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KANSAS CITY SYMPHONY SUNdAy, MARCH 6 – 7:30 p.m. This event is sponsored, in part, by the Lied Performance Fund. Audio description services and recorded program notes are provided through a partnership between the Lied Center and Audio-Reader Network. Please turn off or silence cellular phones and other electronic devices during performances. Food and drink are not allowed inside the hall. Performing Arts Cameras and recordinglied.ku.edu devices are strictly prohibited in the auditorium.


Kansas City Symphony conducted by Michael Stern, music director with Jonathan Biss, piano Overture to Rienzi............................................................................................................... Richard WAGNER (1813-1883) American Symphony..................................................................................................Adam SCHOENBERG I. Fanfare (1980) II. White on Blue III. Rondo IV. Prayer V. Stars, Stripes and Celebration INTERMISSION Piano Concerto No. 1 in D minor, Op. 15................................................................... Johannes BRAHMS Jonathan Biss, piano (1883-1897) I. Maestoso II. Adagio III. Rondo: Allegro non Tropp Program is subject to change

Kansas City Symphony


kansas City Symphony Michael Stern music director FIRST VIOLINS Gregory Sandomirsky,

associate concertmaster

Sunho Kim, assistant concertmaster Ginni Rader Alex Shum *Vladimir Rykov *Anne-Marie Brown Susan Goldenberg Paul Hatton-Soto *Jessica Wakefield Hao *Anthony DeMarco *Tomoko Iguchi *Andrew Fuller *Dorris Dai Janssen SECOND VIOLINS Tamamo Someya Gibbs,

principal

Kathy Haid Berry, associate

principal

Kristin Velicer, assistant principal *Kevin Hao *Sara Hurst *Mary Garcia Grant §*Eri Hattori Kosaka *Karen Klein *David Repking *Francesca Manheim *Nancy Beckmann §*Chia Fei Lin ‡*Tina Cho Johnson

Steven Jarvi associate conductor *Rung Lee §*Richard Bell ‡*Matthew Johnson *Ho Anthony Ahn *John Eadie *Allen Probus

DOUBLE BASSES Jeffrey Kail, principal Nancy Newman, associate principal §*Brian Johnson *Kenneth Mitchell Louis Newman, principal emeritus *Ed Paulsen FLUTES Michael Gordon, principal Shannon Finney, associate principal Diane Schick

OBOES §J. Scott Janusch, principal, Shirley Bush Helzberg Chair

Barbara Bishop, associate principal Kenneth Lawrence

Forrest Philpott

Robert A. Kipp Chair

Susie Yang, associate principal Alexander East, assistant principal *Lawrence Figg

associate principal

Graeme Mutchler

TUBA Steven Seward, principal TIMPANI Timothy Jepson, principal

CLARINETS Raymond Santos, principal Boris Allakhverdyan, associate

CELLOS Mark Gibbs, principal,

TROMBONES Roger Oyster, principal Porter Wyatt Henderson,

PERCUSSION Christopher McLaurin, principal Joseph Petrasek, associate

ENGLISH HORN Kenneth Lawrence

Jessica Nance, assistant principal *Jenifer Richison *Laura Fuller *Marvin Gruenbaum *Kent Brauninger *Duke Lee *Sean Brumble

TRUMPETS Gary Schutza, principal Philip Clark, associate principal Brian Rood

BASS TROMBONE Graeme Mutchler

PICCOLO Diane Schick

VIOLAS Christine Grossman, principal Matthew Rombaum, associate principal

HORNS Alberto Suarez, principal David Sullivan, associate principal Elizabeth Schellhase §Ross Snyder ‡Kelly Cornell Stephen Multer

principal

HARP Deborah Wells Clark, principal

principal

LIBRARIANS Elena Lence Talley, principal Jennifer Feldman

E-FLAT CLARINET Boris Allakhverdyan

Justin White, personnel manager Jim Vinzant, stage manager Ben Julius, assistant stage manager

BASS CLARINET Forrest Philpott BASSOONS Ann Bilderback, principal §Miles Maner, associate principal Marita Abner CONTRABASSOON §Miles Maner

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* Rotating Musician § New Member ‡ On Leave of Absence

Performing Arts


program notes Overture to Rienzi Richard Wagner Born May 22, 1813 in Leipzig, Germany Died Feb. 13, 1883 in Venice, Italy Piccolo, two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion and strings.

The years around 1830 saw the efflorescence of grand opera, with the genre’s most elaborate examples appearing in Paris. Auber’s Le Muette de Portici (1828), Rossini’s William Tell (1829), Meyerbeer’s Robert le Diable (1831) and Les Huguenots (1836) and Halévy’s La Juive (1835) overwhelmed contemporary audiences with their potent combination of opulent spectacle and pompous music placed in a pageant-like historical setting. Wagner, then an ambitious stripling in his 20s whose second opera, Das Liebesverbot (The Love Ban), had failed gloriously enough in Magdeburg in 1836 to bring the company tumbling down and cost him his job there as music director, longed to enter the pantheon of grand opera composers. In the summer before he took up a position as conductor at the opera house in Riga (in Latvia, on the Baltic Sea) in July 1837, he read Bärmann’s German translation the 1835 novel Rienzi, the Last of the Tribunes by the British writer E.G.E. Bulwer-Lytton, which was in turn based on Mary Russell Mitford’s play of 1828. Wagner saw operatic potential in the sweeping story of the 14th-century struggles of the Orsinis and the Collonas in Rome, and finished the libretto in summer 1838. He started the music immediately, and continued work on it until September 1839, when he was hounded out of Riga by cabals and creditors—Wagner was a notorious financial deadbeat throughout his life, always looking for a Maecenas. He fled to Paris, where he met many of the city’s most important musicians, including Meyerbeer (a transplanted German), but, speaking virtually no French, he could not make any professional headway and struggled to exist with the most menial musical tasks. The nadir of his fortunes came in October 1840, when he was briefly incarcerated in debtor’s prison. His faith in himself and in his Rienzi never wavered, however, and he took up the score again and completed it on Nov. 19, 1840; the Overture was finished on Oct. 23.

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Wagner’s efforts to have Rienzi produced in Paris were fruitless. It was finally accepted by the Dresden Court Opera on the recommendation of the generous Meyerbeer, who called it the best of all the grand operas, and Wagner left France for Germany in April 1842 to oversee the production. The premiere was delayed several times, but finally staged on Oct.20. Heinrich Heine wrote of the worried young composer that night that he “looked like a ghost; he laughed and wept at the same time and embraced everybody who came near him, while all the time cold perspiration ran down his forehead.” Rienzi was a success, and remained one of the most popular items in the Dresden repertory until Wagner was run out of town for his part in the political uprisings there seven years later. Its popularity not only led to Wagner receiving an appointment to the opera house’s musical staff but also to the premiere there of The Flying Dutchman the following January. Wagner’s international fame began with these two operas. Rienzi, the heroic story of Cola di Rienzi, who tried to lead a popular revolt against the despotic nobles of 14th-century Rome only to be thwarted and killed through the intrigues of his enemies, is filled with the large choruses, spectacular sets and costumes, ballets, processionals and military scenes that characterize grand opera. The Overture, a “violently splendid” piece according to George Bernard Shaw, is based on several themes from the opera drawn into a loose sonata form. An opening trumpet blast, the signal for the uprising of the people, begins the slow introduction, much of which is given over to the majestic theme of Rienzi’s Act V prayer. The main body of the Overture, commencing with the faster tempo, comprises several melodies: the music of the chorus Gegrüsst sei hoher Tag!; the battle hymn Santo spirito cavaliere, stentorianly intoned by the brasses; a repetition of Rienzi’s prayer; and the joyful Rienzi, dir sei Preis, used as a closing theme. An energetic development and an abbreviated recall of the themes, initiated by the trumpet summons that opened the Overture, bring this stirring piece to its grand close.


An American Symphony Adam Schoenberg Born Nov. 15, 1980 in Northampton, Mass. Schoenberg grew up in a musical environment, improvising and playing the piano from the age of 3. He received his bachelor’s degree in music composition from Oberlin (2002) and his master’s degree (2005) and doctorate (2010) from Juilliard, where he was a C.V. Starr Doctoral Fellow. His teachers included John Corigliano, Robert Beaser, Jeffrey Mumford, Lewis Nielson and George Tsontakis. Schoenberg has received awards from ASCAP, International Brass Chamber Music Festival, Southern Arts Federation and Society for New Music, as well as the prestigious Charles Ives Scholarship from the American Academy of Arts and Letters in 2006. He was a MacDowell Fellow in 2009 and guest composer at the Aspen Music Festival and School in 2010. Schoenberg’s commissions include those from the Kansas City Symphony, IRIS Orchestra, Atlanta Symphony Orchestra, Aspen Music Festival, Northern Ohio Youth Orchestra, Sybarite Chamber Players, Blakemore Trio, Cleveland Orchestra trumpeter Jack Sutte, harpist Gretchen Van Hoesen of the Pittsburgh Symphony, Nick Tolle and the Consortium of Vibraphone Players, and New Juilliard Ensemble. In 2004, his Back-Up was choreographed by Juliana F. May for the Manhattan dance company MayDance and premiered at the Merce Cunningham Studio. ARTIST’S STATEMENT: In light of the 2008 presidential election and subsequent inauguration, I have thought about beginnings–-both new beginnings toward a more vibrant union, and our country’s humble but hope-filled birth more than two centuries ago. I imagine life for the first Americans—building the foundation of this country; watching new cities, farms and factories rise from the ground—and have realized how great sacrifice, courage and vision brought our country to reality. I have a renewed sense of reverence and responsibility for the great potential that is America, and a hunger to affect positive change. This has inspired me to compose my first symphony which I am calling American Symphony. It is about the possibility of change and our collective ability to restore hope in

ourselves and our neighbors, both next door and around the world. Through music, I hope to capture reverence for our past as well as vigor and optimism for the future. While not a patriotic work, per se, the work is inspired by the great leaders and events that set our nation on a path to greatness, and which remain a touchstone as we begin the 21st century. Piano Concerto No. 1 in D minor, Op. 15 Johannes Brahms Born May 7, 1833 in Hamburg, Germany Died April 3, 1897 in Wienna, Austria Woodwinds and trumpets in pairs, four horns, timpani and strings.

Brahms, in his philosophy and his attitude toward music, was the first modern composer. He emerged as a creator around 1850, just at the time when the signs of interest in the centuries-long history of music first became evident. During earlier generations, a composer developed his style almost exclusively based on knowledge of only his own and the immediately preceding generations, choosing either to continue composing around the same aesthetic principles or to change them in subtle or drastic ways. At no time before the 19th century was the music of earlier eras emulated, venerated or, in most cases, even known. The exceptions are few: notably, the oratorios of Handel, the contrapuntal church style of Palestrina and the Well-Tempered Clavier of Bach, and even the last two of these were more familiar from pedagogy than from performance. Brahms, unlike those before him, drew from the entire history of German music—from Lassus to Bach to Beethoven—and, in so doing, was the first composer to face that set of imposing questions for the creative artist about the historical flow of musical tradition: “What do I keep?” “What do I discard?” “Where do I fit in?” The 19th century was a time of many noteworthy explorations into the past. Schliemann unearthed Troy; Champollion broke the code of the Rosetta Stone; and a determined French scholar named Coussemaker brushed away seven centuries of dust and forgetfulness to expose the earliest music of western civilization. Brahms saw himself not only as the beneficiary of this newly discovered treasure from earlier times, but also as

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Performing Arts


its curator, a responsibility he accepted as a scholar as well as a composer: he was on the advisory board of the first complete edition of the works of Bach. In his compositions, Brahms forged a distinctive style from three of the great traditions of German music — the lush and luxuriant textures of Lassus and Bach, the formal techniques of Beethoven and the emotionally expressive harmony of Schumann. Brahms brought to this amalgam his own wonderful lyricism and sense of musical architecture. Brahms did battle with the problem of creating something new without defacing the tradition he revered in every work he wrote. Nowhere is the struggle more evident, however, than in the First Symphony and this First Piano Concerto. He labored for five years on the Concerto before it was performed, and then went back and revised it some more. His original intention was to produce a symphony in D minor as his first major orchestral work, and, to that end, he sketched three movements in short score in 1854. The first movement was orchestrated, but Brahms was not satisfied with the result, and he decided to transform his short score into a sonata for two pianos. But even this did not fulfill his vision, as he noted in a letter to Joseph Joachim, violinist, conductor and encouraging friend: “I have often played the first three movements over with Frau Schumann [the composer’s widow, and the center of Brahms’ musical and emotional existence for most of his life], but I find that I require even more than two pianos.” The ideas were too symphonic in breadth to be satisfactorily contained by just pianos, yet too pianistic in figuration to be completely divorced from the keyboard. Brahms was quite stuck. In 1857, the composer Julius Otto Grimm, a staunch friend of Brahms, suggested that his 24-year-old colleague try his sketch as a piano concerto. Brahms thought the advice was sound, and went back to work. He selected two movements to retain for the concerto and put aside the third, which emerged 10 years later as the chorus Behold All Flesh in the German Requiem. Things proceeded slowly, with Brahms soliciting the advice of Grimm, Joachim and Clara Schumann, and only after two more years did he feel the work was ready for performance. Joachim arranged a performance in Hanover, which was received politely but without enthusiasm. It did not prepare Brahms

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for the embarrassing debacle at the Leipzig Gewandhaus five days later. “It did not go badly,” he wrote to Clara. “I played considerably better than in Hanover and the orchestra was excellent. But the first rehearsal failed to produce any effect on the musicians or the audiences. At the second rehearsal there were no listeners and not a muscle moved on the faces of the players... At the performance, the first and second movements produced no effect whatsoever and at the end there was only a little desultory applause which was immediately suppressed [by hisses].” The style of the Concerto—broad, serious, without virtuoso pyrotechnics—was new to the Leipzigers, and they did not like it. Brahms also found himself caught between warring factions of local music lovers, being too conservative for the progressive Lisztians and too advanced for the conservative Mendelssohnians. The rejection in Leipzig was the bitterest disappointment he ever suffered, and it was undoubtedly one of the reasons he did not complete another orchestral work for a dozen years. Brahms, philosophical as ever, wrote of this humiliation in the best stiff-upper-lip fashion, “It forces one’s thoughts to concentrate properly and enhances one’s courage.” The Concerto gained popularity slowly, only becoming generally accepted well after its premiere. The change in attitude toward this work was reflected in the writings of that eminent, sometimes correct and always invigorating British music critic and man of letters, George Bernard Shaw, who could not see past his pro-Wagnerian bias when he wrote in 1888 of a performance of Brahms’ piano concertos, “Brahms’ music is at bottom only a prodigiously elaborated compound of incoherent reminiscences.” Looking back in 1936, however, Shaw admitted, “This hasty (not to say silly) description of Brahms’ music will, I hope, be a warning to critics who know too much... I had not yet got hold of the idiosyncratic Brahms. I apologize.” Brahms is greatly to be admired for following his vision and not giving way to the critics or to the bitter, but temporary, discouragement that accompanied the launching of the D minor Concerto. The Concerto’s stormy first movement is the most openly passionate and impetuous of all Brahms’ works. Joachim wrote to Max Kalbeck, the composer’s eventual biographer, that this music reflected the anguish Brahms


felt over the nervous breakdown and attempted suicide of Robert Schumann just as Brahms was working on his D minor sketch. The movement may also show the impact of Beethoven’s Ninth Symphony, which overwhelmed Brahms when he first heard it in March of 1854. This movement follows the classical model of double-exposition concerto form, with an extended initial presentation of much of the important thematic material by the orchestra alone (“first exposition”). The soloist enters and leads through the “second exposition,” which is augmented to include a lyrical second theme, not heard earlier, played by the unaccompanied piano. The central section of the movement begins with the tempestuous main theme, a truly Romantic motive filled with snarling trills and anguished melodic leaps. The recapitulation enters on a titanic wave of sound, as though the crest of some dark, brooding emotion were crashing onto a barren, rocky shore. The lovely second theme returns (played again by the solo piano), but eventually gives way to the foreboding mood of the main theme. Looking back over the craggy grandeur of this movement, it is not difficult to imagine what must have caused the audience at the Leipzig premiere to reject the Concerto. There is no flashy virtuoso work here, not even a cadenza, but only an equal partnership between soloist and orchestra in music that is serious in content and broad in scope. The Adagio is a movement of transcendent beauty, of quiet, twilight emotions couched in a mood of gentle melancholy—of “something spiritual” in Clara Schumann’s words. Above the first line of Joachim’s score, Brahms penciled in the phrase “Benedictus

qui venit in nomine Domini”—“Blessed is he who comes in the name of the Lord.” This reference, really an informal dedication, is to Robert Schumann, who died while Brahms was working on the Concerto. Schumann was often addressed by his friends as “Mynheer Domine.” An additional dedication may be to Schumann’s widow, the Clara so dear to Brahms during those years, because he wrote to her that he was “also painting a lovely portrait of you. It is to be the Adagio.” Such an overt association of his music with definite sentiments was highly unusual for Brahms, and he later crossed out the Latin phrase in the conductor’s score. The emotion of deep tranquility untouched by life’s vicissitudes, however, remains. The finale, perhaps modeled on that of Beethoven’s C minor Piano Concerto, is a weighty rondo. Its theme is related to the lyrical second subject of the opening movement by one of those masterful strokes Brahms used to unify his large works. Among the episodes that separate the returns of the rondo theme is one employing a carefully devised fugue that grew directly from Brahms’ intensive study of the music of Bach. After a brief, restrained cadenza, the coda turns to the brighter key of D major to provide a stirring conclusion to this Concerto, a work of awesome achievement for the 26-yearold Brahms. Martin Bookspan wrote, “As it finally evolved, the D minor Piano Concerto has about it an air of Herculean triumph, and the ordeal of its difficult birth has left upon it an indelible imprint of relentless power and youthful passion.” Program notes by Dr. Richard E. Rodda

Kansas City Symphony The Kansas City Symphony is the region’s only full-time professional symphony orchestra, setting the standard for musical excellence. Led by Music Director Michael Stern since 2005, the Symphony has experienced impressive artistic growth, garnering national and international acclaim. The orchestra’s 80 full-time musicians are area residents, and each season touch the hearts of more than a million people through its classical, pops and family concerts; special holiday events; chamber concerts; major civic gatherings such as Bank of America Celebra-

tion at the Station, which draws more than 55,000 people, and the Symphony In the Flint Hills annual concert. During its 42-week season, the orchestra also presents educational programs, community outreach performances, and serves as the orchestra for the Lyric Opera and the Kansas City Ballet. Classical performances are broadcast weekly on KCUR 89.3 FM during the Kansas City Symphony Hour, Thursdays at 9 p.m. Visit the Kansas City Symphony online at kcsymphony.org.

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Performing Arts


Michael Stern Conductor Michael Stern is in his sixth season as music director of the Kansas City Symphony, hailed for its remarkable artistic growth and development since his tenure began. The Symphony and Stern concluded their first year together by making a recording for the Naxos label, which was released in 2007. Two additional recordings, Britten’s Orchestra and The Tempest, have recently been released to critical acclaim on the Grammy Award-winning Reference Recordings label.   Stern is also the founding artistic director and principal conductor of The IRIS Orchestra in Germantown, Tenn. This unique group, now beginning its second decade, has been widely praised for its virtuosity and programming, and has produced a string of recordings and acclaimed commissioned new works by American composers. Stern’s other positions include a tenure as the chief conductor of Germany’s Saarbrücken Radio Symphony Orchestra (the first American chief conductor in the orchestra’s history) and as permanent guest conductor of the Orchestre National de Lyon in France, a position which he held for five years. This year he will wrap up a stint as the principal guest conductor of the Orchestre National de Lille, France.   Stern has led orchestras throughout Europe and Asia, including the London Sym-

phony, London Philharmonic, Royal Stockholm Philharmonic, Orchestre de Paris, Helsinki Philharmonic, Budapest Radio Symphony Orchestra, Israel Philharmonic, Moscow Philharmonic, National Symphony of Taiwan, Tokyo’s NHK Symphony and the Vienna Radio Symphony, among many others. In North America, Stern has conducted the New York Philharmonic, Chicago Symphony, Cleveland Orchestra, Pittsburgh Symphony, St. Louis Symphony, Atlanta Symphony, Houston Symphony, Baltimore Symphony, Philadelphia Orchestra, Toronto Symphony, Cincinnati Symphony, Seattle Symphony, Montreal Symphony, Indianapolis Symphony and the National Symphony in Washington, D.C. He also appears regularly at the Aspen Music Festival and has served on the faculty of the American Academy of Conducting at Aspen. Stern received his music degree from the Curtis Institute of Music in Philadelphia, where his major teacher was the noted conductor and scholar Max Rudolf. Stern co-edited the third edition of Rudolf’s famous textbook, The Grammar of Conducting, and also edited a new volume of Rudolf’s collected writings and correspondence. Stern is a 1981 graduate of Harvard University, where he earned a degree in American history.

Jonathan biss Jonathan Biss was born in 1980; his professional debut preceded this event by several months, when he performed, prenatally, the Mozart A major Violin Concerto at Carnegie Hall, with the Cleveland Orchestra under the direction of Lorin Maazel. Subsequent violin performances have shown greater independence, though they have also been more likely to send listeners running in the opposite direction, wildly searching for ear, nose and throat specialists and handguns. Although the highlight of his career as a violinist took place when he was a fetus, Biss’s childhood was nonetheless saturated with music. With both of his parents playing the violin, and his older brother Daniel taking up the piano, he remembers music emanating

Kansas City Symphony

from nearly every room in the house, including bathrooms, which, while modest in their decor, were valued for their acoustical properties. Given this background, Biss’s commencement of piano studies at the age of 6 might seem like a defensive move, but it was in fact entirely offensive: while this adjective may in fact describe the sounds he produced when he began studying, it is simply meant to convey that the motivation to play the piano was entirely his own—his parents had no extra bathrooms to practice in, after all, and were not keen to build an outhouse. Biss’s enthusiasm manifested itself from the very beginning of his studies, far exceeding his 6-year-old physical and intellectual capacities. This enthusiasm (or, if you take the word


of Biss’s friends and associates, “obsessiveness” and “neurosis”) remains today, as does the feeling that doing justice to great music is an ever-unattainable goal. While this doesn’t necessarily make life easy, it is Biss’s deeply held sentiment that any other approach would be unthinkable. Or, in his own words, “if I ever stop finding music challenging and life-altering, I’ll quit and become an accountant.” Growing up in Bloomington, Ind., Biss was blessed with excellent teachers, starting with Karen Taylor—who as his first instructor, helped him give what is still regarded as the definitive performance of the “Middle C Piece,”—and continuing with Evelyne Brancart, who for six years was an invaluable source of information while Biss weathered what might best be termed an awkward adolescence. At

the age of 17, Biss went to the Curtis Institute of Music, where he studied with Leon Fleisher, which proved a phenomenal learning experience whenever Biss stopped looking under the piano to see if magic or pharmaceuticals were involved in the production of Fleisher’s surreally beautiful sound. Around the same time, Biss began concertizing, which has led to his present activities. Highlights have included post-natal re-engagements with Fried (with Biss a less reticent partner this time around), Maestro Maazel, and in November 2007, the Cleveland Orchestra. While Biss’s life in music provides him with tremendous satisfaction, playing music remains ever a struggle. He regards it as a pleasure and privilege to live this struggle, and to share its results with other people.

ADAM SCHOENBERG The music of composer Adam Schoenberg has been hailed as “ruminative” (New York Times), “stunning” (Memphis Commercial Appeal) and “open, bold and optimistic” (Atlanta Journal-Constitution). Music and Vision wrote, “The highlight of the concert was Finding Rothko, a recent score by American composer Adam Schoenberg.” Performance highlights include presentations by the Atlanta Symphony Orchestra, Kansas City Symphony, New World Symphony, Charleston Symphony, Aspen Music Festival Chamber Orchestra, IRIS Chamber Orchestra, Juilliard Symphony, Chicago Youth Symphony, American Brass Quintet, New Juilliard Ensemble and Sybarite Chamber Players. In Fall 2010, the American Brass Quintet will release a recording of Schoenberg’s brass quintet, which was commissioned by and premiered at the Aspen Music Festival as part of a recording celebrating its 50th anniversary. Commissions have come from the Atlanta Symphony Orchestra, Kansas City Symphony and The Blakemore Trio for premieres in 2011. Schoenberg is a doctoral candidate at The Juilliard School, where he studied with John Corigliano and Robert Beaser. He received his master’s degree in 2005 from Juilliard and his bachelor’s degree from the Ober-

lin Conservatory of Music in 2002. Recently completed commissions include pieces for the IRIS Chamber Orchestra, Sybarite Chamber Players and harpist Gretchen Van Hoesen of the Pittsburgh Symphony. Schoenberg is the 2010 guest composer for Aspen Music Festival and School’s M.O.R.E Music program, and a 2009 MacDowell Fellow. He was the first prize winner at the 2008 International Brass Chamber Music Festival for best brass quintet, resulting in the publication of his quintet by Brass Chamber Music. In 2007, he was awarded ASCAP’s Morton Gould Young Composer Award, Juilliard’s Palmer-Dixon Prize for most outstanding composition, and a Meet the Composer Grant from the Southern Arts Federation. He received the 2006 Charles Ives Scholarship from the American Academy of Arts and Letters and has garnered further acclaim from ASCAP and the Society for New Music. His music has been performed throughout the United States at such venues as Alice Tully Hall (Lincoln Center), the Benedict Music Tent (Aspen Music Festival), the Midwest Composers’ Symposium and the Merce Cunningham Studio, as well as broadcast on WCNY in New York. Schoenberg is a member of BMI and his website is adamschoenberg.com.

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Performing Arts


SOMETHING EXCITING IS HAPPENING AT THE LIED CENTER AND YOU HAVE A FRONT-ROW SEAT! Phase one is done! The main-floor lobby expansion is complete—it’s doubled in size creating a more people-friendly space. Construction on phase two is well underway. The education pavilion’s walls are going up on the southeast side of the Lied Center. These projects are made possible by gifts from the Lied Foundation Trust and the William T. Kemper Foundation.

For the latest updates: lied.ku.edu/about/construction.shtml

R E N DE R I NGS oF th E 2,400 SquaR E-Foot E DucatIoN pavI lIoN aDDItIoN


2010-11

Friends of the Lied Update This list includes individuals and businesses that have initiated or renewed their Friends of the Lied membership since the original list was published.

BUSINESS FRIENDS Benefactor ($1,000+) Bigg’s Barbecue Patron ($500+) Capital City Bank Commerce Bank The Chiropractic Experience Sponsor ($250+) Orchards Drug Dr. Jim & Vickie Otten Piersol Foundation, Inc. Friend ($100+) 715 Restaurant Hamm, Inc. Maceli’s Mariscos Petefish, Immel, Heeb and Hird, LLP

INDIVIDUAL FRIENDS Fellow ($2,500+) Phil & Phoebe Godwin Benefactor ($1,000+) Ken & Katie Armitage Keith & Karen Ely Becky & Harry Gibson Ken & Sheila Martinez Jeannot & Todd Seymour Kevan & Gail Vick

Patron ($500+) Karen & Dennis Christilles Chris & Kaye Drahozal John & Rosemary Elmore Francois Henriquez & Laura Stephenson Terrence & Polly Jones Daniel & Annie Merriam Charlotte A. Mueller Kenneth & Annette Wertzberger Sponsor ($250+) Don Fambrough Steve & Bobbie Gish Larry & Susan Krische Margaret Mahoney Lucy Price G.E. & Ruth Rutledge Judy & Jack Wright Robert & Barbara Wunsch Contributor ($100+) Jan-Eric & Cara Anderson Carladyne Knox Conyers Doug & Becky Eason Cap & Kitty Gray Alice Clayton & Bob Honea Sharon Graham & Anthea Scouffas Ted & Nancy Haggart Kristin & Blake Hedges Russ & Jackie Hilton C. Shaffia Laue Jerry & SanDee Nossaman Jesse & Kitty Pacheco Chris & Amy Phalen Mary Miller Ross lied.ku.edu

Mary Ann & Norman Saul Barbara & Richard Schowen Gary Schwartzkopf Fred & Lilian Six Steve & Jung Spooner Steve & Pat Sublett Tom & Helen Sullivan Frances Van Blaricum Sandra & Allen Wiechert Friends ($50+) Frank & Betty Baron Elaine & Virgil Brady Rex Buchanan Jim & Yun Butler Jerry & Kathy Clausing Willis Dr. Mark & Gretchen Edwards Cheri Esmond Diane Frankenfield Sheri & Alex Hamilton Alan & Lareeda Hickey Christine Kenney Ellen Loomith Charles & Laurie McLane-Higginson Terry & Mary Beth Miller Carol Thompson Sara Trautman-Yenenoglu Sarah Trulove & James Woelfel Alice M. Weis

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A salute to our VIP Sponsors

We proudly recognize our very important partners. Not only do our VIP Sponsors offer essential financial contributions, they also provide valuable and enthusiastic promotion of Lied Center performances to their customers, employees and the community. Their commitment to the performing arts allows us to provide education activities, free school performances and high-quality events each year. We honor our VIP Sponsors throughout the season on our electronic sign and with onstage recognition at their selected performances. We hope you will also thank them when you visit their businesses. For more information regarding our sponsorship program, contact the Lied Center Director of Development, Megan Poindexter, at 785-864-2788.

Alpin Hong

Legally Blonde The Musical

Big Bad Voodoo Daddy

Carnival of the Animals & Peter and the Wolf

THE ELDRIDGE & THE OREAD American Legacies: The Del McCoury Band & The Preservation Hall Jazz Band

Black Violin

Fiddler on the Roof

Bayanihan Philippine National Dance Company

An Evening with Garrison Keillor

Jeffery Broussard & The Creole Cowboys

Jim Brickman 15th-Anniversary Holiday Concert

A salute to our Media Sponsors Media sponsors provide important underwriting for Lied Center performances. Their contributions give invaluable support for advertising, promotions and marketing. For information on becoming a media sponsor, please call 785-864-2794.

Big Bad Voodoo Daddy

sponsors

An Evening with Garrison Keillor

William Inge’s Bus Stop

Kansas City Symphony  

Maestro Michael Stern conducts Brahms Sunday, March 6 — 7:30 p.m. Lied Center of Kansas Conducted by Music Director Michael Stern and joi...

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