Tuesday Musical 2018-2019 Season

Joyce Yang, piano Margaret Baxtresser Annual Piano Concert Tuesday, September 11, 2018

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7:30 p.m. at Akron’s EJ Thomas Hall except Canadian Brass at Akron Civic

MAINSTAGE Season Opener!

Tuesday, September 11 Joyce Yang, piano

Tuesday, October 16 Les Violons du Roy with Anthony Roth Costanzo, countertenor

Tuesday, January 22, 2019 Calidore String Quartet with Inon Barnatan, piano

Tuesday, February 12 Lawrence Brownlee, tenor Eric Owens, bass-baritone

FUZE Saturday, November 3 The Tell-Tale Heart

Musical Ghost Story Cellist Joshua Roman, pianist Gregg Kallor & mezzo-soprano Jennifer Johnson Cano in Kallor’s dramatic cantata.

Tuesday, March 12 Chamber Music Society of Lincoln Center

Tuesday, December 4 Canadian Brass Holiday Concert

World’s most-famous brass ensemble.

Thursday, April 18, 2019 For Lenny

Pianist Lara Downes celebrates Leonard Bernstein’s 100th birthday.

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Thursday, March 28 Escher String Quartet

World premiere of Andrew Norman quartet

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Quebec favorite

Les Violons du Roy with Anthony Roth Costanzo, countertenor Named for the renowned string orchestras of the French kings, Les Violons du Roy is at the heart of the music scenes in Montreal and Quebec City, where it has been in residence at the Palais Montcalm since 2007.

Often using copies of period bows, Les Violons du Roy specializes in the vast repertoire of music for chamber orchestra. This concert will span works from Handel to Glass.

Musical America exclaims about countertenor Anthony Roth Costanzo: “This was not just perfectly laced vocalism, it was edge-of-your-seat drama, the kind of high-voltage, high-register male singing that comes once is a generation.”

The University of Akron — EJ Thomas Performing Arts Hall Tuesday, October 16, 2018, 7:30 p.m.

Concert Conversation at 6:30 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 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

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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 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

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EJ Thomas Performing Arts Hall—The University of Akron Tuesday, September 11, 2018 7:30 p.m.

Joyce Yang, piano Margaret Baxtresser Annual Piano Concert Sergei Rachmaninoff 1873-1943

Prelude in G-sharp minor, Op. 32, No. 12 Prelude in D major, Op. 23, No. 4 Prelude in C-sharp minor, Op. 3, No. 2

Leoš Janáček 1854-1928

Piano Sonata 1.X.1905

Foreboding (Předtuchka)

Death (Smrt)

Franz Liszt 1811-1886

Rhapsodie espagnole INTERMISSION

Elizabeth Younan Piano Sonata (2018) b. 1994 (in one movement) Liszt Sonata in B minor

Lento assai – Allegro energico

Grandioso – Recitativo

Andante sostenuto – Quasi adagio

Allegro energico – Stretta quasi presto – Presto –

Prestissimo

Andante sostenuto – Allegro moderato – Lento assai Joyce Yang is a Steinway Artist.

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

Discography: Avie Exclusive Management: Arts Management Group, New York City

Generous support for this performance and related education and community engagement activities comes from Akron Community Foundation’s C. Comery Gibson Polsky Arts and Culture Fund and John A. McAlonan Fund, as well as from other foundations, corporations and individuals.

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The Artist Joyce Yang

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ith “poetic and sensitive pianism” (Washington Post) and a “wondrous sense of color” (San Francisco Classical Voice), pianist Joyce Yang captivates audiences with her virtuosity, lyricism, and interpretive sensitivity.

As a Van Cliburn International Piano Competition silver medalist and Avery Fisher Career Grant recipient, Ms. Yang showcases her colorful musical personality in solo recitals and collaborations with the world’s top orchestras and chamber musicians.

In 2017, she received her first Grammy nomination (Best Chamber Music/Small Ensemble Performance) for her recording of Franck, Kurtág, Previn & Schumann with violinist Augustin Hadelich — who dazzled Tuesday Musical’s audience during his own concert this past March.

Ms. Yang first came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant at age 19, she took home two additional awards: the Steven De Groote Memorial Award for Best Performance of Chamber Music (with the Takàcs Quartet) and the Beverley Taylor Smith Award for Best Performance of a New Work.

Since her spectacular debut, she has blossomed into an “astonishing artist” (Neue Zürcher Zeitung). She has performed as soloist with the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, the Baltimore, Detroit, Houston, Milwaukee, Pittsburgh, San Francisco, Sydney, New Jersey, and Toronto symphony orchestras, Royal Flemish Philharmonic, Deutsches Symphonie-Orchester Berlin, and the BBC Philharmonic (among many others), working with such distinguished conductors as Edo de Waart, Lorin Maazel, James Conlon, Manfred Honeck, Jacques Lacombe, Leonard Slatkin, David Robertson, Bramwell Tovey, Peter Oundjian, and Jaap van Zweden. In recital, Ms. Yang has taken the stage at New York’s

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Lincoln Center and Metropolitan Museum, the Kennedy Center in Washington, D.C., Chicago’s Symphony Hall and Zurich’s Tonhalle.

Last season, Ms. Yang embarked on a journey of debuts, collaborations, and premieres. Highlights included her 12th consecutive appearance as a guest artist at the Aspen Music Festival, her debut with the New Zealand Symphony Orchestra under Edo De Waart performing Rachmaninov’s Piano Concerto No. 3 in five New Zealand cities, a reunion with the Baltimore Symphony Orchestra for three performances of Prokofiev’s Piano Concerto No. 3, and her first collaboration with the Aspen Santa Fe Ballet on a new work for dancers and solo piano choreographed by Jorma Elo. The work received its world premiere in Aspen in March 2018 with repeat engagements in Santa Fe, Costa Mesa and Los Angeles.

She also performed alongside the Nashville Symphony Orchestra, Lexington Philharmonic, Eugene Symphony, Santa Rosa Symphony, Rochester Philharmonic, Milwaukee Symphony, Reno Philharmonic, Allentown Symphony, Oklahoma City Philharmonic, Vancouver Symphony, and Asheville Symphony.

Recent recordings include Ms. Yang and Mr. Hadelich’s collaborative Works for Violin and Piano for Avie Records (“One can only sit in misty-eyed amazement at their insightful flair and spontaneity,” – The Strad) and the world premiere recording of Michael Torke’s Piano Concerto, created expressly for Ms. Yang and commissioned by the Albany Symphony.

Ms. Yang has also “demonstrated impressive gifts” (New York Times) with the release of Wild Dreams (Avie Records), on which she plays Schumann, Bartók, Hindemith, Rachmaninoff, and arrangements by Earl Wild; a pairing of the Brahms and Schumann Piano Quintets with the Alexander Quartet; and a recording of Tchaikovsky’s Piano Concerto No. 1 with

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Denmark’s Odense Symphony Orchestra that International Record Review called “hugely enjoyable, beautifully shaped … a performance that marks her out as an enormous talent.” Of her 2011 debut album for Avie Records, Collage, featuring works by Scarlatti, Liebermann, Debussy, Currier, and Schumann, Gramophone praised her “imaginative programming” and “beautifully atmospheric playing.”

Other recent season highlights include debuts with the Minnesota Orchestra, San Diego Symphony, and Charleston Symphony. She was featured in a five-year Rachmaninoff cycle with

Edo de Waart and the Milwaukee Symphony, to which she brought “an enormous palette of colors, and tremendous emotional depth” (Milwaukee Sentinel Journal). She has joined the Takács Quartet for Dvořák in Lincoln Center’s Great Performers series and impressed the New York Times with her “vivid and beautiful playing” of Schubert’s “Trout” Quintet with members of the Emerson String Quartet at the Mostly Mozart Festival at Lincoln Center. She has performed solo recitals across the United States and Canada, including a recent performance at the Wallis Annenberg Center for the Performing

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The Artist Arts in Beverly Hills that was hailed by the Los Angeles Times as “extraordinary” and “kaleidoscopic.”

Ms. Yang has fostered enduring partnerships with the Alexander String Quartet, with whom she has recorded the Brahms and Schumann Piano Quintets (recent appearances in New York and Charlottesville) and violinist Augustin Hadelich.

“It was hard to imagine finer performances by any violin-and-piano pairing,” wrote The Dallas Morning News of one of Ms. Yang’s and Mr. Hadelich’s recent recitals.

Born in 1986 in Seoul, South Korea, Ms. Yang received her first piano lesson at age 4 from her aunt. She quickly took to the instrument, which she received as a birthday present, and over the next few years won several national piano competitions in her native country. By age 10, she had entered the School of Music at the Korea National University of Arts, and went on to make a number of concerto and recital appearances in Seoul and Daejeon. In 1997, she moved to the United States to begin studies at the pre-college division of the Juilliard School with Dr. Yoheved Kaplinsky. During her first year at Juilliard, she won the pre-college division Concerto Competition, resulting in a performance of Haydn’s Keyboard Concerto in D with the Juilliard Pre-College Chamber Orchestra. After winning the Philadelphia Orchestra’s Greenfield Student Competition, she performed Prokofiev’s Third Piano Concerto with that orchestra at age 12. She graduated from Juilliard with special honor as the recipient of the school’s 2010 Arthur Rubinstein Prize, and in 2011 she won its 30th annual William A. Petschek Piano Recital Award.

Ms. Yang made her celebrated New York Philharmonic debut with Lorin Maazel at Avery Fisher Hall in November 2006 and performed on the orchestra’s tour of Asia, making a triumphant return to her hometown of Seoul, South Korea.

Subsequent appearances with the Philharmonic included the opening night of the Leonard Bernstein Festival in September 2008, at the special request of Maazel in his final season as music director. The New York Times pronounced her performance in Bernstein’s The Age of Anxiety a “knockout.”

Ms. Yang appears in the film In the Heart of Music, a documentary about the 2005 Van Cliburn International Piano Competition. She is a Steinway artist.

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Program Notes Sergei Rachmaninoff (1873-1943) Three Preludes

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ergei Rachmaninoff was one of the greatest piano virtuosos of all time; this fact was explicitly recognized on the 50th anniversary of his death when his entire lifetime output of recordings was reissued in a set of compact discs. Naturally, then, he wrote a large amount of piano music for himself to play. And while on occasion he may have written virtuosic music for its own sake, his mature work, though still often of extraordinary difficulty, sought to explore to the fullest the possibilities of his instrument.

His first published piano works — five Morceau de fantaisie, Opus 3 — included a work that became forever after associated with his name, the Prelude in C-sharp minor, Op. 3, No. 2. This already shows the dark and melancholy strain in Rachmaninoff’s music, as well as his ability to create a grandiose climax. For decades, he was unable to give a recital without including this piece. The audience would call him back again and again, refusing to let him go until, with a resigned shrug, he would sit down one more time at the keyboard and play it.

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It wasn’t until some years later that Rachmaninoff decided to compose a complete set of preludes in all the major and minor keys, as Chopin had done in the previous century and as Bach had done twice a century before that. Unlike his predecessors, he did not create a systematic tonal plan in advance, but simply added periodically to what he had already written. Following the C-sharp minor prelude of Opus 3 (1892), he published ten more preludes as Opus 23 (written in 1903–04). Then, in 1910, he added thirteen more preludes to complete the cycle of twenty-four.

The Prelude in D major, Opus 23, No. 4, is a tender, songful Andante, featuring a drawn-out melody that moves in stepwise motion, typical of Rachmaninoff’s lyrical style. In the Opus 32 set, the Prelude in G-sharp minor (Opus 32, No. 12) sustains an arpeggiated accompaniment, here higher and rather like the sound of small bells.

A poignant theme appears in the tenor, turns impulsive, moves into the right hand. A darker

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middle section yields again to the sweetly brilliant bell sounds, disappearing into vapor.

— © Steven Ledbetter

Leoš Janáček (1854-1928) Piano Sonata 1.X.1905, “From the Street”

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hile Leoš Janáček was drawn mainly toward grand symphonic and vocal genres (especially opera), he did pen a respectable amount of chamber music during his career. His piano works in particular display the Czech composer’s love for the folk melodies of his homeland as well as an interest in striking melodic and harmonic contrasts.

Janáček’s unusually-titled Piano Sonata 1.X.1905, “From the Street,” is one such example — a work of immense pathos and gripping intensity. It was composed in memory of the tragic events of October 1, 1905, when, during a rally in support of a Czech-speaking university in Brno, a Moravian carpenter was brutally killed by Austrian forces. Janáček witnessed this demonstration and remained so troubled after completing the memorial work, that

he destroyed the Sonata’s planned third movement and later tossed the manuscript for the preceding movements into the Vltava river. (He later recalled that the score “did not want to sink…the pages bulged and floated on the water like white swans.”)

Thankfully, the pianist who gave the premiere had written out the first two movements of the Sonata, only revealing her surviving copy to Janáček on his 70th birthday in 1924.

The Sonata’s first movement carries an air of ambiguity and trepidation, as suggested by its subtitle (“Foreboding”). A delicate opening melody is rudely interrupted by short outbursts, which later morph into an obsessive sixteenthnote undercurrent. Hints of another theme (a falling, folk-like melody) are enveloped by these restless figures before the pent-up energy soon erupts into a shattering climax. However, a return to the music of the opening ultimately leads the movement to fade into quiet unease.

The second and final movement of the Sonata

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Program Notes (subtitled “Death”) ruminates over a short, fivenote motive that switches between resolving in major and minor. A development section briefly presents music that is marginally lighter in character but all of a sudden, the opening motive returns in a full-throated sob. As in the preceding movement, a soft E-flat minor chord brings the work to a somber close. — © Kevin McBrien

Franz Liszt (1811-1886) Rhapsodie espagnole, LW A195

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iszt traveled widely during the years when he supported himself largely as a virtuoso pianist. In 1844 he spent six months in Spain, where his concerts were hugely successful and his attendance at musical soirées introduced him to many of the leading Spanish musicians.

He absorbed the prime characteristics of Spanish music and embodied these in a highly virtuosic “Grand Concert Fantasy on Spanish Tunes,” which contained several actual Spanish dance tunes that he had heard there. One of these, a dance called the jota, reappeared many years later in his 1858 Rhapsodie espagnole, which bears the rather cumbersome subtitle

Folies d’Espagne et jota aragonesa. It may be awkward, but it provides a description of the contents: the work is built on a traditional Spanish melody, La Follia, which had been used by composers for variations since the Baroque era (most famously Corelli) and the jota already mentioned, to produce a brilliant evocation of music on the Iberian peninsula. — © Steven Ledbetter

Elizabeth Younan (b. 1994) Piano Sonata (2018)

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s an inaugural participant of the Sydney Conservatorium’s National Women Composers’ Development Program, Ms. Younan recently completed her master’s degree in composition under the tutelage of Carl Vine AO, with the assistance of the Research Training Program stipend scholarship (formerly the Australian Postgraduate Award).

Ms. Younan has garnered numerous accolades

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for her music, including the Jean Bogan Youth Prize for Piano Composition, the Ignaz Friedman Memorial Prize, and the 102.5 Young Composer Award. Her woodwind quintet, Shoreditch Grind, received its international premiere in the inaugural BBC Proms Australia Chamber Music concert series, performed by Musica Viva’s FutureMakers Arcadia Winds, who also performed it in Musica Viva’s Melbourne Coffee Concert series and 2017 Festival. Elizabeth’s solo for drum set-up and unspecified voice, Electors of Middlemarch, was premiered by Claire Edwardes at the Sydney Opera House in June as part of Ensemble Offspring’s Concert “Beginnings to New Ends.”

Upcoming performances include Elizabeth’s Microsonata for viola and piano, which will be premiered by Stefanie Farrands at the semifinals of the ABC Young Performers Awards at City Recital Hall, Angel Place. Elizabeth’s string quartet, Interwoven, first performed by the Goldner String Quartet at a Musica Viva Coffee Concert in Sydney in 2017, will be performed by the Orava Quartet at this year’s Huntington Estate Music Festival. As Ensemble Offspring’s current “Noisy Woman” composer, Elizabeth’s solo for

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flute will be premiered by Lamorna Nightingale at the Sydney Opera House in 2019.

Elizabeth Younan completed a Bachelor of Music Composition with First Class Honours at the Sydney Conservatorium in 2015, where she was awarded a scholarship with the Australian Research Council’s Centre of Excellence for the History of Emotions for her thesis. She will commence studies in composition at the Curtis Institute of Music this September on a merit-based, full tuition scholarship – the first Australian composer to do so in over sixty years.

The composer writes: This work consists of three movements to be performed with little break in between, and follows a fairly traditional sonata structure: moderate – slow – fast. The motif presented in the first two bars permeates the work. It is dedicated to Julian Burnside, Joyce Yang and Carl Vine.

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Program Notes Franz Liszt Piano Sonata in B minor, LW A178

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fter some two decades as international playboy, virtuoso darling of the public, and creator of the most astonishing showpieces for the piano known to his day, Franz Liszt retired from the life of active touring, settled in the quiet and intellectual town of Weimar, and concentrated on becoming a great, rather than merely a facile, composer.

Among his challenges in the middle of the 19th century was to rethink the nature of sonata form, which had been the firm backbone of most largescale compositions from Haydn onwards. The result was his single most remarkable large-scale piano work, the Sonata in B minor.

Liszt cast his Sonata on the grandest possible scale; its single movement is as large as many complete Beethoven sonatas in three or four movements, though Liszt’s “single” movement embeds within itself the variety and contrast implied by the multiple movements of earlier composers. Years prior, it would have been unthinkable to call such an original conception a “sonata” (the term required separate movements,

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at the very least); but by the time Liszt wrote his own Sonata (finalized in 1853), he had no qualms whatever in giving the title “sonata” to a work of interlinked movements based on themes that recur in varied treatment throughout.

The work begins in some inchoate world that has not yet been fully defined. We will learn in retrospect that this is a world of B minor, but at the beginning we hear a strange descending scale that seems to be somehow related to G. The music hovers in the vicinity of the home key, suggesting several different ideas, all subsets of the first theme: (a) the mysterious descending scale of the opening; (b) an energetic angular figure of leaps and dotted rhythms; and (c) a compact figure emphasizing a series of driven repeated notes. Eventually the hazy, unstable harmonies coalesce around the home key of B minor, and Liszt presents motives (b) and (c) in the home key, building drama and intensity. He moves climactically to D major, where we hear a new theme in a thunderous fortissimo that represents the traditional second theme (and secondary key), which concludes the traditional exposition.

After this, Liszt begins his development by

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returning to motives (b) and (c) in a harmonically unstable, modulatory character. The central point of the development is a “slow movement” in F-sharp major, with a sweetly tranquil third theme and transformations of the earlier two.

As this gentle music comes to a close, Liszt begins a fugato on the motives (b) and (c) from the beginning. Analysts differ as to whether this is a “scherzo” in a four-movement form or the beginning of the recapitulation, but certainly Liszt (like Beethoven in some of his late sonatas) has found the precise place where he can insert a fugue so that it will serve to intensify, rather than destroy, the progress of the piece.

Finally the first theme is recalled in the tonic, and we are formally at the beginning of the recapitulation. The second theme returns in the

Baroque orchestra jeannette sorrell

home major key (B) followed by two strenuous codas: the first opens with harmonic modulation, but returns with a triple-forte statement of the second theme in the home major; the second brings back the third theme, from the middle of the development, now in the home key with final developments (in reverse order) of the thematic figures that opened the piece. In the opening these themes merely hinted at things to come with wondering and doubt; here they express the utmost confidence and solidity in the final buttress of an extraordinary architectural marvel.

— © Steven Ledbetter Program notes for works by Rachmaninoff, Janáček and Liszt reprinted by kind permission of the Aspen Music Festival and School.

Magnificent MOZART

Overture to La Finta Semplice Symphony no. 40 in G Minor Ballet Music from Idomeneo

A rare chance to hear Mozart’s symphonic splendor with the sparkling clarity of period instruments.

apollosfire.org 800.314.2535

HAYDN Concertante in D Major (1st mvt.)

SATURDAY, OCTOBER 13, 8:00PM FIRST UNITED METHODIST AKRON

Other performances around Northeast Ohio October 12 & 14

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Advertise in the Tuesday Musical Programs Contact Ruth Krise 330.714.2704 for More Information expect great music

8/8/18 5:43 AM

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tm

ENGAGING our community

Inspiring current and future generations of music lovers Annual Scholarship Competition Hailed as the best of its kind in Ohio, the competition awards more than $25,000 each year to help college and university students prepare for careers as music educators and performers.

Decompression Chamber As an antidote to workplace stress, our Decompression Chamber brings free concerts to hospitals, factories, government offices, social service agencies, and other high-pressure environments throughout Akron.

“We bring great music to stages, schools, hospitals, libraries – anywhere music enriches learning and lives.”

- Jarrod Hartzler

Executive and Artistic Director

tuesdaymusical.org or 330-761-3460 20

tuesdaymusical.org ■ 330.761.3460

ENGAGING our community

Throughout NE Ohio, Tuesday Musical expands access to the world’s best music and musicians.

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Benefitting students and adults with innovative programs Education and Community Engagement Every season, TM’s guest artists also teach, perform and inspire during multi-day visits to K-12 schools, universities, libraries, retirement communities, workplace venues, and more.

Quartet-in-Residence The acclaimed Escher String Quartet visits 3-4 times each season to work closely with students, perform, and share the gift of music throughout our region.

Kennedy Center Partners in Education Program Recognizing our commitment to arts education, TM has been chosen to join this prestigious and powerful program. Together with schools and teachers, we work to increase the artistic literacy of young people.

Monthly Members’ Gatherings Expand your arts community and join Tuesday Musical. Enjoy short afternoon performances by talented local and regional musicians, followed by refreshments and opportunities to socialize with other music lovers..

Brahms Allegro TM’s junior music club encourages young members to develop their skills, perform for their peers, and compete in regional competitions. expect great music

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Firestone art students inspired by Joyce Yang

T

he fascinating YouTube video “How Joyce Yang See Music” reveals how the internationally acclaimed pianist uses visual imagery—dots, zig-zag lines and colors—to memorize and shape the music she performs.

Inspired by that video, students from Firestone High School began this spring to create the artwork hanging in the lobby for tonight’s concert by Ms. Yang.

Guided by art teacher Patrick Dougherty, Firestone students Sandra Diego, Maria Manuel, Camille Harper and others researched, planned and painted the four panels.

A highlight of the project happened this week when Ms. Yang visited Firestone to present an inschool concert and Q-and-A. Tonight’s exciting intersection of visual art and music continues a multi-year collaboration begun by Dr. Patricia Sargent, a past president of Tuesday Musical and a former arts coordinator for the Akron Public Schools.

The collaboration has led to an exciting collection of student artworks inspired by Tuesday Musical’s visiting musicians, including some who visited Firestone High School to work directly with the young artists. For example: ■ Yo-Yo Ma and the Silk Road Project inspired a bas-relief sculpture that illustrated the trade path of indigo dye and ceramics across the Middle East.

■ Vasily Kandinsky and Sō Percussion inspired an interactive “found-sound” triptych.

■ M.C. Escher and the Escher String Quartet inspired a four-panel painting.

Coincidently, another past project has links to Tuesday Musical’s current season. In 2014, students painted three murals showcasing great artists from our area, including tenor Lawrence Brownlee and poet Rita Dove. Brownlee is a Youngstown native who is returning to our Main Stage series on February 12. Dove is an Akron native and friend of pianist Lara Downes, who is commemorating the 100th birthday of Leonard Bernstein with a Fuze series concert on April 18.

We’re honored that the young artists and Mr. Dougherty are in the audience tonight. Thanks to all for partnering with Tuesday Musical as we continue to bring the world’s best music to Akron and Northeast Ohio.

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tuesdaymusical.org ■ 330.761.3460

Support: Individuals

tuesday musical 2018 | 2019

W

e gratefully acknowledge all donors this season. Every gift helps to support the success of Tuesday Musical’s Main Stage and Fuze concert series and Education and Community Engagement Programs. (As of August 21, 2018) Director $5,000+ Anne Alexander Frances Yates Bittle David and Margaret Hunter Cynthia Knight Tim and Jenny Smucker “Three Graces Piano” Mr. and Mrs. James Venner Lucinda Weiss Benefactor $1,500 to $4,999 Diana and John Gayer DuWayne and Dorothy Hansen Peter and Dorothy Lepp Christine and Lawrence Levey Paul and Linda Liesem Rusty and Marianne Miller George Pope Patrick Reilly Corrinne and Donald Rohrbacher Dr. Pat Sargent Kenneth E. Shafer Larry and Cyndee Snider R. Thomas and Meg Harris Stanton Sustainer $700 to $1,499 Eleanor and Richard M. Aron Earl and Judy Baxtesser Family John Bertsch Rob and Alyssa Briggs Alfred Cavaretta Kittie Clarke Harloe and Harriet Cutler Barbara and Denis Feld Robert and Beverley Fischer

Laurie and Mark Gilles Sue Jeppesen Gillman Joy and Bruce Hagelin Jarrod Hartzler John Vander Kooi Elizabeth and Charles Nelson Lola Rothmann Dr. Pamela Rupert Darwin Steele Elizabeth and Michael Taipale Tom and Sue Tuxill Patron $400 to $699 Anonymous William P. Blair III John and Betty Dalton Mr. and Mrs. George W. Daverio, Jr. Paul Filon Lois and Harvey Flanders Patricia Hartzler Mary Jo Lockshin Thomas and Cheryl Lyon Barbara and Mark MacGregor Stan and Roberta Marks Anita Meeker Natalie Miahky Earla Patterson Peter and Nanette Ryerson Jean Schooley Sandra and Richey Smith Drs. Fred and Elizabeth Specht Donor $200 to $399 John and Kathleen Arther Jack and Bonnie Barber Carmen and David Beasley Myrna Berzon

Cheryl Boigegrain Guy and Debra Bordo Sarah J. Buck Alan and Sara Burky Margo Snider and Rick Butler Dr. and Mrs. Herbert E. Croft Mary Lynn and Tom Crowley Jane Delcamp Gary E. DeVault Barbara Eaton Carolyn Esman Paul and Michele Friday Deanna Friedman Sharon and Robert Gandee Barbara Gillette Ted and Teresa Good Michael T. Hayes Patti Hester Loren Hoch Mary Ann Jackson Mark and Karla Jenkins Susan and Allen Kallor Cally Gottlieb King Bill and Sally Manby JoAnn and Paul Marcinkoski Al and Judy Nicely Alan and Marjorie Poorman Sandra and Ben Rexroad Rachel R. Schneider Betty and Joel Siegfried Cecilla and Nathan Speelman Darwin Steele Dina and Brooks Toliver Daniel Velasco Kathleen Walker Keryl Whetstone Jorene F. Whitney Christopher Wilkins

Advertise in the Tuesday Musical Programs Contact Ruth Krise 330.714.2704 for More Information expect great music

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

In Memory of Barry Collier

In Memory of Elizabeth Kime

Barbara Eaton Anita Meeker

Robert and Beverley Fischer

In Memory of Elizabeth Dalton Robert and Beverley Fischer Jarrod Hartzler Paul and JoAnn Marcinkoski Natalie Miahky

In Memory of Eugene Mancini Toshie Haga In Honor of George Pope Elizabeth Sandwick

In Memory of Betty Sibley Watts Wetterau Jarrod Hartzler Pamela Johnson Peter and Dorothy Lepp Lynne Margolies Anita Meeker David Watts

>> 44 <<

**OPEN LATE**

Visit our website at briccorestaurants.com for hours and links to our locations in Fairlawn, Kent and the Merriman Valley.

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1 W. Exchange St. 330-475-1600 JOIN US BEFORE OR AFTER THE SHOW Monday thru Saturday 11 am—11 pm Sun 10 am— Justvisit Blocks FromatEJbriccorestaurants.com Thomas Hall our website for ho 1 W. links Exchange St., Downtown Akron 330-475-1600 to our locations in Fairlawn, Kent and the Merr >> > JOIN US BEFORE OR AFTER THE SHOW > > >

Monday thru Saturday 11 am–11 pm Sun 10 am–11 pm NEWEST LOCATION—Bricco Prime, 4315 Manchester Rd., Akron 44319

tuesdaymusical.org ■ 330.761.3460

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 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 F und of Akron Community Foundation

Lloyd L. & Louise K. Smith Foundation

Laura R. and Lucian Q. Moffitt Foundation

Welty Family Foundation

Richard and Alita Rogers Family Foundation

$1,000 to $4,999 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 Beatrice K. McDowell Family Fund R. C. Musson and Katharine M. Musson Charitable Foundation OMNOVA Solutions Foundation

$5,000 to $9,999

Sisler McFawn Foundation

Mary S. and David C. Corbin Foundation

$200 to $999

Mary and Dr. George L. Demetros Charitable Trust

KeyBank Foundation Community Leadership Fund

Louis S. & Mary Myers Foundation

W. Paul Mills and Thora J. Mills Memorial Foundation

Charles E. & Mabel M. Ritchie Memorial Foundation

Maynard Family Foundation

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Corporate Partners Akron Tool & Die Co. Nelson Development In-kind Services 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

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Jascha Heifetz, violin, 1929, 1944, 1950

Nelson Eddy, baritone and actor, 1936, 1940

Arthur Rubinstein, piano, 1954, 1959

Andrés Segovia, guitar, 1961

Global greats Tuesday Musical has brought the world’s best musicians to Akron and Northeast Ohio.

Here are some of the many global greats who have performed for our audiences during the past 131 years: Rosa Ponselle

Marilyn Horne

Dina Kuznetsova

Rudolph Serkin

Lily Pons

Beverly Sills

Cecilia Bartoli

Van Cliburn

Eleanor Steber

Dame Joan Sutherland

Risë Stevens

Rudolf Firkusny

Eileen Farrell

Frederica von Stade

James Melton

Malcolm Frager

Roberta Peters

Wynton Marsalis

Richard Tucker

Elisabeth Schwarzkopf

Dawn Upshaw

James McCracken

Jazz at Lincoln Center Orchestra

Birgit Nilsson

Kathleen Battle

Marcello Giordani

Glenn Gould

Lawrence Tibbett

Richard Goode

Dmitri Hvorostovsky

Mitsuko Uchida

James Morris

Emil Gilels

Samuel Ramey

Krystian Zimerman

Sherrill Milnes

Emanuel Ax

Vienna Choir Boys

Garrick Ohlsson

King’s Singers

Jean-Yves Thibaudet

Chanticleer

Yefim Bronfman

Robert Shaw Chorale

Marc-André Hamelin

Metropolitan Opera

Lang Lang

New York City Opera

Fritz Kreisler

Vladimir Horowitz

Yehudi Menuhin

José Iturbi

Efrem Zimbalist

Artur Schnabel

Isaac Stern

Robert Casadesus

Itzhak Perlman

Josef Hofmann

Joshua Bell

Protection for the most important things in your life.

Guiomar Novaes

Gil Shaham

William Kapell

Hilary Hahn

Call 1-877-724-8069 for a free quote, or visit us at 111 W. Center St. in Downtown Akron.

Dame Myra Hess

Gidon Kremer

Menahem Pressler

Midori

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tuesdaymusical.org ■ 330.761.3460

tuesday musical 2018 | 2019

Alicia de Larrocha, piano, 1968, 1976, 1983

Luciano Pavarotti, tenor, 1975

Leontyne Price, soprano, 1987

Yo-Yo Ma, cello, 2007, 2013

Mstislav Rostropovich

Jean-Pierre Rampal

Boston Pops

Escher String Quartet

Lynn Harrell

Imani Winds

Mantovani Orchestra

David Finckel

Guarneri String Quartet

Canadian Brass

Wu Han

Emerson String Quartet

Empire Brass

Boston Symphony Orchestra

Juilliard String Quartet

Paquito D’Rivera

Philadelphia Orchestra

Conrad Tao

Kronos Quartet

Eugenia Zukerman

Cleveland Orchestra

Augustin Hadelich

James Galway

Detroit Symphony

Nikolai Luganski

Evelyn Glennie

Jeremy Denk

Billy Taylor Trio

Susan Graham

St. Petersburg Philharmonic

Tokyo String Quartet Academy of St. Martin in the Fields

Phillip Setzer

2018-19 SEASON

It’s time for a new identity.

One that tells the story of creativity in Ohio and illustrates it.

CANTON SYMPHONY ORCHESTRA Full schedule and tickets available at

cantonsymphony.org 330-452-2094

A TRIBUTE TO LEONARD BERNSTEIN Expression is an essential need.

By better illustrating our story, we can better help you express yours.

ELLIE JARRET SHATTLES, MEZZO DAN BOYE, BARITONE SATURDAY, OCT. 6, 2018 - 7:30PM Featuring the rarely performed one act opera Trouble in Tahiti.

Umstattd Performing Arts Hall 2331 17th St NW - Canton

TICKETS: $28 | $38 | $48 Complete the story at oac.ohio.gov/identity.

30 EAST BROAD STREET, 33RD FLOOR, COLUMBUS, OHIO 43215-3414 | 614-466-2613 OAC.OHIO.GOV | @OHIOARTSCOUNCIL| #ARTSOHIO

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YOU ARE READING THE

BEST NEWSPAPER

IN OHIO!

The Press Club of Cleveland named the Akron Beacon Journal the best large daily newspaper in Ohio. Judges said the Beacon Journal has a well-balanced “mix of local and national news. Great photos and overall content.”

The Beacon Journal and its staff received 30 awards — 12 for first place — at the Press Club of Cleveland’s 40th All Ohio Excellence in Journalism Awards competition.

There were more statewide newspapers.

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The Beacon Journal’s OHIO.COM was named the second-best newspaper website in Ohio

For 7-day News and information print or digital, call 330-996-3600 or visit OHIO.COM

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tuesdaymusical.org ■ 330.761.3460

tuesday musical

2018-2019 Board of Directors

Executive Committee President Paul Filon

Vice President/President Elect Linda Liesem

Treasurer Stephannie Garrett

Secretary Marianne Miller Governance Committee Chair Bob Fischer

Committee Chairs

Brahms Allegro Chair Cheryl Boigegrain

Development Chair Charles Nelson Student Voucher Chair Magdalena McClure

Finance Chair Stephannie Garrett

Hospitality Co-Chairs Barbara Eaton & Joy Hagelin

Membership Chair Fred Specht

Member Program Chair Teresa Good

Scholarship Chair George Pope

At-large Members Mary Jo Lockshin, Mike Magee,

Paul Mucha & James Wilding Staff

Executive & Artistic Director Jarrod Hartzler

Director of Development & Communications Cyndee Snider Artistic Administrator Karla Jenkins

Finance Administrator Gail Wild

Program art direction by Live Publishing Co.

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House Notes Parking Beginning at 5 p.m. for evening concerts and 12:30 p.m. for Sunday concerts, special event parking is available at $5 per vehicle in the EJ Thomas Hall parking deck or in surrounding campus lots.

Late Seating Out of consideration for other audience members and the performers, latecomers will be seated at a suitable pause in the program.

Emergency Numbers Physicians and others expecting calls are requested to leave their name and seating location with the Head Usher upon arrival. Please leave your seat location with the person(s) who may need to reach you in case of an emergency and ask them to call EJ Thomas Hall at 330.972.6828.

Pre-concert Talks Free Pre-concert Talks, designed to enrich the concert-going experience, are presented one hour before most Tuesday Musical concerts and last 30 minutes.

Intermission Intermissions are 20 minutes in length. The flashing of the lobby lights is your signal to return to your seat for the start of the performance.

Special Accommodations If you have special seating requirements, please inform the Ticket Office when you place your ticket order. EJ Thomas Hall has wheelchair accommodations and other seating services for the physically challenged in both the Orchestra and Grand Tier sections. Handicapped parking is available in the EJ Thomas Hall deck and the North parking deck accessed from both Forge St. and Buchtel Ave.; a valid parking permit must be displayed. A special sound system for the hearing impaired and large print program notes are available, free of charge, with advance notice. Please see the Head Usher for the sound system device and call the Tuesday Musical office to request the program notes.

Restrooms Public restrooms are located in the Robertson Lobby of EJ Thomas Hall. The ladies’ room can be accessed from the odd-numbered entry doors and the men’s room access is from the even-numbered entry doors. The center stairs in the Robertson Lobby lead to both restrooms. Accessible restrooms are located at the bottom of each ramp.

Cameras, Audio Recorders & Video Equipment Cameras, video and audio recording devices of any kind are prohibited at all performances. Our ushers are instructed to retrieve these prohibited items from patrons in the auditorium.

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Paging Devices, Phones & Hearing Aids All electronic and mechanical devices—including pagers, cellular telephones, and wrist-watch alarms—must be turned off while in the concert hall.

Patrons with hearing aids are asked to be attentive to the sound level of their hearing device and adjust it accordingly.

Refreshments Bar service is offered in the center lobby before concerts and at intermission. Soda and light snacks are also available in the lobby. The EJ Café, located in the Herberich Lobby, offers appetizers, desserts, gourmet coffees, espresso and cappuccino.

Drinking fountains are in the center lobby.

Smoke Free Theatre Smoking is not permitted anywhere inside EJ Thomas Hall, but designated smoking areas are located outside the building.

Event Cancellation On very rare occasions, severe weather forces EJ Thomas Hall to cancel or postpone an event.

Cancellation information is available by calling the Tuesday Musical office at 330.761.3460.

Security Policy Customer safety and security is of the utmost importance. All patrons entering the facility must have a ticket for that day’s event. There is a police presence both inside and outside of the theatre.

Program Information For information about any Tuesday Musical concert, please call the Tuesday Musical Association office at 330.761.3460 or visit the website at www.tuesdaymusical.org.

Ticket Information Single Tickets To purchase single tickets to any Tuesday Musical concert, call the Tuesday Musical Association office at 330.761.3460 or visit the website at www.tuesdaymusical.org.

Tuesday Musical Association 1041 West Market Street, Suite 200 Akron, OH 44313-7103 Releasing Tickets Tuesday Musical subscribers who are not able to attend a concert are encouraged to release their tickets 24 hours prior to the concert. In exchange for their tickets, subscribers may receive tickets to a different 2018/2019 Tuesday Musical concert (some restrictions may apply) or receive a charitable donation receipt for the value of the tickets. Please remember to call the office 24 hours PRIOR to the concert. Your seats are the best in the house and someone else would love the experience of sitting just where you do.

tuesdaymusical.org ■ 330.761.3460

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OBERLIN OBERLIN OBERLIN OBERLIN OBERLIN COLLEGE COLLEGE COLLEGE COLLEGE COLLEGE && CONSERVATORY & CONSERVATORY & & CONSERVATORY CONSERVATORY CONSERVATORY

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