Tuesday Musical November 21, 2019 Concert

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Fei-Fei: Thursday, November 21, 2019 Margaret Baxtresser Annual Piano Concert

132nd Season 2019-2020

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Up next Gabriela Montero’s Westward Immigrant experience through music & film

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er visionary interpretations and unique compositional gifts have garnered Venezuelan pianist Gabriela Montero a devoted following on the world stage.

For President Barack Obama’s first inauguration, she joined Itzhak Perlman, Yo-Yo Ma, and Anthony McGill to perform Air and Simple Gifts, composed for the occasion by John Williams.

In Westward she’ll examine the immigrant experience, beginning with two works Photo by Shelly Mosman

by Prokofiev, who left Russia after the revolution but returned almost 20 years later.

She’ll then perform works by Rachmaninoff and Stravinsky, composers who likewise emigrated from Russia after the revolution, but settled permanently in the United States, became citizens, and contributed immensely to America’s cultural life.

Finally, she’ll improvise the piano score, in real time, as we watch Charlie Chaplin’s short silent film The Immigrant, the tale of an unnamed immigrant making his journey across the ocean to America.

Discover how The Immigrant captivated and inspired Montero to create this program, including how she delved into the Chaplin archives to look at the painstaking process of restoring old film prints.

■ In the intimate Stage Door of EJ Thomas Hall. Open club-style seating on stage. Cash bar.

■ At 6:30 p.m., on stage before the concert: Hear Gabriela Montero talk about how and why she has created this program during our intimate “Concert Conversation” on stage ■ In collaboration with The University of Akron School of Music’s Kulas Concert Series.

Stage Door of Akron’s EJ Thomas Performing Arts Hall Tuesday, January 21, 2020, 7:30 p.m.

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The Margaret Baxtresser Annual Piano Concert Endowment Fund

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uesday Musical Association appreciates your continued support of The Margaret Baxtresser Annual Piano Concert Endowment Fund. This fund •gives a lasting voice to Margaret’s objective of presenting the world’s greatest pianists in Akron. It also helps maintain the legacy that this extraordinary woman left for us all to remember.

Barbara Ainsworth-Porter Ronald & Ann Allan Moshe Amitay & Judy Levin Tom & Nancy Anderson Anonymous Marion Goetz Aron Eleanor & Richard Aron Mark Auburn Sue & Christopher Bancroft Earl & Judy Baxtresser Jeanne Baxtresser & David Carroll Robert Baxtresser Suzanne Baxtresser & Steven Wangh George Bellassai Jeanette & John Bertsch Jan Bird Ginny Black Sue & Pete Birgeles Mary & Dave Brown Lisle M. Buckingham Endowment/ Akron Community Foundation Alan & Sara Burky Elizabeth Butler Alfred S. Cavaretta Sarah Church Joyce Clark Cynthia Maglione Coleman Lydia Colopy Mr. & Mrs. Nicolas Constantinidis Carole Cordray-Syracuse George Curley Rita Czarnecki Jerry Davidson David & Katharine DeBolt David & Judith DeShon Mary Di Donato Marjorie Donahue & Robert Roach Dave & Susan Dudas Dennis & Karen Dunn Carolyn & Jerry Durway Hope Everhart David & Roberta Ewbank Denis & Barbara Feld Lois & Harvey Flanders Richard & Eleanor Freeman Thomas Friedman Marlene Mancini Frost Laura Lee Garfinkel Candace Gatewood Diana F. Gayer Stephen T. & Mary Ann Griebling Mary Lynne Grove Elaine Guregian & Dale Dong 4

Toshie Haga Bruce & Joy Hagelin Bart & Jeannie Hamilton Mr. & Mrs. Robert S. Hancock DuWayne & Dorothy Hansen Karin Harvey Jean Hauser Dan T. Hayes Marcianne Herr Harriet & Herb Herskowitz Patti Hester Linda Hohenfeld Monica (Niki) Houghton Kathryn E. Hug Kathryn M. Hunter Margaret W. & David M. Hunter Mary Ann Jackson Constance C. Jenkins Jerry & Helen Jenkins Scott & Linda Johnston Phyllis R. Kaplan Mr. & Mrs. Gilbert Katz Ardith & Bill Keck David W. Kellogg Jon & Martha Kelly Cynthia Knight Dr. & Mrs. Edward L. Koosed Mr. Louis Lane Laurie Lashbrook Diane Lazzerini Lehner Family Foundation Peter & Dorothy Lepp Larry & Shirley Levey Michelle and Richard V. Levin Marian Lott Martha Klein Lottman Richard & Leslie Lund Barbara MacGregor Orlene Makinson Eugene Mancini Roberta & Stan Marks Charitable Foundation Sanford & Eleonora Marovitz Gloria Massa Diane Mather Claire McJunkin Virginia Mead Dodi S. & Claude Meade David & Anita Meeker Eileen L. Meeker & Chris Houghton Mr. & Mrs. Robert Mercer Lynn & Ed Metzger Emmett & Alice Monroe Charles & Elizabeth Nelson

Dianne & Herbert Newman Wm. Max Nonnamaker Louwana S. Oliva OMNOVA Solutions Foundation Bob & Marge Palmieri Ruth Papini Reinhard & Mary Petrich Alice H. Phillips George S. Pope Madeleine Pringle John H. & Carol E. Ramey Susan Ramsdell E. G. Sue Reitz Sally & David Riede Nan & John Riemenschneider Corrinne & Donald Rohrbacher Phyllis Ronald Beverly M. Rose Lola M. Rothmann Bernadette Blount Salley Anne M. Schellin Mary Schiller Brent & Nathalina Schloneger Theresa Dye Schoettler Arthur & Jean Schooley Grace Reginald Scott Walt & Donna Scott Geraldine & Nadine Shank Dr. C.M. & Barbara Shearer Betty Sloan Sandra & Richey Smith Margo Snider & Rick Butler Mrs. Jimmy Rogers Snoga Louise & Al Spaulding R. Thomas & Meg Harris Stanton Mary Jo Stasell Kenneth F. Swanson, M.D. James Switzer & Gretchen Laatsch Mr. & Mrs. Russell Tinkham Dr. & Mrs. LeRoy Tunnell Lewis H. & Charlotte E. Walker Paul & Gwyn Wallace Lee Wallach Ann Waters Walter & Barbara Watson Virginia B. Wojno-Forney Jerry Wong Janet Wright Mary Alice & David Wyatt Zeta Omicron Chapter of Delta Omicron Mayumi & Christopher Ziegler John & Kathleen Zizka tuesdaymusical.org ■ 330.761.3460

EJ Thomas Performing Arts Hall—The University of Akron Thursday, November 21, 2019, 7:30 p.m.

Fei-Fei, piano Margaret Baxtresser Annual Piano Concert

Ludwig van Beethoven 1770-1827

Piano Sonata No. 18, in E Flat, Op. 31, No. 3

Robert Schumann 1810-1856

Kinderszenen

Claude Debussy 1862-1918

L’Isle Joyeuse INTERMISSION

Sergei Rachmaninoff 1873-1943

Moments Musicaux, Op.16, No. 1

Fei-Fei is performing this evening on Tuesday Musical’s Three Graces Steinway D Piano.

Composer/pianist James Wilding, a faculty member at The University of Akron School of Music, led tonight’s Concert Conversation with Fei-Fei. Presented at 6:30 p.m. in EJ’s Flying Balcony Club before most Tuesday Musical concerts, Concert Conversations are an opportunity for audience members to enjoy libations in an intimate setting while getting to know the evening’s performers. The conversations are supported this season, in part, by the Laura R. and Lucian Q. Moffitt Foundation.

Generous support for this performance and related education/community engagement activities comes from the Charles E. and Mabel M. Ritchie Memorial Foundation, as well as from other foundations, corporations, and individuals listed elsewhere in this program.

Among Tuesday Musical’s season supporters:

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The Artist Fei-Fei “In her mid-20s, she is one of the most engaging and promising rising stars in the musical firmament.” ––Times Herald-Record

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raised for her “bountiful gifts and passionate immersion into the music she touches” (The Plain Dealer), pianist Fei-Fei (pronounced fay-fay) is a winner of the Concert Artists Guild Competition and a top finalist at the 14th Van Cliburn International Piano Competition.

She continues to build a reputation for her poetic interpretations, charming audiences with her “passion, piquancy and tenderness” and “winning stage presence” (Dallas Morning News), both in the United States and internationally, including in her native China.

Fei-Fei’s 2019-2020 concert season has brought her to Akron and is also taking her across the globe in concerto performances, recitals, and chamber music collaborations.

Highlights include performances with the Baden-Baden Philharmonic touring in Germany and a tour of Spain with the New York Youth Symphony, as well as concerto engagements with the Costa Rica National Symphony Orchestra, Columbus Symphony, Big Springs Symphony, and Symphony in C. This season also brings a new special project titled The Inner Voices with violist Dana Kelley and clarinetist Yoonah Kim, featuring the music of Mozart, Schumann, and Brahms.

Additional career highlights include performances with the Fort Worth Symphony, Kansas City Symphony, Buffalo Philharmonic, Calgary Philharmonic, Aspen Music Festival Orchestra, Spokane Symphony, Corpus Christi Symphony, Austin Symphony, Denver Philharmonic, Anchorage Symphony, Youngstown Symphony, and the Juilliard Orchestra.

Internationally, she has performed with Canada’s Calgary Philharmonic, Germany’s Rostock and Baden-Baden philharmonic orchestras, and in China with the Hong Kong Philharmonic, China National, and Shenzhen Symphony orchestras.

Fei-Fei was showcased prominently as a Cliburn finalist in the documentary film, Virtuosity, about the 2013 Cliburn Competition, which premiered on PBS in August 2015. She is based in New York City. tuesdaymusical.org ■ 330.761.3460

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Program Notes Piano Sonata No. 18, in E Flat, Op. 31, No. 3 Ludwig van Beethoven

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eethoven completed the three sonatas of Op. 31 in 1802, at one of the saddest times of his life.

On the advice of his physician, he left Vienna for about half of the year 1802, and lived in the quiet country village of Heiligenstadt. On October 6, shortly before he returned to the city, he wrote a will in the form of a letter to his two brothers, a touching testament in which he admitted the horror and pain of the affliction that he had tried to keep secret: he was losing his hearing.

“How could I possibly admit an infirmity in the one sense that ought to be more perfect in me than in other people, a sense that I once possessed in the highest perfection, a perfection such as few in my profession enjoy or have ever enjoyed. When I am with other

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people, a terrible terror seizes me and I fear that my condition will be noticed. What a humiliation it was, when someone standing next to me heard a flute in the distance, heard a shepherd singing, and I heard nothing. I would have ended my life but my art stopped me. It is impossible to leave the world until I have brought forth everything that I feel within me.

If [death] comes before I have been able to develop all my artistic powers, I should wish it to come later, but even so I will be happy, for it will free me from endless suffering.” [Abridged] A few days later, he added a postscript of utter despair, but in November, he returned to Vienna, ready to resume his career, with his Symphony No. 2 and the Op. 31 Sonatas as his major new works.

Back in Vienna, Beethoven remained his old irascible self. He quarreled with one of his brothers over the arrangements for publication of the sonatas. He was later horrified to find that the publisher of his choice had issued them with

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about 80 mistakes and, near the end of the third sonata’s first movement, had inserted some music of his own devising in order to “improve” its symmetry.

This sonata, like the Symphony No. 2, has not the slightest echo of the tragic Heiligenstadt Testament. The music’s mood is almost entirely bright and sunny, sometimes even Italianate, and its form and style point the way to the “new paths” that Beethoven said his work would follow from that time on.

The beginning of the Allegro first movement is worth examining in some detail. The principal subject is not a clearly defined theme in the sonata’s principal key but an eight measure phrase made up of four two measure melodic figures whose tonality is by no means clear until their very end.

This opening used to puzzle musicians, who thought that it was just an introduction, not the principal subject matter of the movement and, indeed, of the entire sonata. The first little fragment of a tune is a kind of gently falling, questioning sigh. Beethoven skillfully counters

the effect of this opening by bringing up a second subject uncommonly quickly and making it a solid melody, firmly stated. Taken together, they reverse the order of the mythological “masculine” and “feminine” qualities of first and second subjects.

For his second and third movements, a composer of the time would ordinarily have chosen to make one slow and the other either a minuet or a scherzo. Beethoven, instead, has no slow movement and uses both of the other two headings, but the second movement, Allegretto vivace, is actually a scherzo in name only. Written in duple meter rather than triple, and not with the structure of a scherzo, Beethoven instead builds it like a big, tense, almost symphonic first movement.

The sonata’s third movement, Minuet, Moderato e grazioso, is conventional, brief, and charming, and functionally offers the relaxation that a proper slow movement otherwise would.

The finale, Presto con fuoco, combines sonata form structure with the wild rhythms of the tarantella, a fiery Italian dance.

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Program Notes Kinderszenen (“Scenes of Childhood”), Easy Pieces for Piano, Op.15 Robert Schumann

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obert Schumann’s father was a small town bookseller who encouraged his son’s inclination toward the arts. At the age of 6, the boy began to play the piano and to compose; by the time he was 14, he was a published poet.

At 18, he entered the University of Leipzig as a law student, but the call of music was too strong for him to resist.

In his third year he left, determined to be a pianist, and became a pupil of Friedrich Wieck, one of the great teachers of the time.

Wieck told Schumann’s mother that with two or three years of work, Robert’s natural talent and artistic imagination could make him a fine artist, but an injury to the young man’s hand turned him toward a career as a composer, conductor, and critic.

Wieck’s star pupil was his daughter Clara (18191896), who made her public debut at the age of

9, published her first composition when she was 12, and grew up to be one of the greatest pianists of her time. Late in 1835, when she was 16 and Schumann 25, they fell in love, but her father’s objections kept them apart and prevented them from marrying until she turned 21.

In the spring of 1838, Schumann worked on 12 miniature pieces that helped him endure a difficult period of separation from his fiancée, Clara, who was on tour as a pianist. In March 1838, Schumann wrote to his fiancée: “I have been composing a whole book of things — wild, wondrous or solemn. Perhaps they are a response to something you wrote me, saying that I often seem like a child. That was truly inspiring, and the result is 30 droll little pieces. I have selected 12 and called them I.” Later he added, “I am very fond of them and make a great impression when I play them — especially on myself.”

By 1839 when these pieces were published, Schumann had added one more to make a set of 13. At that time, he gave them the qualifying

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subtitle, “Easy Pieces for Piano.” They constitute a tribute to Schumann’s memories about his childhood and were his first commercially successful publication.

Of course, easiness is relative. Although these pieces are not fiercely difficult, they are not actually very easy, either. Schumann composed these short musical pictures of childhood for adults; they are neither addressed to children nor intended for children to play, as was Schumann’s later Album for Young People, for example.

Both may have been influenced by the ideals of Hausmusik, a German answer to the technically undemanding branch of French salon music.

Hausmusik can be defined mostly by the place of its performance, the home, and only secondarily by its style or genre. It was generally performed only in private homes for the amusement of an immediate family in an age before radio, television, or the computer, and generally was intended to exemplify the German traits of seriousness, simplicity, and warmth or coziness (Gemütlichkeit). >> 44 Schumann’s Kinderszenen series has long been a staple of the piano repertoire. All << the

pieces are utterly charming yet substantial miniatures that showcase Schumann’s musical imagination at a time when he was writing at the peak of poetic clarity.

The title, Scenes from Childhood, and the names of the individual perfect miniatures that make up the set, were invented after the music was written and were intended to offer interpretative hints to the player in place of conventional indications of tempo and mood which Schumann did not use here.

They are: 1.

Von fremde Ländern und Menschen (“Of Foreign Lands and Peoples”) 2. Curiose Geschichte (“Strange Tale”) 3.

HascheMann (“Catch Me If You Can” or perhaps “It” in a children’s game) 4. Bittendes Kind (“Begging Child”) 5. Glückes genug (“Happiness Enough”) 6. Wichtige Begebenheit (“An Important Event”) 7. Träumerei (“Reverie”) 8. Am Camin (“By the Fireside”) 9.

Ritter von Steckenpferd (“Knight of the Hobby Horse”) 10. Fast zu ernst (“Almost Too Serious”)

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Program Notes

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compose a trilogy, including Masques, L’isle joyeuse, and a third piece, probably D’un Cahier d’esquisses, all grouped under the title Suite Bergamasque.

In the summer of 1903, Debussy played parts of this new suite, in three movements, which he concluded with L’île joyeuse, for his friend Ricardo Viñes. The suite, however, never appeared as such; the final Suite Bergamasque did not include these three pieces, but others, all inspired by Verlaine’s poetry.

The publisher Fromont printed this totally different work, finally titled Suite bergamasque, in 1905, while in the fall of 1904, Masques and L’isle joyeuse appeared as two separate pieces published by Durand.

The “joyous isle” or “island of pleasure” of this piece was Cythera, now known as Carigo, off the southern coast of Greece. This island was one of the earliest seats of the cult of Aphrodite, goddess of beauty and love, who was thought to have sprung from the sea nearby. Debussy’s direct inspiration was a

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11. Fürchtenmachen (“Frightening”); 12. Kind im Einschlummern (“Child Falling Asleep”); 13. Der Dichter spricht (“The Poet Speaks” — which we can understand to mean Schumann speaking to his beloved).

L’Isle Joyeuse Claude Debussy n 1890, Debussy published five piano pieces, but he had composed at least five more.

One of those, not published until 1904, was the brilliantly colored L’Isle joyeuse (“The Joyous Island”) originally titled L’île joyeuse. This work has often been associated with the island of Jersey, where Debussy secretly spent the summer of 1904 with Emma Bardac, with whom he was in love. He made some changes in the work during this time, but it was composed at an earlier date.

Actually, Debussy originally intended to

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Program Notes 1717 painting by Watteau, now in the Louvre, L’embarquement pour Cythère (Embarkment for Cythera), showing lovers making their way down the mountainside to the shore.

The mood of the music suggests an enchanted landscape, both real and imaginary, Jersey and Cythera. Debussy said in a letter to his publisher that his work was at once powerful and pretty. Airy, light, and graceful are characteristics this work shares with the depiction in Watteau’s painting.

He might have added that it is an exuberant and ecstatic virtuoso piece, strongly rhythmic and highly varied in color.

Moments Musicaux, Op. 16, No. 1 Sergei Rachmaninoff

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achmaninoff was one of the most accomplished pianists of his time as well as a composer who represents late Russian Romanticism. In his early works, the influences of Rimsky-Korsakov, Tchaikovsky,

and other Russian composers of the day were somewhat evident, but his writing soon acquired its individual lyrical character.

In 1897 the young Rachmaninoff was very disappointed at the lack of initial success of his Symphony No. 1, an event that for a time shattered his ambitions for a career as a composer. After a period of depression, he took a post as assistant conductor of a minor opera company while trying to restore his spirit and regain his hopes, and in the summer of 1898, he began to write again.

His Moments Musicaux (“Musical Moments”), Op. 16, written in 1896, a year after he completed his Symphony No. 1, reveals his piano style in a formative period, when he was beginning to write his characteristic yearning themes, on the way to that of his popular Preludes, Op. 23.

Moments Musicaux became a popular title after a Viennese music publisher used it in 1828 for a collection of short piano pieces by Franz Schubert. The name indicates no set form or

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Program Notes style but many Romantic 19th-century composers appropriated it to designate short, fanciful pieces.

Rachmaninoff’s beautiful set of pieces, improvisatory in nature, consists of six musical moments: No. 1 in B-Flat minor, Andantino; No. 2 in E-Flat minor, Allegretto; the elegiac No. 3 in B minor, Andante cantabile; No. 4 in E minor, Presto; No. 5 in D-Flat, Adagio sostenuto; and No. 6 in C major, Maestoso. These pieces are each a single-minded concentrated exploration of one single idea, texture, or mood. They display new levels of complexity in Rachmaninoff’s piano writing and present technical complexities, which are unsurpassed in his music.

No. 1, in a slow tempo, begins with a Russian theme; this piece is the longest of the set of six, and very improvisatory. It changes time signatures frequently. It also includes some theme and variation in its structure, which explores a variety of textures. It is the only one in the set to include both major and minor keys.

The cadenza following the central section and the variation, which follows after it, are virtuosic.

No. 2 in E-Flat minor, Allegretto, is improvisatory in nature and requires the playing of a skilled virtuoso. Rachmaninoff revised the second “moment” in 1940, late in his career. This very virtuosic showpiece, in simple ABA form, makes thrilling listening. No. 2 has an overall feeling that is hushed with light notes in both hands surrounding the melody, but the middle section contains a few angry outbursts and a climax of pealing bells.

No. 3 is the most emotionally touching of the pieces. This slow-paced “moment” is elegiac, melancholic, and muted.

The turbulent No. 4, in three-part form, is virtuosic and displays great contrasts from very soft to very loud.

No. 5, erasing the preceding struggle and pain of the preceding two “moments,” utilizes one theme with a triplet accompaniment. The only moment of calm rest in the cycle, it is a gentle barcarolle, in a major tonality, with a rocking melody in the undulating left-hand accompaniment.

No. 6 in C Major, Maestoso, is the last of the series and uses three-part form; it ends the set dramatically and resoundingly with intense fortissimo chords.

All notes are copyright © Susan Halpern, 2019.

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Hugh A. Glauser School of Music

THE HUGH A. GLAUSER SCHOOL OF MUSIC REMEMBERS Margaret Baxtresser

Professor Emeritus (1966-1991) Piano Chamber Music Coaching Kent Blossom Music Festival

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Support: Individuals

W

e gratefully acknowledge all donors this season. Every gift helps to support the success of Tuesday Musical’s MainStage and Fuze concert series and Education and Community Engagement Programs. (as of November 5, 2019) Director $5,000+ Anonymous Anne Alexander Ann Allan David and Margaret Hunter Cynthia Knight Kenneth Shafer Tim and Jennifer Smucker Frederick and Elizabeth Specht Darwin Steele Kenneth Taylor James and Linda Venner Lucinda Weiss “Three Graces Piano” Benefactor $1,500 to $4,999 Linda Hohenfeld Peter and Dorothy Lepp Linda and Paul Liesem Marianne and Russ Miller Michael and Lori Mucha Charles and Elizabeth Nelson George Pope Patrick Reilly Donald and Corrine Rohrbacher Pat Sargent Larry and Cyndee Snider Thomas and Meg Stanton Sustainer $700 to $1,499 Eleanor and Richard Aron Lee and Floy Barthel Earl and Judy Baxtresser John Bertsch Kittle B. Clarke Thomas and Mary Lynn Crowley Harloe and Harriet Cutler Barbara and Denis Feld

Paul Filon Bob and Beverley Fischer Sue Jeppesen Gillman Joy and Bruce Hagelin Jarrod Hartzler Patricia and James Hartzler Joseph S. Kanfer James and Maureen Kovach Lawrence B. Levey Mike Magee JoAnn Marcinkoski Lola Rothmann Dr. Pamela Rupert Elizabeth and Michael Taipale John Vander Kooi Patron $400 to $699 Anonymous William P. Blair III Rob and Alyssa Briggs Alfred Calvaretta Sally Childs John Dalton Lois and Harvey Flanders Ted and Teresa Good DuWayne and Dorothy Hansen Loren Hoch Dr. Tom and Mary Ann Jackson Susan and Allen Kallor Mary Jo Lockshin Mark and Barbara MacGregor Stan and Roberta Marks Anita Meeker Dianne and Herb Newman Earla Patterson Roger Read and Sally Miller Peter and Nanette Ryerson Jean Schooley

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Sandra and Richey Smith Annaliese Soros Jeff and Jennifer Stenroos Carol Vandenberg Donor $200 to $399 Anonymous John and Kathleen Arther Mark and Sandy Auburn Carmen Beasley Cheryl Boigegrain Jack and Bonnie Barber Sara J. Buck Sara and Alan Burky Robert A. and Susan H. Conrad Herbert and Jill Croft Gary Devault Barbara Eaton Jon Fiume Robert and Sharon Gandee Barbara and John Gillette Elaine Guregian Michael Hayes Walt and Gwen Heeney Patti Hester John and Suzanne Hetrick Gary and Maureen Iler Moneeb Iqbal and Jessica Haley Mark and Karla Jenkins Cally Gottlieb King Susan Kruder Tom and Cheryl Lyon Marjorie Magee Jim and Mary Messerly Natalie Miahky Jim and Patty Milan Paul and Alicia Mucha Alan and Marjorie Poorman Paula Rabinowitz Sandra and Ben Rexroad Anne Marie Schellin Rachel Schneider Betty and Joel Siegfried Margo Snider Peter and Linda Tilgner Brooks and Dina Toliver Susan and Reid Wagstaff Kathleen Walker Jorene Whitney Jamie Wilding and Caroline Oltmanns Christopher Wilkins Shirley Workman Douglas D. Zook Jr. tuesdaymusical.org ■ 330.761.3460

tuesday musical 2019 | 2020

Preparing students

with real life experiences behind the scenes and in the spotlight

Connecting Community to the Classroom ARE YOU GETTING THE BEST POSSIBLE LIFE WITH THE MONEY YOU HAVE?

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23

Support: Memorials & Tributes These gifts to Tuesday Musical are meaningful ways to honor special people.

In Memory of Nancy Anderson

In Honor of Bob Fischer

In Honor of George Pope

Joy and Bruce Hagelin

Dan Ginis

Betty Sandwick

In Memory of Margaret Baxtresser

In Memory of Diana Gayer

In Memory of Donald Reid

Linda Hohenfeld George Bellassai

Bob and Beverley Fischer

Bobbie Eaton Dorothy Hansen Natalie Miahky

In Memory of Elizabeth Dalton Bob and Beverley Fischer Joy and Bruce Hagelin Jarrod Hartzler Margaret and David Hunter JoAnn Marcinkoski

In Memory of Elizabeth Kime Joy and Bruce Hagelin In Memory of Eugene Mancini Toshie Haga In Memory of Paul Marcinkoski

In Memory of Bud Rodgers Margaret and David Hunter In Honor of Cyndee Snider Mark and Sandy Auburn In Honor of Billie Whittum

Doris St. Clair

Barbara Eaton Bob and Beverley Fischer Joy and Bruce Hagelin

In Memory of Wanda Fair

In Memory of Alice Phillips

In Memory of Donna Wingard

Kittie B. Clarke

Joan Beach

Joy and Bruce Hagelin

In Honor of Barbara and Denis Feld

In Memory of Catherine Phillips

Judi and Jerry Brenner

Bobbie Eaton

In Memory of William Eaton

Harriet Richman

Support: Foundations, Corporations & Government Agencies Tuesday Musical thanks these foundations, corporations and government agencies for their support. $25,000+ GAR Foundation John S. and James L. Knight Foundation Louis S. and Mary Schiller Myers Foundation Ohio Arts Council Peg’s Foundation $10,000 to $24,999 Community Fund—Arts & Culture of the Akron Community Foundation C. Colmery Gibson Polsky Fund of Akron Community Foundation Kulas Foundation John A. McAlonan Fund of Akron Community Foundation Gertrude F. Orr Trust Advised Fund of Akron Community Foundation $5,000 to $9,999 Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust

24

Charles E. and Mabel M. Ritchie Memorial Foundation Lloyd L. and Louise K. Smith Foundation Welty Family Foundation

W. Paul Mills and Thora J. Mills Memorial Foundation Maynard Family Foundation Laura R. and Lucian Q. Moffitt Foundation

$1,000 to $4,999

Corporate Partners

Akron/Summit Convention & Visitors Bureau Arts Midwest Touring Fund The Lisle M. Buckingham Endowment Fund of Akron Community Foundation Kenneth L. Calhoun Charitable Trust, KeyBank, Trustee KeyBank Foundation Lehner Family Foundation Lubrizol Beatrice K. McDowell Family Fund R. C. Musson and Katharine M. Musson Charitable Foundation OMNOVA Solutions Foundation Sisler McFawn Foundation

Akron Tool & Die Co. Nelson Development Skoda Minotti Wealth Impact Advisors, LLC In-kind Services

$200 to $999 KeyBank Foundation Community Leadership Fund

Akron Beacon Journal Cally Graphics ClevelandClassical.com Cogneato ideastream® Labels and Letters Sheraton Suites Akron/ Cuyahoga Falls Steinway Piano Gallery— Cleveland The University of Akron School of Music WKSU-FM Wooster Color Point

tuesdaymusical.org ■ 330.761.3460

tuesday musical 2019 | 2020

tuesday musical

330-761-3460

tuesdaymusical.org

expect great music

Academy of St. Martin in the Fields W I T H

Joshua Bell Tuesday

February 25

EJ Thomas Hall, Akron

Limited-time offer: Buy

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3 $99 FREE Now, when you subscribe to three concerts you will receive Joshua Bell with your package for free.

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DEADLINE: 12/20 25

tuesday musical 2019-2020 Board of Directors

Executive Committee President Paul Filon Vice President/President Elect Linda Liesem

Treasurer Paul Mucha

Secretary Marianne Miller

Governance Committee Chair Magdalena McClure

Committee Chairs Artistic Planning George Pope Brahms Allegro Jennifer Stenroos

Development Charles Nelson Finance Paul Mucha

Hospitality Joy Hagelin

Membership Fred Specht

Members Programs Teresa Good

Scholarship George Pope, James Wilding

At-large Members Stanislav Golovin, Mary Jo Lockshin, Cheryl Lyon, Mike Magee Staff

Interim Executive Director/ Director of Development & Communications Cyndee Snider

Director of Operations Karla Jenkins

Programs Director Moneeb Iqbal

26

Program art direction by Live Publishing Co.

tuesdaymusical.org â&#x2013; 330.761.3460

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