teaching, band/ orchestra instrument repair, and wholesale and retail sales/ management.

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former United States Army musician, Chris studied tuba primarily with David Townsend (VCU, Richmond Symphony) and Thomas McGrady (United States Armed Forces SOM). He began instrument repair while performing in the military.

His diverse professional musical experience includes performance, private teaching, band/orchestra instrument repair, and wholesale and retail sales/ management. He is in his twelfth year as instructor of the Villanova University Summer Workshop String Repair courses in Philadelphia, PA and seventeenth year as coordinator of the Charleston, SC Tuba Christmas.

Chris was featured as a clinician at the 2011 Midwest Band/Orchestra Conference in Chicago, IL and the 2013 NAPBIRT National Conference in Portsmouth,VA. He also published “Guide to Brass Musical Instrument Repair� through Northeastern Music Publications in PA in 2011, and it immediately became the textbook used by two of the three instrument repair schools in North America. Most recently in 2014 Chris was featured as a clinician at Western Iowa Tech Community College in Sioux City, Iowa.

Chris is the owner of The Instrument Doc, LLC, a musical instrument repair company founded in 1999 in Charleston, SC that provides custom services to professional players from throughout the southeastern United States.

A freelance classical, jazz and funk tuba player, he performs regularly with the Crescent Brass Quintet, Maritime Brass Quintet, Hilton Head Symphony Orchestra, Charleston Symphony Orchestra, Funk Dumplins and River City Dixieland Jazz Band.

Chris and his wife Mary Jane have two dogs, Spaten and Tootsie.

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PROGRAM NOTES

BRAHMS SYMPHONY NO. 1

ABOUT THE MUSIC

by Joseph & Elizabeth Kahn

Suite from the Incidental Music to: Pelléas et Mélisande, Op. 80 Gabriel Fauré (1845-1924)

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It took Gabriel Fauré a long time to achieve recognition as a major composer. He was a gentle, modest man, who seldom had a harsh word for anybody. Despite his early success as a composer of songs and chamber works, he was only appreciated by a small circle of friends, and he was 60 when he finally became Director of the Paris Conservatoire in 1905, a post he held until 1920.

Around the turn of the twentieth century, the Belgian Symbolist poet and playwright Maurice Maeterlinck (1862-1949) touched a sympathetic chord with composers of the period with his fantastic stories and plays of mystery and spiritual transcendence.The most successful of Maeterlinck’s plays was Pelléas et Mélisande, written in 1892. It has a mystical fairy tale quality, taking place in the nebulous medieval past described as a "dissonant dream world." The motives and motivations of the characters in the play are unimportant in themselves, as they are all helpless against fate.

Golaud, grandson of King Arkël, has discovered Mélisande, a mysterious young woman with luxuriant golden hair, lost in a forest. He marries her, but her life in the castle is unhappy. Gradually Mélisande develops a friendship with Golaud's younger half- brother, Pelléas,but Golaud becomes suspicious of them and believes that Mélisande is unfaithful. The more he presses Mélisande for information, the more she withdraws from him, turning always to Pelléas for emotional support. In the climactic scene, Pelléas and Mélisande meet at night outside of the castle gates. Pelléas announces his departure, declaring that his

love for Mélisande has made his life at the castle unbearable; hesitantly, Mélisande says that she loves Pelléas as well, and the two share a passionate embrace. At that moment, Golaud, dashes out and kills Pelléas. Mélisande flees but is found and brought back to the castle where she dies mysteriously a few days later, heartbroken over the loss of Pelléas but finally at peace with herself.

The story has everything to whet a composer’s appetite: jealousy, fratricide, belated remorse, wife abuse, even child abuse (Golaud forces his little son to spy on the lovers.) Claude Debussy converted the play into an opera, Arnold Schoenberg wrote a massive symphonic poem, and Jan Sibelius and Gabriel Fauré wrote incidental music to the play.

Fauré composed Pelléas in 1898 for a production in London, commissioned by famed actress Mrs. Patrick Campbell (the original Eliza Doolittle in G.B. Shaw’s Pygmalion). It was a hasty job, and Fauré had his student, the composer Charles Koechlin, finish some of the orchestration. Soon thereafter he extracted four movements from the original nine to create an orchestral suite: 1. Prélude sets the mood for the play and Mélisande’s fate. The French horn symbolizes Golaud.

2. Fileuse (The Spinner) introduces Act III, which opens with Mélisande spinning, a beautiful oboe solo.

3. Sicilienne introduces Act II, in which Mélisande inadvertently loses the ring Golaud had given her down a well.

Fauré originally composed this music in 1893 for Molière’s comedy Le bourgeois gentilhomme and later transcribed it in

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1898 for cello and piano. Here it is a flute solo, the best known of the movements and often played as a separate piece.

4. La mort de Mélisande (The Death of Mélisande) introduces Act V. Those familiar with Claude Debussy's opera of the same name will note the ephemeral atmosphere of both works, capturing the dream-like quality of the play, despite its moments of violence.

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Concerto in F minor for Bass Tuba Ralph Vaughan Williams (1872-1958)

In his long, productive life – his last symphony was premiered just four months before his death at age 85 – Ralph Vaughan Williams practiced what he preached. He wrote music for every combination and level of musical sophistication. He believed that participating actively in music was a birthright.

The plethora of civic choral societies, brass bands and the like – of all qualities – throughout Great Britain bears witness to the importance of music as an integral part of British life. Vaughan Williams and his close colleague Gustav Holst nearly always integrated British folk music into their classical compositions.

Vaughan Williams was particularly fond of the brass family. When the London Symphony Orchestra approached him in 1954 to write a work for the celebrations of the orchestra’s jubilee, the composer decided to compose the first ever tuba concerto for the orchestra’s tuba player, Philip Catelinet, who had started his career as bandmaster in the Salvation Army. In fact, the Tuba Concerto was the first known piece featuring the solo tuba.

The tuba, along with the double bass, provides the orchestra with its harmonic underpinnings, but it seldom receives an opportunity for even short orchestral solos. It’s like the Cinderella of the orchestra, forced to hide her beauty and charm but without whom the house would have been a holy mess.

There is a full family of tubas, from contrabass to tenor. Then, there are Mar y Lou Yannucci sub-families in various keys, which

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BRAHMS SYMPHONY NO. 1

Despite Brahms’s reputation and the positive anticipation of the public, the Symphony, premiered in 1876, was at first coolly received.

The rigorous classical form baffled the public and critics, who expected something more romantic and innovative. Wagner, Liszt and programmatic music were all the rage and most critics considered the classical form backward looking and reactionary. But it was not long before the Symphony’s riveting power was recognized, along with its own contribution to symphonic innovation.

If, indeed, the First Symphony cannot strictly be considered program music, it nevertheless unfolds with great drama – even, one might say, a musical plot. While the typical classical symphony gives the greatest weight to the first movement, ending with a faster rousing finale, often a dance, Mozart, in his last three symphonies, and Beethoven in the Third, Fifth and especially the Ninth Symphonies, recast the pattern. In these works, the finale provides the culmination to the entire symphony.

When listening to Brahms’s First, one can easily imagine the composer’s reticence at treading in the great man’s shadow.

Nevertheless, his combined sense for musical drama and structure prevailed as he launched Symphony No. 1 in C minor, Op. 68 what conductor Hans von Bülow called “The Johannes Brahms (1833-1897) Tenth.” Only Mendelssohn in his Symphony “You don’t know what it is like always to No. 3, “The Scottish,” had trod that path.

The ominous pounding of the timpani hear that giant marching along behind me,” Brahms wrote to the conductor Hermann under slow ascending and descending Levi, in reference to Beethoven.As a classically chromatic scales, fragmentary motives and oriented composer who revered Beethoven, the ambiguous tonality of the Introduction Brahms found writing a symphony a daunting poses a musical question – actually more of proposition. It took fame, respectability, middle a demand – that remains unresolved until the age and numerous false starts before he finally final movement. It is one of the most spinefinished his First Symphony at age 43, after at chilling introductions in all of classical music. least 14 years’ gestation. An earlier attempt at The following Allegro fleshes out motives from a symphony, in 1854, ended up, after numerous the Introduction into full-fledged themes, transformations, as part of the D minor Piano first by combining them contrapuntally, then developing them with an almost savage energy.

Concerto and the German Requiem.

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allows the player to optimize fingering in keys with multiple sharps or flats. The bass tuba is generally the instrument preferred for solo performance. Its three-and-a-half octave range extends from F-sharp three octaves below middle C to B-natural above middle C – all dependent on only three valves and extremely flexible lips and breath control.

Vaughan Williams’ Tuba Concerto permits the instrument to put on show of all the techniques for virtuosic playing: a range from the lowest to the highest pitch; elegant legato playing; rapid staccatos, usually requiring a combination of hyperventilating plus fast tonguing; and lip trills. Surprisingly, this huge instrument doesn’t pack much of a punch in volume, and Vaughan Williams kept the dynamics and size of the orchestra modest. Along with the strings, the winds include two flutes/piccolo, one oboe, two clarinets, one bassoon, two trumpets, two horns, two trombones and timpani.

Structurally, the Concerto is in conservative classical format: two Allegro movements surrounding a slow Romanza. The two outer movements sport cadenzas. The first and second movements include melodic passages derived from British folk music.

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The middle two movements are a respite from the drive of the first. The second movement, a classic ABA form although with a highly modified repeat, is reminiscent of Beethoven's variations in the slow movement of the Ninth Symphony. The movement also contains allusions to thematic material from the first and hints at the main theme of the third movement to come.

The third movement, a modified scherzo, is more of an intermezzo that opens with a lilting clarinet theme, already foreshadowed in the preceding movement. The contrapuntal accompaniment to the repeat of the clarinet theme, after the Trio section, foreshadows the principal theme from the Finale.

Rumbling timpani now reassert to the serious mood of the first movement, reminding the listener of unresolved issues. Suddenly, as if from behind a cloud, an alpenhorn calls

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out, answered by the flute, turning the turgid C minor into a resounding C major chorale melody. Brahms clearly modeled the effect on Beethoven’s Ninth.

The alpenhorn solo has its own little history.

In 1868, eight years before the Symphony was premiered, Brahms had quarreled with his friend, and probably secret love, Clara Schumann, about whether she should cut back on her concretizing to spend more time at home with her eight children. That September, he sent her a mollifying postcard with the alpenhorn theme scrawled on it to the words, ”High on the mountain, deep in the valley, I greet you a thousand fold.”

Unlike Beethoven, whose choral Finale was a set of variations, Brahms’s chorale tune does battle with the music from the stormy introduction to emerge triumphant in an exultant coda.

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WELCOME TO THE HHSO’S 34TH SEASON

GLORIA DALY: IN RECOGNITION

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t has been said that Gloria Daly’s name is synonymous with the arts on Hilton Head Island. That her success has been her ability to share her love of the arts with others. No truer words were ever spoken. Gloria’s energy and enthusiasm know no bounds. Her friends and community leaders have credited her with making a significant difference in the quality of life on Hilton Head.

After moving here in 1982, Gloria immediately became involved in the arts.

She joined the Hilton Head Institute for the Arts which later became the Cultural Council that ultimately saw to the completion of the Arts Center of Coastal Carolina. She was working for the Arts Center when she was asked to manage the symphony and, admitting that the symphony was her first love, she choose the symphony. How lucky for us.

Gloria has been a part of the Hilton Head Symphony Orchestra since 1991, the year she was appointed General Manager. She then served as its Executive Director from 1992 to 2005, at which time she was appointed to the position of Program Director.

As the HHSO Program Director, Gloria was present at every orchestra concert, and is credited with linking the orchestra with other Hilton Head Island organizations and businesses. Gloria’s dedication has helped to make the orchestra one of the leading cultural organizations on the Island.

Gloria’s service to the community was recognized by her friends and community leaders when she received the Alice Glenn Doughtie Good Citizenship Award in 2010, awarded by the Hilton Head–Bluffton Chamber of Commerce.

Last year Gloria retired from the symphony that she has been a part of since 1991. She was praised for her service and presented a plaque by Hilton Head Symphony Orchestra President Mary Briggs at the symphony’s May concert.

We at the symphony recognize Gloria’s selfless service to the arts and the community and, in turn, her many accomplishments for the orchestra.

But Gloria hasn’t ridden off into the sunset just yet. She was made an honorary member of the League of the Symphony at their annual event last spring and she will continue in her role as supervisor of the ushers at each symphony, so her smiling face will still be there to greet you.

You just can’t keep a good woman down.

GLORIA DALY

Gloria has been a part of the Hilton Head Symphony Orchestra since 1991, the year she was appointed General Manager.

She then served as its Executive Director from 1992 to 2005, at which time she was appointed to the position of Program Director.

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WELCOME TO THE HHSO’S 34TH SEASON

LEAGUE OF THE HILTON HEAD SYMPHONY ORCHESTRA BOARD 2015/2016

EXECUTIVE COMMITTEE President: Stanley Cooke Vice President-Fund Raising: Carol Gyllenhoff Vice President-Volunteers: Gail Kaess Secretary: Julie Williams Treasurer: Fran Hubbell

COMMITTEES Concert Receptions: Sue Forrest, Phyllis Patterson Cookbook:Toy Mergler Directory: Marguerite Miletic Fashion Show: Lois Hoyt-Berry Kitchens of Note: Carol Gyllenhoff 2015 IPC Liaison: Bob Koenig Membership: Marguerite Miletic Musicales: Mary Princing Newsletter: Nancy Hudak Spring Fling: Susan Parrish, Donna Zorge Youth Programs: Betsy Roll

EX OFFICIO Music Director/Conductor: John Morris Russell HHSO Board Chair: James Willard HHSO President and CEO: Mary Briggs HHSO Vice President for Operations: Mario Incorvaia

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WELCOME TO THE HHSO’S 34TH SEASON

WHERE ARE THEY NOW?

Over the past 20 years we have marveled at the talent of our Hilton Head International Piano Competition competitors and wondered how their careers would unfold. Let’s catch up with a few of the pianists to see where their journey has taken them.

RAN DANK

RAN DANK Head of Piano, the College of Charleston

Joining the Music Faculty of the College of Charleston in 2014 as Director of Piano Studies, Israeli pianist Ran Dank also serves as the Artistic Director of the College of Charleston International Piano Series.

In an interview with the Charleston City Paper, he stated he “wants to make it (the piano department) blossom” by recruiting talented young pianists and bringing in world class pianists to play in the series. Ran led off his first season by performing himself to rave reviews. As part of this season, internationally known teacher and former HHIPC judge Robert MacDonald is scheduled to perform.

Since winning First Prize at the 2008 HHIPC, Ran has competed successfully in numerous competitions across the globe. His First Prize at the 2009 Young Concert Artists auditions helped launch his career. He plans to continue performing worldwide as a soloist, part of a duo with his wife, pianist Soyeon Kate Lee, and as a chamber musician.

Last season, Ran participated in the Brooklyn Academy of Music’s live Beethoven Marathon on WQXR, played two Liszt concerti with the Jerusalem Symphony, and had a solo recital at Town Hall in New York City. This past summer he performed at both the Great Lakes Festival and the Santa Fe Chamber Music Festival. In 2015-16 he will tour Hawaii, play at the Kennedy Center, and, closer to home, play the Brahms 2nd Piano Concerto with the Charleston Symphony on April 22-23.

Be sure to check out the series of concerts Ran and Soyeon established in a New York SoHo art gallery. It’s entitled “Music by the Glass” and is intended to bring young professionals in to mingle, sample wines and treats and enjoy classical music up-close and personal with the musicians. With innovative ideas such as this, Ran Dank will continue to be a huge hit in the Lowcountry!

ELIZABETH SCHUMANN

ELIZABETH SCHUMANN Pianist, Producer, Composer

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2004 Third Prize Winner and winner of the Willis A. Shay Audience Prize, Dr. Elizabeth Schumann performs all over the world as a solo pianist, as part of the Schumann duo with her sister Sonya, and as a chamber musician. Winner of the prestigious 2004 Gilmore Young Artist award, she elected as part of her prize to commission Carl Vine’s 3rd Piano Sonata. Elizabeth was also featured on a PBS television documentary In the Key of G about the Gilmore International Keyboard Festival.

Her passion for classical music has evolved into several music education projects including distributing free multidisciplinary materials to children who lack exposure to the arts. In 2010-2011 the Schumann Duo took their program “The Magic Piano” on

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WELCOME TO THE HHSO’S 34TH SEASON

tour throughout the USA, Canada, and Australia. Piano Classical, Inc (a 501c3) founded

by Elizabeth not only disseminates music materials, but commissions original works and helps create audio and multimedia recordings. Piano Carnival (a free app available on iTunes) is just one of them.

In a partnership with the Bari International Music Festival, she created a seminar series (“Come Find Your Music”) dedicated to helping people find classical recordings to enjoy. Each monthly seminar exposes audiences to four recordings through sound samples, videos of performances, interviews with musicians and short lectures. At the request of The Gilmore in 2011, she developed a set of children’s’ programs entitled “Pianimal” which she and Sonya will also be performing this season.

If you happen to be in Boston, you can catch her performances with the Chameleon Arts Ensemble or her live performance installation at HUBweek (Oct. 3-10).

FEI-FEI DONG 2012 HHIPC Competitor Fei-Fei Dong describes herself as both a “happy pianist” and a “happy person.” All her memories of making music are joyous ones from the time she began sneaking into her older sister’s piano lessons. Indeed, critics have often noted how warmly audiences respond to the love of music shining in her face. Along with her winning stage presence, she has also amazed listeners with her technical ability ever since her first public recital at the tender age of ten.

The “cover girl” for the recent PBS video of the 2013 Van Cliburn International Piano Competition, Fei-Fei recently graduated with a Masters Degree from The Juilliard School. Both being a Cliburn finalist and winning the Concert Artists Guild’s Victor Elmaleh prize has opened doors for her to a full time performance career by offering her venues. As a result, Fei-Fei has decided to concentrate now on touring as a pianist.

In 2015 she could be heard at the Cliburn Chopin Festival (her favorite composer, by the way!); her debut recital at Weill Recital Hall at Carnegie Hall; and as a Gilmore Rising Star in Kalamazoo.Taking a break from her studies also allows her more time to visit art galleries, listen to jazz, or eat Chinese hot-pot with her friends.

Fei-Fei is especially proud of the Aletheia Piano Trio she founded while at Juilliard and which was selected to represent Juilliard in the 2014 Kennedy Center’s Conservatory Program. Another important aspect in her life is reaching out to the elderly, including Alzheimer patients. She was inspired to do this by participating in the HHIPC’s Ambassador Program. The genuine applause – even tears – deeply touches her heart.

On the concert stage, Fei-Fei always wants to play as if it might be her last time at the piano. She never wants her concerts to feel routine, and they don’t. If you would like to hear her closer to home, she will be performing at the Atlanta Music Center on February13, 2016.

FEI-FEI DONG 2013 Cliburn Finalist Featured on PBS Video

Other former competitors, among them Steven Lin, Charlie Albright, Henry Kramer, Di Wu, Marina Lamazov, Andrea Lam, and our young artists like Leonardo Colafelice, Evelyn Mo, and Tony “Yike” Yang have been performing all over the world. Stay tuned for our newsletter “Keynotes” to see what they have been up to. And keep checking the HHIPC website for updates on competitions and concert performances.

2015–2016

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SYMPHONY UNDER THE STARS “BEST OF BROADWAY”

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he Phantom of the Opera, Music of the Night, Till There Was You, and a medley from Jesus Christ Superstar – the Hilton Head Symphony offers you the “Best of Broadway”! For two evenings, April 5 and 6, 2016, the celebrated “Symphony Under the Stars” with Soprano Lisa Vroman and HHSO Conductor, John Morris Russell will be held at the beautiful setting under a tent at the Coastal Discovery Museum at Honey Horn.

Our own Music Director and famed Cincinnati Pops conductor, John Morris Russell, and fabulous singing star Lisa Vroman will wow you with an evening of memorable music from the most popular Broadway shows. On stage and in concert, Lisa Vroman has established herself as one of America’s most versatile voices. She has been regarded as a “musical and theatrical marvel” by the San Francisco Chronicle, as well as “one of American Musical Theater’s most beautiful voices.” She sang leading roles in The Phantom of the Opera, Die Fledermaus, Les Misérables, The Most Happy Fella, The Music Man, Kiss Me Kate and The King and I. Whether you put a table of ten together, design costumes, have your dinner catered or bring your picnic and sit outside under the stars, you will get into the spirit of this always thrilling evening. Last year’s James Bond concert was sold out, so book your table early.

You can provide your own refreshments, but wine, beer, soft drinks and water are available for sale by the League of the Hilton Head Symphony Orchestra.

Tickets for table seating are $80 and $70 and will be available November 1, 2015. New additional seating options at $50, concert seating, allows patrons to come for the concert only or to bring refreshments to be enjoyed at the museum’s Pavilion. We’ve also added the popular outside lawn seating at $25. Bring your lawn chair or blanket, add a picnic dinner and enjoy a great evening!

2015–2016

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ART LEAGUE OF HILTON HEAD

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RT LEAGUE OF HILTON HEAD celebrates its Fifth Year of Collaboration with Hilton Head Symphony Orchestra, thanks largely to the efforts of Juliana Kim, Sarah Bergin and Charles Grace. Visit the Art League Gallery during March 2016 to view a special commemorative exhibition, Music as Art. Inspired by this year’s musical selections,Art League member artists have created the works of art featured throughout this 2015-16 program. Art League of Hilton Head, a 501(c)(3) nonprofit organization, offers year-round visual arts programming from two island locations with a mission to promote and support the visual arts through education, exhibitions and partnerships for the cultural enhancement of the community and its visitors.

Art League Gallery, located mid-island inside Arts Center of Coastal Carolina, has monthly exhibits and happenings. Hours are Tuesday through Saturday from 10am to 4pm and 90 minutes before theater performances. Art League Academy, located southisland, offers art courses and lectures for all ages and skill levels. Visit www.ArtLeagueHHI.org or call 843.681.5060 for more information.

Heritage | Juliana Kim

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Art League Exhibition Schedule during the HHSO season is listed below.

Receptions are open to the public, often on the first Thursday of the exhibit, from 5-7pm (* Wed) (** other) September 1 - 26 David Millman: Portrait of the Human Spirit September 29 - October 3 Got Art? Exhibition and Fundraiser ** October 5 - 10 Morris & Whiteside Auction ** October 13 - November 7 Making Smiles:The Gentle Surrealism of J.K. Crum November 10 - December 5 Sunlight & Shadow Pastels by Don Nagel * December 8 - January 2 For the Love of Beads Jewelry Exhibition January 5 - 23 Anything Goes Member Show January 31 - February 27 De Aarts ob We People Gullah Exhibition **

Wooded Glade | Alex Sharma

March 1 - 26 Music as Art Celebrating 5 Years of Collaboration with HHSO * March 29 - April 2 Fabulous Fakes April Fool’s Celebration ** April 5 - 30 The Academy Awards: Student Winners & Their Teachers May 3 - 28 Jim and Addison Palmer Lowcountr y Motif 1 | Michael Nicastre

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WELCOME TO THE HHSO’S 34TH SEASON

PARTICIPATING ARTISTS

Joy Hermann Mary Lester Nark Maute Micahel Nicastre Maxine Oliver Joan Ackerman Vivki Jourdan

Zach Grether Kendra Natter Liz R. Bundy Alex Sharma Georgina Kimball Heather Wanamaker Frank Sullivan

Crabby | Joan Ackerman

Norma Deal Billy Howe Mary Lou Yannucci Juliana Kim John Norlander Iris Magidson Gary Mullane Tangerine Grasses | Juliana Kim

Sky Floorplan 1 | Iris Magidson Dynamic Drummer | Georgina Kimbell

Dolce Diva | Georgina Kimbell

Rhapsody in Blue | John Norlander

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SIXTH ANNUAL LEAGUE LUNCHEON/ FASHION SHOW TO BENEFIT HHSO

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he popular Sixth Annual Luncheon and Fashion Show of the League of the Hilton Head Symphony Orchestra will be held on Wednesday, March 23, 2016 at the Sea Pines Country Club.

The luncheon and show will feature League members modeling the latest fashions from S.M. Bradford Company. From sophisticated styling and elegant fabrics to casual and travel wear, the beautiful ensembles never fail to bring admiring glances from the attendees.

As in the past, there will be something for everyone at the silent auction, featuring exciting items such as vacation getaways, jewelry and handbag boutique, golf rounds, local tours, custom baskets and store and gift certificates.

The proceeds from this event help the symphony to inspire and enrich the community through its concerts and to continue its outreach through educational programs and community partnerships.

This event is always a sell-out, so plan early to invite your friends and neighbors and make up a table. Watch your email for more details at a later date.

If you wish more information about the luncheon and fashion show contact Lois Hoyt-Berry at 843-341-3116 or email her at hoytberry@gmail.com

2015–2016

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WELCOME TO THE HHSO’S 34TH SEASON

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nspired by the overwhelming success of the inaugural “Kitchens of Note” Tour in 2013 and the succeeding tour in 2014, the League of the Hilton Head Symphony Orchestra sponsored a third tour which was held on Sunday, September 27, 2015.

This year’s tour included six designer kitchens in the lovely waterfront community of Sea Pines.

Each kitchen featured a chef providing tasty signature treats from well-known popular eating destinations, including Old Fort Pub, Michael Anthony’s, ELA’s Blu Water Grille, Skull Creek Boathouse, 843 and Lucky Rooster. Tour guests were invited to enjoy the beautiful kitchens, great food, and the scenic beauty of one of our Island communities and, at the same time, show their support for the HHSO. As before, the tour hours were noon to 4 PM and ticket sales were limited to 400. We wish to thank our hosts for sharing their beautiful homes with us, and the management of the community for their gracious welcome of the HHSO League and its guests.

League events succeed because of the indefatigable League volunteers. Over 70 men and women served as house captains, docents, greeters, ticket sellers, trolley docents and parking attendants. We are also grateful to the Low Key Piano Group for providing pianists during the afternoon.These fine people are the backbone of the HHSO League – we thank them all for their help!

We are also extremely grateful to the following sponsors for underwriting the “Kitchens of Note” Tour: U.S.Trust, Billy Wood Appliance, John Kilmer Interiors, Worth NY, Cregger, Doncaster, Traditions, French Guy Photography, LeCookery, Coligny Plaza, Charlestowne Fine Cabinetry, Seasons, Neil Gordon Architect, Sea Pines Trolley Co. and Truffles Cafe. The “Kitchens of Note” Tour, along with the ever-popular Sunday afternoon Musicales and the annual Fashion Show will continue as highly anticipated League events.

2015–2016

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CHEFS &CLEFS PLEASE SUPPORT THESE FINE RESTAURANTS THAT SUPPORT THE HHSO.

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PERFORMANCE SPONSORS We appreciate your commitment and generosity.

Hilton Head

FREY MEDIA

consult | create | connect

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This is the music of our Lowcountry and our Hilton Head Symphony Orchestra is at the hear t of it all. — JOHN MORRIS RUSSELL

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